﻿STATUE OF PETER THE GREAT. Ill 



of the deck, and were made fast to a vessel moored outside ; thus 

 presenting a counterpoise to the weight of the stone. The grooved 

 beams were laid ready, the cables secured, and at the moment of re- 

 moving the last support, the drummers beat the signal : the men at 

 the capstans ran round with a cheer ; the barge heeled slightly, 

 which accelerated the movement ; and in an instant the rock was 

 safely landed on the quay. 



Such was the successful result of an undertaking, extraordinary in 

 its nature and the circumstances in opposition to it.^ An example 

 is here afforded to those who may have to struggle with difficulties 

 in mechanical art, that will stimulate them to attempt what may ap- 

 pear impossible to the timid and unreflecting. He who contends 

 successfully with the adverse opinions of men of learning, and the 

 blind prejudices of the multitude, achieves a moral as well as a 

 physical triumph, deserving of high praise and imitation. 



It is to be regretted that the effect of this unrivalled pedestal was 

 marred by the diminution of its size. Under the direction of the 

 artist who had so successfully formed the statue, it was pared and 

 chiseled, until the weight was reduced to 3,000,000 Ibs. ; and the 

 outline, instead of being left bold and broken, as best suited the char- 

 acter of the group, was made smooth and uniform. It forms, how- 

 ever, one of the chief attractions of St. Petersburg, standing in the 

 square opposite the Isaac Bridge, at the western extremity of the 

 Admiralty. Here the colossal equestrian statue of the founder of 

 this magnificent city, placed on a granite rock, seems to command 

 the undivided attention of a stranger. On approaching nearer, the 

 simple inscription fixed on it, in bronze letters, " Petro Primo, Cath- 

 arina Secunda, MDCCLXXXII," meets the eye. The same inscription in 

 the Russian language appears on the opposite side. The area is 

 enclosed within a handsome railing, placed between granite pillars. 

 The idea of Falconet, the French architect, commissioned to erect 

 an equestrian statue to the extraordinary man at whose command 

 a few scattered huts of fishermen were converted into palaces, was 

 to represent the hero as conquering, by enterprise and personal 

 courage, difficulties almost insurmountable. This the artist imag- 



* The whole expense of the removal did not exceed 70,000 rubles, or 14,000 ; 

 while the materials which remained were worth two thirds the sum. 



