A FAREAVELL TO THE KUEMLIN.2G1

the city. The imagination owned no bounds; the universe, the infinite Deity itself, seemed to be grasped by the witness of the majestic spectacle. It was the living model of Martin's most extraordinary paintings. My heart beat with fear and admiration: I saw the whole cohort of the supernatural inmates of the fortress; their forms shone like demons painted on a ground of gold ; they moved glittering towards the regions of night, from which they seemed about to tear off the veil; I expected to hear the thunder: it was fearfully beautiful.

The white and irregular masses of the palace reflected unequally the oblicµiely-borne beams of a flickering twilight. This variety of shades was the effect of the different degrees of inclination of different walls, and of the projections and recesses which constitute the beauty of the barbaric architecture, whose bold caprices, if they do not charm the taste, speak impressively to the imagination. It was so astonishing, so beautiful, that I have not been able to resist once more naming the Kremlin.

But let not the reader be alarmed —this is an adieu.

The plaintive song of some workmen, echoing from vault to vault, from battlement to battlement, from precipice to precipice — precipices built by man — penetrated to my heart, which was absorbed in inexpressible melancholy. "Wandering lights appeared in the depths of the royal edifice; and along the deserted galleries, and empty barbicans, came the voice of man, which I was astonished to hear at that hour among these solitary palaces ; as was likewise the bird of night, who, disturbed in his mysterious loves, fled from the light of the torches, and, seeking refuge


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