h gaps and
interruptions of considerable length, which break the chain of
events. It is for this reason that, instead of seeing a historical
fresco, we see a whole gallery of sketches, executed with subtle
artistry, but insufficiently connected with the main action of the
drama.

These observations apply especially to the first attempt of the
young author: "The Death of the Gods"; "The Resurrection of the
Gods" and "Peter and Alexis" are more skilfully composed. They
indicate a stronger tendency towards unity; one feels that an
infinitely firmer and more experienced brush has been used; the
colors are richer and they do not suffer from that monotony of
effect and of color so noticeable in "The Death of the Gods," where
the author too often uses the same devices. As to the characters of
Leonardo da Vinci and Peter the Great, they are very carefully
worked out, and the events in the lives of the Italian master and
the Russian Tsar are narrated with magnificent psychological
analysis, which forces the reader to sympathize with the heroes even
more than he would naturally.

Merezhkovsky has also been accused of being over-educated. The
innumerable documents presented do not bear closely enough upon the
action, the result being that many of his pages read like mere
annals. They interest the reader but do not move him. This is one
reason why some critics, essentially different in spirit from
Merezhkovsky, have believed themselves right in denying that he has
any talent. But this accusation falls of itself in the face of the
power of the inspiration which pervades his work, and the dramatic
sense which he displays in setting forth the events and personages.
It is impossible, for instance, to read without the deepest emotion
the story of the last days of Leonardo da Vinci, where the author
establishes the tragic contrast between the outward signs of glory,
the superficial honors with which this genius is overwhelmed, and
the moral solitude which afflicts him to the very end, which comes
when he is among people who are strangers to his soul. All the
childhood recollections of this same Da Vinci are full of charm.
There is a veritable master spirit shown in the chapters in which
the author portrays for us the enigmatic and seductive Mona Lisa.
Finally, he has given us a relief of rare energy in the terrible
struggle between Peter and Alexis, between the man of iron whom
nothing can affect and his son, kind and timid, who, whi