The Eighteenth Century
were something in the nature of a masquerade, so this decoration was illusory, but as the deceptive illusion had all the appearance of reality, it captivated and led astray the most sceptical travellers. It was necessary to keep up this valuable illusion to the very last detail; that is why Peter paid so much attention to the art of topographical engraving. Etchings of newly erected palaces and gardens recently laid out spread throughout the world, and everywhere they created the impression of extraordinary prosperity and of the extraordinary, perfectly European refinement of Russian life. Under Paul a special class was established at the Academy of Arts with the purpose of educating such landscape engravers, but soon after the need of that showy branch of art disappeared, partly because the building fever ceased, partly because of the deep change which occurred in European culture. The art of Merian, Silvestre, Lepautre, Perelle, Piranelli, Belotto and others died out together with the generation of the great artists who erected the magnificent palaces and villas.
Of the Russian architectural and landscape painters three gained prominence under Catherine, the older Shchedrin, Th. Alexeyev and M. Ivanov. Others, such as Prichetnikov, Sergeyev, Moshkov and Petrov were almost the equals of these masters.
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