The Russian Revival style (historiographical names are: Russian style, , Pseudo-Russian style, , Neo-Russian style, , Russian Byzantine style, ) is a number of different movements within Russian architecture that arose in the second quarter of the 19th century and was an eclectic melding of Byzantine elements and pre-Petrine (Old Russian) architecture. The Russian Revival architecture arose within the framework that the renewed interest in the national architecture, which evolved in Europe in the 19th century, and it is an interpretation and stylization of the Russian architectural heritage. Sometimes, Russian Revival architecture is often erroneously called Russian or Old-Russian architecture, but the majority of Revival architects did not directly reproduce the old architectural tradition. Being instead a skilful stylization, the Russian Revival style was consecutively combined with other international styles, from the architectural romanticism of first half of the 19th century to the modern style. Cultural background Like the Romantic revivals of Western Europe, the Russian Revival was informed by a scholarly interest in the historic monuments of the nation. The historicism resonated with the popular nationalism and pan-Slavism of the period. The first illustrated account of Russian architecture was the project of Anatoly Nikolaievich Demidov, 1st Prince of San Donato and French draughtsman André Durand, the record of their 1839 tour of Russia was published in Paris in the 1840s as Voyage Pittoresque et Archéologique en Russie. Durand's lithographs betray a foreigner's sensitivity to the seeming otherness of Russian architecture, displaying some curiously distorted features, and while they are, on the whole, fairly accurate representations, the folios that he produced belong to the genre of travel literature rather than historical inquiry. The attempt to discern the chronology and development of Russia's building begins in earnest with Ivan Snegirev and A.A. Martynov's Russkaya starina v pamyatnikakh tserkovnago i grazhanskago zodchestva (Moscow, 1851). The state took an interest in the endeavour by sponsoring a series of folios published as Drevnosti rossiiskago gosudavstva (Moscow 1849–1853, 6 vol.) depicting antiquities and decorative works of art. By this time the undertook research on the subject, formalising it as a field of study. A series of triennial conferences was instituted from 1869 to 1915, and its reports included studies of the architecture of the Kievian Rus' and early Moscow periods. Perhaps the Society's most significant achievement was the publication of the Kommissii po sokhraneniiu drevnikh pamyatnikov in 6 volumes between 1907 and 1915. Also the