This typology is very rare for the center of Moscow. The low-key three-story building of the artistic studio (total area about 300 square meters, height 12 meters) stands in the yard of the former city estate on the Pyatnitskaya Street. The client owns a small land plot underneath the building, while the yard itself is municipal. The building of the studio pops up in the clearing between the buildings from the side of the Klementyevsky Alley as a dramatic stained glass window three stories high. The influence of the large church of some “Saint-Petersburg” nature, designed, according to some sources, by the mighty Tresini himself, is also obvious here. The presence of Pope in Moscow’s toponymy comes quite as a surprise and causes strange feelings, as if symptomatically reminding us of the controversial character of the pillars of this world. I am not sure if Zurab Konstantinovich Tsereteli can be considered to be the Pope of Moscow’s sculpture making, but then again, why not? The studio, in spite of its small size, looks like a treasure chest, an expensive toy that is strikingly different from everything else in its style, color, and plastique. The walls are coated with a composite material that imitates walnut, the metallic frames of the stained glass windows painted bronze color.