The paper attempts to explore the structural elements of the landscape of Andrei Bely’s novel in correlation with the spatial coordinates and symbolic images of A. Böcklin’s painting The Isle of the Dead. The Swiss artist’s techniques used in the novel are highlighted: color and light painting, the technique of inverse and combined perspective. In addition, microplots of fog, sails and the Bronze Horseman are presented in the novel as ‘pictures with motion’, due to which the visual images-symbols smoothly ‘flow’ into each other, forming a single whole, which meets the author’s desire to reproduce a three-dimensional mythopoetic model of the world based on the unity of macrocosm and microcosm, nature and man. From Bely’s point of view, gloomy rocks, the sky, white clothes, cypresses are a kind of coordinate axes of Böcklin’s painting - they set the horizontal and vertical levels of the universe. In the painting The Isle of the Dead, the horizontal is the Styx and the sky that seems bright; the vertical is shaped by the cypress and the rock. In the novel Petersburg the spire(s) acts as a vertical. The spire is not only a connecting line stretching from the city to the sky, but also a component of the symbolism of the cross: the Neva and the city streets, Petersburg lines, primarily act as a horizontal line. In addition, the image of the spire also fulfils a psychological and compositional function by drawing attention to the climaxes of a particular storyline: as a rule, the moment of the highest psychological tension (whether we are talking about the senator, the terrorist Dudkin, Anna Petrovna, or others) is marked by the mention of the ‘needle’, and extended introspection is often replaced by a ‘point’ indication of this detail of the city panorama, which turns out to be the focus of the character’s perception.