For at least three centuries, Byzantium was the great school sought by the Latin, Visigothic and Germanic nations of Europe for art teaching, and it was not till the end of the Twelfth Century that the French broke away from these traditions. Their example was followed in Italy, England and Germany more or less successfully. Russia held aloof from these attempts: she was too closely identified with Byzantine art to try any other course; it may be said that she was the guardian of that art, and was to carry on its traditions by mingling with it elements due to the Asiatic Sclavic genius. All the dominant elements in Russian art, whether they come from the north or south, belong to Asia. Iranians or Persians, Indians, Turanians, or Mongols have furnished tribute, though in unequal quantities, to this art. It may also be said that if Russia has borrowed much from Byzantium, the art elements among her population have not been without influence upon the formation of Byzantine art. We think even that the influence of Byzantine upon Russian art has been greatly exaggerated, and that Persia may have had at least as much effect upon the course of art in Russia. However, we must except everything pertaining to images. But even here Asiatic influence makes itself felt, not in the form, but in the preservation of the types. The imagery of the Greek school has never gone out of favour in Russia, and it still holds its place there in the representation of holy personages. In this, Russia shows her attachment to tradition, as all the Asiatic races do, and shows how little her intimate sentiments have suffered modification. The Russians avoided the influence of the Iconoclasts which was felt so violently in the Western Empire in the Eighth Century, and later still in various parts of Western Europe; among the Vaudois and Albigenses in the Twelfth and Thirteenth Century, the Hussites in the Fifteenth, and the Reformers in the Sixteenth. But if Russian architecture and ornamentation show marked originality, this does not seem to be the case with the representation of holy personages. These remain Byzantine. It was the school of Mount Athos that supplied Russia with the types, as it did to almost all the Greek Christians of the Orient. In these representations, we have difficulty in finding a tendency towards realism, which, morever, does not appear till quite late, and does not come to full bloom. In Russian art, it is possible to find a few Scandinavian traces, or, to be more exact, in the arts of Scandinavia we find some elements borrowed from the same sources whence the Russians took theirs. Russia has been one of the laboratories in which the arts, brought from all parts of Asia, have been united to adopt an intermediate form between the Eastern and the Western world.