Industrial arts are very prosperous in Russia and have made great progress during the last century: silken goods are no longer imported from Lyons; and the Russian cabinet-makers produce beautiful furniture, not only in their national style, but in the purest forms of French art of the Louis XV. and Louis XVI. styles. Civil goldsmith's work and jewellery have also been benefited by the national Renaissance: the Emperor Alexander III. restored to honour the national feminine costume for official balls, and ordered works of art to be made after the models of the Muscovite style, and indeed even after the marvels found in the excavations of the Cimmerian Bosphorus. The religious images, particularly those made in Moscow and Kazan, come very near being works of art. Numerous manufactories produce icons painted on wood or copper, ornamented with reliefs of copper, _crysocale_, silver, silver-gilt and gold. The workmen are monks and peasants: each part of the icon--eyes, nose, mouth, hands and feet--is executed by a specialist who always makes the same thing, after the immutable types that the Muscovite convents received from Mount Athos. _RUSSIAN MUSIC_ _A. E. KEETON_ Russian music is the strangest paradox--it owes more to the music of other countries than any other school, yet no music is more thoroughly individual and unmistakable. It clothes itself after the form and fashion of its neighbours, but beneath its garb peeps out a physiognomy indubitably Sclavonic. Its utterances impress us as the most modern--yet the student who would correctly analyze many of its unique characteristics of harmony and modulation is often obliged to take a flying leap backwards over a space of centuries in order to investigate old Church modes, or Persian and Arabian scale systems, both so ancient as to be well-nigh forgotten in Western Europe.