The Pecherskoi Monastery, or Kievo-Pecherskaya Lavra, at Kief, the Kremlin in Moscow, and the grand monastery of Troitza, have this in common, that the situation is commanding, the site elevated. Also, these three venerable sanctuaries are strongholds, for though the holy places at Kief are not on all sides fortified, yet the approach from the old city, which is the most accessible, lies along bastions and walls. In fact, here we have again a semblance to the ancient idea of a church, a citadel, and a palace united, as in an acropolis--the Church and the State being one; the arm of the flesh sustaining the sword of the spirit,--a condition of things which has always given to the world its noblest art. The walk to this most ancient monastery in Russia passes pleasantly by the side of a wood; then opens a view of the vast plain beneath, intersected by the river Dnieper, over which is flung the great suspension-bridge built by the English engineer, Charles Vignolles, at the cost of L350,000. The immediate approach is lined with open shops or stalls for the sale of sacred pictures, engravings of saints, and other articles which pilgrims love to carry back to their homes. Within the enclosure trees throw a cool shade, under which, as in the courtyards of mosques in Constantinople, the hot and weary may repose. The cathedral dedicated to the ascension of the Virgin, has not the slightest pretence to external architecture. The walls are mostly whitewashed, and some of the windows have common square heads crowned by mean pediments; the intervening pilasters and floral decorations in relief, and all in the midst of whitewash, are of the poorest character. The seven gilded cupolas or domes may be compared to inverted cups surmounted by crosses. The form resembles the cup commonly combined in the fantastic towers and spires of Protestant churches in Germany, where, however, it has been supposed to signify that the laity partake of the chalice. These domes are made further decorative at the point of the small circular neck which connects the cupola with the upper member or finial; around this surface is painted a continuous series of single saints standing; the effect of these pictures against the sky, if not quite artistic, is striking. Other parts of the exterior may indicate Italian rather than Oriental origin, but the style is far too mongrel to boast of any legitimate parentage. Here, as in the Kremlin, are external wall-paintings of saints, some standing on solid ground, others sitting among clouds; the Madonna is of course of the company, and the First and Second Persons of the Trinity crown the composition. The ideas are trite and the treatment is contemptible--the colours pass from dirty red into brown and black. These certainly are the worst wall-paintings I have ever met with, worse even than the coarsest painted shrines on the waysides of Italy; indeed no Church save the Greek Church would tolerate an art thus debased.