the baleful conservatism, the hoary tyranny, the enslaving autocracy of her sovereigns. Oriental in its origin, it has fastened upon the Russian State the stationary ignorance, the servitude, the mental inertia of the effete Oriental nations. Among its adherents we shall find scarcely an example of the moral and spiritual liberty wherewith the Head of the Church maketh his children free. So far removed are they from this freedom, that their spiritual debasement, their intellectual bondage and moral perversion lie like an incubus, against which thus far the inherent strength of the nation has struggled in vain. An Oriental autocracy and a church devoid of spiritual vitality have hitherto proved immovable checks upon the advancement of the Russian people. Not without reason does the Nihilist reject the wretched ecclesiasticism that has misguided and miseducated his race throughout a thousand years. The portraits of Rurik and his Variag-Slav successors, preserved in the imperial galleries of St. Petersburgh, are doubtless much idealized; yet they may be supposed to bear some resemblance to their originals, for Byzantine artists were in Kief as early as the reign of Vladimir (972). The face of Rurik is strong, and possessed of a primitive majesty; beneath heavy brows his eyes are steadfast, penetrating, containing a force that under stress might break into the Berserker rage, the fury that was a characteristic of the ancient Norse warrior. The contours of the face are vigorous, and marked by a certain rude symmetry, so to speak. The heavy mustaches part above the lips; below them falls a dense beard that clings to the sides of the cheeks and climbs to the hair. The head is shielded beneath a plain helmet terminating above in a talon. From the under side of the helmet falls a cape of mail, protecting the throat and shoulders; a sack or loose coat of mail covers the body. A man to put one’s trust in, a man to be feared as an enemy, is the impression conveyed by the portrait, as a whole.