Vladimir, “the beautiful sun of Kief,” the Christianized Apollo of the Russian Slav, the apotheosized hero of numberless legends and poems, still current among his people, is represented with a richly jewelled crown above an ermine border, resting upon his shapely head. His dark hair falls flowing upon his shoulders; his beard is fine and waved; his eyebrows delicately pencilled. Poetry and song lie in his liquid eyes and upon his well-moulded lips. A touch of sadness allied with a princely stateliness adds an indefinable, a melodious charm to this beautiful portrait, that one might take at first glance for a humanized representation of the Son of Man. Lovely, tender, strong, it is not difficult to ascribe to the gracious influences of Christianity the elevation, the chastened symmetry, the perceptible advance, evident in the face, from the rude power of the Norse physiognomy. A bust like unto it, set amid the busts of ancient Athens, would have elicited expressions of admiration from the beholders. “A noble, a beautiful barbarian!” they would have exclaimed. The portrait of Iaroslaf represents a distinctive Slav. It depicts a melancholy temperament held in equipoise by a clear intellect and a firm will. Delicacy, a capacity for sadness and strength, combine in the intelligence of the face; an intelligence more reposeful than animated. The symmetry of the features is remarkable. The long-lidded, serious eyes are essentially Slavic. The throat is large and shapely. The regal robe is heavily broidered, decorated around the neck and down the front with a band of light-hued fur. A grave man, with capacities for understanding the arts that give solace and charm to existence, Iaroslaf the Great was also a man to love and to be loved. Captain, sovereign, legislator, he was especially the father of his people in his affectionate care of, and in his intercourse with them.