reserved for the Vladika when he visited the monastery. It had a proper bedstead in it! I wished the Iguman "good-night," tumbled into bed without further investigations, and did not find out till next morning that I had not only the Vladika's room but in all probability his sheets also. The Iguman came early to see me, gave me a lump of sweet stuff and a tumbler full of boiled milk and sugar for breakfast,--for no one in these parts thinks of eating anything solid before midday,--and we went out to see the churches. The Patriarchia of Pech, formerly the seat of the Archbishop of Servia, was, to the grief of the Serbs, made dependent on the Patriarchate of Constantinople in 1766 by the Turkish Government. Of the four little churches neatly fitted together to form one large, irregular, dome-sprinkled building, three, including the Church of the Virgin and the Saborna Crkva (cathedral), were built by the Patriarch Arsenio, and are, I was told, nearly eight hundred years old. The fourth and smallest, St. Nikola, was added later by the Patriarch Makario. The churches are entered by a portico, the tiled roof of which is supported on wooden posts and which leads into a long narthex. The Saborna Crkva is by far the largest. Nor is it easy to give an idea of the interior of any of these churches. The general effect, made up of a mass of extraordinary detail, is old-world and barbaric in the extreme. The walls are entirely covered with frescoes of the most primitive description, a jumble of fierce colours toned by age into a rich harmony. Quantities of cut glass chandeliers hang from the roof, and from these again dangle numbers of ostrich eggs. Dim gilt ikons and holy pictures, blackened by the tapers that with pious zeal are stuck on their frames by a blob of hot wax, hang on the walls. Reading desks, taper stands, candle-sticks, all are of the most early pattern and the rudest make. A curious seat, under a canopy hung with dingle-dangles, is the throne upon which was crowned Stefan Dechanski, the Sveti Kralj. And this curious primitive art, that now looks exotic, Eastern, foreign, once swayed the art of all Europe. We find its traces in our own Norman architecture; we find them in the early churches of Italy. It reached its highest stage of development in St. Sophia, and St. Mark's, Venice, but it is now dead and done for. Art is no exception to the rule, that all things are blighted in the land on which the Turk has laid a hand. After his arrival all further development was arrested.