There is another class of pictures that is associated with incidents in history. First, we have that priceless little painting by Gerard Terburg, _The Peace of Münster_ (896), mentioned before in connection with Hertford House. It hangs in the Dutch Room, and is so small that one might easily overlook it. Small as it is, it cost at its last sale £8,800; £24 for every square inch of canvas. The Dutch painter has represented one of the turning-points of his country's history; the ratification, in 1684, of the Treaty of Münster, by which the long war between Spain and the United Provinces was ended. The numerous heads are all portraits, and, in the background, the painter has introduced himself. There is about this painting a photographic truth, a minute fidelity, which makes it doubly interesting. Terburg would not part with it during his life. Afterwards, amid many vicissitudes, it passed into the possession of Prince Talleyrand, and was actually hanging in the room of his hotel, under the view of the Allied Sovereigns, at the signing of the Treaty of 1814. Not less interesting in its way is the painting by Holbein of the Duchess Christina of Denmark. Among Holbein's duties, as Court painter and favourite of Henry VIII., was that of taking the portraits of the ladies whom the King proposed to wed. This young Christina was prime favourite after the death of Jane Seymour, and Holbein was despatched to Brussels to paint her. The picture pleased his Majesty; but, for political reasons, the match was broken off. The story of Christina's message to the King, that she had but one head, but that if she "had two one should be at the service of his Majesty," is now discredited; but the Duchess seems to have had a character of her own. _Peace and War_, by Rubens, an allegorical canvas (46), is another picture designed to sway the fate of nations. Rubens painted it when he came over to England, in 1630, as ambassador to negotiate a peace with Spain. He produced an elaborate allegory showing forth the Blessings of Peace, and presented it, with much diplomacy, to Charles I. It was sold, after the King's death, for £100; to be bought back again for £3,000. With regard to Charles I.'s pictures generally, much might be said of the strange irony of history. The large equestrian picture of the King by Vandyck (1172), bought for the nation at the Blenheim sale for £17,000, was, after his death, sold by Parliament, for a paltry sum; and Correggio's famous _Mercury, Venus, and Cupid_, (10), also included in Charles's collection, was sold and bought again by successive Parliaments. Among the early Florentine pictures in the Gallery, Botticelli's _Nativity of Christ_ (1034), is history in the sense of showing the force of the religious revival in Savonarola's time. Botticelli, at the age of forty, fell under the preacher's influence, and, forsaking the world's pleasures, made a "mourner" of himself until his death. This is the picture that, as Mr. Lang says, was: