Ghirlandajo here to the Sebastiano del Piombo in the Salon Carré; and thence again to a copy of Pontormo’s Visitation in the Long Gallery (R side, near the Fra Bartolommeo), which is interesting as showing a survival of the arch, treated with far less effect, and thrown away as an element in the composition. Here the attendant saints have become a confused crowd, and the degradation of Fra Bartolommeo’s balanced grouping is very conspicuous. Make one picture thus cast light upon another. II. SCULPTURE [The =Sculpture= at the Louvre falls into three main divisions, each of which is housed in a separate part of the building. The =Classical Sculpture= is approached by the same door as the Paintings, and occupies the basement floor of Jean Goujon’s part of the Old Louvre, with the wing beneath the Galerie d’Apollon. The =Renaissance Sculpture= is approached by a separate door in the eastern half of the same side, and occupies the corresponding suite opposite the Classical series. The =Modern Sculpture= is also approached by a special door in the north wing of the W side in the old Cour du Louvre, and occupies the suite beyond the Pavillon de l’Horloge. The importance of these three divisions is very different. Without doubt, the most valuable collection, intrinsically and artistically speaking, is that of the =Classical= or =Antique Sculpture=: and this should be visited in close detail by all those who do not contemplate a trip to Rome, Naples, and Florence. Nobody can afford to miss the “Venus of Milo,” the “Diana of Gabii,” or the Samothracian Nikè. On the other hand, these exquisite Greek and Roman works, models of plastic art for all time, including two or three of the greatest masterpieces which have come down to us from antiquity, have yet no _organic connection_ with French history, or even, save quite indirectly, with the development of French art. At the same time, thoroughly to understand them is a work for the specialist: those who have little or no classical knowledge, and who desire to comprehend them, must be content to buy the new official catalogue (not yet issued), to follow closely the excellent labels, and also to study the subject in detail in the various excellent handbooks of antique sculpture, such as Lübke’s or Gardner’s. The discrimination of the different schools, and the evidence (usually very inferential) as to the affiliation of the various works on the great masters or their followers, are so much matters of expert opinion that I do not propose to enter into them here. I shall merely give, for the general reader, a brief account of the succession and evolution of antique plastic art, as exemplified in the various halls of this gallery, referring him for further and fuller details to specialist works on the subject.