but every one of the works in this room should be closely followed. Do not miss the charming, half-archaic, funereal relief of Philis, daughter of Cleomedes, from Thasos. Continue on through the Long Gallery, flanked by inferior works—but what splendid inferiority!—to the room of the =Medea sarcophagus=, a fine stone tomb, containing scenes from the legend of Medea and the children of Jason. Round the room are grouped several small statues, much restored, indeed, and not of the best period, but extremely charming. The most noticeable is the dainty little group of the Three Graces, characteristic and pleasing, though with modern heads. The next compartment—that of the =Hermaphrodite=—includes one of the best and purest of the many versions of this favourite subject, from Velletri, couched, by the window. (Another in the Salle des Caryatides, for comparison.) The Farnese Eros is a pretty work of a late period. The room also possesses several works of the Satyr class, two of which, close by, are useful as instances of repetition. The four statues of Venus (Aphroditè), at the four corners (in two closely similar pairs) are also very interesting in the same manner, being variants based upon one original model, closely resembling one another in their general features, but much altered in the accessories and details. The same may be said of the good figures of Athenè by the far wall. The Hall of the =Sarcophagus of Adonis= contains several excellent sarcophagi, the reliefs on which well illustrate the character of the class; among them, one to the L has interesting reclining figures of its occupant and his wife, an early motive, late repeated. The relief from which the room takes its name, on the wall to the right, represents, in three scenes, the departure of Adonis for the chase; his wounding by a wild boar; and Aphroditè mourning over the body of her lover. Such reliefs afforded important hints in mediæval times to the sculptors who first started the Renaissance movement. As we pass into the next compartment, notice another variant of the Aphroditè. The =Salle de Psyché= contains, opposite the window, the famous figure from which it takes its name (too much restored to be freely judged): together with two characteristic dancing Satyrs, after models of the school of Praxiteles. The fine sculptured chairs of office by the window should also be noticed.