Pass to the R into the next suite of rooms, the first of which contains the colossal figure of =Melpomène=, the tragic muse—a splendid example of this imposing type of antique sculpture, so well represented in the Vatican. Round the room are ranged several minor works, including a charming Flute-Player, doubtfully restored, and some excellent busts. The long series of rooms which follows this one contains in many cases Græco-Roman works, imitated from the great Greek models, and often showing more or less decadent spirit. Among them, however, are some of the finest specimens of ancient sculpture, Greek included: and indeed it must be admitted that the grounds upon which such Greek works are distinguished by experts from later copies are often sufficiently delicate and inferential. Centre, a beautiful Genius of Sleep. Behind it, good figures of Eros (Love) drawing his bow, again indicating the nature of the replicas and variations of established models which were so familiar to antique sculptors. The little mutilated fragment by their side, well placed here for comparison, excellently illustrates the nature of the evidence on which such works are frequently restored. Further on—a Venus, which is a variant (probably Roman) of the type of the Venus of Arles, just beyond it. Behind this, a little in front in the room, the noble =*=Pallas from Velletri—the finest and most typical representation of the goddess: a good Roman copy of a Greek work of the best period. Then the famous =*=Venus of Arles itself, a Greek original, which may be instructively compared with the replica or variant close to it. (The labels well indicate to the student who cares to proceed further in this study the extent of the restorations in every case.) This figure, after the Melian Aphroditè, is probably the most beautiful female form in the entire collection. Behind it, the graceful and exquisitely-draped Polyhymnia (replica of a well-known type), a model of perfect repose and culture, but largely modern. Then, good bust of Homer. Next, the =*=Apollo Sauroctonus or Lizard-Slayer, a copy in marble of a famous work in bronze by Praxiteles. This is once more one of the many reproductions (not necessarily always actual copies) of types which are mentioned by classical authors. By the archway, Euterpe, and a Votary. Among the sarcophagi, one of Actæon torn by his dogs: another representing the Nine Muses. Most of the figures in this room are marked by a calm and classical repose; while those in the next compartment,