The room beyond—to the R—No. VII—is filled for the most part with fine coloured terra-cottas or =majolicas= of the =School of Della Robbia=. Centre of L wall, at the end (as you enter), Madonna and Child, with St. Roch showing his plague spot, and St. Francis pointing to the stigma in his side—a votive offering. Fine nude figure, L of it, of Friendship, by Olivieri. Exquisite little cherubs and angels. Bronze busts, instinct with Renaissance feeling. Window wall—centre—a Della Robbia of the Agony in the Garden: the arrangement is conventional, and occurs in many other works in this Gallery. It is flanked by two good Apostles of the Pisan school (the first to imitate the antique) from the Cathedral of Florence. Far L, a voluptuous figure of Nature by Tribolo, from Fontainebleau, characteristic of the works collected by François I^{er}. R wall, several Madonnas, all of which should be closely studied. In the centre, terra-cotta of the School of Donatello. R and L of it, fine busts of the Italian Renaissance, with most typical faces. Near the door, portrait-statue of Louis XII, by Lorenzo da Mugiano: this king was the precursor of the French Renaissance: note the fine decorative work on his greaves and knee-caps. In the centre, a fine St. Christopher, his face distorted by the weight of the (non-existent) Christ Child. I note these in particular, but _all_ the works in these two rooms should be closely followed, both as exhibiting the development from traditional forms, and as illustrating the style of art on which the French Renaissance was grafted. Notice for instance (as survival, modified) the quaint little St. Catherine, in the corner by the window, bearing her wheel, and laying her hand with a caressing gesture on the donor—a special votary, evidently. Observe, again, the three little scenes from the life of St. Anne, in gilt wood, under the large Della Robbia of the Ascension, on the wall opposite the windows. They represent respectively the Rejection of Joachim’s Offering (he is expelled from the Temple by the High Priest, because he is childless: notice his servant carrying the lamb for sacrifice); the Birth of the Virgin (with the usual details of St. Anne in bed washing her hands, the bath for the infant, and the attendant bringing in a roast chicken to the mother); and the Meeting of Joachim and Anne at the Golden Gate—a scene which you may often recognise elsewhere (it comes immediately after the first, the Birth being interposed as principal subject: the servant here bears the rejected lamb less ceremonially). Beneath them, once more, a characteristically dainty St. George and the Dragon—with the beautiful Princess most heartlessly fleeing (as always) in the distance—should be carefully noted for comparison later with Michel Colombe and Raphael (St. George’s lance is accidentally broken: you can still see the stump of it). To the L, again, is a beautiful Tabernacle of the Della Robbia school—angels guarding relics. To the R, a