terra-cotta angel, most graceful and beautiful. Further L, charming Madonna: I need hardly call attention to the frames of fruit, which were a Della Robbia speciality. Further R, Baptism of Clovis, gilt, and very spirited, though over-crowded. Do not overlook the skied St. Sebastian. (The little room beyond again contains a small but interesting collection of =Early Christian works= which must be visited and studied on some other occasion. These very ancient Christian sculptures, antique in conception, antedate the rise of the conventional representations.) Now return through Room VI to the =Salle de Michel Ange= (Room V), containing for the most part still more developed works of the Italian Renaissance, which therefore stand more directly in connection with French sculpture of that and the succeeding period. The =*doorway= by which we enter is a splendid specimen of a decorated Italian Renaissance portal, removed from the Palazzo Stanga at Cremona; it was executed by the brothers Rodari at the end of the 15th century, and is decorated with medallions of Roman Emperors, a figure of Hercules (the mythical founder of Cremona), and of Perseus, together with reliefs from the myths of those heroes and others. Identify these. Above the name of Perseus, for example (to the R), is a relief representing the three Gorgons and the head of Pegasus. Above that of Hercules (L) are the heads of the Hydra which he slew (as also represented in a bronze on the end wall not far from it). This gateway you should mentally compare, when you visit the École des Beaux-Arts, with that of Diane de Poitiers’ Château d’Anet now erected in the courtyard and with the _façade_ of the Château de Gaillon at the same place. The beautiful Italian Renaissance fountain in the centre of the room comes itself from the same Château de Gaillon: it was given to Cardinal d’Amboise (who built the Château) by the Republic of Venice. The most beautiful works in this room, however, are the two so-called =*Fettered Slaves=, by Michael Angelo—in reality figures of the Virtues, designed for the monument of Julius II. It was Michael Angelo’s fate seldom to finish anything he began. This splendid monument, interrupted by the too early death of the Pope who commissioned it, was to have embraced (among other features) figures of the Virtues, doomed to extinction by the death of the pontiff. These are two of them: the one to the right, unfinished, is of less interest: =**=that to the left, completed, is of the exquisite beauty which this sculptor often gave to nude youthful male figures. They represent the culminating point of the Italian Renaissance, and should be compared with the equally lovely sculptures of the Medici tombs in San Lorenzo at Florence. Observe them well as typical examples of Michael Angelo’s gigantic power and mastery over marble.