Michel Colombe from the same building, which we saw at the Louvre. Both these imposing works—the portal of Château d’Anet and this _façade_—should be compared with the Italian Renaissance doorway from Cremona and the Gothic one from Valencia, which we saw in the collection of sculpture at the Louvre. They are indispensable to a full comprehension of the French Renaissance. The Château de Gaillon was destroyed during the Revolution, and many of its finest monuments are now at the Louvre. If you have time, after seeing this Museum, go back and compare them. The =Second Court=, beyond the _façade_, contains several fragments of buildings and sculpture, among which notice the capitals from the _old_ church of Ste. Geneviève (Romanesque), and a fine stone basin of the 12th cent., brought from St. Denis. Now, return to the First Court, and visit the former =Chapel=. It contains =plaster casts=, adequately described for casual visitors by the labels, as well as =copies of paintings=. These plaster casts, especially those of the pulpit from Pisa, by Nicolò Pisano, the first mediæval sculptor who tried to imitate the antique, will enable you to piece out your conception of Italian Renaissance sculpture, as formed at the Louvre. Do not despise these casts: they are excellent for comparison. Among the pictures, notice the copy of Mantegna’s fresco of St. James conducted to Martyrdom, from the church of the Eremitani at Padua. The fresco itself is a work of Mantegna’s first period, and I select this copy for notice because it will help you to fill in the idea you formed of that great painter from consideration of his originals at the Louvre. Notice, for example, the strenuous efforts at perspective and foreshortening; the introduction of decorated Renaissance architecture; the love of reliefs and ornament; the classical armour; and many other features which display the native bent of Mantegna, but not as yet in the maturity of his powers. Observe, again, the copy of Ghirlandajo’s exquisite Adoration of the Magi, with its numerous portraits, disguised as the Three Kings, the Shepherds, and the spectators, to which I have already called attention when speaking of Luini’s treatment of this subject in the Louvre. I do not enlarge upon these mere copies, as the originals will occupy us at Florence or Munich; but the student who has become interested in the evolution of art will find it a most valuable study to trace the connection, first, between these subjects and others like them in the Louvre, and, second, between these copies of works by various masters and the originals by the same artists preserved in that collection. Compare, and compare, and compare again ceaselessly.