We now enter the =covered courtyard= or ROOM VI proper, filled with fine examples of French mediæval sculpture. Several of the objects bear labels sufficiently descriptive. I will therefore only call attention to a few among them. =Wall D=, two wooden Flemish statues (Our Lady and St. John at Calvary), R and L of the doorway; (417) carved marble monument of the 10th or 11th century; very fine workmanship, with distinct reminiscences of the antique. =Wall A=, =*=Magnificent stone frieze or reredos, originally gilt and coloured, representing the History of St. Benedict, from St. Denis; in the centre, Baptism in Jordan (compare the relief of the same subject in Notre-Dame); R and L, preaching and miracles of St. Benedict (overthrow of idols, cure of a dying woman). Middle of wall (6328), fine Italian tapestry, 16th century, representing the Adoration of the Magi; observe the attitude of the kings, together with the ox and ass in the background, invariable concomitants of the Nativity in art. Beneath (728), early wooden Madonna (13th century, Auvergne), with Byzantine aspect. Beautiful Romanesque capitals—Creation of Eve, etc. =Wall B*=(237), exquisite stone frieze or reredos from the church of St. Germer, about 1259, much-mutilated, but originally one of the most perfect specimens of French 13th century carving; it still betrays traces of colour. In the centre, Crucifixion, with Virgin and St. John: on either side (as at Notre-Dame), the Church, with cross and chalice, and the Synagogue, with eyes blinded: then, R and L of cross, St. Peter and St. Paul: beyond them, Annunciation and Visitation: finally, L, St. Ouen, uncle of St. Germer, cures a wounded warrior; R, St. Germer asks leave of King Dagobert to found the Abbey from which this came. Above it (509), exquisitely grotesque relief of the Resurrection with sleeping Roman soldiers, one of a set in alabaster, French 14th century (500 to 512), all of which deserve to be inspected; meanings of all are obvious except (501) St. Ursula. Still higher, fragment of the original Last Judgment on the central west door of Notre-Dame, Paris, before the restoration—interesting as showing the grounds on which Viollet-le-Duc proceeded; (6322), tapestry, Arras, 15th century, various scriptural subjects, confused, but decipherable. Beneath it, L, =*=beautiful stone relief (reredos) of the legend of St. Eustace, from the church of St. Denis—a fine French work of the 14th century. In the centre, Crucifixion; extreme L, St. Eustace, hunting, is converted by the apparition of the Christ between the horns of the stag he is pursuing; further R, his baptism, nude, in a font, as in all early representations; still further R, his trials and history; while he crosses a river with one of his children, a wolf seizes one, while a lion devours the other; last of all, reunited miraculously with his family, he and they are burned alive as martyrs by the Emperor Trajan, in a brazen bull. Observe naïf boy with bellows.