Room VII (beyond the corridor, a modern covered courtyard).—=Tapestries and textile fabrics=, interesting chiefly to ladies. On =Wall A=, and others, Flemish tapestry, representing the History of Bathsheba, much admired and very ugly; compare it with the tapestry of the Lady and the Unicorn, to be visited later in ROOM III, upstairs, contrasting them as models of what such work should and should not be. =Wall B=, admirable Renaissance relief of the Cardinal Virtues. Above it, a good Madonna, and figures of Grammar and Astronomy. =Wall C=, Caryatid of inferior art, French, 16th century. =**=(448), Admirable group of the Three Fates, attributed to Germain Pilon, the great French sculptor of the 16th century, whom we shall meet again at the Louvre—a fine specimen of the plastic art of the Renaissance, said to represent Diane de Poitiers and her daughters. Below =**=(447), exquisite Renaissance bas-relief of the huntress Diana, of the School of Jean Goujon, again in allusion to Diane de Poitiers. (478) Good mask of the same epoch. (251) Virgin and Child, meretricious; in the decadent style of the 16th century; very French in type, foreshadowing the Louis XV spirit—the Madonna resembles a little-reputable court lady. =Wall D= (463, etc.), Judgment of Solomon, Solomon and the Queen of Sheba, Annunciation, and other reliefs in the florid and least pleasing French style of the 16th and 17th centuries. Table by the doorway =**=(449), exquisite small marble statue of the Deserted Ariadne (perhaps Diane de Poitiers), in the best Renaissance manner, probably by Germain Pilon: found in the Loire, near Diane’s _château_ of Chaumont. Beside it, three sleeping Venuses, one of which is also said to be Diane de Poitiers, the goddess of the Renaissance in Paris. L of doorway (457), singular marble relief of Christ and the Magdalen after the Resurrection (Noli me tangere); the Saviour strangely represented (as often) in a gardener’s hat and with a spade; in the background, angels by the empty sepulchre; Flemish, florid style of the 16th century. Beside it (467 and 468), two exquisite Renaissance reliefs of Venus. In front of it, on the table =*=(479), Entombment, with the body of Christ placed in the sarcophagus by Joseph of Arimathea and Nicodemus—portraits, I think, of the donors.