pottery, 15th, 16th and 17th centuries. Apothecary’s jars, plaques, etc., extremely beautiful. ROOM III.—A long corridor. =Wall A=, is entirely occupied by the =**=magnificent suite of six early French tapestries, known as “The Lady and the Unicorn” (symbol of chastity), the finest work of its sort ever executed. They come from the Château de Boussac, and belong to the second half of the 15th century. The Lady is represented engaged in various domestic pursuits of a woman of rank of her time, always accompanied by the beast of chastity. The colour is inexpressibly lovely. Above it, similar tapestry representing the History of St. Stephen, and the Discovery of his Relics. Along =Wall A=, R of entrance door (774), crowned wooden figure of St. Catherine, holding the sword of her martyrdom, her broken wheel at her feet, and trampling upon the tyrant, Maximian. L of door, good early Madonna and Child; another St. Catherine; and (760) Magdalen, described (erroneously, I think) as Pandora. =Wall B= is mostly occupied by a handsome French Renaissance chimney-piece (16th century), brought here from a house at Rouen, and representing the history of the Casa Santa at Loreto,—its transport over the sea by angels, its reception by the Faithful, and worship in front of it. The ceiling above also comes from the same room. =Wall C=, small stained-glass windows of various ages. Examine them separately. =Wall D=, large enamelled plaques brought from François Premier’s Château of Madrid, in the Bois de Boulogne, stated to be the largest enamels in existence. Beneath them, fine wooden statue of the Virgin and infant Christ, German 15th century, very characteristic in its flat features, as well as in the dress, and treatment of the hair, of the German style of the period. Compare it with French Madonnas below. The =screens= towards =Wall A= contain specimens of fine Renaissance wood-carving. Contrast the finish and style of these with their Gothic predecessors. Notice, near the chimney-piece (828), an Annunciation, with God the Father, wearing a triple crown (like the Pope), and the Holy Spirit descending upon the Madonna. Next screen, various classical scenes in the taste of the Renaissance—Judgment of Paris, Venuses and Cupids, etc. Much fine nude Renaissance detail. =Centre case=, old glass; notice, in particular (4763), fine 13th century Arab mosque-lamp. Further on, more Renaissance wood-carving—Leda and the Swan in very high relief: low reliefs of classical subjects and decorative panels. All these works should be closely studied as typically illustrative of Renaissance feeling. =Cases by the window (wall C)=, Limoges and other enamels, too numerous to treat in full detail, but many of them, at least, should be closely inspected and comprehended by the visitor. Case =next= the chimney-piece, old raised enamels (12th and 13th centuries), enamelled gold reliquaries for containing bones of Saints; fine crucifix, etc.