Notice on 4497, the Flight into Egypt, Peter walking on the Sea, the Adoration of the Magi, and the Presentation in the Temple; on 4498, the Crucifixion, and the Twelve Apostles; beneath, 4514, enamelled book-cover; near it, Crucifixion, Adoration of the Magi, and other figures. Identify as many of these as possible, and observe their archaic striving after effects too high for the artist. Second case: Limoges enamels, more modern in type (15th century): Madonna holding the dead Christ, Crucifixion, Bearing of the Cross, and other scenes. Notice particularly (4575), little triptych with a Nativity, Adoration of the Magi, and Circumcision, in all of which observe the conventional treatment. Third case: Limoges enamels of the High Renaissance (16th and 17th centuries), Raphaelesque in spirit, better in execution, but far less interesting; good portraits in frames; a fine Flagellation, and other scenes from the Passion; above, delicate Tazzas. Observe in particular (4628), the Descent into Hell, Christ rescuing Adam and Eve and the other dead from Hades, typically Renaissance. On the far side of the case, remote from window, a good series of the Gospel history,—Marriage of the Virgin, Annunciation, Birth of the Virgin (incorrectly labelled Nativity), etc. Last cases: more recent enamels. Among the best are, in the last case of all, the Expulsion from Paradise, and a series of the Gospel History; observe particularly (4650), Christ and the Magdalen, with the usual curious disguise as a gardener. I recommend to those who can spare the time, most attentive detailed study of the subjects and treatment in all these enamels, many of which throw much light on similar themes treated by other arts in the same collection. Several hours should, if possible, be devoted to them. ROOM IV contains various =**Mohammedan potteries=, exquisitely decorative, but (owing to the general absence of figure subjects, prohibited by Islam) requiring comparatively little explanation. Occasional animal forms, however, occur in the midst of the usually decorative arabesque patterns. =Wall C=, L of entrance, charming Rhodian pottery (made by Persian workmen), in prevailing tones of blue and green, with the wonderful Persian feeling for colour. =Wall B=, Hispano-Moorish lustre ware, the most exquisitely beautiful ever manufactured. The second case contains several lovely specimens. =Wall A=, Rhodian ware again. =Wall D=, Persian. The reader must examine these minutely for himself. It is impossible to do more than point out their beauty. ROOM V.—=Jewish= works of art of the Middle Ages, interesting as showing the wealth and artistic taste of the mediæeval Hebrews—phylacteries, seven-branched candlesticks, goldsmiths’ work, etc. (188) Chimney-piece (Christian) from an old house at Le Mans. The groups represent the three ages of life: right and left, the two sexes—man, armed; woman, with a ball of wool.