Behind her (1052), beautiful ivory reliquary, French, 12th century, with figures of Saints; L, the personages of the Adoration (_i.e._, the Three Kings) bearing their gifts, and with their names inscribed above them; R, the personages of the Presentation—Madonna, Joseph, Simeon. Further side (1060), beautiful coloured ivory coffer, 14th century, with numerous scriptural scenes, easily recognisable; identify them. Inspect also the =ebony cabinets=, of which 1458, time of Henri IV. with classical scenes, is a magnificent Renaissance example. By =Wall A=, more =ebony cabinets= and carvings, and exquisite ivory statuettes, of later date, among which notice particularly (1141) a Portuguese Madonna; (1163) a Spanish St. Peter; (1164) Spanish St. Antony of Padua; and (1167) a very curious Peruvian Good Shepherd, showing distinct traces of native art, influenced by introduced Spanish feeling. Further to the R, good classical figures of the later Renaissance. I have only indicated a few of the most interesting among these exquisite carvings; but many hours may be devoted to this room, by those who can afford the time, with great advantage. ROOM X.—Bronzes and Renaissance metal work, mostly self-explanatory. (193) Chimney-piece from a house in Troyes—French, 16th century; Plenty, surrounded by Fauns and trophies. Good collection of keys, knives, etc. ROOM XI.—=Goldsmith’s work= and objects in the precious metals. =Wall A= (4988), gold altar-piece of the Emperor Henry II, of Germany, with Christ, and figures of Saints, bearing their names above them, given by the Emperor to Bâle Cathedral in the beginning of the 11th century. Central case, =the Guerrazar find=: votive offerings of crowns of the early Gothic kings of Spain, the largest one being that of Reccesvinthus (died 672), discovered near Toledo. The crowns are rude Byzantine work of the 7th century, inlaid with precious stones. The names inscribed below them were probably added when they were made into votive offerings. Uninteresting as works of art, these curious relics possess great value as specimens of the decadent workmanship of their period. Most of the other objects in this room derive their importance more from the material of which they are composed than from artistic beauty, or even relative antiquarian importance. Of these (4994), in the case near =Wall D=, represents the Last Supper, with the fish which in very early Christian work is a symbol of Christ. Near it, quaint figures of the four Evangelists, writing, with their symbols. Other symbols of the Evangelists in the same case. Quaint Nuremberg figure of St. Anne, holding on her knee the crowned Madonna, and a little box to contain a relic. (5008) Reliquary foot of a Saint, to enclose his bones; it bears his name—Alard. (4995) Curious figure of the Madonna, Limoges work, very Byzantine in aspect. Other cases contain crucifixes, monstrances, and similar articles of church furniture in the precious metals, mostly of early date.