At the far end of the room are two pictures by _Ingres_, marking the interval covered by French art during the lifetime of that great painter. L, Œdipus and the Sphinx, produced in the classical period of the master’s youth, while he was still under the malign influence of David. R, La Source, perhaps the most exquisitely virginal delineation of the nude ever achieved in painting. After having traversed these two rooms the spectator will probably be able to attack the Salon Carré, which contains what are considered by the authorities as the gems of the collection, irrespective of period or country (a very regrettable jumble). Almost all of them, therefore, deserve attention. I shall direct notice here chiefly to those which require some =explanation=. Begin to the L of the door which leads from the Salle Duchâtel. Close to the door, Apollo and Marsyas: a delicate little _Perugino_, attributed to Raphael. Good treatment of the nude, and painted like a miniature. Renaissance feeling. Compare it with the St. Sebastian in the Salle des Primitifs. Above it, _Jehan de Paris_. Madonna and Child, with the donors; a characteristic and exceptionally beautiful example of the =early French school=. Contrast its character with the Italian and Flemish. Extremely regal and fond of tinsel ornament. 20. _Correggio._ Jupiter and Antiope, a good example of his Correggiosity and marvellous arrangement of light and shade. Very late Renaissance. Perfection of art; very little feeling. =*=446. _Titian._ Entombment. A fine but faded example of the colour and treatment of the prince of the Venetian Renaissance. 231. _Luini._ Virgin and Child. Not a pleasing example. =*=419 and =**=417. Two admirable portraits by _Rembrandt_. =**=250. _Mantegna._ Crucifixion, predella or base of the great picture in San Zeno at Verona. Notice the admirable antique character of the soldiers casting lots for Christ’s raiment. The rocks are very Mantegnesque in treatment. One of the artist’s finest pictures. Spend some time before it. We will return again to this fine painting. 381. _Andrea del Sarto._ Holy Family. Showing well the character of this master’s tender and melting colour: also, the altered Renaissance treatment of the subject. Beyond the doorway, two dainty little _Memlings_. Marriage of St. Catherine (the Alexandrian princess) to the Infant Christ; and, the Donor with St. John Baptist and his lamb. When a saint places his hand on a votary’s shoulder, it usually indicates the patron whose name the votary bears. Near it, graceful little St. Sebastian of the Umbrian school. Compare with others. This plague-saint is one of the few to whom mediæval piety permitted nudity. =*=370. _Raphael._ The great St. Michael, painted for François I^{er}. Admirable in its instantaneous dramatic action. This picture may be taken, in its spirit and vigour, as marking the culminating point of the Italian Renaissance as here represented.