539. _Murillo._ The Immaculate Conception. Luminous and pretty, in an affected showy Spanish manner. Foreshadows the modern religious art of the people. An immense favourite with the inartistic public. =**=121. _Gerard Dou._ The Dropsical Woman. A triumph of Dutch painting of light and shade and detail. Faces like miniatures. The lamp and curtain like nature. Illuminated on the darkest day. Examine it attentively. 293. _Metsu._ Officer and Lady. Another masterpiece of Dutch minuteness, but far less fine in execution. 526. _Ter Borch._ Similar subject treated with coarse directness. =**=551. _Velasquez._ The Infanta Marguerite—a famous portrait. A little above it (229), _Sebastiano del Piombo_. Visitation. Compare with the Ghirlandajo in the Salle des Primitifs. A very favourable example of this Venetian master, painted in rivalry with Raphael. It well exhibits the height often attained, even by minor masters, at the culminating point of the Renaissance. Above, occupying a large part of the wall, =*=_Paolo Veronese_. Christ and the Magdalen, at the supper in the house of Levi. Another refectory picture, treated in Veronese’s large and brilliant manner, essentially as a scene of lordly Venetian life. The Pharisee facing Christ is a fine figure. Notice the intrusion of animals and casual spectators, habitual with this artist. The sense of air and space is fine. The whole picture is instinct with Venetian feeling of the period; scenic, not sacred. A lordly treatment. Earlier painters set their scene in smaller buildings: the Venetians of this gorgeous age chose rather the Piazza of some mighty Renaissance Italian city. Here, the architecture recalls the style of Sansovino. This room also contains many good works of the 17th century, justly skied. Examine them by contrast with the paintings of the best ages of art beneath them. Return to them later, after you have examined the works of the French artists in later rooms of this Gallery. Now proceed into the Long Gallery which contains in its =First Compartment= works of the High Renaissance masters, transitional from the conventionality of the 15th, to the freedom of the 16th, and the theatrical tendency of the 17th centuries. Begin on the L, and follow that wall as far as the =first archway=. _Francia._ Crucifixion, with Madonna and St. John, and Job extended at the feet of the cross, probably indicating a votive plague offering. A tolerable example of the great Bolognese painter, from the church of San Giobbe, patriarch and plague-saint, at Bologna. _Ansuino_(?) Adoration of the Magi. Note coincidences with others. 308. _Francia._ Madonna. A fair example. 168. _Dosso._ St. Jerome in the Desert. Interesting as showing a later treatment of this familiar subject. 230. _Luini._ Holy Family. A good specimen of Luini’s easel work. Compare with the frescoes in the Salle Duchâtel. The hair is characteristic, also the oval face and cast of features.