540. _Murillo._ Birth of the Virgin, where the transformation of the traditional element is even more marked than in the Italian Renaissance. The colouring splendid. St. Anne is always seen in bed; other points you could notice in the enamels at Cluny. With Murillo, they become mere excuses for display of art-faculty. Further on, _Murillo_. The occupants of a poor monastery in Spain miraculously fed by angels, known as “La Cuisine des Anges.” I do not recommend more than a cursory examination of these fine Spanish works, which can only be properly understood by those who have visited Madrid and Seville. It will suffice to note their general characteristics, and the way in which they render traditional subjects. The best point of view for the “Cuisine des Anges,” is obtained from the seat nearly opposite, beneath the archway, when the splendid luminous qualities of this theatrical picture can be better appreciated. From this point also, many of the other Spanish pictures are well seen with an opera-glass. They are not intended for close examination. (The =columns= which separate these compartments have an interesting history. They first belonged to a classical temple in North Africa. They were brought thence by Louis XIV to support a baldacchino at St. Germain-des-Prés. Finally, the Revolution transferred them to the Louvre.) Return again, now, to the last archway, and begin once more on the =R side=, which contains for the most part tawdry works of the Baroque period, which should, however, be studied to some extent in illustration of the decadence of art in the later 16th century, and also as examples of further transformation of the traditional motives. 53. _Barocci._ Madonna in Glory, with St. Antony and St. Lucy. A good example of the insipid style which took its name from this master. Below it, 309. _Bagnacavallo._ Circumcision, with twisted pillars, showing the decline in architectural taste. The crowded composition may be instructively compared with earlier and simpler examples of this subject; also, with Fra Bartolommeo, whose fine but complex arrangements rapidly resulted in such confused grouping. 52. _Barocci._ Same scene. The tradition now entirely ignored, and an unpleasantly realistic, yet theatrical and mannered treatment, introduced. 304. After _Primaticcio_. Mythological concert, exhibiting the taste of the =School of Fontainebleau= (the Italian artists of Raphael’s group, scholars of Giulio Romano, introduced into France by François I^{er}). 349. _Rosselli._ Triumphant David, with the head of Goliath. Marking the advance of the histrionic tendency.