A very cursory examination of the rest of the works on this wall will probably be sufficient. Look them over in an hour. The most celebrated are two by Salvator Rosa: 318, _Guido Reni’s_ Ecce Homo, full of tawdry false sentiment; and _Domenichino’s_ St. Cecilia (often copied), with the angel reduced to the futile decorative winged boy of the period. 324, _Guido’s_ St. Sebastian, may be well compared with Perugino’s, as marking the decline which art had suffered. It is on works like these that the Spanish School largely based itself. This completes the =Italian collection= of the Louvre, to which the visitor should return again and again, until he feels he has entered somewhat into the spirit and tone of its various ages. * * * * * Between the next two archways, we come to a small collection of works of the =Early French School=, too few of which unfortunately remain to us. =Left Wall.= Two portraits of François I^{er}, may be well compared with the Titian of the same king, as indicating the gulf which still separated France from the art-world of Italy. The hard, dry, wooden manner of these French works is strongly contrasted with the finished art of the Italian Renaissance. Recollect that these seemingly archaic portraits are painted by contemporaries of Raphael and Titian. Between them, good miniatures, by Nicolas Froment, of King René and his Queen. Above, 650. Admirable Dead Christ, with the Madonna, Magdalen, Joseph of Arimathea, etc. In the best style of the French School of the 15th century. Observe the action of the various personages: all are conventional. Beyond it, several good small pictures of the early French Renaissance which should be carefully examined. Fouquet’s portrait of Charles VII is a capital example of the older method. Above them, 875, characteristic 15th century Crucifixion, with Last Communion and Martyrdom of St. Denis. The executioner’s face is French all over. (Scenes from the Passion have often in French art such side-scenes from lives of saints. Several at Cluny.) This picture has been employed as a basis for the restoration of the reliefs in the portals at St. Denis. Beyond again, portraits of the early Renaissance, exhibiting considerable advance in many cases. On the =R wall= are some works more distinctly characteristic of the =school of art= which grew up round Primaticcio and his scholars at =Fontainebleau=. Among them are a Diana hunting (D. de Poitiers again), and a Continence of Scipio. They reflect the style of Giulio Romano. Beneath the first, two good portraits, with patron saints (John and Peter). All the works in this compartment should be examined carefully, as showing the raw material upon which subsequent French art was developed. * * * * *