Among the =early German works= in the 2nd of these rooms, the visitor may particularly notice (=*=22), _Hans Holbein’s_ portrait of Southwell, full of character. Above it, a quaint Venus by _Cranach_, instinct with the northern conception of the crude nude. Next, two good portraits by _Holbein_. In the centre of this wall, =*=a Descent from the Cross, of the School of Cologne, which should be compared with similar pictures of the Italian and Flemish Schools. The somewhat exaggerated expression of grief on all the faces is strongly characteristic of German tendencies. The figure of the Magdalen, to the R, strikes the German keynote; so does Joseph of Arimathea receiving the Crown of Thorns. Study this well, for coincidences with and differences from Italian treatment. Beyond it, two fine _Holbeins_, of the astronomer Kratzer, and =*=Warham, Archbishop of Canterbury, the latter a marvellous piece of painting. The opposite wall also contains good portraits and sacred pieces, among which an altar-piece by the “Master of the Death of the Virgin,” deserves careful study. (Most early German masters are unknown to us by name, and are thus identified by their most famous pictures.) The Last Supper in this work, below, is largely borrowed from Leonardo. Compare with the copy of Leonardo’s fresco at Milan in the Long Gallery, probably by Marco da Oggionno, which hangs near the Vierge aux Rochers. The Adoration of the Magi (597), should also be compared with the Italian examples; notice in particular the burgher character of the Three Kings, which is essentially German. The other works in this room can be sufficiently studied (for casual observers) by the aid of the labels. The =English Room= contains a few examples of English masters of the last and present century, none of them first-rate. The most famous is the frequently reproduced Little Girl with Cherries by the pastellist _John Russel_. It is a pleasing work, but not good in colour. The next room, with an admirable view from the window, begins the =Modern French School= (in the wide sense), and contains Le Sueur’s History of the Life of St. Bruno, painted for a Carthusian monastery near the Luxembourg—of which order the saint was the founder. They are characteristic examples of the French work of the early 17th century, and they exhibit the beginnings of the national tendencies in art. The legends are partially explained on the frames, and more fully in Mrs. Jameson’s “Monastic Orders.” On a cursory inspection, the observer will notice the marked French tendency in the 9th, 7th, 21st, and 22nd of the series. Cold and lifeless in design and colour, these feeble works have now little more than a historical interest. Before proceeding to the succeeding rooms of the French School,