Pursuing our way southwards from the Colonial division of the galleries, we come to China and Japan. The geographical and relative positions of the countries exhibiting are not strictly adhered to in the plan of the Exhibition, so we must, of necessity, make some "long legs," and experience some imaginary transitions of temperature during our journey of observation. In Japan we stop to look at a life-size group of female figures, representing a princess at her toilette, attended by four female slaves, books illustrated with wood-cuts, plain and coloured, bronzes, and many other articles of art and manufacture, by the Japanese, of much interest. In China, there is a State bedstead of great beauty, books of paintings upon rice-paper, and many beautiful bronzes, carvings, and other specimens of Chinese art. We pass through Turkey, and next come to Siam, but the latter country does not exhibit much, except of a "seedy" character. We admit we are sometimes addicted to making puns, but the Siamese send puns for exhibition. There is an article called "pun," which is "prepared lime, coloured pink with turmeric," but to what use it is applied we have not been enlightened. Passing through France, Austria, Prussia, Belgium, and Holland, without stopping to notice anything particularly, and turning into the south corridor, we enter the Water Colour Gallery, which we quickly leave, sighing, "How unlike that beautiful and attractive section of the Art Treasure Exhibition at Manchester in 1857!" Hastening into the Central Picture Gallery, we are much struck with the different appearance it presents, and find numbers of ladies and gentlemen admiring the numerous productions by painters belonging to the various foreign schools. Among these works are some grand subjects, both in historical and ideal composition, and landscape representations. This gallery has a particularly noble and handsome appearance. It is oblong, well-lighted, and open in the middle, by which means the Sculpture Hall, which is underneath, is lighted. The sides of the gallery next the open space are handsomely railed round, and pedestals, with marble busts and statuettes on them, are tastefully arranged at intervals, leaving room enough for you to look down into the Sculpture Hall below. What with the fine pictures on the walls and staircase, and the noble statues in marble about and below, you cannot but come to the conclusion that this is a noble temple of art. We next enter the east front room, which contains the works of the Belgian artists. Many of these paintings are very finely conceived and executed. The largest and most striking of them is the "Defeat of the Duke of Alençon's Troops by the Citizens of Antwerp," painted by A. Dillens.