Of the mythological pictures the "Drunken Silence," variations on which in the Munich Pinakothek are well enough known to make a more detailed description superfluous, is to my taste the most wonderful. But the St. Petersburg original is, if possible, even richer in its coloring, and the grotesque humor of the fine company is altogether irresistible. We also find an excellent variation in "The Pert Lover's Happy Moments," the brown shepherd attacking a young woman with the features of Helene Fourment. The liberation of Andromeda by the victorious Perseus is a work with all conceivable merits. The dead monster that had guarded the brilliantly beautiful maid lies outstretched with gaping jaws; the white-winged steed that had carried the victor is stamping the ground, but easily held in check by a little cupid. The victor, still in his glittering armor, with the gorgon shield in his left hand approaches the fair maid and softly touches her. Another little cupid has removed his helmet so that the emerging Fame may place the wreath on his locks. But the youth sees only the glorious beauty at whose draperies three or four little rogues are busily tugging to pull away from the white body even the last vestige of covering. Of the splendid composition, "Venus and Adonis," only the wonderful heads were drawn by the master; the rest was done in his studio, but it is quite respectable. Of the religious works, the "Descent from the Cross" is akin to the famous painting in the Dome of Antwerp. The large painting, "Christ Visiting Simon the Pharisee," was completed with the aid of his pupils. The figures of Christ and of Magdalene, who is drying the feet of the Saviour with her hair, were drawn by the master himself. The head of the penitent is particularly striking. It has something leonine in it, and the fervor with which she seizes the foot and draws it to herself has also something of the passion that may have led to her sin.