Religious pictures are numerous and good: N N. Gay is represented in forty-six works which include "The Morning of the Resurrection" (641), "The Remorse of Judas" (642), "The Judgment" (643), "Golgotha" (645), "What is Truth?" (640), and "Christ in Gethsemane" (634). Several of his studies of "Christ on the Cross" may be compared with the work of T. A. Bronnikov, "Campus Scleratus" (461). The conventional style of "Ikon" painting is evident in Nos. 727-730 by M. B. Nesterov, more particularly in the pictures illustrating the life of St Sergius. No. 739, by B. J. Surikov, represents the Boyarina Morosov being removed from among the dissenting sect she did so much to establish. The lighter, merrier, and more general life of the Russian people is shown in a far greater number of pictures. Pryanichnikov has humour as well as style (416-432), in 542, Maximov shows the arrival of the "wizard" at a village wedding; 682 is an every day village scene representing the homage paid to the ikon on its visits; Yarochenko (701) shows the transport van with its exiles committed for life and the free birds of the air mocking them. Repin depicts truthfully the happy life of the peasants; 766, a dance, 781, "The Unexpected Return," 797, St Cene. In the same vein are also 857, Lebedev "Farings"; 863, Korovin, The Common Council; 775, 776, Answer of the Zaporogians to Mahomet's ultimatum; 1221-1224, the Second-hand market at Moscow, and 1256, An Evening's Amusement, are by V. G. Makovski; The Emigrants, No. 1520, by S. B. Ivanof, is depressing, but in 930 Madam A. L. Rievski shows in "A Moment of Gaiety" the true character of the peasant. In the streets Znamenka and Vozdvigenka are some characteristic Russian mansions of the eighteenth century, for it was then that this quarter, which had formerly been inhabited by palace servants and craftsmen, began to take a more aristocratic character. That of Prince Sheremetiev is the most bizarre; there also is the old [Illustration: DOM CHUKINA]