which, if not of great size or of first-rate importance, is eminently interesting to those who care to study the development of Nuremberg art. The pictures are unfortunately numbered and arranged in a somewhat eccentric fashion. In the small room on the right, as we enter Room 71, are some early pictures which would seem to be the forerunners of the system of epitaphs which obtained so largely in the later Middle Ages. Besides these there are two Byzantine pictures. The first two sections of Room 71 are taken up with some examples of the Rhenish and old Netherland School up to the end of the sixteenth century. To Meister Wilhelm of Cologne is attributed the charming Madonna with the pea-blossom (No. 7). Of the same school are Nos. 9, 10, and 17. Stephan Lockner, Nos. 11, 12, 13, 14, 15. Rogier van der Weyden (copy), No. 20. Hugo van der Goes. Cardinal Bourbon. No. 19. The "Master of the Life of Mary." Nos. 24, 25, 26. Jan Scorel. Two portraits. Nos. 50, 51. The "Master of the Death of Mary." Nos. 63, 64, 65. Bartholomew Bruyns. No. 72. With the third section of this room begins the collection of Franconian and Nuremberg paintings. As I have already on more than one occasion sketched the characteristics of this school, it would be superfluous to add anything here. But perhaps one may be allowed to express the conviction that no one who studies these pictures will fail to be impressed by the comparative merits of Wolgemut, or go away without ranking the master of Durer higher in his estimation than he was wont to do before he came. The scenes from the Passion (No. 87), 1400, may be taken to represent the beginnings of the Franconian School of painting. No. 96 is the reverse of that Imhoff altar-piece in the Lorenzkirche with which we have already dealt at some length (p. 249). No. 95--from the Frauenkirche--is an important picture of the same date (1430-40). The workshop of Pleydenwurff and Wolgemut is very well represented here. The admirable portrait of Kanonikus Schönborn (101), whose figure appears again in the Crucifixion (100) painted for him by the master, and SS. Thomas Aquinas and Dominicus (102, 103) are good examples of Hans Pleydenwurff at his best. Of the numerous pictures by Michel Wolgemut it will suffice to mention in particular the two portraits of old men so full of individuality (Hans Perckmeister and another, 119, 119A), and the Hallersche Epitaph (115), besides his masterpiece, the PERINGSDÖRFFER ALTAR-PIECE