decorated robes of the Order of the Holy Ghost (p. 187); other examples of fine tapestry; a Venetian Galley Lamp; and some statuary of the sixteenth and seventeenth centuries. We return to the passage and ascend the stairs to the first floor. Here are three galleries devoted to Faiences and other specimens of the potter's art of French, Italian, Flemish, German, Spanish, Persian and Moorish provenance. All are of admirable craftsmanship, the Italian (including some from Faenza itself, the home of Faience ware) being of especial beauty and excellence. Among the Della Robbia ware is an exquisite Child-Baptist by Andrea. We now ascend three steps to the room which contains, among other objects, a matchless collection of Limoges enamels; some Venetian glass; and the marvellous fifteenth-century tapestries from Boussac, probably the finest of that fine period which have survived to us. The upper portion illustrates the Life and Martyrdom of St. Stephen; the lower, the story of the Lady and the Unicorn, or the Triumph of Chastity. We descend to the Gallery of Hispano-Moorish and Persian pottery, and cross to a suite of small rooms where specimens of Jewish sanctuary art, old musical instruments, wedding cassoni and Flemish cabinets are displayed. We then turn R. to the Hall of Francis I., with a stately bed of the period; carved cabinets and cupboards, and proceed direct to the room devoted to the ivories. These are of extraordinary variety and beauty, and range from the sixth century downwards. The next room is crowded with an equally varied collection of bronze and iron work, among which we note a fifteenth-century statuette in bronze of Joan of Arc. The examples of the locksmith's art shown are of great beauty and excellence. The elaboration of French keys has a peculiar origin. Henry III., as a mark of royal favour, permitted his minions to possess a key of his private apartment: as a piece of swagger the royal favourite was wont to wear the key ostentatiously on his breast, whereby French smiths were spurred in emulation to produce keys of exquisite craftsmanship and design. Another kind of interest attaches to the key (No. 5962 in the case on the L. as we enter) which was made by Louis XVI. The following room contains specimens of the goldsmith's art. 5104 is a curious sixteenth-century model of a ship in gilded bronze, with figures of Charles V. and his court on the deck: it has an ingenious mechanism for discharging toy cannon. 5299, is a set of chessmen in rock crystal; 4988, the face of an altar, rich gold repousse work, was given by the Emperor, Henry II., to Bale Cathedral. The glass case in the centre holds nine golden Visigothic crowns found near Toledo in 1860, the largest is that of King Reccesvinthus who reigned in the latter half of the seventh century; 5044 is a fourteenth-century Italian processional cross of great beauty. We retrace our steps to the Hall of Francis I., turn R. and enter the private chapel.