By Tintoret is 1464, Susannah; and by Veronese, the grand composition that expatiates over the S. wall, 1192, known as The Marriage at Cana, executed in his most pompous and stately manner for the refectory of the Benedictine monastery of St. Giorgio Maggiore at Venice. The artist is seen in the foreground playing a viol: Titian a bass viol. Many other historical figures are more or less convincingly identified by critics. On the opposite wall is another large refectory composition, 1193, The Supper in the House of Simon the Pharisee. A characteristic ceiling decoration, Rebellion and Treason, from the Hall of the Council of the Ten at Venice; and 1190, N. wall, Holy Family, are by the same artist. The Portrait, 1601, N. wall, by Da Vinci of his friend Monna Lisa, wife of Fr. del Giocondo, known as La Gioconda, is the most fascinating picture in Europe. A whole symphony of praise has been lavished on this miraculously beautiful creation in which psychical and physical perfection have been blended with potent and subtle genius. 1598, S. wall, Virgin and Child and St. Anne, attributed to the same, though of somewhat doubtful authenticity, is worth careful study. By another Milanese master is 1354, S. wall, Luini's Virgin and Sleeping Child. Of the two fine Correggios, 1117 and 1118, N. wall, The Marriage of St. Catherine, and Jupiter and Antiope, the former is referred to by Vasari, in his life of Girolamo da Carpi, as a divine thing, wherein the figures are so superlatively beautiful that they seem to have been painted in Paradise; the latter formed part of Isabella d'Este's collection, to which we have so often referred. 1731, N. wall, is the marvellous portrait by Velasquez of the Infanta Margarita Maria, Philip IV.'s fair-haired darling child by his second wife. This is one of the most characteristic of the master's work out of Spain, and profoundly influenced Manet and the Modern Impressionist School. The great French master Poussin's typical classical subject, 741, together with Jouvenet's masterpiece, 437, Descent from the Cross, have also their place of honour in this Hall. In the SALLE DUCHATEL, ROOM V. entered from the N.E. angle of this room, we find, R., some Luini frescoes: 1359, 1360, the Nativity, and The Adoration of the Magi, and 1361, Christ Blessing, full of this master's tenderness and charm. Some excellent portraits by Antonio Moro, 2480, 2481 and, a most beautiful Memling, 2026, Virgin and Child with Donors, will also be noted. As we pursue our way to the Escalier Daru at the end of the room, we pass L. and R., one of the earliest and one of the latest works of Ingres (p. 390), 421, OEdipus and the Sphinx, painted in 1808; and the most popular nude in the French school, 422, _La Source_, painted in 1856. (_b_) THE FRENCH SCHOOL.