The subjects, a brief description of which may be of interest, are as follows:--(1) The marriage of Maximilian (then aged eighteen) with Mary of Burgundy at Ghent, August 19, 1477. She was killed whilst hunting by the stumbling of her horse, and was buried at Bruges, 1482. (2) Maximilian's victory over the French at Guinegate, in 1479. (3) The taking of Arras, 1482; the fighting men and the fortifications in this are worthy of special note, not alone for historical accuracy of detail but also for the marvellously fine execution; one woman in particular should be noticed, who is bringing provisions to the camp. This figure is a masterpiece in itself. (4) Maximilian is crowned King of the Romans at Aix-la-Chapelle in 1486. The scene is the interior of the Cathedral, Maximilian is seated on the stone chair of Charlemagne (a sort of throne) before the altar surrounded by his courtiers, whose dresses and those of the ladies high above in their gallery are a perfect record of the fashions of the period, so minute is their accuracy of detail. (5) The Battle of Castel della Pietra, or Stein am Calliano, situated between Trent and Rovereto in 1487. The landscape background of this panel is excellent, and the Tyrolese are seen driving the Venetians with great fury before them across the Adige. (6) Maximilian's entry into Vienna, 1490, after it had been evacuated by the Hungarians, an incident in the course of the fight for the crown of Hungary after the death of Matthias Coryinus who had held Vienna for several years. The figure of Maximilian on his horse is very beautifully carved. (7) The siege of Stuhlweissenburg, the city in which the Kings of Hungary were crowned; Maximilian captured it in 1490. The horses in this tablet are worthy of particular notice. (8) The return of Margaret, daughter of Maximilian. This episode, which it must have required some courage to record among the acts of so glorious a reign, shows Maximilian meeting his daughter Margaret on her return in 1493, after Charles VIII. had rejected her hand for that of Anne of Brittany, whom Maximilian himself had intended to marry as his second wife. The French envoys hand to the Emperor two keys, symbols of the suzerainty of Burgundy and Artois, the price to be paid for the double affront of sending back his daughter and depriving him of his bride, Anne. (9) Maximilian's campaign against the Turks in Croatia. (10) The Alliance between Maximilian and Pope Alexander VI., the Doge of Venice, and the Duke of Milan, against Charles VIII. of France; the four allies are shown standing in the hall of a palace in the act of joining hands, whilst the French are seen in full flight in the background. (11) The Investiture at Worms of Ludovico Sforza with the Duchy of Milan. The portraits of Maximilian are well preserved and finely executed on each occasion that he is introduced, but in none better than on this one. The Empress Maria Bianca is seated on the