Before leaving the portraits I must call your attention to Vandyke's masterpiece in this walk--52, 'Portrait of a Gentleman,' a head only, therefore we are not aggravated by the display of any of those unnaturally refined hands which disfigure so many of his full-lengths; this portrait may take its place with any other likeness in the world. We have nothing of Michael Angelo Buonarroti in the form of painting worth looking twice at in the Gallery; he did not like oils and he did not succeed with that vehicle. Leonardo da Vinci is represented by one specimen, 1093, 'Our Lady of the Rocks.' It is a heavy but fine piece of work, and well composed--all excepting the rocks, which are not good. 698, 'The Death of Procris,' is a masterly study of a satyr; the other portions of this picture are also fine, particularly the landscape behind. There are two specimens of Tiepolo, Nos. 1192 and 1193, sketches for altar-pieces, than which no works in the Gallery are more useful to the young painter. His scheme of colour is low-toned and restrained, yet delightfully good and pure, while his handling is masterly and free. Tintoretto and Titian come next; the latter is the most lavishly represented, and the former not seen at his best, even in the three specimens we have, yet they are worth looking at. Titian of course is always masterly, both in his landscape and in his figures. Tintoretto unfortunately was forced by necessity to paint too many pot-boilers, and his fame suffers accordingly. Amongst the many masterpieces in the Gallery, for majestic composition or fine colouring, I place Fra Filippo Lippi's 'Vision of St. Bernard,' 248; 'The Circumcision of Christ,' 1128, by Luca Signorelli; 'Venus and Adonis,' 34, by Titian; 'The Crucifixion,' 1107, by Niccolo of Fuligno; 'The Marriage of St. Catherine,' by Lorenzo da San Severino; 'The Virgin and Child, with Saints and Angels,' 1103, by Fiorenzo di Lorenzo (I name this early painting for its exquisite decorative qualities and its harmonious combination of carving, gold and paint, as well as for the general design); 'Bacchus and Ariadne,' No. 35, by Titian; 'Mercury, Venus, and Cupid,' No. 10, by Correggio, for its fine drawing and colour; 'San Arnolfina and his Wife,' No. 186, by Jan van Eyck, for its minute detail and realism; 'The Virgin and Child,' 274, by Mantegna; 'Madonna and Child, with Saints,' 1119, by Ercole de Giulio Grandi, another rich and decorative combination of gold leaf, colour, and carving; 'Christ at the Column,' 1148, by Velasquez; 'The Nursing of Hercules,' 1313, by Tintoretto; and 'The Raising of Lazarus,' by Sebastiano del Piombo and Michael Angelo, No. 1. This last picture is one of the most vigorous in design and execution in the whole Gallery. About the landscape-work of the old masters there is not very much to be said, as they are mostly conventional, and were painted in the studio from studies; therefore, nature was always falsified and improved (?) upon.