thsheba. Among the statuary are: 251, Virgin and Child, French work
of early sixteenth century; 448, The Three Fates, attributed to
Germain Pilon, and said to be portraits of Diana of Poitiers and her
daughters. 449, The Forsaken Ariadne; 456, Sleep; 450, Venus and
Cupid; 479, a small and beautiful entombment, are French work of the
sixteenth century. Hall VIII. Here are exhibited the sumptuously
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 p