favourite of Hadrian, who in a fit of
melancholy flung himself into the Nile and (deified) became the most
popular of the gods in the Pantheon of the later Empire: the eyes were
originally formed of jewels. This is the bust referred to by J.A.
Symonds, in his _Sketches and Studies in S. Europe_, as by far the
finest of the simple busts of the imperial favourite. In Room XV. is a
statue, 1121, of the Emperor Julian, found at Paris, some curious
Mithraic reliefs, and, in Room XIV. are interesting Roman altars and
sacrificial reliefs. We again enter the Rotonde, turn L. and proceed
across the Vestibule Daru to the Escalier Daru, ascending which, we
are confronted by the majestic Victory of Samothrace, one of the
noblest examples of Greek art, wrought immediately before it had spent
its creative force and began to direct a subtle and technical mastery
to serve private luxury and pomp. We descend and return to the
Quadrangle.

(_b_) MEDIAEVAL AND RENAISSANCE SCULPTURE.

We cross the quadrangle to the S.E. and enter[199] the Musee des
Sculptures du Moyen Age et de la Renaissance, where the sense of
beauty inherent in the Gallic race is seen expressed in a medium which
has always appealed to its peculiar objective and lucid temperament.
We proceed to Room I., which contains some typical early Madonnas and
other figures in wood and stone; a fifteenth-century statuette in
marble (No. 211), in the embrasure of the second window, is worthy of
special attention. The fine sepulchral monument of Phil. Bot,
Seneschal of Burgundy, an effigy on a grave-stone borne by eight
mourners, illustrates a favourite design of the Burgundian sculptors.
The recumbent figure, 224, of Philippe VI. of France (1350),
attributed to Andrieu Beaunepveu, the art-loving Charles V's. _cher
ymagier_, is one of the earliest attempts at portraiture. Centre of
hall, 887 and 888, recumbent statues of Charles IV. and Jeanne
d'Evreux, fourteenth-century, by Jean de Liege. The tomb of Philippe
de Morvillier, 420, in the recess of a window, is an example of early
fifteenth-century acrolithic monumental sculpture; the head and hands
of the figure being of marble according to a common custom dating from
Greek times. On either side of the entrance are fine busts of Charles
VIII. and Marie of Anjou.

[Footnote 199: Now (1911) entered from the E. portal (_Antiquites
Egyptiennes_).]

Rooms II., IX. and X. should next be visited. In IX. stands the oldest
fragment of