e 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.

The great schools of Christian painting in Western Europe which we
have reviewed, were born, grew and flourished in the free cities of
the Netherlands and of Italy. French masters w