(coffers) in carved wood. At the E. end of the hall we turn to the right, and reach the three rooms occupied by the SHEEPSHANKS COLLECTION.

Room A. To the left: Leslie, *114. Florizel and Perdita; *171. Redgrave, Ophelia weaving garlands; Leslie, *109. Scene from the 'Taming of the Shrew'; 115. Autolycus; 118. 'Le Malade imaginaire'; 111. 'Who can this be? 128. Griselda; 117. 'Les Femmes savantes'; 122. Queen Catharine and Patience; 127. Portia; 116. 'Le Bourgeois Gentilhomme'; 112. 'Who

can this be from?'; 125. The toilette. 35. Constable, Hampstead Heath; 172. Redgrave, Bolton Abbey; 58. Cope, L'Allegro; 132. Leslie, Sancho Panza; 66. Danby, Calypso's Island; 210. Turner, East Cowes Castle, Isle of Wight; 59. Cope, Il Penseroso; 11. Callcott, Dort (a sunny meadow); 226. Wilkie, The refusal ('Duncan Gray'); 213. Uwins, Italian mother teaching her child the tarantella; 208. Turner, Venice; 74. Frith, Honeywood introducing the bailiffs to Miss Richmond as his friends; 212. Uwins, Suspicion; 207. Turner, Line-fishing off Hastings; 10. Callcott, Slender and Anne Page; 209. Turner, St. Michael's Mount, Cornwall; 223. Webster, Contrary winds; 166. Newton, Portia and Bassanio; Collins, 30. Bayham Abbey,

D.

31. Seaford, Coast of Sussex; 71. Eastlake, Italian contadina and her children; 113. Leslie, Uncle Toby and Widow Wadman (comp. p. 175); 108. Lee, Distant view of Windsor; 211. Turner, Vessel in distress off Yarmouth; 187. G. Smith, Children gathering wild flowers; 28. Collins, Hall Sands, Devonshire; 170. Redgrave, Throwing off her weeds; 81. Horsley, The contrast, Youth and Age. The cases in the centre of the room contain a collection of fine enamels and miniatures.

Room B. To the left: 61. Creswick, Scene on the Tummel, Perthshire; Lance, Fruit; 126. Wilson, Coast-scene; 1403. Morland, Interior of a stable; 64. Crome, Woody landscape. Gainsborough, 91. Queen Charlotte; 136. Daughters of George III. Linnell, 1407. Driving cattle; 134. Milking time. Wilson, 105. Landscape; 246. Evening. Mulready, 147. The sailing-match; 152. Portrait of Mr. Sheepshanks; 141. First love; 162. Portrait of a little girl; 143. Open your mouth and shut your eyes! 144. Brother and sister; 148. The butt shooting a cherry; 263. Mother teaching her son; 140. Giving a bite; 139. The fight interrupted; 138. Seven ages of man; 142. Interior with portrait of Mr. Sheepshanks; 145. Choosing the wedding gown. 107. Lee, Gathering seaweed; *222. Webster, Village choir; *103. C. Landseer, Temptation of Andrew Marvell; *33. Constable, Cathedral of Salisbury; 15. Callcott, Sunny morning; 197. Stothard, Shakspeare's principal characters; 219. Webster, Sickness and health; 62. Creswick, A summer's afternoon; 167. Redgrave, Cinderella; 110. Leslie, Characters from the 'Merry Wives of Windsor'; 85. Jackson, Portrait of Earl Grey; 225. Wilkie, The broken jar; *189. Stanfield, Market-boat on the Scheldt; 221. Webster, Returning from the fair; 188. Stanfield, Near Cologne; 220. Webster, Going to the fair. The frames in the centre contain several hundred drawings and sketches by Mulready.

Room C. To the left: 261. De Wint, Woody landscape; 242. Howard, Peasants of Subiaco; 34. Constable, Dedham Mill; 258. De Wint, Cornfield; 249. Monamy, Old East India Wharf at London Bridge; 220. Ward, Bulls fighting; 9. Callcott, Brisk gale; *88. E. Landseer, The drover's departure, a scene in the Grampians; 176. Roberts, Gate at Cairo; *190. Stanfield, Sands near Boulogne. E. Landseer, 96. Sancho Panza and Dapple; 92. The 'Twa Dogs'; 101. Young roe-deer and rough hounds; *93. The old shepherd's chief mourner ('one of the most perfect poems or pictures', says Mr. Ruskin, 'which modern times have seen'); *87. Highland breakfast; 94. A Jack in office; 102. The eagle's nest; 90. A fireside party; 91. 'There's no place like home'; 89. The dog and the shadow; 95. Tethered rams; 100. Comical dogs 99. Suspense. Webster, A village school; Mac Callum, Sherwood Forest; 234. Chalon, Hastings fishing-boats making for shore in a breeze; 164. Mulready Junior, Interior; 64. Crome, Woody landscape.

Room D. and the adjacent long GALLERIES contain the superb **Collection of French furniture, porcelain, miniatures, bronzes, paintings, and sculptures of the 18th cent., bequeathed to the Museum by Mr. John Jones (d. 1882), officially valued at 250,0001. Special handbook, with numerous illustrations, 18.

Room D. Between the exits, Magnificent armoire with inlaid work by André Boule or Buhl, the court cabinet-maker of Louis XIV. In a glass-case to the right, *Golden plaque, with three exquisite enamelled figures, in low relief. The rest of this room contains numerous articles of furniture and ornaments of admirable workmanship.

The LEFT GALLERY contains the remainder of the furniture, nearly all of the best period of French art in this department. Among the most interesting pieces are an Escritoire à toilette, in light-coloured wood, which is said to have belonged to Marie An

toinette, and was probably executed by Riesener; two escritoires by David; a writing-table and a small round table with Sèvres plaque, both belonging to Marie Antoinette (the two valued at upwards of 50001.); cabinet of black boule (purchased by Mr. Jones for 35001.); a marqueterie cabinet inlaid with Sèvres plaques, etc.

RIGHT GALLERY. Collection of Sèvres, Oriental, Dresden, and Chelsea porcelain. Collection of miniatures, including *Portraits of Louis XIV. by Petitot. Sculptures, among which are busts of Marie Antoinette and the Princess de Lamballe, in the style of Houdon. - The pictures on the walls include examples of Gainsborough, Landseer, Linnell, Mulready, and other English artists. The foreign works are mostly school-copies, but there is a genuine, signed work by Crivelli (Madonna).

The lunettes in the galleries contain decorative paintings to illustrate the different branches of Art Studies. At the S. end of the Gallery is a staircase leading down to the Oriental Court (the E. section of the S. Court, p. 280).

We now return to Room D., and turn (to the left) into the Gallery, which separates the N. from the S. Court, passing Leighton's great fresco described at p. 279. The balcony on our right, from which we look down into the N. court, is the singing gallery, mentioned at p. 281. Opposite it is the *Prince Consort Gallery, which contains a rich selection of small mediæval works of art, arranged in glass-cases.

The case under the archway contains small plaques and reliquaries of enamel. The next case, standing in advance of the others, holds ancient enamelled works, the most important of which are a *Shrine in the form of a church with a dome (Rhenish Byzantine of 12th cent., bought for 21421.), a *Triptych of champlevé enamel (German, 13th cent.), and an *Altar-cross of Rhenish Byzantine work with enamel medallions (12th cent.) The following cases contain examples of ancient and modern enamels, especially some fine Limoges Enamels of the 15th, 16th, and 17th centuries. The most valuable objects are the oval *Portrait of the Cardinal de Lorraine (bought for 20001.) and the large *Casket, enamelled on plates of silver, with a band of dancing figures, ascribed to Jean Limosin (16th cent.). One case is devoted to English enamels (Bilston and Battersea). To the right, at the end of the gallery, are three cases containing specimens of Bookbinding.

The W. portion of the Gallery contains a few unimportant oil-paintings, and also a fresco of Perugino, successfully transferred to canvas.

The Gallery of the Architectural Court, reached by a few steps at the S. end of the Prince Consort Gallery, contains the collection of Ornamental Ironwork, of Italian, French, German, and English origin: balconies, window-gratings, lamps, etc.

The *Keramic Gallery, entered from Room III. of the picture galleries (p. 283), contains an admirable collection of earthenware, porcelain, and stoneware. We first reach the collection of English pottery of the 17th and 18th cent.; Wedgwood china; Chelsea, Worcester, and Derby china; enamelled earthenware. The following cases contain the Collection of English Pottery given to the Museum by Lady Charlotte Schreiber, including fine examples of most of the older wares. This is succeeded by a collection of German and Flemish stoneware, including several large German stoves. Adjoining are specimens of French earthenware of the 16th cent., including 5 pieces of the famous Henri-Deux ware (in a small case by itself); choice collection of Palissy ware; Sèvres porcelain; Dresden china; Italian porcelain, including 3 pieces of the rare Florentine porcelain of the 17th cent., probably the earliest porcelain made in Europe; Persian, Arabian, and Rhodian glazed pottery; some Hispano-Moresco (Spanish) ware. At the end are a few cases containing ancient terracottas from Cyprus, Greece, Rome, and S. Italy. The windows on the right, in grisaille, designed by W. B. Scott, represent scenes connected with the history of pottery. From the opposite windows a good view is obtained of the new buildings of the Museum.

[At present the examples of art manufactures of modern date (1851 and onwards) are deposited in the Exhibition Galleries.] At the W. end of the Keramic Gallery is the staircase mentioned at p. 282, leading to the Refreshment Rooms.

Opposite the W. entrance of the Museum, in Exhibition Road, is the entrance to the Exhibition Galleries (p. 272), which contain various objects for which there is no room in the Museum (adm. free, daily, from 10 to 4, 5, or 6).

We first enter the S. GALLERY, containing the Collection of Electrotypes and other Reproductions of Works of Art, part of which is exhibited upstairs. Other rooms upstairs contain the Collections of Modern Objects and Naval Models. On the ground-floor we next reach the Collection of Machinery and Inventions, including many interesting objects from the late Patent Office Museum, now incorporated with the South Kensington Museum.

Among the chief objects of interest from the Patent Museum are the following, which are scattered throughout the galleries.

The original Hydraulic Press, made by Joseph Bramah and patented in 1795. *Engine of Bell's Comet, the first steamboat that ever plied in European waters. Bell's ingenious project for applying steam-power to navigation was received with neglect by the various European governments, but at once excited attention in the United States, where the first experiments were made in 1805. It was not till 1812 that the Comet was advertised to ply on the Clyde for the 'conveyance of passengers and goods'. *Stephenson's first locomotive, the Rocket, constructed to compete in the trial of locomotives on the Liverpool and Manchester Railway in 1829, where it gained the prize of 5001. Adjacent, Puffing Billy', the first locomotive engine ever constructed, in use at the Wylam Collieries from 1813 to 1862. The Sans Pareil, by Hawksworth of Darlington, another competitor at the above-mentioned trial. Cornish Pumping Engine, formerly in operation at Soho near Birmingham, to which James Watt in 1777 applied for the first time his separate condenser and airpump (patented 1769). Hislop's Winding and Pumping Engine, patented 1790 and erected for raising coals about 1795. - Watt's first Sun and Planet Engine, erected at Soho in 1788. Clock of Glastonbury Abbey, constructed by one of the monks in 1325, and showing the phases of the moon. - Swiss striking clock of 1348. Clock with stone weights, from Aymestrey Church, Herefordshire.

The Historical Collection of Telegraphic Apparatus, beginning with Bain's chemical telegraph, the first instrument of the kind ever used in England (1846), is interesting. Here also are the electrical machine used by Benjamin Franklin in his experiments, a collection of chronometers, and other scientific instruments.

Beyond the Machinery Department, in the S. part of the W. Gallery, we reach the Museum of Economic Fish Culture, where a State Barge, 270 years old, is exhibited.

The W. Gallery is here intersected by the new Imperial Institute Road (p. 272), which we cross in order to reach the N. half of the gallery, containing the Collections of Scientific Apparatus used in Education and Research, comprising much that is of great value and interest to students. Here also is the Anthropometric Laboratory, established by Mr. F. Galton.

The rooms to the right of the entrance to the Exhibition Galleries contain a *Collection of Objects from Palestine, lent by the Palestine Exploration Fund.

Among the most interesting are: Mediæval and other glass of Arabian manufacture; large collection of early Christian lamps, found in or near Jerusalem. Seal of Hagai, son of Shebniah, found at Jerusalem, 22 ft. below the present surface of the ground, in a shaft sunk to the S. of the Temple area; the engraved characters are in Hebrew of the transition period. Stone weights, with inscriptions, chiefly from excavations made by Mr. Robinson. Plaster casts of ideographic inscriptions from Hamath. Models of Jerusalem and Mt. Sinai. Various fragments with inscriptions. Fragments of carved and ornamented stones from early Christian churches, chiefly from the neighbourhood of Jericho (4th cent.). Three well-preserved sepulchral chests with interesting ornamentation, probably of ante-Christian origin.

The National Portrait Gallery, formerly exhibited here, is now at Bethnal Green (see p. 129).

The *India Museum (Pl. R, 9), in the E. Exhibition Gallery (comp. p. 272), was placed in 1880 under the management of the authorities of South Kensington Museum, who have considerably extended and improved it, so that it now ranks among the most interesting exhibitions in London. The museum is open free, daily, Sundays excepted, from 10 to 4, 5, or 6 according to the season. The entrance is in Exhibition Road, in the centre of the building.

We first reach a court containing original and reproduced examples of Hindoo architecture, including the stone front of a house from Bulandshah, the façade of a shop in Cawnpore, and the large façade of a dwelling-house from Ahmedabad, in teak wood, carved and painted (17th cent.). Over the archway is a large and splendid specimen of carved and perforated sandal wood. Round the hall are ranged carved windows, doorways, balconies, etc., and reproductions of antique specimens.

The objects in the next court illustrate Mogul art and architecture. To the right is an inlaid Marble Colonnade from Agra. A series of cases to the left contain 'loot' from Burmah, including King Theebaw's royal 19

BAEDEKER, London. 7th Edit.