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Rh Jerome Bosch—a "fantastic representation of Hell." This was certainly in Charles's collection; it was given him by the Earl of Arundel.

Charles's gallery reached its climax of splendour in its representation of the sixteenth-century painters. The man with a black cap (No. 710) cannot sustain its claim to be a Raffaelle, and the gallery is robbed by South Kensington of the majestic cartoons; but his favourite pupil, Giulio Romano, is happily represented by his two equestrian Cæsars (Nos. 257 and 290). There are several others—such as 247, "An Ancient Sacrifice," in the archæological style that was his forte—and a copy, very charming, of the Madonna della Quercia, by his hand.

There is (No. 64) a very good version of Lionardo's Infant Christ with S. John, which Mr. Phillips ascribes to Marco d'Oggionno; and another edition of a Lionardo, "Portrait of a Woman with Flowers" (No. 61), which some have declared to be a Luini.

Among the Milanese pictures are the S. Catherine with a palm-branch (No. 259), by Giampetrino, and the Salome (No. 241) which Mr. Claude Phillips says is a copy from Cesare da Sesto.

When we turn to the Venetians we find the true splendour of the gallery. In spite of warring critics and the severe judgment of Mr. Claude Phillips, it