is the portrait of Infanta Maria Theresa, by Velasquez (1599-1660). Maria Theresa was the daughter of Philip IV and Isabel de Bourbon. She was born in 1638, married to Louis XIV in 1660, and died in 1683. It was while attending Philip at the conference at Irun in 1660, which led to the marriage that Velasquez was taken with the illness from the effects of which he died shortly after. The portrait was painted during the last decade of his life, early in the fifties, judging from the apparent age of the sitter, which seems scarcely ten years. The portrait on the west wall is that of a child, by an unknown artist of the Spanish school. There is a date in the floor, 164-, and consequently it has been assigned to the seventeenth century. On the north wall hangs the portrait of the late J. Pierpont Morgan, by Carlos Baca-Flor, a contemporary South American artist who studied in Paris. This portrait of Mr. Morgan was painted during the winter of the year 1910. The bronze Triton and Nereid is the work of Adrian De Vries, the leading Flemish bronze maker of the seventeenth century. He was a pupil of Giovanni da Bologna, and though more pictorial than the Italian, still exhibits a great deal of Italian feeling in this group. Case L contains a rather interesting display of clocks, for the most part French, of the eighteenth century, Case K contains some rare and precious work in gold, Case K, L ΙΟΙ Case B enamel, crystal, and agate. A backgammon board, believed to have belonged to Mary, Queen of Scots, when Queen of Francis II of France, is also in Case K. The porcelain in Case B is very rare, Chinese of the Ming period set in sixteenth-century European mounts. THE EIGHTEENTH CENTURY WITH a few exceptions all the objects in the Morgan Collection not already discussed are of European origin and were made during the eighteenth century. The exceptions are the older miniatures and watches in the two special collections elsewhere described, the Gothic and seventeenth-century tapestries hanging in the corridors, and a few specimens of Chinese porcelain contemporary with the French furniture in Galleries 17 and 18, and of a type much appreciated in Europe at the time of its manufacture. Although in this portion of the exhibition it has not been possible to follow a precise chronological arrangement, the objects of earlier eighteenth-century workmanship are largely confined to Gallery 17. This room has been paneled in green, in a manner suggesting one of the lofty halls found in English houses of about 1730, and the BRITISH PAINTINGS of slightly later date which fill the walls thus hang against a background reminiscent of that for which some of the pictures were doubtless originally intended. Beginning at the |