NOTES ON THE LOUVRE 449

Pinturicchio:-

1417 (“Virgin and Child”), p. 453.

Potter, Paul:-

2527 (“The Mead”), p. 471.

Poussin, N:-

710 (“The Philistines struck with Plague”), p. 454.

722 (“The Ecstasy of St. Paul”), p. 454.

727 (“Mars and Venus”), p. 453.

728 (“Mars and Rhea Sylvia”), p. 454.

729 (“Bacchanal”), p. 456.

730 (“Bacchanal”), p. 472.

732 (“The Triumph of Flora”), p. 470.

734 (“The Shepherds in Arcadia”), p. 454.

736 (“Spring, or the Earthly Paradise”) p. 469.

739 (“Winter, or the Great Flood”), p. 469.

741 (“Diogenes”), p. 469.

Raphael:-

1496 (“La Belle Jardiničre”), pp. 453, 473.

1498 (“Holy Family of Francis I.”), p. 450.

Rembrandt:-

2541 (“The Philosopher in Meditation”), p. 454.

Rubens:-

2100 (“The Majority of Louis XIII.”), p. 472.

2115 (“Village Fete”), pp. 470, 473.

2116 (“Tournament”), p. 456.

2085-2108 (Medici Series), pp. 472, 473.

Ruysdael:-

2558 (“Storm”), p. 454.

Teniers:-

2164 (“Heron Hawking”), p. 454.

Tintoretto:-

1464 (“Susannah and the Elders”), p. 459.

Titian:-

1577 (“Virgin and Child adored by Saints”), p. 452.

1578 (“La Vierge au Lapin”), p. 452.

1580 (“Holy Family”), p. 450.

1581 (“The Disciples at Emmaus”), pp. 450, 451, 471.

1583 (“The Flagellation”), p. 452.

1584 (“The Entombment”), pp. 452, 453, 469, 473.

1589 (“Allegory”), p. 458.

1590 (“Alphonso di Ferrara and Laura di Dianti”), p. 450.

1593 (“Portrait of a Man”), p. 458.

Vandyck:-

1962 (“The Virgin with the Donors”), p. 468.

1971 (“Portrait of Francis of Moncade”) p. 468.

1973 (“Portrait of a Man and a Child”), p. 468.

1976 (“Portrait of a Man”), p. 468.

Veronese, Paolo:-

1187 (“Lot leaving Sodom”), p. 471.

1188 (“Susanna and the Elders”), pp.

455, 460.

1192 (“The Wedding Feast at Cana”), pp. 451, 452, 456, 473.

1193 (“The Dinner at Simon the Pharisee’s”), pp. 451, 452, 461, 465, 467, 473.

1196 (“The Disciples at Emmaus”), pp. 451, 452, 465.

1. NOTES OF 1844¹

§ 1. PARIS, Aug. 14th.-Note of the Louvre. Perugino [No. 1565: “The Holy Family”]. All the chiaroscuro of the faces is given either with pen or crayon, cross hatched like engraving; but with a prevalence of perpendicular strokes. The colour appears originally almost to have concealed this, but to have let it through with time. The outlines firm and hard with pen, and deepened with the brush in brown. Hair exquisitely delicate. It is generalised into soft masses in the greater part, but its extremities are bonâ fide gilt, by individual hairs, so as to look like golden wires,²

¹ [This visit to the Louvre was made on Ruskin’s return from the tour noticed in the preceding appendix: compare Vol. IV., Introduction, p. xxiii.]

² [Compare the “Review of Lord Lindsay,” § 33, above, p. 202.]

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