NOTES ON THE LOUVRE 455

2313 [Berchem: “View of the Environs of Nice”]. Note for future copying with reference to false sublime.¹

1986 [Van Eyck: “The Virgin with the Donor”]. The man very intense and fine.

2341. A large and important genuine Cuyp, which may be given as an instance of his disjointed, cold, and imperfect effect in the whole, with successful parts. A bad picture in every sense of the word.

2011 [“Jesus Driving the Dealers out of the Temple”]. Jacques Jordaens-may be given as an instance of Dutch taste. Christ is kicking over a table with one foot, and laying about Him with the cord at the same time, with an indifferent air, as if He were doing it to amuse Himself, or for the sake of exercise.

1284 [Lorenzo di Pavia: “The Family of the Virgin”]. Very grand.

1188 [Paolo Veronese]. Magnificent. I think the best and most expressive Susannah I recollect-not much dignity, but refinement, delicacy, and life.

-A fine portrait by Tintoret utterly spoiled by an unlucky and obtrusive coat of arms, hung on a column beside it.²

§ 19. No. 2416 (Jelunes Filles Picking Flowers). A landscape by Van Huysum,³ who seems to me the most delicate of the Dutch painters, in which individual leaves of trees and foreground are given or attempted, and the futility of the effort shown by the entire spottiness and pettiness of all the near objects, though the nearest, especially the details of leafage on the right, are delightful from their delicacy and precision being there in their place. The man has fine feeling; the distance is rich, glowing, and full of Italian dignity, and his knowledge of details is here useful to him, from his being at once compelled and able to avoid them, or analyze and generalize them. The following names I counted in the Louvre, of painters giving details with perfect and microscopic precision and painting for them. Those crossed are the ablest, those marked o are a little inferior to the average:-

Teniers.|Vander Venne.

xHenri Rokes (or Zorg).|Van Breda

xGuillaume Kalff.|Jan Wynants

xAbraham Mignon.|Peeter Neefs.

x xJean Van Huysum.|xDavid de Heem.

Herman Sachtleven.|Gaspard Netscher.

Gabriel Metsu.|Breughel.

Jean Van Kessel.|Pierre de Hooch.

Pierre Van Slingelandt.|Guill^me Van Mieris.

Adrian Vanderwerff.|Van Os.

Henri Van Steenwick, fils.|Paul Bril.

oN. Brekelenkam.|oJan Miel.

Besides all the commonly instanced ones, Ostade, G. Dow, Wouvermans, etc.⁴

¹ [For later references to Berchem’s works as typical of the “hybrid” school of landscape, see Modern Painters, vol. v. pt. ix. ch. 1. § 3, ch. viii. §§ 2, 11.]

² [This note fits the Venetian portrait of a man (No. 1185), with a column on which is the coat of arms of the del Buono family. The picture is, however, by Calcker (1499-1546), a pupil and successful imitator of Titian.]

³ [Compare Vol. III. p. 672.]

⁴ [The diary here refers to “a cold sketch of Guido’s-distance pure pale blue, the rest in same key,” and two “interesting Berghems,” which cannot now be identified.]

[Version 0.04: March 2008]