Ruskin came to be critical of his early enthusiasm for Francia. There is are enthusiastic reference to a Madonna in the Gallery at Bologna at Works, 12.211, and at Works, 12.285 there is an extract from Ruskin 1846 Diary in which he describes what he calls Francia's best picture in Bologna a Madonna and Child with Saints in the church of San Martino in Bologna. In a passage at Works, 4.331 Ruskin writes of Francia as one of those in whose work 'the hues of the morning and the solemnity of eve, the gladness in accomplished promise, and sorrow of the sword-pierced heart, are gathered into one human Lamp of ineffable love'. In a footnote to this passage in 1883, also at Works, 4.331, he adds that he no longer cares for the Madonnas of Francia - and refers to himself as having sounded more like Mrs. Jameson on Francia than himself when he wrote the original passage.