=**=39. _Giorgione._ Pastoral scene, with nude figures. One of the few undoubted pictures by this master, whose genuineness is admitted by Morelli, though much repainted. Should be studied as an example of the full flush of the Venetian Renaissance, and of the great master who so deeply affected it. Notice the admirable painting of the nude, and the fine landscape in the background. Contrast with the Bellinis in the Salle des Primitifs, in order to mark time and show the advance in technique and spirit. Giorgione set a fashion, followed later by Titian and others. Compare this work with Titian’s Jupiter and Antiope in the Long Gallery. Above it (=*=427) _Rubens_. Adoration of the Magi. A splendid picture. Interesting also as showing how far Rubens transformed the conceptions of the earlier masters. Compare it with the Luini in the Salle Duchâtel, and other Adorations in this gallery. Full of gorgeousness, dash, and certainty of execution. 37. _Antonello da Messina._ Characteristic hard-faced portrait by this excellent Sicilian artist. =**=459. _Leonardo._ St. Anne and the Virgin. This great artist can be better studied in the Louvre than anywhere else in the world. This picture, not perhaps entirely by his own hand, is noticeable for the beautiful and very Leonardesque face of St. Anne, the playful figure of the infant Christ, and the admirable blue-toned landscape in the background. The smiles are also thoroughly Leonardesque. Notice the excellent drawing of the feet. The curious composition—the Virgin sitting on St. Anne’s lap—is traditional. Two or three examples of it occur in the National Gallery. Leonardo transformed it. He is the great scientific artist of the Florentine Renaissance. 208. _Hans Holbein_, the younger. Admirable portrait of Erasmus. Full of character. Note carefully. The hands alone are worth much study. How soft they are, and how absolutely the hands of a scholar immersed in his reading and writing. 108. _Clouet._ Elizabeth of Austria. A fine example of the early French school, marking well its hard manner and literal accuracy. It shows the style in vogue in Paris before the School of Fontainebleau (Italian artists introduced by François I^{er}) had brought in Renaissance methods. =**=162. _Van Eyck._ Madonna and Child, with the Chancellor Rollin in adoration. Perhaps Van Eyck’s masterpiece. Notice the comparatively wooden Flemish Madonna and Child, contrasted with the indubitable vitality and character in the face of the Chancellor. This picture is a splendid example of the highest evolution of that type in which a votary is exhibited adoring the Madonna—the primitive form of portrait: “paint me in the corner, as giving the picture.” Every detail of this finished work deserves long and close inspection. Notice the elaboration of the ornaments, and the delicious glimpse of landscape through the arcade in the background. Compare with the Memlings; also, with contemporary Italian work in the Salle des Primitifs.