=**=362. _Raphael._ Madonna and Child, with infant St. John, known as _La Belle Jardinière_. To the familiar group of the Madonna and Child, Florentine painters and sculptors early added the infant Baptist, as patron of their city, thus forming a graceful pyramidal composition. This exquisite picture, by far the most beautiful Raphael in the Louvre, belongs to the great painter’s Florentine period. It should be compared with the very similar Madonna del Cardellino in the Uffizi at Florence. For simplicity of treatment and beauty of colouring this seems to me the loveliest of Raphael’s Madonnas, with the exception of the Granduca. Look at it long, for colour, design, and tender feeling. Then go back to the St. Michael, and see how, as Raphael gains in dramatic vigour, he loses in charm. 407. _Rembrandt._ Christ and the Disciples at Emmaus. A fine study in light and shade, and full of art, but not a sacred picture. Compare with other pictures of the scene in this gallery. The feeling is merely domestic. 433. _Rubens._ Tomyris, Queen of the Scythians, with the head of Cyrus. A fine, vigorous painting, with the action frankly transferred to the court of Henri IV. Dash and colour and all the Rubens attributes. 365. _Raphael._ Small Holy Family. 364. _Raphael._ Holy Family, known as the “Sainte Famille de François I^{er}”: Joseph, Madonna, infant Christ, St. Elizabeth and the Baptist, and adoring angels. Belongs to Raphael’s Roman period, and already vaguely heralds the decadence. Admirable in composition and painting, but lacking the simplicity and delicacy of colour of his earlier work. Compare it with the Belle Jardinière. It marks the distance traversed in art during his lifetime. The knowledge is far greater, the feeling less. =**=142. _Van Dyck._ Charles I. A famous and splendid portrait, with all the courtly grace of this stately painter. =**=462. _Leonardo._ Portrait of Mona Lisa. Most undoubted work of the master in existence. Has lost much of its flesh tints by darkening, but is still subtly beautiful. Compare with any of the portraits in the Salle des Primitifs, in order to understand the increase in science which made Leonardo the prince and leader of the Renaissance. The sweet and sphinx-like smile is particularly characteristic. Observe the exquisite modelling of the hands, and the dainty landscape background. Do not hurry away from it. 363. _Raphael._ Madonna with the infant St. John, known as “La Vierge au Voile.” A work of his early Roman period, intermediate in style between the Belle Jardinière and the François I^{er}. Compare them carefully. Above it (379) _Andrea del Sarto_. Charity. A fine example of Andrea’s soft and tender colouring. =*=523. Portrait of a young man. Long attributed to Raphael. More probably _Franciabigio_. Pensive and dignified. 452. _Titian._ Alphonso of Ferrara and his Mistress. A fine portrait, with its colour largely faded. Above it, 154. Good portrait by _Van Dyck_.