Further Hints on the Paintings in the Louvre. The reader must not suppose that these brief notes give anything like an adequate idea of the way in which pictures in such a gallery as the Louvre ought to be studied. My object in these Guides being mainly to open a door, that the tourist himself may enter and look about him carefully, I have given first this connected account of _all_ the rooms in chronological order, for the use of those whose time is very limited, and who desire to go through the collection seriatim. But for the benefit of others who can afford to pay =many successive visits=, I will now take one or two particular pictures =in detail=, suggesting what seem to me the best and most fruitful ways in which to study them. Try for yourself afterwards to fill in a similar scheme, as far as you can, for most of the finest works in this Gallery. I will begin with No. 251, in the Salle des Primitifs—Mantegna’s beautiful and glowing =Madonna della Vittoria=. And I take Mantegna first, because (among other reasons) he is a painter who can be fairly well studied by means of the pictures in this Gallery alone, without any large reference to his remaining works in Italy or elsewhere. Now, first, who and what was =Mantegna=, and what place does he fill in the =history of art= in Italy? Well, he was a =Paduan= painter, born in 1431, died in 1506—about the time when Raphael was painting the Belle Jardinière, in this collection. He was a contemporary and brother-in-law of Giovanni and Gentile Bellini: and if you compare his work with that of the two Bellinis, even as very inadequately represented here, you will see that their art has much in common—that they stood at about the same level of historical evolution, and painted in the same careful, precise, and accurate manner of the second half of the fifteenth century. Contrast them, on the one hand, with their immediate predecessors, such as Filippo Lippi and Benozzo Gozzoli (juniors by roughly about 20 years), in order to mark the advance they made on the art of those who went just before them; and compare them, on the other hand, with their immediate successors, such as Raphael, and even their more advanced contemporaries, like Leonardo, in order to see what place they fill in the development of painting.