The Louvre is notoriously rich in representative examples of the “Eclectic” painters’ art. The name of Lodovico Carracci (1555-1619), the founder of this school at Bologna, is included in the official Catalogue, but neither of his two pictures is at present exhibited. Lodovico had as cousins, Agostino (1557?-1602) and Annibale (1560?-1609), who also worked in Rome. Six of Annibale Carracci’s fifteen pictures in this collection are now exhibited. The _Madonna of the Cherries_ (No. 1217) and the _Sleeping Child Jesus_ (No. 1218) are characteristic, while his huge canvas of _The Virgin appearing to St. Luke and St. Catherine_ (No. 1219) in every way exemplifies the art of this painter and his school. It is inscribed: ANNIBAL CARACTIUS F. MDXCII. Pictures of this type were much sought after and prized in the eighteenth century, when this one was seized by Napoleon in Italy, but to-day a higher standard of æsthetics has deservedly ruled them out of fashion. On the other hand, sufficient attention is not now paid to some of the landscape pictures which the “Eclectics” painted; Annibale’s _Fishing_ (No. 1233) and _Hunting_ (No. 1232) are worth the attention of the student. Antonio Carracci (1583-1618), a less-known member of this family, is the author of a large canvas depicting _The Deluge_ (No. 1235). Guido Reni, after working under Denis Calvaert at Bologna, entered the school of the Carracci. This fitful sentimentalist indulged in idealised abstractions that were neither human nor divine, as may be seen from his _David and Goliath_ (No. 1439) and _St. Sebastian_ (No. 1450) on the one hand, and his _Ecce Homo_ (No. 1447) and _Mary Magdalene_ (No. 1448) on the other. Four of his large mythological paintings (Nos. 1453, 1454, 1455, 1457) show some technical ability. Francesco Albani (1578-1660) was influenced by the Carracci and Guido Reni. The _Diana and Actaeon_ (No. 1111) may be selected out of his nine productions mentioned in the Catalogue. Domenichino (1581-1641), a pupil of the Carracci, the assistant of Annibale and a friend of Guido Reni in Rome, was a sentimentalist of the most pronounced order. His hard execution and unpleasant colouring can be judged in his _St. Cecilia_ (No. 1613),—her features are singularly ill-proportioned,—but nine of his other pictures do not take up any of the valuable wall space. The self-taught artist and insipid Guercino (“The Squintling”) (1591-1666), after working in Rome, settled in 1642 at Bologna, where he died in affluent circumstances. His _Raising of Lazarus_ (No. 1139), the large _Patron Saints of Modena_ (No. 1143), together with a _Circe_ (No. 1147) and _The Painters Own Portrait_ (No. 1148), are now exhibited. These and such pictures as were painted by G. A. Donducci (1575-1655), G. F. Grimaldi (1606-1680), S. Cantarini (1612-1648), and G. M. Crespi (1665-1747), provoked a fresh reaction. THE “NATURALISTS”