As regards the first object,--that of knowing the painter from his work,--the art tourist soon obtains many very useful guides to his memory. Indeed, it is on guides to his memory that he depends altogether. When he has progressed so far that he can depend on his judgment instead of his memory, he has ceased to be an art tourist, and has become a connoisseur. The first guide to memory is the locality of the picture. He knows that Raphaels are rife at Florence, Titians at Venice, Vandykes at Genoa, Guidos at Bologna, Van Eykes and Memlings in Flanders, and Rembrandts and Paul Potters in Holland. Pictures have been too much scattered about to make this knowledge alone good for much; but joined to other similar aids, it is a powerful assistance, and prevents mistakes which in an old art tourist would be disgraceful. Next to this, probably, he acquires a certain, though not very accurate idea of dates, which supplies him with information from the method and manner of the picture. If he is placed before a work of some early Tuscan painter,--Orcagna, or the like,--he will know that it is not the work of some comparatively modern painter of the same country,--such as Andrea del Sarto;--and so he progresses. Then the old masters themselves were very liberal in the aids which they gave to memory by repeating their own work,--as, indeed, are some of their modern followers, who love to produce the same faces year after year upon their canvas,--I will not say usque ad nauseam, for how can we look on a pretty face too often? The old masters delighted to paint their own wives or their own mistresses,--the women, in short, whom they loved best and were most within their reach, guided perhaps by some idea of economy in saving the cost of a model; and this peculiarity on their part is a great assistance to art tourists. He or she must be a very young art tourist who does not know the Murillo face, or the two Rubens faces, or the special Raphael face, or the Leonardo da Vinci face, or the Titian head and neck, or the Parmigianino bunch of hair, or the Correggio forehead and fingers. All this is a great assistance, and gives hope to an art tourist in a field of inquiry so wide that there could hardly be any hope without such aid. And then these good-natured artists had peculiar tricks with them, which give further most valuable help to the art tourist in his work. Jacobo Bassano paints people ever cringing towards the ground, and consequently a Jacobo Bassano can be read by a young art tourist in an instant. Claude Lorraine delighted to insert a man carrying a box. That vilest of painters, Guercino, rejoices in turbans. Schalken painted even scenes by candle-light, so that he was called Della Notte. Jan Steen usually greets us with a portrait of himself in a state of drunkenness. Adrian van Ostade seldom omits a conical-shaped hat, or Teniers a red cap and a peculiar figure, for which the art tourist