always looks immediately when he thinks of discovering this artist. All these little tricks of the artist, and many more of the same kind, the art tourist soon learns, much to his own comfort. And then he progresses to a kind of knowledge which comes somewhat nearer to art criticism, but which does not yet amount to the exercise of any judgment on his own part. He learns to perceive the peculiar manner of certain artists who painted peculiarly; and though by the knowledge he so attains he may be led into error,--as when he takes a Lancret for a Watteau,--still the error is never disgracefully erroneous. He knows at once the girl by Greuze, with her naked shoulder and her head on one side; he knows at once the old woman by Denner, the little wrinkles on whose face, as he looks at them through his magnifying glass, seem to be so very soft. The unnatural sunshine of Claude he knows, and the natural sunshine of Cuyp. The blotches of Rembrandt and the smoothness of Carlo Dolci are to him as A, B, C. The romantic rocks and trees of Salvator Rosa do not certainly represent nature,--to which they bear no resemblance,--but to him they represent Salvator Rosa very adequately. The pietistic purity of Fra Angelico strikes him forcibly, and the stiff grace of Perugino; though, when he advances as far as this, he is somewhat prone to make mistakes. And he learns to note the strong rough work of the brush of Paul Veronese, and the beautiful blue hills of Titian's backgrounds. He distinguishes between the graceful dignity of a Venetian nobleman and the manly bearing of a Florentine citizen; and he recognizes the spears of Paolo Uccello, who painted battles; and the beards of Taddeo Gaddi, who painted saints; and the long-visaged virgins with fair hair, by Sandro Botticelli. And he will gradually come to perceive how those long-visaged, fair-haired virgins grew out of the first attempts at female dignity by Cimabue, and how they progressed into the unnatural grace of Raphael, and then descended into the meretricious inanities of which Raphael's power and Raphael's falseness were the forerunners.