The 'Ecce Homo,' No. 271, of Guido Reni, is a good study of pain, and also good for the copyist because of its free and sketchy execution; it ought to be copied, as it was painted, in one working. Thus, the student who desires to be successful in his work ought to study the original well, and determine, _if he possibly can_, how many workings the master took to complete his work. In this case, Guido Reni began and finished his sketch at one sitting, meaning it only as a rough study for some larger work. Rubens did a number of his in the same method; indeed, if the artist is decided enough about his effects and intentions, he will endeavour to finish his work as far as possible in the one working, for oil-painting, like fresco-painting, is apt to look hard, artificial, and waxy, if worked over too much; in water-colour the artist need not place any limit to his different workings. The best and richest colourists, with perhaps the exception of Rembrandt, finished as they went along, particularly in the flesh portions. The drapery and accessories may be retouched without so much damage, but excepting those masters who cultivated and depended upon the art of glazing,[17] most of the best men finished their backgrounds and draperies before they touched the figures, i.e. their pupils did all that was in those days considered subordinate parts, and left the flesh for the masters to do at the last: a great mistake on the part of the masters. The other pictures of Guido Reni are not worth much consideration. His 'The Magdalen,' 177, is a fascinating study for young people, as it is intensely sentimental, with lavish masses of fair hair floating about, while the face expresses a sweet abandonment of _large-eyed_ sorrow. I am afraid that I must echo John Ruskin's sweeping verdict on his 'Susannah and the Elders,' and say also that it is 'a work devoid alike of art and decency.' The 'Portrait of Himself,' 690, by Andrea del Sarto, is a piece of rich, quiet colouring and fine drawing; so also is his other example. No. 17, 'The Holy Family.' He was counted one of the faultlessly correct painters of his age, and his pictures command high prices. They are excellent alike in tone and the other academical qualities which are useful to young painters who aim rather at mastering the technical difficulties of their art than the imitating of style; therefore, I recommend this portrait particularly as an early subject before grappling with such overpowering masters as Rembrandt, Velasquez, Murillo, or Moroni.