him.

But in Perugino's distinctive work,--and therefore I have given him the
captain's place over all,--there is simply _no_ darkness, _no_ wrong.
Every color is lovely, and every space is light. The world, the
universe, is divine: all sadness is a part of harmony; and all gloom, a
part of peace.

THE END.

FOOTNOTES:

[BL] See note to the close of this article, p. 156.

[BM] The raven, however, like all Dickens's animals, is perfect: and I
am the more angry with the rest because I have every now and then to
open the book to look for him.

[BN] "Laws of Fesole."

[BO] 2, Church Terrace, Richmond, Surrey. NOTE.--I have hitherto
permitted Mr. Ward to copy any Turner drawing he was asked to do; but,
finding there is a run upon the vignettes of Loch Lomond and Derwent, I
have forbidden him to do more of them for the present, lest his work
should get the least mechanical. The admirable drawings of Venice, by my
good assistant, Mr. Bunney, resident there, will become of more value to
their purchasers every year, as the buildings from which they are made
are destroyed. I was but just in time, working with him at Verona, to
catch record of Fra Giocondo's work in the smaller square; the most
beautiful Renaissance design in North Italy.

[BP] The engraving of Turner's "Scene on the Rhine" (near Bingen?) with
boats on the right, and reedy foreground on the left; the opening
between its mountain banks in central distance. It is exquisitely
engraved, the plate being of the size of the drawing, about ten inches
by six, and finished with extreme care and feeling.

[BQ] See the horrible picture of St. Sebastian by him in our own
National Gallery.

[BR] See "The Eagle's Nest," Sec. 79.

[BS] As in the muscles of the legs and effort in stretching bows, of the
executioners, in the picture just referred to.

[BT] Observe, I entirely distinguish the study of _anatomy_--i.e., of
intense bone and muscle--from study of the nude, as the Greeks practiced
it. This for an entirely great painter is absolutely necessary; but yet
I believe, in the case of Botticelli, it was nobly restricted. The
following note by Mr. Tyrwhitt contains, I think, the probable truth:--

"The facts relating to Sandro Botticelli's models, or rather to his
favorite model (as it appears to me), are but few; and it is greatly to
be regretted that his pictures are seldom dated;--if it were certain in
what order they appeared, what f