[The Collections in the Louvre have no such necessary organic
connection with Paris itself as Notre-Dame and the
Sainte-Chapelle, or even those in the rooms at Cluny. They may,
therefore, be examined by the visitor at _any_ period of his
visit that he chooses. I would advise him, however, whenever he
takes them up, to begin with the paintings, _in the order here
enumerated_, and then to go on to the Classical and Renaissance
Sculpture. The last-named, at least, he should only examine in
connection with the rest of Renaissance Paris. Also, while it is
unimportant whether he takes first Painting or Sculpture, it is
very important that he should take each separately in the
=chronological order= here enumerated. He should not skip from
room to room, hap-hazard, but see what he sees systematically.
At least =six days=—far more, if possible—should be devoted to
the Louvre Collections—by far the most important objects to be
seen in Paris. Of these, =four= should be assigned to the
Paintings, and one each to the Classical and Renaissance
Sculpture. If this is impossible, do not try to see all; see a
=little thoroughly=. Confine yourself, for Painting, to the
Salon Carré and the Salle des Primitifs, and for Sculpture, to a
hasty walk through the Classical Gallery and to the three
Western rooms of the Renaissance collection.
The object of the hints which follow is _not to describe_ the
Collections in the Louvre; it is to put the reader =on the right
track= for understanding and enjoying them. It is impossible to
make people admire beautiful things; but if you begin by trying
to comprehend them, you will find admiration and sympathy grow
with comprehension. =Religious symbolism is the native language
of early art=, and you cannot expect to understand the art if
you do not take the trouble to learn the language in which it is
written. Therefore, do not walk listlessly through the
galleries, with a glance, right or left, at what happens to
catch your eye; begin at the beginning, work systematically
through what parts you choose, and endeavour to grasp the
sequence and evolution of each group separately. Stand or sit
long before every work, till you feel you know it; and return
frequently. Remember, too, that I do not point out always what
is most worthy of notice, but rather suggest a mode of arriving
at facts which might otherwise escape you. Many beautiful
objects explain themselves, or fall so naturally into their
proper place in a series that you will readily discover their
meaning and importance without external aid. With others, you
may need a little help, to suggest a point of view, and that is
all that these brief notes aim at. Do not be surprised if I pass
by many beautiful and interesting things; if you find them out
for yourself, there is no need to enlarge upon them. Should
these hints succeed in interesting you in the succession and
development of art, get Mrs. Jameson and Kugler, and read up at
leisure in your rooms all questions suggested to you by your
visits to the galleries. My notes are intended to be looked at
=before the objects themselves=, and merely to open a door to
their right comprehension.
The galleries are open, free, daily, except Mondays. Painting
from 9, Sculpture from 11. For details, see Baedeker.]