CHRISTIAN ART (1845-1847) At Paris, on the way heme in 1844, he had spent some days in studying Titian and Bellini and Perugino.

They were not new to him; but now that he was an art-critic, it behoved him to improve his acquaintance with the old masters.

"To admire the works of Pietro Perugino" was one thing; but to understand them was another, a thing which was hardly attempted by "the Landscape Artists of England" to whom the author of "Modern Painters" had so far dedicated his services.

He had been extolling modernism, and depreciating "the Ancients" because they could not draw rocks and clouds and trees; and he was fresh from his scientific sketching in the happy hunting-ground of the modern world.

A few days in the Louvre made him the devotee of ancient art, and taught him to lay aside his geology for history.
In one way the development was easy.