Contains MS notes on, and sketches from, paintings seen by Turner in the Louvre on his way home from Switzerland in September-October 1802. The works on which he particularly concentrated were:

J. van Ruysdael; 'Landscape [?Coup de Soleil]', 'Sea Port [?Une Tempête sur le bord des Digues de la Hollande].

Titian; 'Alphonso di Ferrara and Laura de' Pianti (Titian and his Mistress]', 'Christ crowned with Thorns', "The Entombment', Death of St Peter Martyr'.

Poussin; 'Diogenes throwing away his Dish', 'Orpheus and Eurydice', ‘The Israelites gathering Manna in the Wilderness', 'The Deluge'.

Caravaggio; 'St Jerome'.

Domenichino; 'Mars and Venus', 'Hercules and Achelous'.

Guérin; 'Le Retour de Marcus Sextus'.

Rembrandt; "The Good Samaritan', 'Susanna', 'The Angel departing from Tobit’.

Rubens; 'Landscape with Rainbow'.

For a detailed account of the contents of this Sketchbook, see Finberg 1961, pp.85-91.

The notes on f31v refer to Titian's 'Entombment', sketched opposite:

This picture may be rank [ed] among the first of Titian's pictures as to colour and pathos-of Effect for by casting a brilliant light on the Holy Mother and Martha the figures of Josephe and the Body has the a [sic] Effect Sepulural [sic], the Expression of Joseph is fine as to the care he is undertaking but with out grandeur. The figure which is swathed in strived drapery conveys the idea of silent distress, the one in vermilion attention while the agony of Mary and the solicitude of Martha to [?] prevent her grief and View of the dead Body with her own anguish by seeing are admirably described and on the first view they appear’

here the page ends. Turner continues overleaf:

‘but collateral figures yet the whole is dependent upon them, they are the Breadth of and the expression of the Picture…’