A rapid landscape sketch (Nationalmuseum): the valley grammar in seconds — a few washes, a horizon: the shorthand of a hand that had drawn the same country ten thousand times.

A horse's head, with a landscape of distant hills (Nationalmuseum): two attentions sharing a page — the sketchbooks' habitual economy, beast and distance noted as they came.

A kneeling saint (Nationalmuseum): a devotional figure-study — the sacred staffage rehearsed: the hermits and holy travellers of the paintings begin in such sheets.

Landscape with figures on a bridge, Rome in the background (Nationalmuseum): the city as horizon-silhouette beyond a crossing — the expedition's homeward view, drawn from the campagna's edge.

Landscape with hills in the distance (Nationalmuseum): recession itself as subject — plane behind plane in thinning wash: the aerial-perspective discipline, practised raw.

Landscape with two men walking, one seated (Nationalmuseum): road-figures at their natural business — the pastoral's pedestrians, observed rather than posed.

Landscape (Nationalmuseum): an unnamed campagna prospect in wash — one leaf of the anonymous thousands from which the named masterpieces drew.

Landscape with Aeneas landing in Latium (Nationalmuseum): a third Stockholm sheet of the landfall — the late Virgilian idea turned again; the epic's arrival was the last motif Claude drew repeatedly.

Landscape with a town in the distance, from the 'late sketchbook' (Nationalmuseum): walls and towers at the horizon — the ideal city's silhouette, noted in the last notebook's spare line.

Landscape with trees and a villa (Nationalmuseum): the suburban campagna — garden architecture among groves, the La Crescenza world in wash.

Ruin with Corinthian columns, from the 'late sketchbook' (Nationalmuseum): the orders studied from the broken originals — antiquity's vocabulary, still being copied out in the final years.

Sheep (Nationalmuseum): the flock studied at graze — wool, weight and huddle: the pastoral's quietest models given their own page.

Sketch of a dog (Nationalmuseum): the herds' companion caught in a few lines — the sketchbooks' livestock census extending to its shepherd's colleague.

Sketch of a standing horse (Nationalmuseum): the traveller's and ploughman's animal, stance and mass noted — staffage anatomy from the life.

Small figures on a hill and a study of a horse's head, from the 'late sketchbook' (Nationalmuseum): the notebook's typical page — two subjects, one economy of line, nothing wasted.

A rearing horse with rider, seen from behind (Nationalmuseum): the one dramatic motion in this sketchbook company — cavalry energy of the Battle-on-the-Bridge kind, studied from behind the action.

Study of an antique ruined arcade (Nationalmuseum): arches in file — the aqueduct-and-arcade motif of the painted campagna, measured by eye on the spot.

Study of a classicising building, from the 'late sketchbook' (Nationalmuseum): invented architecture tried in outline — the ports' palaces at the pencil stage.

Studies of a soldier's cloak and head, from the 'late sketchbook' (Nationalmuseum): military staffage for the late Virgilian pictures — the Trojan landings' extras, fitted for costume in the last notebook.

Study of a seated peasant woman with a child (Nationalmuseum): mother and child at rest — the sacred subjects' secular sisters, observed on some road-side before they became Madonnas.

A standing man in a short tunic, from the 'late sketchbook' (Nationalmuseum): the classical extra at attention — hem, stance and shoulder noted for the epic pictures' crowds.

A standing Roman soldier with helmet, from the 'late sketchbook' (Nationalmuseum): armour studied for the Aeneid canvases — the late epic's military wardrobe, page by page.

Trees (Nationalmuseum): a stand studied together — intervals, overlaps, the group's collective silhouette: how coulisses are learned.

Tree studies, from the 'late sketchbook' (Nationalmuseum): the lifelong subject in the last hand — crowns and branchings, still being asked their structure in the final years.

Two pollarded branches (Nationalmuseum): lopped limbs studied for their knuckled geometry — the countryside's pruning, drawn like anatomy.

Two warriors in half-figure with a third head, from the 'late sketchbook' (Nationalmuseum): the epic supporting cast auditioned — helmeted heads for Latium's wars.

Two studies of horses' or mules' heads with a distant landscape (Nationalmuseum): pack-animal portraits sharing a page with a horizon — the expedition's own transport, drawn at the halt.

A valley with trees (Nationalmuseum): the master-subject plain — one valley, its screens and light, in the wash shorthand of a lifetime's practice.

View of the Tiber valley (Nationalmuseum): the great sketching-ground itself — the river's plain from a height, the œuvre's raw material in one prospect.

View of the Tiber valley, formerly in the 'late sketchbook' (Nationalmuseum): the same country from the last notebook — the old man still walking, in line at least, the valley he had drawn for sixty years; the Stockholm sketchbook holdings, of which this catalogue's sheets are the sample, preserve the working Claude entire.

Evening landscape with a dense group of trees (Bavarian State Painting Collections): catalogued by the museum itself as a copy after Claude — the German princely collections bought the manner eagerly, and their honest 'Kopie nach' labels document the seventeenth- and eighteenth-century copying industry the Liber Veritatis was invented to police.

River landscape (Bavarian State Painting Collections): a follower's river-scape ('Nachfolger'), the golden grammar at second hand — included as Wikidata records it, and instructive beside Munich's four autograph Claudes: the intervals, as the essay says, are what copyists cannot steal.

Landscape of Italian character (Bavarian State Painting Collections): the third of Munich's honest copies — an Italianate composition after Claude's type; the trio form a small museum of the imitation problem, hanging in the same city as the originals they shadow.

The Flight into Egypt (McLean Museum, Greenock): a nineteenth-century canvas in the Claude tradition — the family on the road under golden trees, painted two centuries after the model was set: catalogued here as the Wikidata record stands, and included as a specimen of the vast posthumous industry of 'Claudes' the essay's forgery chapter describes.