[1]See notes on Titian in Vasari’sLives of the Painters, edited by E. H. and E. W. Blashfield and A. A. Hopkins.[2]Notes on Titian in Vasari’sLives of the Painters, by E. H. and E. W. Blashfield and A. A. Hopkins.[3]Claude Phillips.[4]Compiled from the Index toTitian: His Life and Times, by Crowe and Cavalcaselle.[5]As the various so-called portraits of Vesalius are said to have little in common upon which to base a resemblance, one is almost tempted to set up a theory that this portrait may be that of the great anatomist.[6]1 Samuel, chapter i., verses 11, 24-28.[7]The Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics, vol. v., pp. 101, 102). The story is retold in Mrs. Jameson’sLegends of the Madonna, p. 197.[8]For instance,Lavinia,Flora, and theMan with the Glove.[9]See the Acts of the Apostles, chapters vi. and vii.[10]The lives of St. Jerome and St. George are related in detail inThe Golden Legend. See Caxton’s translation edited by F. S. Ellis (Temple Classics), vol. v., pages 199-208, for St. Jerome, vol. iii., pages 125-134, for St. George. Mrs. Jameson’sSacred and Legendary Artcontains condensed accounts of the same two saints. See page 280 for St. Jerome and page 391 for St. George.[11]See the story as related in Mrs. Jameson’sSacred and Legendary Art, page 433, and in H. E. Scudder’sBook of Legends.[12]Claude Phillips.[13]Matthew, chapter xxii., verses 34-40.[14]Others are the Venus of the Uffizi Gallery, Florence, and the Girl in the Fur Cloak in the Belvedere, Vienna.[15]Seepage 15.[16]In the later Venetian art, as in the pictures by Veronese, we see more elaborate costumes.[17]See Book VII. in Henry King’s translation, from which the quotations here are drawn. The same story is delightfully modernized in Hawthorne’sTanglewood Talesand Kingsley’sGreek Heroes.[18]See the volume onGreek Sculpturein the Riverside Art Series, chap. xiii.[19]In our reproduction a small portion of the landscape is cut off at each end.[20]FromGareth and Lynette.[21]FromGuinevere.[22]This analysis of Mary’s character is suggested in the Introduction to Mrs. Jameson’sLegends of the Madonna, p. 28.[23]See the volume onMurilloin the Riverside Art Series, Chapter I.[24]SeeThe Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.[25]Mrs. Jameson inSacred and Legendary Art, page 74.[26]Seepage 57.[27]This feature of the picture is pointed out by John Van Dyke in his notes on Closson’s engraving of the subject.[28]It should be remembered that a portion of Elizabeth’s reign (1538-1603) fell within Titian’s lifetime.[29]SeeElements of Drawing, Lecture III.[30]Luke, chapter iii., verse 6.[31]Luke, chapter iii., verses 21, 22.[32]John, chapter i., verses 29-30.
[1]See notes on Titian in Vasari’sLives of the Painters, edited by E. H. and E. W. Blashfield and A. A. Hopkins.
[2]Notes on Titian in Vasari’sLives of the Painters, by E. H. and E. W. Blashfield and A. A. Hopkins.
[3]Claude Phillips.
[4]Compiled from the Index toTitian: His Life and Times, by Crowe and Cavalcaselle.
[5]As the various so-called portraits of Vesalius are said to have little in common upon which to base a resemblance, one is almost tempted to set up a theory that this portrait may be that of the great anatomist.
[6]1 Samuel, chapter i., verses 11, 24-28.
[7]The Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics, vol. v., pp. 101, 102). The story is retold in Mrs. Jameson’sLegends of the Madonna, p. 197.
[8]For instance,Lavinia,Flora, and theMan with the Glove.
[9]See the Acts of the Apostles, chapters vi. and vii.
[10]The lives of St. Jerome and St. George are related in detail inThe Golden Legend. See Caxton’s translation edited by F. S. Ellis (Temple Classics), vol. v., pages 199-208, for St. Jerome, vol. iii., pages 125-134, for St. George. Mrs. Jameson’sSacred and Legendary Artcontains condensed accounts of the same two saints. See page 280 for St. Jerome and page 391 for St. George.
[11]See the story as related in Mrs. Jameson’sSacred and Legendary Art, page 433, and in H. E. Scudder’sBook of Legends.
[12]Claude Phillips.
[13]Matthew, chapter xxii., verses 34-40.
[14]Others are the Venus of the Uffizi Gallery, Florence, and the Girl in the Fur Cloak in the Belvedere, Vienna.
[15]Seepage 15.
[16]In the later Venetian art, as in the pictures by Veronese, we see more elaborate costumes.
[17]See Book VII. in Henry King’s translation, from which the quotations here are drawn. The same story is delightfully modernized in Hawthorne’sTanglewood Talesand Kingsley’sGreek Heroes.
[18]See the volume onGreek Sculpturein the Riverside Art Series, chap. xiii.
[19]In our reproduction a small portion of the landscape is cut off at each end.
[20]FromGareth and Lynette.
[21]FromGuinevere.
[22]This analysis of Mary’s character is suggested in the Introduction to Mrs. Jameson’sLegends of the Madonna, p. 28.
[23]See the volume onMurilloin the Riverside Art Series, Chapter I.
[24]SeeThe Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.
[25]Mrs. Jameson inSacred and Legendary Art, page 74.
[26]Seepage 57.
[27]This feature of the picture is pointed out by John Van Dyke in his notes on Closson’s engraving of the subject.
[28]It should be remembered that a portion of Elizabeth’s reign (1538-1603) fell within Titian’s lifetime.
[29]SeeElements of Drawing, Lecture III.
[30]Luke, chapter iii., verse 6.
[31]Luke, chapter iii., verses 21, 22.
[32]John, chapter i., verses 29-30.