[1] See notes on Titian in Vasari’s Lives of the Painters, edited by E. H. and E. W. Blashfield and A. A. Hopkins.
[2] Notes on Titian in Vasari’s Lives of the Painters, by E. H. and E. W. Blashfield and A. A. Hopkins.
[3] Claude Phillips.
[4] Compiled from the Index to Titian: 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’s Legends of the Madonna, p. 197.
[8] For instance, Lavinia, Flora, and the Man 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 in The 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’s Sacred and Legendary Art contains 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’s Sacred and Legendary Art, page 433, and in H. E. Scudder’s Book 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.
[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’s Tanglewood Tales and Kingsley’s Greek Heroes.
[18] See the volume on Greek Sculpture in the Riverside Art Series, chap. xiii.
[19] In our reproduction a small portion of the landscape is cut off at each end.
[20] From Gareth and Lynette.
[21] From Guinevere.
[22] This analysis of Mary’s character is suggested in the Introduction to Mrs. Jameson’s Legends of the Madonna, p. 28.
[23] See the volume on Murillo in the Riverside Art Series, Chapter I.
[24] See The Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.
[25] Mrs. Jameson in Sacred and Legendary Art, page 74.
[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] See Elements of Drawing, Lecture III.
[30] Luke, chapter iii., verse 6.
[31] Luke, chapter iii., verses 21, 22.
[32] John, chapter i., verses 29-30.