FOOTNOTES:
Note 1:[ (return) ] It is in their unconsciousness and earnestness that a parallel is drawn between the first Italian painters and the Elizabethean poets. In other respects the comparison may be reversed, for the early Italian painters, from their restriction to religious painting, with even that treated according to tradition, were as destitute of the breadth of scope and fancy attained by their successors, as the Elizabethean poets were distinguished by the exuberant freedom which failed in the more formal scholars of Anne's reign.
Note 2:[ (return) ] Kugler's Handbook of Art.
Note 3:[ (return) ] While writing of goldsmiths that became painters, I may say a word of a goldsmith who, without quitting his trade, was an unrivalled artist in his line. I mean Benvenuto Cellini, 1500—1571, a man of violent passions and little principle, who led a wild troubled life, of which he has left an account as shameless as his character, in an autobiography. Cellini was the most distinguished worker in gold and silver of his day, and his richly chased dishes, goblets, and salt cellars, are still in great repute.
Note 4:[ (return) ] Kugler's Hand-book of Painting.
Note 5:[ (return) ] Kugler's Hand-book of Painting.
Note 6:[ (return) ] See note, page 422.
Note 7:[ (return) ] Mrs Roscoe's Life of Vittoria Colonna
Note 8:[ (return) ] Michael Angelo's will was very simple. 'I bequeath my soul to God, my body to the earth, and my possessions to my nearest relations.'
Note 9:[ (return) ] Lady Eastlake, History of Our Lord.
Note 10:[ (return) ] Hare, Walks in Rome.
Note 11:[ (return) ] Lanzi, in Hare's Walks in Rome.
Note 12:[ (return) ] Rio. Poetry of Christian Art, in Hare's Walks in Rome.
Note 13:[ (return) ] Mrs Jameson.
Note 14:[ (return) ] Dean Alford.
Note 15:[ (return) ] Imperial Biographical Dictionary.
Note 16:[ (return) ] Titian's age is variously given; some authorities make it ninety-nine years, placing the date of his death in 1570 or 7.
Note 17:[ (return) ] Kugler.
Note 18:[ (return) ] The term originated in the French expression, 'du genre bas.'
Note 19:[ (return) ] He had a peculiar fondness for blue and bronze hues.
Note 20:[ (return) ] It is due to Tintoret to say, that there are modern critics, who look below the surface, and are at this date deeply enamoured of his pictures. Tintoret's name now stands very high in art.
Note 21:[ (return) ] Mrs Jameson.
Note 22:[ (return) ] Guido said of Rubens: 'Does this painter mix blood with his colours?'
Note 23:[ (return) ] Life of Rubens.
Note 24:[ (return) ] If I mistake not, this is the same Countess of Arundel who, in her widowhood, resided in Italy in order to be near her young sons then at Padua. Having provoked the suspicion of the Doge and Council of Venice, she was arrested by them on a charge of treason, and brought before the tribunal, where she successfully pled her own cause, and obtained her release, the only woman who ever braved triumphantly the terrible 'ten.'
Note 25:[ (return) ] Here is the description of a very different Rembrandt which appears in this year's Exhibition of the Works by Old Masters: 'There is no portrait here which equals Rembrandt's picture, from Windsor, "A Lady Opening a Casement;" a not particularly appropriate name, because the picture represents no such action. The lady is simply looking from an open window, her left hand raised and resting at the side of the opening. We believe there is nothing left to tell who this lady was, with the grave, sad eyes, and lips that seem to quiver with a trouble hardly yet assuaged by time. She wears a lace coif, and broad rich lace collar, almost a tippet, for it falls below her shoulders, together with lace cuffs. A triple band of large pearls goes about her neck, and she has similar ornaments round each wrist. She wears a mourning robe and black jewellery.... This picture, which resembles in most of its qualities a pair, of somewhat larger size, which were here last year, and also came from the Royal collection, is signed and dated "Rembrandt, F. 1671." It is, therefore, a late work of his. What wonderful harmony is here, of light, of colour, of tone. How nearly perfect is the keeping of the whole picture; as a whole, and also in respect of part to part. Could anything be truer than the breadth of the chiaroscuro? Notice how beautifully, and with what subtle gradations, the light reflected from her white collar strikes on her slightly faded cheek; how tenderly it seems to play among the soft tangles of the hair that time has thinned.'—Athenæum.
Note 26:[ (return) ] He had been called the Titian of flower and fruit painters. He preferred fruit for his subject. His works are not common in England. His masterpiece, 'The Chalice of the Sacrament,' crowned with a stately wreath, and sheaves of corn and bunches of grapes among the flowers, is at Vienna.
Note 27:[ (return) ] Sir W. Stirling Maxwell.
Note 28:[ (return) ] Sir W. Stirling Maxwell.
Note 29:[ (return) ] Hare, Wanderings in Spain.
Note 30:[ (return) ] Hare's Wanderings in Spain.
Note 31:[ (return) ] The spelling is an English corruption of the French Claud.
Note 32:[ (return) ] Poussin had a villa near Ponte Molle, and the road by which he used to go to it is still called in Rome 'Poussin's walk.'
Note 33:[ (return) ] Claude's summer villa is still pointed out near Rome.
Note 34:[ (return) ] Imperial Biographical Dictionary.
Note 35:[ (return) ] Madame Le Brun, whose maiden name was Vigée, born 1755, died 1842, was an excellent portrait painter.
Note 36:[ (return) ] Wornum.
Note 37:[ (return) ] Wornum.
Note 38:[ (return) ] Supposed to be a niece of Sir Thomas More's.
Note 39:[ (return) ] Rev. J. Lewis, 1731.
Note 40:[ (return) ] Wornum.
Note 41:[ (return) ] A still more famous picture by Holbein is that called 'The Two Ambassadors,' and believed to represent Sir Thomas Wyatt and his secretary.
Note 42:[ (return) ] Walpole.
Note 43:[ (return) ] Walpole.
Note 44:[ (return) ] Dwarfs figured at Charles's court, as at the court of Philip IV. of Spain.
Note 45:[ (return) ] The notion that Van Dyck sacrificed truth to grace is absolutely contradicted by certain critics, who bring forward as a proof of their contradiction what they consider the 'over-true' picture of the Queen Henrietta Maria, shown at the last exhibition of the works of Old Masters. The picture seems hardly to warrant the strong opinion of the critics.
Note 46:[ (return) ] Walpole.
Note 47:[ (return) ] Walpole.
Note 48:[ (return) ] Lady Eastlake and Dr. Waagen's works on Italian, Flemish, and Dutch Art, modelled on Kugler.
Note 49:[ (return) ] A lunette is a small picture, generally semicircular, surmounting the main picture in an altar-piece.
Note 50:[ (return) ] The Dutch still more than the Italian artists belonged largely to families of artists bearing the same surnames.
Note 51:[ (return) ] A picture with one door of two panels is called a diptych, with two doors of three panels a triptych, with many doors and panels a polyptych.
Note 52:[ (return) ] Fairholt's 'Homes and Haunts of Foreign Artists.'
Note 53:[ (return) ] Alchemists, like hermits, still existed in the seventeenth century.
Note 54:[ (return) ] Bartholomew Van der Helst, 1613-1670, was another great Dutch portrait painter. His portrait pieces with many figures are famous. An 'Archery Festival,' commemorating the Peace of Westphalia, includes twenty-four figures full of individuality and finely drawn and coloured. One of his best works is 'In the Workhouse,' at Amsterdam. Two women and two men are conversing together in the foreground. There is a man with a book, and a preacher delivering a sermon in the background.
Note 55:[ (return) ] It may be that Ruysdael's straggling life was reflected in his lowering skies and stormy seas.
Note 56:[ (return) ] Other eminent painters, such as Van de Velde, Wouvermans, and Berchem often supplied cattle and figures to Hobbema's landscapes.
Note 57:[ (return) ] Was the apparently greater success of these partly denaturalised Dutch landscape painters, as contrasted with the adversity of Ruysdael and Ttobbema, due to the classic mania?
Note 58:[ (return) ] Peter Gysels was another painter of 'still life.' His butterflies are said to have been rendered with 'exquisite finish.'
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