[67]. The ivory statue changed into a woman, which Ovid describes, Metamorphoses, bk. x. fab. viii. 12–16, is a description of kindred excellence to that of Shakespeare:
“Sæpe manus operi tentantes admovet, an sit
Corpus, an illud ebur: nec ebur tamen esse fatetur.
Oscula dat, reddique putat; loquiturque, tenetque;
Et credit tactis digitos insidere membris:
Et metuit, pressos veniat ne livor in artus.”
[68]. “Julio was an artist of vigorous, lively, active, fearless spirit, gifted with a lightness of hand which knew how to impart life and being to the bold and restless images of his fancy.” The same volume, pp. 641–5, continues the account of Romano.
[69]. “An important one,” says Kugler, “at Lord Northwick’s, in London.”
[70]. Two of Titian’s large paintings, now in the Bridgewater Gallery, represent “Diana and her Nymphs bathing.” (See Kugler, vol. ii. p. 44.)
[71]. See Drake’s Shakspeare and his Times, vol. ii. p. 119.