[107] Carteggio d'Artisti, II., p. 1.
[108] Carteggio d'Artisti, II., p. 33.
[109] Ibid., III., p. 352.
[110] Stirling's Annals of the Artists of Spain, p. 848.
[111] Roscoe, who wrote without an opportunity of seeing these paintings, describes this Pope as kneeling in his pontificals before the Madonna, in whom is portrayed his mistress, Julia Farnese. In this palpable blunder he has been followed by Rio and others. It would be curious to discover on what authority Gordon, in his life of Borgia, states that a likeness of La Vanosia, another of his mistresses, hung for Madonna-worship in the church of the Popolo at Rome. The circumstance coming from such a quarter is questionable; at all events, it is no longer true. Alexander kneels before the Risen, not the Ascending Christ. *Roscoe followed Vasari.
[*112] For instance, in the work of Botticelli, I suppose, or Verrocchio, or Mantegna?
[113] Gaye, Carteggio, II., 500.
[*114] Can this be an allusion to S. Francesco of Assisi?
[115] Our reference to this quotation (made long ago) has been mislaid, but it appears perfectly consistent with Hogarth's habitual train of ideas, and quaint rendering of them. See Ireland's Hogarth Illustrated, I., p. lxix.; II., p. 194, 195; III., p. 226-40. Nichol's Anecdotes of Hogarth, p. 137. In his plate of Enthusiasm Delineated, he has actually appended a pair of duck's legs to a cherub.
[116] Art Union, January and April, 1847. We have read with regret, in a periodical justly entitled to great weight, criticisms so at variance with its wonted candour and good sense.