[42] If you like to have it with perfect exactitude, recollect that Bellini died at true ninety,—Tintoret at eighty-two; that Bellini's death was four years before Raphael's, and that Tintoret was born four years before Bellini's death.
[43] Julian, rather. See Mr. Tyrwhitt's notice of the lately discovered error, in his Lectures on Christian Art.
[44] From the invaluable series of documents relating to Titian and his times, extricated by Mr. Rawdon Brown from the archives of Venice, and arranged and translated by him.
[45] Fondaco de Tedeschi. I saw the last wrecks of Giorgione's frescoes on the outside of it in 1845.
[46] I beg that this statement may be observed with attention. It is of great importance, as in opposition to the views usually held respecting the grave schools of painting.
[47] The upper photograph in S. 50 is, however, not taken from the great Paradise, which is in too dark a position to be photographed, but from a study of it existing in a private gallery, and every way inferior. I have vainly tried to photograph portions of the picture itself.
[48] He had, indeed, other and more solemn thoughts of the Night than Correggio; and these he tried to express by distorting form, and making her partly Medusa-like. In this lecture, as above stated, I am only dwelling on points hitherto unnoticed of dangerous evil in the too much admired master.
[49] Tintoret dissected, and used clay models, in the true academical manner, and produced academical results thereby; but all his fine work is done from life, like that of the Greeks.