[7]: I learn from the learned that the Florence and Louvre Madonnas, with the roses, are not Botticelli's; but Botticelli, I am sure, would not have been offended by those lovely bushes being attributed to him.
[8]: This quality, particularly in the Adoration of the Magi, is already very marked in the very charming and little known frescoes of Ottaviano Nelli, in the former Trinci Palace at Foligno. Nelli was the master of Gentile, and through him greatly influenced Venice.
[9]: I believe now unanimously given to Pinturicchio.
[10]: Alas! no longer among the living, though among those whose spiritual part will never die. Walter Pater died July 1894: a man whose sense of loveliness and dignity made him, in mature life, as learned in moral beauty as he had been in visible.
[11]: And the circular so-called Botticelli (now given, I believe, to San Gallo) in the National Gallery.
[12]: How peccable is the individual imagination, unchastened by tradition! I find among the illustrations of Mr. Berenson's very valuable monograph on Lotto, a most curious instance in point. This psychological, earnest painter has been betrayed, by his morbid nervousness of temper, into making the starting of a cat into the second most important incident in his Annunciation.
[13]: I am confirmed in these particulars by my friend Miss Eugenie Sellers, whose studies of the ancient authorities on art—Lucian, Pausanias, Pliny, and others, will be the more fruitful that they are associated with knowledge—uncommon in archæologists—of more modern artistic processes.
[14]: This becomes overwhelmingly obvious on reading Professor Furtwängler's great "Masterpieces of Greek Sculpture." Praxiteles appears to have been exceptional in his preference for marble.
[15]: Interesting details in Vasari's treatise, and in his Lives of J. della Quercia, Ferrucci, and other sculptors.
[16]: At all events, Greek painting preceding or contemporaneous with the great period of sculpture. Later painting was, of course, much more pictorial.