[1]. We like this picture of a Concert the best of the three by Titian in the same room. The other two are a Ganymede, and a Venus and Adonis; the last does not appear to us from the hand of Titian.
[2]. The Reader, if he pleases, may turn to an Essay on this subject in the Round Table.
[3]. Two thirds of the principal pictures in the Orleans Collection are at present at Cleveland-House, one third purchased by the Marquis of Stafford, and another third left by the Duke of Bridgewater, another of the purchasers Mr. Brian had the remaining third.
[4]. ‘Aut Erasmus aut Diabolus.’ Sir Thomas More’s exclamation on meeting with the philosopher of Rotterdam.
[5]. The late Mr. Curran described John Kemble’s eye in these words.
[6]. It is said in the catalogue to be painted on touch-stone.
[7]. Written in February, 1823.
[8]. We heard it well said the other day, that ‘Rubens’s pictures were the palette of Titian.’
[9]. This is not absolutely true. Mr. Banks the younger, and another young gentleman, formed an exception to this rule, and contrived to get into the Abbey-grounds, in spite of warning, just as the recluse proprietor happened to be passing by the spot. Instead, however, of manifesting any displeasure, he gave them a most polite reception, shewed them whatever they expressed a wish to see, asked them to dinner, and after passing the day in the greatest conviviality, dismissed them by saying, ‘That they might get out as they got in.’ This was certainly a good jest. Our youthful adventurers on forbidden ground, in the midst of their festive security, might have expected some such shrewd turn from the antithetical genius of the author of Vathek, who makes his hero, in a paroxysm of impatience, call out for ‘the Koran and sugar!’