Chapter VII: English, Eighteenth Century 329–428 (13)

Age of Innocence (Reynolds), 340

Agnolo Gaddi, 18

_Agony in the Garden_ (Raphael), 90

Akermann’s Repository, 424

Albert, Charles d’, 178

Albertinelli, Mariotto, 24

Albigenses, 262

Albizzi family, 68

Allegri, Antonio, 93, 99

Alphonso, Duke of Ferrara, 99

Altichiero Altichieri, 93, 98, 103, 104

Ambassadors, The (Holbein), 250

“Anacreon of Painting,” The, 277

Anatomy Lesson, The (Rembrandt), 206

Analysis of Beauty, Hogarth’s, 337

Ancre, Marshall d’, 178

André, Major John, 398

Andrea d’Agnolo, 24

Andrea del Castagno, 19

Andrea del Sarto, 24

Andrea di Cione (Orcagna), 18

Andrea di Cione (Verrocchio), 23

Andrea di Firenze, 18

“Andrea senza errori,” 24

Anemone, 174

Angelo Allori, 24

Angels, Fra Angelico’s, 32–34, 38

Angels’ Heads (Reynolds), 338, 340

Anglo-Norman painters, 333

Anne of Austria, 176, 178, 194

_Anne, Lady de la Pole_ (Romney), 410

Annunciation, The, 28, 30

_Annunciation, The_ (Masolino), 28

Annunciation, Lily, 30

Annunzio, D’, quoted, 121

Antonello da Messina, 117, 124, 132

Antonello di Giovanni degli Antoni, 124

Antonio di San Gallo, 24

Antonio Veneziano, 18, 19

Antwerp School, 164, 166

Apple, 126

Arlequin, 281

Armand-Dayot, quoted, 302

Armida, 181

Armida, Garden of, 181

Armstrong, Sir Walter, quoted, 286, 340, 341, 385, 388, 406

Army Plot, 194

Arne, Dr., 331

Arnolfo del Cambio, 28

Arte de Medici e speziale, 17

Asolo, 144

Astrophel and Stella, 187–188

Audran, Claude, 284

Augsburg, 236

Baccio della Porta, 24

Bach, John Christian, 361

Balen, Hendrik van, 164, 165, 181

Baldovinetti, Alesso, 22, 23, 37, 48–51, 52, 70

Baptistery doors, 18, 20, 52

Barbizon School, 201

Barry, Madame du, 312

Bartolo di Fredi, 3

Basaiti Marco, 118

Bassano, Jacopo, 118

Bastiani, Lazzaro, 118

Bath, 348, 358, 361, 390, 422

Battle of the Nile, 408

Beatrice d’Este, 96, 107, 148, 150

Beauvais tapestry, 306

Beechey, Sir William, 337

Bellini, Gentile, 98, 116, 117, 118, 119, 132

Bellini, Giovanni, 98, 116, 117, 118, 119, 121, 124, 130–139, 151

Bellini, Jacopo, 8, 98, 116, 117

Bellini, Nicolosia, 97, 98

Bembo, Pietro (Cardinal), 144

Benci, Jacopo d’Antonio, 52

Benvenuto di Giovanni, 3, 12–16

Berenson, quoted, 8, 12, 36, 52, 62–63, 77, 83–84, 99, 103, 106,
122

Bermudas, Plantation of the, 190

Bernard di Betto, 74

Bernardo da Canale, 122

Berruguete, Pedro, 257

Birds, Painters of, Dutch, 203

Birds, Painters of, Italian, 19

_Billet-Doux, Le_ (Fragonard), 318

Birth of Venus (Botticelli), 59, 61, 66

Black Friars, 262

Blanc, Charles, quoted, 166, 182

Blount, Charles, Earl of Devonshire, 188

_Blue Boy, The_ (Gainsborough), 378–386

Boccatis, Camillo, 78, 172

Bode, Dr. Wilhelm, quoted, 207–208, 212, 228

Bodegones, 258

Bologna School, 98

Bonfigli, Benedetto, 74, 77–78

Bonvicino, Alessandro, 98

Bordone, Paris, 121

Borgia, Lucrezia, 99, 151

Borgognone, 110

Borgo San Sepolcro, 5, 9, 10, 22

Borluut, Isabella, 157

Bosch, Jerome, 164

Botticelli, Sandro, 21, 23, 47, 48, 55–66, 82, 94, 334

Boucher, François, 272, 304, 312, 316

Boulton, William H., quoted, 366

Boy with a Rabbit (Raeburn), 411, 416

Bramante di Milano, 93

Bramantino, 93

Brancacci Chapel, 19, 31, 45, 46, 48

Brancacci, Felice, 19, 31

Brancacci frescoes, 19, 31

Brandt, Isabella, 178

Bredius, Dr., quoted, 217–218

Brescia School, 98

Bronzino, 24

Brooke, Lord, 190

Brown, Dr. John, quoted, 412

Browning, Elizabeth Barrett, 428

Brueghel, “Hell-fire,” 165

Brueghel, “Peasant,” 164

Brueghel, “Velvet,” 165

Bruges, School of, 157, 161, 170

Brunelleschi, 103

Buisson, J., quoted, 120

Buckingham, Duke of, 192, 195, 196

Bull, The (Paul Potter), 201

Bunbury, Charles John, 419

Bunbury, Henry William, 419

Burger, quoted, 201, 203, 227

Burgundian Court, 158–160, 257

Burgundy, Dukes of, 334

Burnet, John, 382

Burney, Fanny, quoted, 344, 419

Buttall, Jonathan, 378–386

Byron, quoted, 348

Byzantine traditions, 3, 115

Cadore, 137–142

Cadore, Valley of, 146

Caliari, Paolo, 99, 120

Calonne, 252, 354

Campanile (Giotto’s), 26

Campbell, Thomas, 350

Campin, Robert, 162, 169

Canaletto, 121, 152

Caprichos, Los (Goya), 170

“Captain in Lace,” 418

Caravaggio, 258

_Cardinal Albrecht as St. Hieronymus_ (Cranach), 251

Cardinal Bembo, 144

Cardinal Granvella, 201, 257

_Cardinal Quiroga_ (El Greco), 259

_Camargo, La_ (Lancret), 291–292

Carnations, 25

Carpaccio, Vittore, 118

Cartwright, Mrs. Julia, quoted, 26, 39, 47–48, 69, 95, 150

Castiglione, Baldassare, 90

_Caterina Cornaro_ (Titian), 143

Caxton, William, 334

Cazes, Pierre Jacques, 302

Cenni dei Pepe, 17

Cennino Cennini, 18, 26

Champaigne, Philippe de, 278

“Chaponnay Nattier,” 288

Chardin, J. B. S., 277, 300–303, 316, 318

Charles I (England), 164, 179, 182, 190, 192, 194, 195

Charles II (England), 194, 195

Charles V (Emperor), 161, 240, 243, 257

Charles the Bold, 160, 161, 257

Château de Steen, 179

Cherries, 126

Chinoiserie, 276, 284

Christian Art, 3

Christina of Denmark, 243

Christus, Petrus, 162, 169–172

Cimabue, 17, 26

Cima da Conegliano, 118

Civic Guard Banquet (B. van der Helst), 200

Classic Architecture, 18, 31

Clement VIII, 56

Cleves, Anne of, 243

“Cock-fighting Earl,” 400

Coeck, Jerome, 164

Coello, Alonzo Sanchez, 258

Coleridge, quoted, 377

Colonel St. Leger (Gainsborough), 388

Columbine, 281, 284

Columbine, The (Luine), 110

Comédiens français, 284

Compagnia di San Luca, 18

Company of Capt. Roelof Bicker (B. van der Helst), 200

Connecticut, 190

Constable, John, 337

Convent of San Marco (Florence), 37, 38

Conversation-pieces, 199, 202

Cook, Herbert F., quoted, 140

Cooper, Samuel, 334

Copal, François, 207–210

Copal, Titia, 210

Coques, Gonzales, 166

Coronation of the Virgin (Lippi), 46

Corporation pictures, 201

Corésus and Callirhoé (Fragonard), 314, 316

Cornaro, Caterina, 121, 143–145, 146

Cornaro, Giorgio, 144, 146

Correggio, 93, 99, 119

“Correggio of Fruits and Flowers,” 203

Cosimas and Damianus, 39–42

Costa, Lorenzo, 93, 98, 99, 108

Costumes, Eastern, 20

Cotes, Francis, 337, 395

_Cottage Door, The_ (Gainsborough), 357

Council of the Eastern and Western Churches, 20

Countess of Coventry, 369

Couperin, 331

Court Beauties (Kneller), 336

Court Beauties (Lely), 336

Court of Mantua, 107

Court of Milan, 94–95, 151

_Cowper Madonna, The Small_ (Raphael), 86–88

Cowper Madonna of 1508 (Raphael), 84–86

Coypel, Noel, 302

Cranach, the Elder, Lucas, 251–252

Cranach, the Younger, Lucas, 236

Crivelli, Carlo, 98, 117, 125–130

Crome, John, 337

Cromwell, Oliver, 190, 334, 335

Crowe and Cavalcaselle, quoted, 138

Cust, Lionel, quoted, 138

Cuyp, Aelbert, 201

Daddi, Bernardo, 17, 18, 73

Dædalus, 184–186

_Dædalus and Icarus_ (Van Dyck), 184

Daisy, 174

_Danse, La_ (Watteau), 281

Dante, 3, 32

Davenport, The Hon. Mrs., 397–398

David Garrick and His Wife (Hogarth), 336

David, Gerard, 164

David, Jacques Louis, 270

Delany, Mrs., quoted, 376

Delmé, Lady Betty, 337

Derby, Earl of, 400, 420–422

Desastres de la guerra, 270

Deserted Village, The, 418

Desportes, A. F., 277

Desportes, Philippe, quoted, 186

_Deux Confidentes, Les_ (Boucher), 304

Devereux, Penelope, 187

Devereux, Walter, 187

_Diana, Viscountess Crosbie_ (Reynolds), 331, 337, 340, 346–347,
356

Diderot, quoted, 276, 303

_Dirk Berck of Cologne_ (Holbein), 246

Discourses on Art (Reynolds), 338

Doelen pictures, 199, 222

Doge Loredano (Giovanni Bellini), 132

Dom-bild, Cologne, 235

Domenichino, 138

Domenic de Guzman, 262

Domenico di Bartolo, 3

Domenico Veneziano, 22

Dominican Order, 262

Donatello, 18, 103, 106

Dosso Dossi, 99, 137

Dou, Gerard, 202

Drouais, F. H., 276, 310–314

Duccio di Buoninsegna, 3, 4, 5, 9, 17

Duchess of Argyll, 400

Duchess of Devonshire, 331, 356, 358, 361, 371

Duchess of Ferrara, 107

Duchess of Gloucester, 366

Duchess of Marlborough, 375

Duke of Gloucester, 369

Duke of Mantua, 178

Dulwich, Mrs. Siddons as Tragic Muse at, 353–356

_Duo, The_ (Lancret), 294

Duomo, 26

Dürer, Albrecht, 137, 200, 235, 236, 237–238

Dürer, etchings by, 238

Dürer, portraits by, 237

Dürer, wood-cuts by, 238

“Dutch Hogarth,” The, 203

Dutch School, 165

Duveen, Sir Joseph, 378

Dyck, Sir Anthony Van, 112, 164, 181–196, 300, 335

Edward VI (England), 240

Eighteenth Century French women, 288

Eighteenth Century Society, 229–231

El Greco, 258, 259–262

_Eliza Farren_ (Sir Thomas Lawrence), 420

Elizabeth Bas (Rembrandt), 212

Elizabeth Hamilton, Countess of Derby, 398–402

Embarquement pour l’Île de Cythère (Watteau), 281, 314

_Emma, Lady Hamilton_ (Romney), 403–410, 423

Erasmus, 242

Erasmus, quoted, 244

Ercole of Ferrara, Duke, 150

Essex, Earl of, 187, 190

Este family, 181

Este, Lionello, 168

Evangelista di Pian di Meleto, 89

Everdingen, Allart Van, 217–218

Everdingen, Cornelius Van, 217–218

Eyck, Hubert van, 157, 160, 200

Eyck, Jan van, 157, 158, 160, 170, 200, 286

Fabrics, Oriental, 10

Fabritius, Carel, 202, 227, 231

Fantin-Latour, 303

Farington Diary, quoted, 340–341, 344, 352, 380, 414, 420, 421

Farren, Miss, 400, 420–422

“Father of His Country, The,” 20

“Father of Painters,” 97

Faure, Élie, quoted, 262, 282, 302

_Feast of the Gods_ (Bellini), 137

Feast of the Pheasant, 159–160

Feast of the Rosary (Dürer), 238

Featherstonehaugh, Sir Henry, 406

Ferrarese School, 98

_Fête Champêtre, Une_ (Pater), 296

_Fête Galante, Une_ (Pater), 298

Fêtes galantes, 276, 284, 292

Fierens-Gevaert, quoted, 169

Filipepi, Alessandro di Mariano, 56

Fiorenzo di Lorenzo, 74

Fischer, John Christian, 361

Fisherman Presenting the Ring of St. Mark to the Doge (Paris
Bordone), 121

“Flemish Fra Angelico,” The, 174

Flemish Painting, 161, 162

Flemish School, 157

Floating Feather, The (M. d’Hondecoeter), 203

Floreins, Jan, 174

Florentine School, 17–72

Flower painters, 203

Flowers (Memling), 174

Fly represented, 128, 169

Fondaco dei Tedeschi, 118, 119, 152, 238

Fontainebleau, 24

Foppa, Vincenzo, 93

Fourment, Helena, 179

_Fountain in the Park, The_ (Hubert Robert), 322

Fox, Charles James, 342, 377

Fra Angelico, 19, 20, 32–42, 50, 76, 78, 103, 334

Fra Bartolommeo, 24, 89

Fra Filippo Lippi, 20, 22, 23, 42–48, 58, 334

Fra Giovanni da Fiesole, 19, 37

Fragonard, J. H., 272, 314–320

Francesco di Stefano, 22

_Francesco Sassetti and His Son Teodoro_ (Ghirlandaio), 72

Francia, Francesco, 93, 98, 99, 107–108

Franciabigio, 24

Francis I, 24

Franciscans, Order of, 6

Franconian School, 236

Frans, Robert, 235

Frantz, Henri, quoted, 324

Frederick the Great, 291, 296

French women of the Eighteenth Century, 288

Friars Minor, Order of, 6

Friedländer, Max J., quoted, 168, 176, 228

Fromentin, quoted, 207

Fruit, 126

Fry, Roger, quoted, 128

Fuggers, The, 236

Fulcher, quoted, 386

Fuller, quoted, 196

Fuseli, quoted, 424

Fyt, Jan, 165

Gabriel, Angel, 28, 30, 32, 34

_Gabriel, the Announcing Angel_ (Fra Angelico), 32

Gainsborough, Thomas, 329, 330, 331, 332, 333, 337, 357–392, 394,
426

Gandy, William, 338

Garden Scenes, 320

Garrick, David, 348, 350, 361

“Gates of Paradise,” 52

Gautier, Théophile, quoted, 38, 229

_General Nicolas Guye_ (Goya), 270

_General Philip Honywood_ (Gainsborough), 386

Genre painting, Dutch, 201

Gentile da Fabriano, 10, 16, 20, 31, 73, 74–77, 98, 103, 104,
116, 117, 157, 168

_Georgiana, Duchess of Devonshire_ (Gainsborough), 372–378

_Georgiana, Duchess of Devonshire_ (Reynolds), 356

Gerardo, 19

Ghiberti, Lorenzo, 18, 20, 31, 52, 103

Ghirlandaio, Domenico, 23, 61, 66–72, 82, 164, 194

Ghirlandaio, Ridolfo, 70

Gillot, Claude, 281, 284, 292

_Giorgio Cornaro_ (Titian), 146

Giorgione, 99, 117, 118, 119, 121, 140, 142

Giotto di Bordone, 4, 6, 10, 17, 25–28, 74

Giotteschi, The, 18

Giovanna degli Albrizzi, 61, 68–69

_Giovanna Tornabuoni_ (Ghirlandaio), 66

Giovanni Antonio da Canale, 121

Giovanni da Milano, 18

Girolamo di Benvenuto, 3

Gisze, Georg, 247

_Giuliano de’ Medici_ (Botticelli), 55–61

Gli Asolani, 144

Gobelins, 306

Goes, Hugo van der, 163

Golden Fleece, Knights of the, 159

“Goldini of Painters, The,” 122

Goldsmith, Oliver, 418

Goldsmith, Oliver, verse by, 418–419

Goldsmiths, 18, 411

Goncourts, de, quoted, 284, 314

Gonzaga, Marchese Francesco, 103

Gonzaga, Vincenzo, 178

Gordon Riots, Lord George, 342

Gothic Art, 3, 4

Gothic Style, 179

Gower, Lord, quoted, 331, 341, 353, 380, 395, 423, 425

Gourd, 126

Goya y Lucientes, 258, 270–272, 302

Goyen, Jan van, 201

Gozzoli, Benozzo, 16, 20, 78

Graces Decorating a Terminal Figure of Hymen (Reynolds), 340

Graham, Dr., 404

Gravelot, Hubert, 358

Great Fire of London (1666), 182, 334

Great Seal of England, 334

Greco, El, 258, 259–262

Greuze, J. B., 277, 306–310, 314

Greville, the Hon. Charles Francis, 403

Grey, Lady Jane, 240

Grisebach, August, quoted, 394

Guardi, Francesco, 122, 152

Guido da Siena, 3

Guiffrey, Jean, quoted, 300

Guild of Doctors and Apothecaries, 17

Guild of St. Luke, 17–18, 19

Gunning, Elizabeth, 369, 400

Gunning, Maria, 369, 400

Gunnings, The, 366

Hals, Frans, 200, 202, 220–224

Hamilton, Sir William, 406

Hampden, John, 190, 194

Hanseatic League, 246

Harlot’s Progress, The (Hogarth), 336

Hart, Emma, 396, 403

_Harvest Waggon, The_ (Gainsborough), 389–390

Hautecœur, Louis, quoted, 316, 320

Hayman, Francis, 358

Heaton, Mrs., quoted, 238

Heem, Jan Davidsz de, 203

Heine, 235

Helst, B. van der, 200

Henri de la Pasture, 168

Henri IV (Navarre), 176, 191, 192

Henrietta, Duchesse d’Orléans, 194, 195

Henry VIII (England), 240, 243, 334

Herrera, Francisco the Elder, 258

Hervey, Lady, quoted, 376

Hilliard, Nicholas, 334

Hobbema, Meindert, 202

Hogarth, William, 236–237

Holbein, Hans the Elder, 236

Holbein, Hans the Younger, 235, 236, 240–250, 330, 334, 335

Holy Conversation, 130

_Hon. Mrs. Davenport, The_ (Romney), 397

Hon. Mrs. Graham, The (Gainsborough), 358

_Hon. Mrs. Grant of Kilgraston_ (Raeburn), 411

Hondecoeter, Melchior d’, 203

Honywood, General Philip, 386, 389

Hoogh, Pieter de, 202, 226–227

Hoppner, John, 333, 337, 361, 380, 381, 419, 423, 424, 426

Horneck, Catherine, 418, 419

Horneck, Charles, 418

Horneck, Mary, 416–419

Hudson, Jeffrey, 195–196, 335

Hudson, Thomas, 338

Hudibras, 336

Huet, J. B., 276

Humphrey, Osias, quoted, 363

Huysum, Jan van, 203

Ibn Batuta, 5

Icare, poem, 186

Icarus, 184–186

_Invocation à l’Amour, L’_ (Fragonard), 314

Iris, 174

Isabella d’Este, 107

Isabella of Mantua, 82

Italian Comedy, 281, 284

Italianate Flemings, 164

Jacobins, 262

Jacopo da Pontormo, 24

James I (England), 334, 335

Jardinière, La Belle (Raphael), 86, 89, 90

Jasmine, 25, 31

_Jean de Dinteville_ (Holbein), 350

Jermyn, Lord, 195

Jerusalem Delivered (Tasso), 181

_Jessamy Bride, The_ (Hoppner), 416–419

_John Walter Tempest_ (Romney), 392

Jordaens, Jacob, 165

Judith with Head of Holofernes (Mantegna), 107

Juno Ludovisi, 138

_Jupiter and Calisto_ (Poussin), 277

Justi, Carl, quoted, 266

Kauffman, Angelica, 408, 419

Kells, Book of, 333

Kemble, Charles, 348

Kemble, Fanny, 348

Kemble, John Philip, 348, 350

Kemble family, 348

Keppel, Admiral, 338, 342

Keppel, the Hon. Frederick, 368

Keppel riots, 342

Kit Kat Club, 336

Kitty Fisher (Reynolds), 340

Kneller Godfrey, 336

Knollys, Lettice, 187

_Labille-Guiard and Two Pupils, Madame_ (Labille-Guiard), 324–326

_Lace-Maker, The_ (Jan Vermeer), 228

_Lady Betty Delmé_ (Reynolds), 337

Lady Betty Hamilton (Reynolds), 402

Lady Cockburn and Her Children (Reynolds), 340, 351

Lady Derby, Eliza Farren (Lawrence), 420

_Lady Derby_, Elizabeth Hamilton (Romney), 333, 398–402

Lady Duncannon, 377

Lancret, Nicolas, 276, 291–296, 330

Landscape, first Italian, 39

Landscape painters, Dutch, 201

Last Supper (Leonardo da Vinci), 95

Laud, Archbishop, 190, 194

Laughing Cavalier (Frans Hals), 222

_Laughing Mandolin Player, The_ (Frans Hals), 224

Lavinia Fenton (Hogarth), 336

Lawrence, Sir Thomas, 337, 352, 412, 419, 420–428

Lawrence, Sir Thomas, quoted, 424–425

League of Cambrai, 144

LeBrun, Charles, 277

LeBrun, Vigée, 277, 326, 408

Leicester, Earl of, 187

Lely, Sir Peter, 235–236

Lemké, quoted, 231–232

Le Nôtre, 138, 322

Leonardo da Vinci, 21, 23, 24, 82, 89, 106, 110, 151

Leonardo da Vinci, quoted, 18, 94

Leslie and Taylor, quoted, 344, 350–351

Liberale, 93

Libri, Girolamo dai, 93

Lilies, 25, 30, 31

Line of Beauty, Hogarth’s, 337

Lippi, Fra Filippo, 44

Lippi, Filippino, 23, 47, 94

Lippo Memmi, 3

“Little Comedy,” 418, 419

Little Dutch Masters, 201, 202, 227

Lochner, Meister Stephan, 235

Longhi, Pietro, 122

Lord Glendee (Raeburn), 412

Lord Ligonier (Reynolds), 389

Lorenzetti, Ambrogio, 3, 9

Lorenzetti, Pietro, 3, 9

Lorenzo da Pavia, 95, 107

Lorenzo di Credi, 23, 82

Lorenzo Monaco, 18

Lorraine, Claude, 281, 303

“Lost Duchess, The,” 372

Lotto, Lorenzo, 121

Louis XIII, 176–180, 191, 192

_Louis XIII, King of France_ (Rubens), 176

Lucas van Leiden, 200

Lucrezia Buti, 22, 23, 44, 47

Luini, Bernardino, 93, 110–112

Lusignan, Jacques de, 143

Luther, 238, 253

Luxembourg Palace, 179

Macnab, The (Raeburn), 412

_Madame Bonier de la Mosson_ (Nattier), 285

_Mademoiselle Helvetius_ (Drouais), 314

Madonna, Cardellino, 24, 86, 89

Madonna of the Chair (Raphael), 90

_Madonna and Child_ (Antonello da Messina), 124

_Madonna and Child_ (Alesso Baldovinetti), 48

_Madonna and Child_ (Bellini), 334

_Madonna and Child_ (Botticelli), 64

_Madonna and Child_ (Crivelli), 125

_Madonna and Child_ (Crivelli), 128

_Madonna and Child_ (Gentile da Fabriano), 74

_Madonna and Child_ (Giotto di Bordone), 25

_Madonna and Child_ (Perugino), 80

_Madonna and Child with Angels_ (Bonfigli), 77

_Madonna and Child with Angels_ (Memling), 172

_Madonna and Child with Saints and Angels_ (Matteo di Giovanni), 9

Madonna and Child with Singing Cherubs (Mantegna), 107

Madonna Enthroned with Saints (Raphael), 90, 92

Madonna del Gran Duca (Raphael), 24, 86, 88, 89

Madonna of the Magnificat (Botticelli), 58, 62

_Madonna della Stella_ (Fra Filippo Lippi), 42

Madonna di San Sisto (Raphael), 90

Madonna, costume of the, 10

Madonna, flowers of the, 25, 30–31

Madrigal, Roger Milès, 290

Maes, Nicholas, 202

Maintenon, Madame de, 275, 284

Maître de Flémalle, 162, 169

Majestas, The, 17

_Mall in St. James’s Park, The_ (Gainsborough), 364

Mall, The, 331, 364–365

Manet, 259

Mantegna, Andrea, 93, 97, 98, 99, 104–107, 116

Margaret of Austria, 257

Margaret of York, 160

_Maria Walpole, Duchess of Gloucester_, 366–372

_Marianne of Austria_ (Velasquez), 264

Marie Antoinette, 290, 312

Marie de’ Medici, 176, 178, 179, 191

Market Cart (Gainsborough), 388

_Marquise de Baglion, La_ (Nattier), 288

_Marquise de Besons, La_ (Greuze), 208

_Marquise de la Fare, La_ (Fragonard), 320

_Marquise de Villemonble, La_ (Drouais), 310

Marriage à la Mode (Hogarth), 336

Marriage of St. Catherine (Memling), 174

Marriage of the Virgin (Perugino), 82

Mars and Venus (Botticelli), 59

Martini, Simone, 4, 9

_Mary Horneck_ (Hoppner), 416

Mary of Burgundy, 161

Mary of Hungary, 257

Mary, Queen of Scots, 240

Mary Tudor, 335

Masaccio, Tommaso, 18, 19, 31, 45, 46, 48, 157

Masolino, Tommaso, 8, 19, 28–32

Masolino da Panicale, 31

Massys, Quentin, 164, 242

Matisse, 303, 320

Matteo da Siena, 10

Matteo di Giovanni, 3, 9–12

Maximilian, Emperor, 144, 150, 257

_Maximilian Sforza_ (Veneto), 148

Medici, Cosimo de’, 20, 37, 39, 45, 168

Medici, Giovanni de Bicci, 20

Medici, Giuliano de’, 23, 55–61, 68

Medici, Giulio de’, 56

Medici, Lorenzo de’, the Magnificent, 21, 23, 24, 28, 58, 59, 61,
68, 72, 93, 94

Medici, Piero de’, 21, 22, 56, 58

Medici, The, 20–22

Medici Palace (Riccardi), 45

Meier Madonna (Holbein), 242

Meister Wilhelm of Cologne, 161, 235

Meistersinger, 236

Melancthon, 238, 252

Melozzo da Forli, 98

Memling, Hans, 162, 172–176, 200

Metsu, Gabriel, 166, 202

Mezetin, 281, 284

Michel, Emile, quoted, 206

Michelangelo, 24, 70, 74, 77, 119, 121

Mieris, Frans van, 202

Mignon, Abraham, 203

Milès, Roger, Madrigal by, 290

Millais, Sir John Everett, 425

Milton, John, 335

Miniature painting, 157

Miniature portrait-painters, 334

Minorites of Siena, 5, 6

Minotaur, 184

Mierevelt, Michiel J., 201

Mississippi Bubble, The, 275

Mona Lisa (Leonardo da Vinci), 110

Monet, Claude, 320

Monkhouse, Cosmo, quoted, 125

Morales, Luis de, 257

More, Sir Thomas, 242, 244–246

Moreelse, Paulus, 201

Moretto da Brescia, 93, 98

Moro, Antonio, 201, 257, 335

“Moro, Il,” 21, 23, 82, 93, 106, 148–151

Morone, Domenico, 93

Moser, Mary, quoted, 382

Moroni, Giambattista, 93, 98, 112

Morysin, Sir Richard, 240

Moulton-Barrett, Sarah, 428

Mrs. Abington (Reynolds), 340, 422

Mrs. Hardinge (Reynolds), 340

Mrs. Siddons (Gainsborough), 350, 385

_Mrs. Siddons as the Tragic Muse_ (Reynolds), 340, 347–356, 381

Murano, Antonio da, 116, 117

Murillo, 258

Musical Instruments, 172

_Music Party_ (Pieter de Hoogh), 226

Musidora (Gainsborough), 406

Myrtle, 25

Mytens, Daniel, 335

Nasmyth, Alexander, 412, 414

Nattier, Jean Marc, 276, 285–290, 312

Nelli, Ottaviano, 76

Nelly O’Brien, 340

Nelson, Lord, 407, 408, 410

Neroccio di Landi, 3

Netherlands, Spanish and Austrian, 199

New England Company, 190

_Niccolini Madonna, The_ (Raphael), 84–86

Niccolo da Foligno, 78

Night Watch (Rembrandt), 206, 207

Noort, Adam van, 178

Northcote, James, quoted, 342, 353

North Italian School, 93–114

Nuremburg, 236

Nuzi, Allegretto, 73, 76

Oils, 83, 117, 121, 124

_Old Lady Sealed in an Armchair_ (Rembrandt), 212

Old Woman (Rembrandt), 212

Olive branch, 31

Oliver, Isaac, 334

Oliver, Peter, 334

Opie, John, 337, 424, 426

Orcagna, 18

Oriental Art and Sienese Art, 4–5

Orléans, Duc d’ (the Regent), 92

Orléans, Gaston d’, 178

Orley, Bernard van, 164

Ostade, Adriaen van, 202

Oudry, J. B., 277, 312

Pacheco, Francisco, 258

Paduan School, 116

Paget, John, quoted, 408

Palette, Reynolds’s, 341

Palma, School of, 119

Palma Vecchio, 119, 121

Palmer, Theophila, 344

Paolo di Dono, 119

Paolo di Giovanni Fei, 9

“Parma Valasquez,” 266

Parmigiano, 119

Parliament, Long, 194

Parliament, Short, 190, 194

Parnassus (Mantegna), 107

Parsifal, 235

Paston, John, quoted, 160

Pastry, curiosities in, 159–160, 161

Pater, J. B. J., 276, 296–299, 330

Pater, Walter, quoted, 115, 118

Pears, 126

Peg Woffington (Hogarth), 337

Penelope Boothby (Reynolds), 340

_Pepito Costa y Bonella_ (Goya), 272

Perspective, 31, 83

Perugia, 74, 80, 89

Perugia, School of, 78

Perugino, 23, 61, 74, 78, 80–84, 89, 94

Pesellino, Francesco, 22

Philip the Fair (Austria), 161

Philip the Bold, Duke of Burgundy, 158

Philip the Good, Duke of Burgundy, 157, 158, 159

Philip IV, 258, 264, 266–268

_Philip IV, King of Spain_ (Velasquez), 266

Pie, mammoth, 160

Pier Francesco Fiorentino, 22, 70

Piero della Francesca (Pier dei Franceschi), 10, 22, 74, 78, 82, 83

Piero di Cosimo, 23, 24, 164

Piero di Lorenzo, 23

Pierrot, 281

Pink Boy (Gainsborough), 384

_Pinkie_ (Sir Thomas Lawrence), 426–428

Pintoricchio, Bernard, 74, 89

Pisanello (Antonio Pisano), 8, 93, 98, 99–104

“Plymouth Beauty, The,” 418

Poliziano, Angelo (Politian), 28, 59, 69

Pollaiuolo, Antonio, 22, 23, 48, 52

Pollaiuolo, Piero, 22, 51–54

Pomegranate, 78

Pompadour, Madame de, 276, 290, 300, 304, 306, 310, 312

“Poor Man of Assisi, The,” 6

Pope, Alexander, 336

Popish Plot, The, 196

Portinari, Tommaso, 164

Portiuncula, The, 6

_Portrait of a Carthusian Monk_ (Petrus Christus), 169

_Portrait of a Lady_ (Luini), 110

_Portrait of a Lady_ (Roger van der Weyden), 166

_Portrait of a Man_ (Albrecht Dürer), 237

_Portrait of an Officer_ (Frans Hals), 220

_Portrait of a Young Gentleman_ (Memling), 174

_Portrait of a Young Lady_ (Piero Pollaiuolo), 51

_Portrait of a Young Man_ (Botticelli), 62

_Portrait of a Young Officer_ (Rembrandt), 207

Potter, Paul, 201

Pourbus, Frans, 165

Pourbus, Pieter, 165

Poussin, Nicolas, 277–281, 303

Praise of Folly, Erasmus, 242

Presentation in the Temple (Rembrandt), 206, 219

Primavera (Botticelli), 59–60, 61, 66

Primitives, Dutch, 200

Primitives, Flemish, 162–163, 169, 200

_Prince Edward of England_ (Holbein), 240

Procession of Corpus Christi of 1496 (Gentile Bellini), 117–118

Puritan Party, 190

Queen Christina of Sweden, 90

Queen Elizabeth, 334, 335

Queen Henrietta Maria, 191–195, 196, 335

_Queen Henrietta Maria with Jeffrey Hudson and a Monkey_ (Sir
Anthony Van Dyck), 191

Quin, 361, 390

_Quinton McAdam_ (Raeburn), 416

Raeburn, Sir Henry, 337, 411–416

Raibolini, Francesco, 108

Rake’s Progress, The, 336

Rameau, 294, 331

Ramsay, Allan, 338

Raphael, 24, 70, 73, 74, 82, 84–92, 98, 99, 121

“Raphael’s Bible,” 89

Ravensteyn, Jan van, 201

Reformation, 235, 252

Regent pictures, 199

Reine de Chypre, La, 143

Rembrandt, 200, 204–220, 231, 232

Rembrandt, Titus, 206

Renaissance, The, 28

Renaissance in France, 161

Renaissance in the Netherlands, 161

Return of Spring, 59–60, 61

Reymond, Marcel, quoted, 96, 110

Reynolds, Sir Joshua, 84, 204, 329, 330, 331, 332, 333, 337–356,
360, 371, 394, 408, 412, 418, 423, 426

Reynolds, Sir Joshua, quoted, 115, 179–180, 199–200, 280, 383

Rhode Island, Colony of, 190

Ribalta, Francisco de, 258

Ribera, Jusefe, 258, 264

Ricci, Seymour, quoted, 228–231

Richelieu, Cardinal, 178, 194

Rinaldo, 181

_Rinaldo and Armida_ (Sir Anthony Van Dyck), 181

Robert, Hubert, 277, 316, 322

“Robert des ruines,” 320

_Robert Rich, Earl of Warwick_ (Sir Anthony Van Dyck), 187–190, 195

Roger de la Pasture, 163, 334

Roger van der Weyden, 124, 162, 166–169, 170, 174, 235

Rogers, Samuel, 92

Roldt, Max, quoted, 402

Romaunt de la Rose, 15, 334

Romney, George, 329, 330, 331, 332, 333, 337, 341, 361, 394, 426

Romney, George, quoted, 407

Rooses, Max, 184

Roses, 25, 31

Rosselli, Cosimo, 23, 24, 82

Royal Academy, 338, 354, 356, 360

Rubens, Peter Paul, 164, 176–180, 181, 182, 272, 335

Rucellai Madonna, 5, 17

Ruisdael, Jacob, 202, 232

Rushford, G. McNeil, quoted, 128

Ruskin, quoted, 34, 119

Ruysch, Rachel, 203

Sachs, Hans, 236

“Salvatore Rosa of the North,” 218

Sano di Pietro, 9

Sans Souci Palace, 291, 296

Santi, Giovanni, 74, 89

Sanuto, Marino, quoted, 150

Sargent, John Singer, 259

Saskia van Ulenburgh, 204, 207, 208

Sassetta, 3, 5–9, 31

Sassetti, Francisco, 72

Sassetti, Roderigo, 69

Sassetti, Teodoro, 72

Savonarola, 24, 61

Saxon School, 236, 252

Say, Lord, 190

Saybrooke, 190

Scalpin, 281

Scaramouche, 281

_Scene along the Adriatic Coast_ (Guardi), 152

Schöngauer, Martin, 168, 235–236

Scorel, Jan van, 201

Sebastian del Piombo, 121

Segna di Bonaventura, 3

Sélincourt, Beryl de, quoted, 119–120, 134

“Serena portraits, The,” 398

_Serinette, La_ (Chardin), 300

Seymour, Jane, 240

Sforza, Francesco, 243

Sforza, Ludovico (“Il Moro”), 21, 23, 82, 93, 106, 148–151

Sforza, Maximilian, 148–151, 243

Siddons, Mrs., 84

Sidney, Sir Philip, 187–188

Sidney, Sir Philip, quoted, 188

Siena, 3

Siena, Cathedral, 16, 17

Sienese Art, 4

Sienese School, 3–16

Signorelli, Luca, 74

_Simeon and Mary Presenting the Infant Christ in the Temple_
(Rembrandt), 214

Simeon in the Temple (Rembrandt), 206, 219

Simone Martini, 3, 9

Simonetta, Vespucci, 24, 59, 60

Simplicity (Reynolds), 346

Singerie, 284

_Sir Thomas More_ (Holbein), 244

Sistine Chapel, 24, 61, 70, 82

Six, Burgomaster Jan, 204

_Small Cowper Madonna_ (Raphael), 86

Smith, Nollekens, quoted, 362

Sneyd, Charlotte, 397

Sneyd, Honora, 398

Snyders, Frans, 165

Sortie of the Company of Captain Banning Cock (Rembrandt), 206

Southwark Fair (Hogarth), 336

Space Composition, 83

Spagnoletto, Lo, 258

Spencer, Countess of, 375

Spencer, Earl of Althorp, 356, 361, 375, 378

Spielmann, M. H., quoted, 347, 384

Spinello, Aretino, 18

Sposalizio (Raphael), 82

Squarcione, Francesco, 97, 106, 116, 117, 125

_St. Cosimas and St. Damianus_ (Fra Angelico), 39

St. Francis, 3, 6–8

_St. Francis and the Beggar_ (Sassetta), 5

St. Francis (Ghirlandaio), 72

St. Francis (Giotto), 6, 26

St. Francis, panels, 6

St. Jerome, 252

St. Jerome (El Greco), 260

St. Paul’s (London), Old, 182

St. Ursula (Carpaccio), 118

St. Ursula, Shrine of (Memling), 174

_Standard-Bearer, The_ (Rembrandt), 204

Stanley, Edward Smith (Derby), 400

Starnina, 19, 31, 257

Steelyard (London), 246

Steen, Jan, 202

Stefano di Giovanni, 3, 5–9

Stephens, F. G., quoted, 382

Stevenson, Robert Louis, quoted, 411

Stoffels, Hendrickje, 206

Strafford, Earl of, 190, 194

_Strawberry Girl, The_ (Reynolds), 340, 342–346, 353, 394

Strawberry Hill, 214, 219, 220, 331

Style, Louis Quinze, 276, 310

Style, Rubens, 179

Suardi, Bartolommeo, 93

Swabian School, 236

Swanenburch, Jacob van, 204

Syndics, The (Rembrandt), 207

Taddeo di Bartolo, 3, 9

Taddeo, Gaddi, 18

Tagliapanni (Mononi), 112

Taine, quoted, 115, 120, 142, 162–163

Tasso, 181

Tauromachia (Goya), 270

Tempest, John Walter, 392–394

Temple of Health, 404

Teniers, David the Younger, 165

Terborch, Gerard, 166, 202

Theotocopoulos, Domenico, 258, 260–262

Tiepolo, Giovanni Baptista, 121

Tintoretto (Tintoret), 119

Titian, 119, 137, 138, 140–147, 272

_Titian’s Schoolmaster_ (Moroni), 112

Tiziano Vecello, 119, 142

Tom Thumb, General, 192

Tondo form, first use of, 47

Tornabuoni, Giovanna, 66, 68

Tornabuoni, Giovanni, 69, 70

Tornabuoni, Lorenzo, 61, 68, 69

Tornabuoni, Lucrezia, 21, 56, 68

Tour, Maurice Quentin de la, 276

Tournament (Giuliano de’ Medici), 59

Tournament (Lorenzo de’ Medici), 59

Travellers to the Far East, 5

Trimmer, Rev. J. T., quoted, 380

Triumph of Cæsar (Mantegna), 107

Triumph of Galatea (Raphael), 90

Troost, Cornelis, 203

Tura, Cosimo, 93, 98

Turner, J. W. M., 337

Uccello, Paolo, 19, 20, 23, 74

Ugolino da Siena, 3

Umbrian School, 73–92

Utrecht, Adriaen van, 165

Vache qui se mire (Paul Potter), 201, 202

Valentiner Dr., quoted, 208

Van Eyck School, 163

Van Loo, Carle, 276, 277, 304, 306, 312, 394

Van Mander, quoted, 157

Vanni, Andrea, 3

Vanni, Lippo, 3

Vannucci, Pietro, 74, 80

Vargas, Luis de, 257

Vasari, quoted, 17, 32, 36, 39, 51

Vatican, 38, 82, 89, 121

Vecchietta, Lorenzo, 3, 9, 15

Veen, Otto van, 178

Velasquez, 258, 264–268, 270, 272

Velde, Adriaen van der, 201

Venetian School, 115–153

Veneto, Bartolommeo, 119, 148–151

Veneziano, Bartolommeo, 119–151

Veneziano, Domenico, 20, 74

Venturi, Adolfo, quoted, 100

Verhaaght, Tobias, 178

Vermeer, Jan, 162, 202, 228–232

Vermejo, Bartolomé, 257

Vernet, Joseph, 322

Veronese, Paolo, 10, 93, 99, 120

Verrocchio, Andrea, 21, 22–23, 59, 82

Veth, Dr. Jan, quoted, 214–216

Villa Aldobrandini, 138

Villa Ludovisi, 138

Vincent, François Élie, 326

_Virgin and Child_ (Bellini), 134

_Virgin and Child_ (Titian), 140

_Virgin and Child with the Infant St. John and Angel_ (Francia),
107

_Virgin and Child with St. Lucy, St. Catherine, St. Peter and St.
John the Baptist_ (Bellini), 130

_Virgin Appearing to St. Dominic_ (El Greco), 262

Virgin of the Rocks (Leonardo da Vinci), 96

_Virgin Receiving the Divine Message_ (Fra Angelico), 34

Virginia Government, 190

Vision of St. Eustache (Pisanello), 102, 103

Viti, Timoteo, 89, 108

Vivarini, Antonio, 8, 116, 125

Vivarini, Bartolommeo, 117

Vydts, Jodocus, 157

Waldegrave, Lady, 366

Walpole, Charlotte, Countess of Dysart, 368

Walpole, Edward, 366

Walpole, Horace, 214, 219, 331, 333, 366, 368

Walpole, Horace, quoted, 364, 368, 376, 400

Walpole, Louisa (the Hon. Mrs. F. Keppel), 368

Walpole, Maria, 366

Walpole, Sir Robert, 366

Ward, Humphrey, quoted, 332, 397

Wars of the Roses, 333

Watteau, Antoine, 275, 281–285, 294, 296, 314, 330

Watts, George Frederick, 425

Weenix, J. B., 203

West, Benjamin, 423, 424

Wilkie, Sir David, quoted, 412

Wilkie, John, 337

Wilson, Richard, 337

Wiltshire, John, 389–390

Winchester School, 334

Wohlgemut, Michael, 236, 237

Wolfram von Eschenbach, 235

Woltman, Dr. Alfred, quoted, 244

Wright, Mrs. (Patience), 419

Wynants, Jan, 201

Yellow Boy, The (Reynolds), 384

Young, Col. G. F., quoted, 20, 21, 45–46, 56, 58, 59–60

_Young Girl_ (Greuze), 308

_Young Girl Reading a Letter_ (Greuze), 306

Zeitblom, Bartholomäus, 236

Zuccaro, Federigo, 334, 335

Zurbaran, Francisco, 258

FOOTNOTES:

[1] “The early Byzantine masters represented the Madonna’s garments enriched with lines of gold. Giotto and the early Florentine painters as a rule preferred to suggest a plain material, often of delicate color except when the Madonna was portrayed as Queen of Heaven. In their devotional pictures the Sienese masters used gorgeous gold and red, or white and gold fabrics. Some of the Giotteschi and perhaps Gentile da Fabriano inherited from Siena their love of representing splendid textiles. Later color effects were made more of a study and deeper, richer tones appeared; but simple materials were represented except among the Venetians, who frequently in their pictures of both sacred and profane subjects painted elaborate, richly colored fabrics. This cult of splendor reached its height in the Sixteenth Century under Paolo Veronese.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[2] “The incident of the Adoration of the Magi is related only in the Gospel of Saint Matthew, and there very briefly; but many legends grew up around the Magi and Kings from the East. The number of the Magi was at first indeterminate, but about the Fourth Century the number three became general. It was not until the Fifth and Sixth Centuries that the Magi became Kings and not until the Tenth Century were they represented as crowned Kings. The Magi were for the first time pictured as of different ages, an old man, a middle-aged man, and a young man, in an Eastern manuscript dating from about 550. During the Middle Ages the exact age of each was given--the eldest was sixty, the youngest twenty, and the other forty years old. Their names, the Latin forms of which were Jaspar--later Gaspard--Balthasar, and Melchior, first appeared in a Greek Sixth Century manuscript. A passage attributed to Bede, quoted in Male’s _Religious Art in France, Thirteenth Century_, states that ‘Melchior, an old man with long, white hair and a long beard, offered gold, symbol of the divine kingdom. The second, named Caspar, young and beardless, with a ruddy countenance, honored Christ in presenting incense, an offering pointing to his divinity. The third, named Balthasar, with a dark skin and a full beard, testified in his offering of myrrh that the Son of Man must die.’ It was not until the Fourteenth and Fifteenth Centuries that artists represented the third King as a negro, in accordance with the teachings of the theologians that the three Kings represented the three races of mankind coming to render homage to the Christ Child. The subject of the Adoration of the Magi was a favorite one with artists, particularly in the Fifteenth Century, as it lent itself to the richest and most elaborate treatment. The early legends asserted that St. Joseph did not appear; but in representations dating from the Fifteenth Century he is almost invariably present.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[3] “The legend which makes St. Luke a painter was of Eastern origin and was introduced into the West at the time of the First Crusade. There may have been a Greek painter of Madonnas named Luca whom the Western Church confused with the Evangelist, but the Evangelist was always regarded an authority on the characteristics of the Madonna. His Gospel gives the fullest account of her. The subject of St. Luke painting the portrait of the Madonna was frequently treated in the Middle Ages and in the Renaissance.“--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[4] “Double roses, pink or red, were the symbol of divine love and were consecrated to the Madonna. One of her titles was the Madonna della Rosa, doubtless based on the verse in the _Song of Solomon_ (ii. 1)--‘I am the Rose of Sharon and the lily of the valleys’--for as early as the first centuries the Fathers of the Church applied to the Madonna the imagery of the _Canticles_. The tradition is that when the roses were massed together in garlands or baskets they symbolized heavenly joys. The painters of Central Italy during the Fourteenth and Fifteenth Centuries represented clusters of lilies and roses in the foreground of their Madonna pictures as votive offerings to her of sacred flowers. Often angels present bowls of flowers to her.

“Myrtle was one of the Madonna’s flowers and symbolized her purity and other virtues. The jasmine, though not strictly a sacred flower, is often found in religious paintings--the star-shaped blossom apparently symbolized divine hope or heavenly joy. It is often found with roses and lilies beside the Madonna. The carnation had no definite symbolic meaning, but was frequently used instead of the rose; then it had the same significance as the rose, the symbol of divine love, sacred to the Madonna.--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[5] “In general, representations of the _Annunciation_ before the Twelfth Century are rare; but after the beginning of the Thirteenth Century they become very frequent, appearing somewhere on every altar-piece--in medallions, or quatrefoils above the main panels, in the pinnacles, or in the predella, or painted, or carved on the outside of the shutters. The subject was often treated as a mystery, not as an actual scene. Generally only the Virgin and Angel were represented, although it was not unusual to find other figures. From the end of the Fourteenth until the Sixteenth Century, God the Father is often seen in the sky and the Dove of the Holy Spirit descends from Him to the Virgin on rays of light. The Virgin was represented seated, standing, about to rise at the approach of the Angel, or kneeling. Gabriel was pictured standing, or kneeling, before her, or just alighting on the earth, his feet not yet touching the ground. In the Thirteenth Century representations, notably in the painted glass windows, the Virgin and the Angel stand face to face; later the Italian artists represented the scene as taking place in an open _loggia_, while the Flemish artists painted the Virgin in meditation in her room when the Angel appeared to her. Before the Thirteenth Century, Mary was often represented with a basket of wool, or distaff as, according to the Protevangelion, she continued to spin for the Temple after she had become affianced to Joseph and was working when the Angel came. Gabriel bears the light staff, or sceptre, of a herald, a scroll on which is inscribed his greeting, an olive-branch, or a stalk of lilies.

“The lily probably was developed from a flower with a long stalk which was introduced during the Thirteenth Century appearing in glass-painting and miniatures and signifying springtime, ‘the time of flowers,’ when the _Annunciation_ took place. Later, lilies were used to symbolize the purity of the Virgin and were placed in a jar, or vase, near her, or were carried by the Angel. In Spain the vase of lilies was almost essential to representations of the _Annunciation_ and became the special and distinguishing attribute of the Virgin. The Spanish Order of the Lily of Aragon, established by Ferdinand of Castile in commemoration of a victory over the Moors in 1410, had for its badge ‘pots filled with white lilies interlaced with griffins, to which was pendent a medal having thereon an image of the Virgin Mary.’ In Italy, neither the vase of lilies nor the stalk was considered essential in representations of the _Annunciation_, although they are of frequent occurrence. Certain of the Florentine artists, notably Fra Filippo Lippi, represented both. Ghirlandaio, in his _Annunciation_ at San Gimigniano, placed a vase beside the Virgin’s desk and combined other flowers--roses, daisies, and jasmine--with the lilies. The Angel bears the lily-stalk.

“It is interesting to note that while in the majority of Fourteenth- and Fifteenth-Century _Annunciations_ the Archangel Gabriel was represented bearing a lily, the Sienese painters seldom used this flower, preferring the olive-branch, always a favorite symbol with them. In the _Annunciation_ it referred to the Christ Child as the bringer of peace on earth. One interpretation of the avoidance of the use of the lily by Sienese artists is that it was due to the hatred of Siena for Florence, the lily being the flower of Florence.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[6] Col. G. F. Young, _The Medici_ (London, 1910).

[7] Julia Cartwright, _The Painters of Florence_ (London, 1916).

[8] Col. G. F. Young, _The Medici_ (London, 1909).

[9] Col. G. F. Young, _The Medici_ (London, 1909).

[10] “The pomegranate in the hand of the Child, bursting open and showing the seeds, has been variously interpreted. It may be a symbol of the hope in eternity, which the Christ gave to man, signified by the unexpected sweetness of the fruit within the hard rind. In the writings of the early Fathers the fruit is also interpreted as the emblem of congregations, because of its many seeds, or as the emblem of the Christian Church because of the inner unity of countless seeds in one and the same fruit.”--_Mediæval and Renaissance Painting_ (Fogg Art Museum, Cambridge, 1927).

[11] Berenson.

[12] “Space composition differs from ordinary composition in the first place most obviously in that it is not an arrangement to be judged as extending only laterally, or up and down, on a flat surface, but as extending inwards in depth as well. It is composition in three dimensions and not in two, in the cube, not merely on the surface.... Painted space composition opens out the space it frames in, puts boundaries only ideal to the roof of heaven. All that it uses whether the forms of the natural landscape, or of grand architecture, or even of the human figure, it reduces to be its ministrants in conveying a sense of untrammelled, but not chaotic, spaciousness. In such pictures how freely one breathes,--as if a load had just been lifted from one’s breast; how refreshed, how noble, how potent one feels; again, how soothed; and, still again, how wafted forth to abodes of far-away bliss!”

[13] Julia Cartwright, _Beatrice d’Este_ (London, 1908).

[14] Julia Cartwright, _Beatrice d’Este_ (London, 1908).

[15] Beryl de Sélincourt, _Venice_ (London, 1907).

[16] “In the north of Italy garlands of fruit took the place of votive flowers. In pictures of Florentine origin, when the Madonna holds a single rose, she is represented as the _Madonna del Fiore_--Our Lady of the Flower--to whom the Cathedral at Florence was dedicated.

“Fruits in general symbolized the fruits of the spirit, or a votive offering, or were often used purely for decorative purposes. The cherries which the Angels offer to the Child are the fruit of Heaven, typifying the delights of the blessed. In a picture by Memling in the Uffizi, the Child holds in one hand a cluster of cherries--the fruit of Paradise--while with the other He reaches out for the apple offered Him by an Angel. This typifies His relinquishment of heavenly joys and His taking upon Himself the sin of the world.

“The apple and the gourd were often painted together by artists, notably Crivelli. The use of the gourd dates back to the wall-pictures in the catacombs, where Jonah was represented as the type of the Risen Christ and the gourd as the symbol of the Resurrection. As the apple was the fruit of Eden which brought sin into the world, so the gourd represented the Resurrection which saved the world from the consequences of its sin. In early pictures the apple sometimes represents the fruit of Paradise, which the King of Heaven brings down to earth with Him. In general, however, it is used as the symbol of the sin of the world which Christ takes upon Himself.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[17] Beryl de Sélincourt, _Venice_ (London, 1907).

[18] It is interesting to see that Vasari calls Dürer a Fleming!

[19] This reminds us of the old Nursery rhyme:

“Sing a song of sixpence,
A pocket full of rye;
Four-and-twenty blackbirds
Baked in a pie.
When the pie was opened,
The birds began to sing;
Wasn’t that a dainty dish
To set before the King?”

Undoubtedly this jingle is an echo of the jokes and “pleasantries” in confectionery and pastry that were perpetrated by the Mediæval _chefs_.--E. S.

[20] This was a _fashion_ of the period, originating in Italy (see pages 51, 86, 103).

[21] “The introduction of little angels singing vigorously and playing on musical instruments about the Madonna’s throne was a favorite motif of the Umbrian Boccatis. Indeed, angel musicians were represented by artists of all Schools from the Twelfth to the Seventeenth Century. They stand or kneel before the Madonna and Child, or--particularly in Venetian and North Italian paintings--sit on the steps of the throne, playing on lutes, harps, viols, miniature organs, blowing horns and trumpets, striking cymbals and triangles or beating drums and timbrels, and singing their songs of praise and adoration. They make a delightful note of joyousness in representations of the Madonna and Child and are among the happiest creations of painters and sculptors.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).

[22] For surprises in pastry, see page 160.

[23] _Strawberry Hill Simeon_ had not then been discovered.

[24] Leslie and Taylor, _Life and Times of Sir Joshua Reynolds_ (London 1865).

[25] William Smith (1756–1835) was a politician who took a great interest in literature and art. He was a friend of Sir Joshua Reynolds, for whose _Mrs. Siddons as The Tragic Muse_ he paid £320 at the Calonne Sale in 1795 and sold it to Mr. G. W. Taylor for £900. At the Taylor Sale in 1823 the picture cost Earl Grosvenor £1,837. It passed recently to America along with Gainsborough’s _Blue Boy_.

“This picture Sir Joshua Reynolds valued at 1000 guineas--a large sum in his day--but notwithstanding all the encomiums passed upon it, _The Tragic Muse_ remained on his hands for several years. At length it was purchased from the artist for £800 by M. de Calonne, the ex-minister of finance in France.

“When M. de Calonne’s pictures were sold by Skinner and Dyke on March 28, 1795, _The Tragic Muse_ was bought by Mr. Smith of Norwich for £700 and Mr. Smith sold it privately to Mr. G. Watson Taylor for £900. At the sale of Mr. Taylor’s pictures in 1823 it was purchased by Earl Grosvenor for £1,837-10. Inherited by the Dukes of Westminster, _The Tragic Muse_ hung for many years in Grosvenor House, in company with Gainsborough’s _Blue Boy_ until it was sold in 1921 to the late Mr. Henry E. Huntington.”

[26] William T. Whitley, _Gainsborough_ (London, 1915).

[27] William T. Whitley, _Gainsborough_ (London, 1915).

[28] William B. Boulton, _Gainsborough_, 1907.

[29] Maria’s sister Louisa had married the Hon. and Rev. Frederick Keppel, second son of the Earl of Albemarle.

[30] Maria’s sister who married Lionel, fifth Earl of Dysart.

[31] Name for evening dress.

[32] Maurice W. Brockwell, _Taft Catalogue of Paintings_ (New York, 1920).

[33] _Thomas Gainsborough_ (London, 1915).

[34] The portrait of Henrietta Maria (see page 193) is another example.

[35] Humphrey Ward.

[36] Angelica Kauffman, the famous painter.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been corrected silently.

2. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.

3. Superscripts are represented using the caret character, e.g. D^r. or X^{xx}.

4. Italics are shown as _xxx_.

5. Bold print is shown as =xxx=.