Chapter III: Part 3

Isabella ([)i]z-[.a]-b[)e]l'[.a]).
Isaiah (i-z[=a]'y[.a]).
Israel ([)i]z'r[.=a]-[)e]l).

Jacopo (yä'k[=o]-p[=o]).
Jameson (j[=a]'m[)e]-s[)u]n).
Jason (j[=a]'s[)u]n).
Jerome (j[.=e]-r[=o]m' or j[)e]r'[)u]m).
J[)e]r[=u]s[.a]l[)e]m.
Joachim (j[=o]'ä-k[)i]m).
Jôrd[.a]n.
Jud[=e]'[.a].
J[=u]'n[=o].

Kingsley (k[)i]ngz'l[)i]).

Läv[)i]n'[)i][.a].
Legenda Aurea (l[)e][=g]-[)e]n'dä ow'r[)e]-ä
_or_ l[=e]-j[)e]n'd[.a] [a:]'r[.=e]-[.a]).
Leon, Ponce de (p[=o]n'th[=a] d[=a] l[=a]-[=o]n').
Leonardo (l[=a]-[=o]-när'd[=o]).
Levites (l[=e]'v[=i]tz).
L[)o]t't[=o].
Lynette (L[)i]-n[)e]t').

M[.a]d[)o]n'n[.a].
M[)a]gn[)i]'f[)i]c[)a]t.
mandola (män-d[=o]'lä).
M[)a]n't[.=u][.a].
Maximilian (m[)a]k-s[)i]-m[=i]l'[=i]-[.a]n).
M[=e]d[=e]'[.a].
M[)e]n'd[)e]lss[=o]hn.
M[)e]ss[=i]'[.a]h.
M[)e]t[.a]môrph[=o]s[=e][s=].
Milan (m[)i]l'[.a]n _or_ m[)i]-l[)a]n').
M[=i]'l[=o].
Murano (m[=o][=o]-rä'n[=o]).
Murillo (m[=o][=o]-r[=e]l'y[=o]).

Naz'areth.
Netherlands (n[)e]th'[~e]r-l[.a]ndz).

Offero ([)o]f'f[.=e]-r[=o]).
Ovid ([)o]v'[)i]d).

P[)a]d'[.=u][.a].
P[)a]l[)e]st[=i]ne.
Pallavicino, Argentina
(är-[.g][)e]n-t[=e]'nä päl-lä-v[=e]-ch[=e]'n[=o]).
Päl'mä.
P[=a]'ph[)o]s.
Pär'mä.
Pesari (p[=a]-sä'r[=e]).
Pesaro, Jacopo (yä'k[=o]-p[=o] p[=a]-sä'r[=o]).
Pharisee (f[)a]r'[)i]-s[=e]).
Pieta (p[.=e]-[=a]'tä).
Portugal (p[=o]r't[.=u]-g[.a]l).
Portuguese (p[=o]r't[.=u]-g[=e]z).
Priscianese (pr[)i]s-ch[=e]-ä-n[=a]'s[.=a]).

Reggio (r[)e]d'j[=o]).
Rovere, Francesco Maria della (frän-ch[)e]s'k[=o]
mä-r[=e]'ä d[)e]l'lä r[=o]-v[=a]'r[=a]).
R[)u]s'k[)i]n.

Sadducees (s[)a]d'[.=u]-s[=e]z).
Salome (s[)a]-l[=o]'m[.=e]).
Sarcinelli, Cornelio
(k[=o]r-n[=a]'l[.=e]-[=o] sär-ch[.=e]-n[)e]l'l[.=e]).
Serravalle (s[)e]r-rä-väl'l[.=a]).
Seville (s[.=e]-v[)i]l').

Titian (t[)i]sh'[.a]n).

Uffizi ([=o][=o]f-f[=e]t's[.=e]).
Urbino ([=o][=o]r-b[=e]'n[.=o]).

Van Dyck (v[)a]n d[=i]k').

Vasari (vä-sä'r[=e]).
Velasquez (v[=a]-läs'k[=a]th).
Venetian (v[.=e]-n[=e]'sh[.a]n).
Venice (v[)e]n'[)i]s).
V[=e]'n[)u]s.
Veronese (v[=a]-r[=o]-n[=a]'z[.=a]).
V[)e]s[=a]'l[)i][)u]s.
Vi[)e]n'n[.a].
Vinci, Leonardo da (l[=a]-[=o]-när'd[=o] da v[)i]n'ch[=e]).
Voragine, Jacopo de (yä'k[=o]-p[=o] d[.a] v[=o]-rä-j[=e]'n[.=a]).
V[)u]l'g[=a]te.

Wesley (w[)e]s'l[)i]).

Yuste (y[=o][=o]s't[=a]).

Zacharias (z[)a]k-[.a]-r[=i]'[.a]s).

FOOTNOTES

[1] See notes on Titian in Vasari's _Lives of the Painters_,
edited by E. H. and E. W. Blashfield and A. A. Hopkins.

[2] Notes on Titian in Vasari's _Lives of the Painters_, by E. H.
and E. W. Blashfield and A. A. Hopkins.

[3] Claude Phillips.

[4] Compiled from the Index to _Titian: His Life and Times_,
by Crowe and Cavalcaselle.

[5] As the various so-called portraits of Vesalius are said to
have little in common upon which to base a resemblance, one is
almost tempted to set up a theory that this portrait may be
that of the great anatomist.

[6] 1 Samuel, chapter i., verses 11, 24-28.

[7] _The Golden Legend_, in Caxton's translation, edited by F. S.
Ellis (Temple Classics, vol. v., pp. 101, 102). The story is
retold in Mrs. Jameson's _Legends of the Madonna_, p. 197.

[8] For instance, Lavinia, Flora, and the Man with the Glove.

[9] See the Acts of the Apostles, chapters vi. and vii.

[10] The lives of St. Jerome and St. George are related in detail
in _The Golden Legend_. See Caxton's translation edited by
F. S. Ellis (Temple Classics), vol. v., pages 199-208, for
St. Jerome, vol. iii., pages 125-134, for St. George. Mrs.
Jameson's _Sacred and Legendary Art_ contains condensed
accounts of the same two saints. See page 280 for St. Jerome
and page 391 for St. George.

[11] See the story as related in Mrs. Jameson's _Sacred and
Legendary Art_, page 433, and in H. E. Scudder's _Book
of Legends_.

[12] Claude Phillips.

[13] Matthew, chapter xxii., verses 34-40.

[14] Others are the Venus of the Uffizi Gallery, Florence, and the
Girl in the Fur Cloak in the Belvedere, Vienna.

[15] See page 15.

[16] In the later Venetian art, as in the pictures by Veronese,
we see more elaborate costumes.

[17] See Book VII. in Henry King's translation, from which the
quotations here are drawn. The same story is delightfully
modernized in Hawthorne's _Tanglewood Tales_ and Kingsley's
_Greek Heroes_.

[18] See the volume on _Greek Sculpture_ in the Riverside Art
Series, chap. xiii.

[19] In our reproduction a small portion of the landscape is cut
off at each end.

[20] From _Gareth and Lynette_.

[21] From _Guinevere_.

[22] This analysis of Mary's character is suggested in the
Introduction to Mrs. Jameson's _Legends of the Madonna_,
p. 28.

[23] See the volume on _Murillo_ in the Riverside Art Series,
Chapter I.

[24] See _The Golden Legend_, in Caxton's translation, edited by
F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.

[25] Mrs. Jameson in _Sacred and Legendary Art_, page 74.

[26] See page 57.

[27] This feature of the picture is pointed out by John Van Dyke
in his notes on Closson's engraving of the subject.

[28] It should be remembered that a portion of Elizabeth's reign
(1538-1603) fell within Titian's lifetime.

[29] See _Elements of Drawing_, Lecture III.

[30] Luke, chapter iii., verse 6.

[31] Luke, chapter iii., verses 21, 22.

[32] John, chapter i., verses 29-30.