[1] Of this picture, Claude Phillips justly observes that it has been “not a little cheapened and obscured by frequent copies, in which the delicate essence of the original has been allowed to evaporate; but a glance at the picture itself renews the magic spell of the master.”

The plate for our illustration, being made from a photograph taken directly from the original painting, reproduces the spirit of the picture with remarkable fidelity.

[2] The children of the English court were not alone in the good fortune of being immortalized by the brush of Van Dyck. The great artist also painted a little Prince of Savoy, with his sister,—a picture which is now in the Royal Gallery at Turin.

[3] A portrait of Prince Balthasar in court dress, by Velasquez, is in the Belvedere at Vienna.

[4] Dr. Carl Justi has various strong arguments to prove that the Prado portrait of Maria Theresa is incorrectly so called, and, in reality, represents the Infanta Marguerite. The picture is, however, widely accepted as a genuine Maria Theresa, and is catalogued as such by Curtis. I have, therefore, thought best to follow the opinion of the majority on this point.

[5] Titian painted a charming portrait of the Princess Strozzi, which is now in Berlin.

[6] Holbein painted the little Prince Edward, afterwards Edward VI., in two extant portraits,—one, a miniature, in the possession of the Duke of Devonshire, another at Windsor.

[7] The dates of Gainsborough’s life are 1727-1788.

[8] The two pictures for which Jack Hill served as model are Jack Hill in a Cottage, and Jack Hill, with his Cat, in a Wood.

[9] Gainsborough was followed by several English artists celebrated for their pictures of the child-life of the country. Of these, the most notable were Sir David Wilkie and William Collins. Wilkie’s Blind-Man’s Buff, and Collins’s Happy as a King are representative examples of their work.

[10] Jean Baptiste Greuze was born in 1725, and died in 1805.

[11] The Father Explaining the Bible to his Children is now in the Dresden Gallery. Mrs. Stranahan, in her History of French Painting, calls attention to the fact that the poet Robert Burns celebrates the same scene in his Cotter’s Saturday Night.

[12] The Village Bride, called in French, “L’AccordÉe du Village,” is in the Louvre, Paris.

[13] Although Greuze is usually spoken of as introducing a new line of subjects into French art, it is fair to say that Chardin (1699-1799) had already given the initiative. The Little Girl at Breakfast, exhibited at the Salon of 1737, and Le BÉnÉdicitÉ, from the Salon of 1740, are highly praised by Mrs. Stranahan for their sympathetic treatment of domestic scenes in humble life.

[14] This description, which I have rendered somewhat freely into English, is an extract from a letter addressed by Mademoiselle Philipon to the Demoiselles Cannet.

[15] The three paintings by Murillo in the Dulwich Gallery, to which reference is made, are:—

The Flower Girl, Two Boys and a Dog, and Three Boys,—one eating a tart. The gallery also contains a religious painting by Murillo.

[16] The representation of the Crucifixion, with attendant angels, is very frequent in Renaissance art. For examples among the earlier painters, Duccio and Giotto may be mentioned, while in a later period Luini and Gaudenzio adopted the same motif, with characteristic results.

[17] For examples of single child-angels, see Raphael’s Madonna di Foligno, in the Vatican at Rome, and Bartolommeo’s Madonna and Saints, in San Martino, Lucca.

[18] The Madonna of the Church of the Redentore is popularly attributed to Bellini, but is more probably the work of Luigi Vivarini. For arguments, see Crowe and Cavalcaselle, History of Painting in North Italy, vol. i., pages 64 and 186.

[19] My authority on these frescos is Charles I. Hemans, who states (page 70 of Ancient Christianity and Sacred Art) that “conjecture has assumed antiquity as high as the first century” for some paintings in the catacombs of S. Praxedes, but does not mention whether these are of the number.

Van Dyke, in his Christ-child in Art (page 120), describes an interesting third century fresco in the catacomb of SS. Marcellinus and Peter, representing the Adoration of the Magi.

[20] The mosaics at Santa Maria Maggiore are assigned to the fifth century; those at S. Apollinare Nuova, Ravenna, to the sixth century. See Hemans, Ancient Christianity and Sacred Art.

For further descriptions of the mosaics at Capua and at Santa Maria in Trastevere, Rome, see Mrs. Jameson’s Legends of the Madonna. For an engraving of the Virgin and Child in the Ravenna mosaic, see Van Dyke’s Christ-child in Art.

[21] The present location of all the works of Raphael mentioned in this chapter may be seen in the following list:—

Madonna of the Diadem, Louvre, Paris.
Chair Madonna (Madonna della Sedia), Pitti, Florence.
Madonna of the Casa Tempi, Munich.
Sistine Madonna, Dresden.
The Pearl, Madrid.
Madonna of the Goldfinch (del Cardellino), Pitti, Florence.
Aldobrandini Madonna, National Gallery, London.
Madonna of the Meadow, Vienna.
La Belle JardiniÈre, Louvre, Paris.
Madonna of the Casa Canigiani, Munich.