[1] These interesting particulars are given by Mr. G. M?N. Rushforth in the Burlington Magazine for October 1911.

[2] This translation is by Miss Cameron Taylor.

[3] It is this quality of unarrested movement, so conspicuous above all in the figure of Bacchus, which attracts us irresistibly in the Huntress, in Lord Brownlow’s “Diana and Actaeon.” The construction of the form of the goddess in this beautiful but little-known picture is admirable. Worn as the colour is, appearing almost as a monochrome, the landscape is full of atmospheric suggestion. It is in Titian’s latest manner, and its ample lines and free unimpeded motion can be due to no inferior brush.

[4] Andrea Meldola, the Sclavonian, a native of Dalmatia, landing in Venice, had a great struggle for existence. He drew from Parmegianino, and studied Giorgione and Titian. He was probably an assistant of Titian, and helped him, as in the “Venus and Adonis” of the National Gallery, which owes much to his hand. He fails conspicuously in form, his shadows are black, and his figures often vulgar, but he has a fine sense of colour, and a free, crisp touch. He was one of the young masters who flooded Venice with light, sketchy wares.

[5] “Venice and the Renaissance,” Edinburgh Review, 1909.

[6] Philippe Monnier, Venice in the Eighteenth Century.

[7] It is thought that it may have been painted from his studio.