that the poet Robert Burns celebrates the
same scene in his Cotter's Saturday Night.

[12] The Village Bride, called in French, "L'Accordee 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 Benedicite, 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.

CHAPTER IV.--PAGE 87.

[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.

CHAPTER V.--PAGE 115.

[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.

CHAPTER VI.--PAGE 141.

[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 M