¹ Cf. English Reprints. A Harmony of the Essays … of Francis Bacon, arranged by Edward Arber (London, 1871), pp. xxxi-xl. The three essays were always arranged, beginning with 1612, in the same order, but the numbers given them did not remain constant; in the 1625 version, the numbers were xlii, xliii, and xliv; while the Latin of 1638 had them as xl, xli, and xlii. The same order obtained in the spurious Jaggard issues of 1612, 1613, and 1624, as well as in the Italian and French translations.

² The Works of Francis Bacon, collected and edited by James Spedding, Robert Leslie Ellis, and Douglas Denon Heath (London, 1870), vi, 373. This collection will hereafter be referred to as Works. The text of the Latin translation is from Fr. Baconi de Verulamio Sermones Fideles, Ethici, Politici, Oeconomici: Sive Interiora Rerum, Lugd. Batavorum, Apud Franciscum Hackium, 1641.

³ Cf. Bacon's letter to Fulgentio. Works, vi, 369, n. 1.

⁴ Ibid., n. 3.

⁵ Preface by Spedding. Works, vi, 370.

⁶ Works, vii, 5, n. 1.

⁷ John Aubrey, “Brief Lives,” Chiefly of Contemporaries, ed. Andrew Clark (Oxford, 1898), I, 331. Earlier, when treating the life of Bacon (ibid., 70) Aubrey had already recorded Bacon's confidence in Hobbes. What Aubrey called Of the Greatness of Cities was probably Essay xxix of the 1625 edition, which was entitled Of the True Greatness of Kingdoms and Estates, a topic of importance to the author of De Cive (1647) and Leviathan (1651). Cf. Clarence DeWitt Thorpe, The Aesthetic Theory of Thomas Hobbes, University of Michigan Publications, Language and Literature, xviii, 5.

⁸ [Thomas Tenison, Archbishop of Canterbury,] Baconiana, Or Certain Genuine Remains of Sr. Francis Bacon, Baron of Verulam and Viscount of St. Albans (London, 1679), 60-61. The Vulgate version of Liber Ecclesiastae, xii. 9-10: “Cumque esset sapientissimus Ecclesiastes, docuit populum, et ennaravit quae fecerat: et investigans composuit parabolas multas. Quaesivit verba utilia, et conscripsit sermones rectissimos, ac veritate plenos.”

⁹ The text of the Essay, “Of Beauty,” is from the Works, vi, 478-480.

¹⁰ De Officiis, xxxv, 126, 128; xxxvi, 130. Cf. M. Tutti Ciceronis De Officiis, ed. H. A. Holden (Cambridge, 1891).

¹¹ Works, vi, 367.

¹² Works, vii, 231.

¹³ Ibid., 65.

¹⁴ Works, vi, 371.

¹⁵ Work, iii, 435.

¹⁶ Work, iii, 436.

¹⁷ Cf. Ronald S. Crane, “The Relation of Bacon's Essays to his Program for the Advancement of Learning,” Schilling Anniversary Papers, by his former students (New York, 1923), p. 95.

¹⁸ Works, i, 689-690, for the Antitheses, on Forma and Juvenilis. For the reference to Cicero, cf. ibid., 688. Cicero's advice is to be found in De Oratore, ii, 87; iii, 27; and is set forth at length in the Topica.

¹⁹ In the first edition of the work, published in English in 1605, and entitled Of the Proficience and Advancement of Learning Divine and Human, Bacon defined: “Anlitheta are Theses argued pro et contra,” but did not give examples (Works, iii, 413). De Dignitate et Augmentis Scientiarum appeared in 1623, revised and rewritten to such an extent that it is a new work; and here the developed Antitheses are presented (Works, i, 689). The Latin edition is so altered that the earlier English version is not an adequate translation and a modern English translation appears in the Works, iv, 473, where, unfortunately, the Antitheses on Forma are inaccurately given in words drawn from the Essay, “Of Beauty.”

²⁰ Oeconomicus, vi, 13, and ii, 4.

²¹ Ibid., vi, 15.

²² Ibid., vi, 16.

²³ Ibid., xi, 3 and 20.

²⁴ Timaeus, 88 C.

²⁵ Euthydemus, 271 B.

²⁶ Parmenides, 88 B.

²⁷ Theaetetus, 142 B.

²⁸ Protagoras, 315 D.

²⁹ Charmides, 157 E-158 B.

³⁰ Eudemian Ethics, viii, iii, 17. 1249 b 24.

³¹ Politics, i, v, 4-5. 1259 b 34-1260 a 9.

³² Nichomachean Ethics, x, ix, 3. 1179 b 8.

³³ Ibid., iv, iii, 16. 1124 a 4.

³⁴ Coniugalia praecepta, 25 (141 D). The translation, by Frank Cole Babbitt, is from Plutarch's Moralia (Loeb Library), ii, 317. The advice is by some authors attributed to Bias and by others to Socrates. Cf. ibid., 316, n. (a).

³⁵ Claudii Galeni Pergameni Scripta Minora, ed. J. Marquardt, (Leipzig, 1884), i, 114. (, viii, 18).

³⁶ Apologia, 15.

³⁷ Republic, x, 596 D-E.

³⁸ The appearance of Socrates is described by Xenophon and Plato in their respective Symposia. The numerous sculptural representations are discussed by Reinhard Kekulé von Stradonitz, “Die Bildnisse des Sokrates,” Abhandl. d. kgl. preuss. Akad. d. Wiss., Philosophisch-Historische Classe (Berlin, 1908), 1-59 (contributions separately paged.) Socrates is cited as an example of ugliness in the Essay, “Of Deformity” (Works, vi, 481).

³⁹ Cf. U. von Wilamowitz-Moellendorf, Antigonos von Karystos, Philologische Untersuchungen, iv (Berlin, 1881), 148.

⁴⁰ Cf. Scriptores Physiognomonici, ed. Richard Förster, Leipzig, 1893; Giovanni Battista della Porta, De Humana Physiognomonia (Naples, 1586).

⁴¹ In the Parasceve ad Historiam Naturalem et Experimentalem, published in 1620 in the same volume with the Novum Organum, there is a “Catalogus Historiarum Particularium secundum capita,” in which appear: “41. Historia Figurae et Membrorum externorum Hominis, Staturae, Compagis, Vultus, et Lineamentorum; eorumque varietatis secundum Gentes et Clima, aut alias minores differentias. 42. Historia Physiognomica super ipsa.” Cf. Works, i, 407.

⁴² Works, vi, 379.

⁴³ Elbert N. S. Thompson, The Seventeenth-Century English Essay, University of Iowa Humanistic Studies, iii, 28.

⁴⁴ Ibid., 39.

⁴⁵ Pierre Villey, Montaigne et François Bacon (Paris, 1913).

⁴⁶ F. G. Selby, “Bacon and Montaigne,” The Criterion, iii, 258.

⁴⁷ Jacob Zeitlin, “The Development of Bacon's Essays, with special reference to the question of Montaigne's influence upon them,” JEGP, xxvii (1928), 496-519.

⁴⁸ The Treasvrie of Avncient and Moderne Times, … Translated out of … Pedro Mexio … Francesco Sansouino … Anthonie Du Verdier … Loys Guyon … Claudius Gruget, … London, W. laggard, 1613; , containing ten following Bookes to the former Treasvrie of avncient and moderne times, London, William laggard, 1619.

⁴⁹ The Second Part of the French Academie, by Peter de la Primavdaye Esquier, Lord of the same place and of Barre, and translated out of the second Edition, which was reuiewed and augmented by the Author (London, 1594), pp. 279-280. This was the first edition in English of the second part of the Academie, which had previously appeared in French, (Paris, 1580).

⁵⁰ Of Wisdoms, three books… . Translated by Samson Lennard, London, 1608. Of Wisdom… . Made English by George Stanhope (London, 1679, 1707, 1729), is a free expansion and paraphrase of the original, and not an adequate translation.

⁵¹ Pierre Charron, De la Sagesse, trois livres (Leyden, 1646), 82-83.

⁵² Divus Augustus, lxxix. Cf. C. Suetoni Tranquilli Divus Augustus, ed. Evelyn S. Schuckburgh, (Cambridge, 1896), p. 146.

⁵³ Dims Titus, iii.

⁵⁴ Charles-Victor Langlois, Histoire de France, (ed. Ernest Lavisse), iii, part ii, (Paris, 1901), 120-121.

⁵⁵ Cora L. Scofield, The Life and Reign of Edward the Fourth (London, 1923), i, 127. Polydore Vergil and Du Clercq are cited to the same effect.

⁵⁶ Plutarchi Vitae, Alcibiades, i, 5.

⁵⁷ Thomas North, Plutarch's Lives of the Noble Grecians and Romans Englished by Sir Thomas North, Anno 1579, With an Introduction by George Wyndham (London, 1895), ii, 90. Cf. Les Vies des Hommes Illustres de Plutarque, traduites du Grec par Amyot, Grand Aumônier de France (Paris, 1818), ii, 303.

⁵⁸ Travels in Persia by Caterino Zeno, Hakluyt Society, No. 50, (London, 1873), p. 52.

⁵⁹ Giovan Maria Angiolello, A Short Narrative of the Life and Acts of the King Ussun Cassano, ibid., p. 102.

⁶⁰ The Travels of a Merchant in Persia, ibid., p. 202.

⁶¹ Ibid. Yet Bacon mentions Ismail again in Essay lv, “Of Honour and Reputation” (Works, vi, 506); he is one of those who represent the first degree of sovereign honour, as founders of states.

⁶² Bacon's Essays, with annotations by Richard Whatley, D.D., and Notes and a Glossarial Index by F. F. Heard (Boston, 1875), p. 432.

⁶³ Bacon's Essays, ed. Alfred S. West (Cambridge, 1899), p. 230.

⁶⁴ NED gives as definition 8: “That which conciliates affection or good will; attractiveness, comeliness, beauty; an attraction, charm. Obs. exc. arch. Definition 9 is: ”Appearance, aspect, look. Now arch. or dial. b. The countenance, face. arch. c. A feature. Obs.“

⁶⁵ Republic, vi, 501 A-C. The translation, by Paul Shorey, is from the Loeb Classical Library.

⁶⁶ Politics, viii, v, 7. 1340 a 33.

⁶⁷ Poetics, vi, 15-21.

⁶⁸ Physiognomics, ii. 806 a 28.

⁶⁹ Inst. Oral. ii, xiii, 8-10.

⁷⁰ Ibid., xi, iii, 2.

⁷¹ Apologia, xiv, 5-6.

⁷² Life of Apollonius of Tyana, ii, xxii. The translation, from the Loeb Library, is by F. C. Conybeare.

⁷³ The Latin edition was first printed at Basel. The original Italian text was first published by Hubert Janitschek in Leone Battista Alberti's Kleinere Kunsttheoretische Schriften, Quellenschriften für Kuntsgeschichte, xi (Vienna, 1877).

⁷⁴ Ibid., 99.

⁷⁵ Ibid., 101-105.

⁷⁶ Ibid., 105-131.

⁷⁷ Ibid., 131-141.

⁷⁸ Ibid., 113.

⁷⁹ Petrus Pictor Burgensis de Prospectiva Pingendi, ed. C. Winterberg (Strassburg, 1899), i, 1. (The first publication, from a MS. in the Parma Library).

⁸⁰ Trattato della Pittura di Leonardo da Vinci, ed. Angelo Borzelli (Lanciano, n.d.), i, 86 (section 129).

⁸¹ Ibid., i, 87 (section 130).

⁸² Ibid., i, 87-88 (section 133).

⁸³ The 1585 issue is entitled: Trattato dell'Arte della Pittvra, Scoltvra, el Architetivra … Diviso in sette libri.

⁸⁴ A Tracte Containing the Artes of Curious Paintinge, Carvinge, & Buildinge, written first in Italian by Jo. Paul Lomatius, painter of Milan and Englished by R[ichard] H[aydocke], student in Physik. Cf. Frederick Hard, “Richard Haydocke and Alexander Browne: Two Half-Forgotten Writers on the Art of Painting,” PMLA, lv (1940), 726.

⁸⁵ André Fontaine, Les Doctrines d'Art en France (Paris, 1909), pp. 22-33.

⁸⁶ The Painting of the Ancients (London, 1638), p. 221. Cf. De Pictura Veterum, Libri Tres (Rotterdam, 1694), p. 137.

⁸⁷ Gerardi Joannis Vossii, De Artium et Scientiarum Natura ac Constitutione, Libri Quinque, Antehac diversis titulis editi (Amsterdam, 1696), Cap. V, De Graphice, She Arte Pingendi, p. 24 ff. (The several books have separate pagination.)

⁸⁸ Enneades, i, vi, 5. The translation is that of Stephen Mackenna. Cf. Grace H. Turnbull, The Essence of Plotinus (New York, 1934), pp. 44-45. The influence of these passages is clear in Spenser's Hymnes. Cf. ibid., pp. 258-260. The words of Plotinus expand and comment on Plato's Symposium, 208 E-209 A. The Greek of Plotinus was so difficult that after the publication of Ficino's Latin translation Plotinus was customarily read in Latin. For Ficino's rendering of this passage, cf. Plotini Enneades, ed. F. Creuzer and G. H. Moser (Paris, 1860), p. 33.

⁸⁹ Enneades, i, vi, 2. Turnbull, op. cit., pp. 42-43. Plotinus was here inspired by Plato's Phaedrus, 250 A-E. Ficino's translation in Plotini Enneades, 31.

⁹⁰ Enneades, vi, vii, 22. The translation is from Philosophies of Beauty, ed. E. F. Carritt (Oxford, 1931), pp. 49-50. The views expressed by Plotinus are his own additions to those of Plato. Ficino's translation in Plotini Enneades, p. 492.

⁹¹ At the very beginning of his life of Plotinus, Porphyry tells us that Plotinus would never permit his portrait to be made, on the ground that it was bad enough to carry about the image given by nature, without making an image of more permanent material. One of his disciples managed to have a portrait made without the knowledge or consent of Plotinus. Cf. Plotin, Ennéades, i, ed. Émile Bréhier (Paris, 1924), 1.

⁹² Enneades, v, viii, 1. Ficino's translation in Plotini Enneades, 349. Michelangelo wrote a celebrated sonnet, inspired by this passage.

⁹³ In Timaeum Platonis, ii, 122 B. This was quoted by Junius and misinterpreted in the Latin, (De Pictura Veterum, 3), as well as in the English version, to mean exactly the opposite of what Plotinus and Proclus had said. Misled by Junius, Gio. Pietro Bellori, a leading historian and theorist of the seventeenth century, used the interpretation of that scholar to support the doctrine of idealizing imitation. Cf. Erwin Panofsky, Idea (Leipzig, 1924), 131.

⁹⁴ Apologia, xiv, 7.

⁹⁵ Panegyrici Veteres, ed. C. G. Schwarz and others (London, 1828), iii, 1329.

⁹⁶ Works, iii, 284.

⁹⁷ Baldessare Castiglione, Il Libro del Cortegiano, i, 19 (Milan, 1928), pp. 49-50.

⁹⁸ Ibid., i, 24, ed. Vittorio Cian (Florence, 1894), p. 51.

⁹⁹ Pierre Charron, De la Sagesse, i, xi, 3. (Leyden, 1646), p. 84.

¹⁰⁰ George Puttenham, The Arte of English Poesie, ed. Gladys Doidge Willcock and Alice Walker (Cambridge, 1936), p. 64.

¹⁰¹ Philebus, 64 E and 66 B.

¹⁰² De Inventione Rhetorica, ii, i, 3. (Italics in the excerpt are mine.)

¹⁰³ Cf. Of the Advancement of Learning (Works, iii, 344-345): “As hieroglyphics were before letters, so parables were before arguments… . I do rather think that the fable was first and the exposition devised, than that the moral was first, and thereupon the fable framed.” The same statement was reduced in De Augmentis Scientiarum (Works, i, 520), to these words: “Denique ut hieroglypha literis, ita parabolae argumentis erant antiquiores.”

¹⁰⁴ Karl Borinski, Die Antike in Poetik und Kunsttheorie (Leipzig, 1914), i, 226. Cf. 316, and 226, n. 3.

¹⁰⁵ Enneades, i, vi, 5. Plotini Enneades, 33. Plato, Symposium, 209 B.

¹⁰⁶ Ibid., i, viii. Plotini Enneades, 40-49.

¹⁰⁷ Ibid., iii, ii, 11. Plotini Enneades, 126.

¹⁰⁸ Ibid., i, vi, 1. Plotini Enneades, 30-31. Cf. Cicero, Tusculanarum Dispulationum, iv, xiii, 31.

¹⁰⁹ Appreciations, With an Essay on Style (London, 1901), p. 246, 248, 252. (First edition in 1889.) J. E. Spingarn, in a chapter of the Cambridge History of English Literature, vii (Cambridge, 1911), 295, notes with approval Pater's use of Bacon's phrase.

¹¹⁰ Donald A. Stauffer, “Monna Melancholia, A Study in Pater's Sources,” Sewanee Review, xl (1933), 90, shows that Pater never saw the painting, and remarks. “The seeing eye is impotent in comparison with the dilated imagination.” He points out that certain phrases which Pater applies to the Mona Lisa are relevant to the Melencolia, but not to Leonardo's painting, such as “the presence that thus so strangely rose beside the waters ”the rocks among which she sits“; ”weary eyelids“; and ”strange thoughts and fantastic reveries.“ Pater may even have thought that Dürer's print was an etching, for after saying of the Mona Lisa: ”In suggestiveness only the Melancholia of Dürer is comparable to it,“ with regard to the Mona Lisa, he used the words: ”all the thoughts and experience of the world have etched.“

¹¹¹ The Literary Works of Leonardo da Vinci, ed. Jean Paul Richter (London, 1939), i, 258-269 (sections 350-388).

¹¹² Ibid., 258 (section 350).

¹¹³ Cf. Trattato, sections 171, 259, 263, 267, 269-272, 276-277, 302-303, 306, 310-311, 315, 498.

¹¹⁴ De Inventions Rhetorica, ii, i, 1-3.

¹¹⁵ Cf. J. Overbeck, Die Antiken Schriftquellen (Leipzig, 1868), Nos. 1827-1902.

¹¹⁶ Nat. Hist., xxxv, 79. Pliny devoted three times as much space to Apelles as to Zeuxis.

¹¹⁷ Ibid., and xxxv, 111.

¹¹⁸ Cf. The Elder Pliny's Chapters on the History of Art, trans. K. Jex-Blake, commentary and introduction by E. Sellers (London, 1896), p. xl.

¹¹⁹ Nat. Hist., xxxv, 107.

¹²⁰ Memorabilia, iii, x, 2.

¹²¹ Dissertationes, xxiii. The translation is by Junius, The Painting of the Ancients.

¹²² Murray Wright Bundy, The Theory of Imagination in Classical and Mediaeval Thought, University of Illinois Studies in Language and Literature, xii, Nos. 2-3 (Urbana, 1927).

¹²³ Metam., x, 247: “Foramque dedit, quae foemina nasci / Nulla potest.”

¹²⁴ De Sapientia Veterum (Works, vi, 617), Cf. Charles W. Lammi, The Classic Deities in Bacon (Baltimore, 1933).

¹²⁵ Filippo Baldinuccis vita des Gio. Lorenzo Bernini, mit Uebersetzung und Kommentar von Alois Riegl, aus seinem Nachlasse herausgegeben von Arthur Burda und Oskar Pollak (Vienna, 1912), 237 (69 of the 1628 edition of Baldinucci).

¹²⁶ Ascanio Condivi, Vita di Michelangelo Buonarroti, lx (Pisa, 1823), 73. Original edition at Rome, 1553.

¹²⁷ Aretino oder Dialog über Malerei von Lodovico Dolce, trans. Cajetan Cerri, Quellenschriften für Kunstgeschichte, ii (Vienna, 1871), 42.

¹²⁸ Francisco de Hollanda, Vier Gespräche über Malerei, ed. Joaquim de Vasconcellos (Vienna, 1899), pp. 28-29.

¹²⁹ Ibid., 30-31.

¹³⁰ Ibid., 203-204, n. 41.

¹³¹ André Fontaine, Les Doctrines d'Art en France (Paris, 1909), 35-36.

¹³² Ibid., 86-87.

¹³³ The Poems of John Donne, ed. Herbert J. C. Grierson (Oxford, 1938), i, 166. (Satyre, iii, 204 ff.) In Dürer's woodcut illustrations, the figure analyzed for its proportions is always shown simultaneously from several different sides, and the same points in the several views are connected by lines. Strings probably refers to these lines.

¹³⁴ Erwin Panofsky, Albrecht Dürer (Princeton, 1943), i, 270.

¹³⁵ Joachim Camerarius (Cammermeister), 1500-1574. As delegate from Nuremburg, in 1530, he had a great share in the composition of the Augsburg Confession; he was also a prolific writer of scholarly works. In the Huntington Library there is a letter from Sir Philip Sidney of Jan. 1, 1578, apparently to the sons of Camerarius, promising aid in the publication of their father's unpublished works. In 1573 Sidney spent some time in Germany; in Frankfort he lodged with the scholarly printer Andrew Wechel. In Heidelberg he met Henri Estienne II, who dedicated to Sidney the edition of the Greek New Testament of 1576, and his edition of Herodian of 1581. Perhaps Sidney in his youth became acquainted with the elder Camerarius, the translator of Dürer, then in his last years, Sidney's reputation as a patron of letters may also have prompted an appeal.

¹³⁶ Cf. Julius Schlosser, Die Kunstliteratur (Vienna, 1924), 241: “Lateinisch von Camerarius, Nürnberg 1528, 1532, 1534, Paris 1535, 1537, 1557 … Französisch von Meigret, Paris 1557, Arnhem 1613 und 1614. Italienisch von Galluci, Venedig 1591 und 1594. Portugiesisch 1599. Holländisch Arnhem 1622.” Cf. Hanns Bohatta, Versuch einer Bibliographie der kunsttheoretischen Werke Albrecht Dürers (Vienna, 1928).

¹³⁷ Cf. Josef Giesen, Dürers Proportionsstudien im Rahmen der allgemeinen Proportionsentwicklung (Bonn, 1930).

¹³⁸ Julius von Schlosser, Lorenzo Ghibertis Denkwürdigkeiten (Berlin, 1929), i, 105-107, 226-233; ii, 32-38. The Commentant end abruptly with the discussion of proportion, probably because of Ghiberti's death.

¹³⁹ Margaret Alice Murray, Egyptian Sculpture (New York, 1930), pp. 20-28.

¹⁴⁰ Gisela M. A. Richter, The Sculpture and Sculptors of the Greeks (New Haven, 1930), pp. 57, 245-247, 286.

¹⁴¹ Cf. R. Hahnloser, Villard de Honnecourt (Vienna, 1935).

¹⁴² The studies of Leonardo da Vinci in proportion are chiefly of this character, closely connected with his investigations of human anatomy and movements. Cf. Richter, Literary Works, i, 245-258 (sections 308-349); Erwin Panofsky, The Codex Huygens and Leonardo da Vinci's Art Theory (London, 1940).

¹⁴³ The scientific character of one of the most popular manuals may be judged from the following: De humana physiognomonia Ioannis Baptistae Portae Napolitani Libri IV (Rothomagi, 1650), p. 42: “Omne magnas habens extremitates est forte: Omnis leo, & quaedam animalia magnas habent extremitates. Ergo omnis leo, & quaedam animalia sunt fortia.”

¹⁴⁴ Panofsky, Dürer, i, 281: “it was for Dürer—encouraged perhaps, by Agrippa of Nettesheim, who, we remember, was the most important intermediary between Ficino and Germany, …—to claim for artists what the Florentine Neo-Platonists had reserved for ‘seers’ (‘vates‘): the quality of genius.” Agrippa's De Incertitudine et Vanitate Scientiarum atque Artium has two chapters on art: xxiv, “De Pictura,” and xxv, “De Statuaria et Plastica”; and his De Occulta Philosophia has two relevant chapters: xxvii, “De Humani Corporis Proportione & Mensura, Harmoniaque,” and xxviii, “De Animae Humanae Compositione et Harmonia.” Cf. Henrici Agrippae ab Nettesheym, Opera (Lugduni, n.d.), ii, 45-47, and i, 190-203. Agrippa (i, 190-196) reduces a Vitruvian diagram of proportions by Leonardo da Vinci, (Richter, Literary Works, i, plate xviii), published in Fra Giodonco's edition of Vitruvius, to a series of astrological charts.

¹⁴⁵ Cf. Erwin Panofsky, “Die Entwicklung der Proportionslehre als Abbild der Stilentwicklung,” Monatshefte für Kunstwissenschaft, xiv (1921), 188-219.

¹⁴⁶ Other works by Erwin Panofsky on this and allied topics include Dürers Kunsttheorie, vornehmlich in ihrem Verhältnis zu der der Italianer, (Berlin, 1915): and “Albrecht Dürers Rhythmische Kunst,” Jahrbuch für Kunstwissenschaft (1926), p. 136.

¹⁴⁷ Panofsky, Dürer, i, 35.

¹⁴⁸ Dürers schriftlicher Nachlass, ed. K. Lange and F. Fuhse (Halle a. S., 1893), p. 346. (From the London MSS).

¹⁴⁹ Cf. J. Hambidge, Dynamic Symmetry of the Greek Vase (New Haven and New York, 1920) and other works by the same author. George D. Birkhoff, Aesthetic Measure (Cambridge, 1933).

¹⁵⁰ Cf. R. Bruck, Das Skizzenbuch von Albrecht Dürer (Strassburg, 1905), plate 74.

¹⁵¹ Dürers schriftlicher Nachlass, p. 222.

¹⁵² Ibid., p. 231.

¹⁵³ Panofsky, Dürer, i, 268.

¹⁵⁴ Dürers schriftlicher Nachlass, pp. 229-230.

¹⁵⁵ Ibid., pp. 231-232.

¹⁵⁶ Ibid., p. 352.

¹⁵⁷ Philebus, 51 C-D, 56 B, 57 A-66 C; Symposium, 211 A-212 A.

¹⁵⁸ Dürers schriftlicher Nachlass, p. 225.

¹⁵⁹ Ibid., p. 228.

¹⁶⁰ Ibid., p. 226. For a translation of the “aesthetic excursus,” cf. William Martin Conway, Literary Remains of Albrecht Dürer (Cambridge, 1889), pp. 243-250.

¹⁶¹ Hermotimus, 45. Cf. H. W. Fowler and F. G. Fowler, The Works of Lucian of Samosata Oxford, 1905), ii, 67.

¹⁶² Cf. n. 151 above.

¹⁶³ Dürers schriftlicher Nachlass, p. 300.

¹⁶⁴ Ibid., p. 228.

¹⁶⁵ Works, i, 407: “Catalogus Historiarum Particularium Secundum Capita: 43. Historia Anatomica, sive Membrorum internorum hominis; et varietatis ipsorum, quatenus invenitur in ipsa naturali compage et structura, et non tantum quoad morbos et accidentia supernaturalia.”

¹⁶⁶ Richter, Literary Works, ii, 83-106.

¹⁶⁷ Trattato, i, 174 (section 337). This is perhaps also an allusion to Michelangelo's Last Judgment.

¹⁶⁸ The doctrine is to be found in the Symposium, Ion, Meno, Phaedo, and Phaedrus.

¹⁶⁹ Frederick Hard, “Ideas from Bacon and Wotton in William Sanderson's Graphice,” SP, xxxvi (1939), 228.

¹⁷⁰ Sir William Sanderson, Graphice, or the Use of the Pen and Pensil, in Designing, Drawing, and Painting; with an exact Discourse of each of them (London, 1658), pp. 46-47.

¹⁷¹ Poetics, xxv, 28.

¹⁷² Politics, viii, ii, 3-4, 6; iii, 1-2.

¹⁷³ The Booke named The Gouvernour Deuised by Sir Thomas Elyot, Knight, edited from the first edition of 1531 by Henry Herbert Stephen Croft (London, 1883), i, 38, Chapter vii, “In what wyse musike may be to a noble man necessary”; 43, Chapter viii, “That it is commendable in a gentilman to paynte or karue exactely, if nature do thereto induce hym.”

¹⁷⁴ Pro Archia, 18.

¹⁷⁵ De Oratore, ii, 46.

¹⁷⁶ Pro P. Sulla, 83.

¹⁷⁷ De Fortuna, 4 (99 B). Sextus Empiricus (Hypotyposes, i, 28), tells the story of Apelles; according to Pliny, Protogenes represented the foam of a panting dog, and Nealces the foam of a horse (Nat. Hist. xxxv, 103-104): all did so with a sponge, also by accident, in anger.

¹⁷⁸ Livre, iii, chapitre n, “Dv repentir.” Les Essais de Michel de Montaigne (Bordeaux, 1919), iii, 21.

¹⁷⁹ De Augmentis Scientiarum, v, iii (Works, i, 636).

¹⁸⁰ Cf. Ben Jonson, Timber or Discoveries, ed. Schelling (Boston, 1892), p. 30.

¹⁸¹ Advancement of Learning (Works, iii, 343-344); De Augmentis Scientiarum (Works, i, 517-518). Cf. Descriptio Globi Intellectualis (Works, iii, 727-728).

¹⁸² Poetics, ix, 1-3. 1451 a-b.

¹⁸³ Murray W. Bundy, “Bacon's True Opinion of Poetry,” SP, xvii (1930), 245, 247.

¹⁸⁴ W. Basil Worsfold, The Principles of Criticism (New York and London, 1902), pp. 49-51.

¹⁸⁵ Charles Mills Gayley and Fred Newton Scott, Methods and Materials of Literary Criticism (New York, 1899), pp. 287, 392-393.

¹⁸⁶ J. E. Spingarn, “Jacobean and Caroline Criticism,” Cambridge History of English Literature, vii (Cambridge, 1911), 294.

¹⁸⁷ For the parallels between Bacon's divisions and those of Huarte, cf. Clarence DeWitt Thrope, The Aesthetic Theory of Thomas Hobbes, University of Michigan Publications, Language and Literature, xviii, (1940), 45; Examen de los Ingenios para las Sciencias, Compuesto por el Doctor Juan Huarte (Amsterdam, 1662), pp. 127-128. Cf. also Rafael Salillas, Un Gran Inspirador de Cervantes (Madrid, 1905), in which it is claimed that Cervantes called Don Quixote, “el ingenioso hidalgo,” because of Huarte's book.

¹⁸⁸ Works, iii, 346.

¹⁸⁹ Bundy, op. cit., 261.

¹⁹⁰ Frederick Whiley Hilles, The Literary Career of Sir Joshua Reynolds (Cambridge, 1936), p. 190.

¹⁹¹ William Cotton, Sir Joshua and his Works, Gleanings from his Diary, unpublished Manuscripts, and from other Sources (London, 1856), p. 210.

¹⁹² Sir Joshua Reynolds, Discourses, Delivered to the Students of the Royal Academy, With Introduction and Notes by Roger Fry (New York, n.d.), pp. 55-56.

¹⁹³ Enneades, I, vi, 1. Cf. Plotini Enneades, 30-31, for Ficino's Latin translation.

¹⁹⁴ Cicero (Tusculanarum Disputationum, iv, xiii, 31) and St. Augustine (De Civitate Dei, xxii, 19) give substantially the same definition.

¹⁹⁵ Sir Philip Sidney, The Countess of Pembroke's Arcadia, being the original version now for the first time printe: edited by Albert Feuillerat (Cambridge, 1926), p. 188.

¹⁹⁶ Alcibiades, i, 5.

¹⁹⁷ In the Apophthegms New and Old, of 1625, Bacon quoted the same saying, translating it into English, and showing that the use made of it in 1612 was an intentional rhetorical adaptation to the context, and not simply a misunderstanding. (Works, vii, 145).

¹⁹⁸ Varia Historia, xiii, iv. The Latin is from A elianus, Varia Historia, cum interpretatione Justi Vulteji (Leyden, 1731). The object of the poet's affections was then about forty years old, Aelian reports.

¹⁹⁹ Meditations, iii, 2.

²⁰⁰ Works, vi, 432.

²⁰¹ Ibid., 448.

²⁰² Ibid. 458.

²⁰³ Ibid., 459.

²⁰⁴ Ibid., 477.

²⁰⁵ The Court and Times of James the First, compiled by Thomas Birch [edited by Robert Folkestone Williams] (London, 1848), i, 214: (from a letter of John Chamberlain to Sir Dudley Carleton, Dec. 17, 1612): “Sir Francis Bacon hath set out new essays where, in a chapter of Deformity, the world takes notice that he paints out his little cousin to the life.”

²⁰⁶ Works, i, 689.

²⁰⁷ Cf. Bacon's Essays, ed. Alfred S. West (Cambridge, 1889), p. 230.

²⁰⁸ Cf. notes 34-36 above.

²⁰⁹ Cf. note 49 above.

²¹⁰ De la Sagesse, 87.

²¹¹ Wilson's Arte of Rhetorique, 1560, ed. G. H. Mair (Oxford, 1919), p. 83.

²¹² Essay on Man (1734), Epistle iv, 281-282.