Act v. sc. 3, lines 14–84, Cambridge edition, vol iii. pp. 422–25.

Footnote 67:

The ivory statue changed into a woman, which Ovid describes, _Metamorphoses_, bk. x. fab. viii. 12–16, is a description of kindred excellence to that of Shakespeare:

“Sæpe manus operi tentantes admovet, an sit Corpus, an illud ebur: nec ebur tamen esse fatetur. Oscula dat, reddique putat; loquiturque, tenetque; Et credit tactis digitos insidere membris: Et metuit, pressos veniat ne livor in artus.”

Footnote 68:

“Julio was an artist of vigorous, lively, active, fearless spirit, gifted with a lightness of hand which knew how to impart life and being to the bold and restless images of his fancy.” The same volume, pp. 641–5, continues the account of Romano.

Footnote 69:

“An important one,” says Kugler, “at Lord Northwick’s, in London.”

Footnote 70:

Two of Titian’s large paintings, now in the Bridgewater Gallery, represent “Diana and her Nymphs bathing.” (See Kugler, vol. ii. p. 44.)

Footnote 71:

See Drake’s _Shakspeare and his Times_, vol. ii. p. 119.

Footnote 72:

See D. Franz Kugler’s _Handbuch der Geschichte der Malerei_, vol. ii. pp 44–6.