“Raphael’s Bible,” 89
Ravensteyn, Jan van, 201
Reformation, 235, 252
Regent pictures, 199
Reine de Chypre, La, 143
Rembrandt, 200, 204–220, 231, 232
Rembrandt, Titus, 206
Renaissance, The, 28
Renaissance in France, 161
Renaissance in the Netherlands, 161
Return of Spring, 59–60, 61
Reymond, Marcel, quoted, 96, 110
Reynolds, Sir Joshua, 84, 204, 329, 330, 331, 332, 333, 337–356,
360, 371, 394, 408, 412, 418, 423, 426
Reynolds, Sir Joshua, quoted, 115, 179–180, 199–200, 280, 383
Rhode Island, Colony of, 190
Ribalta, Francisco de, 258
Ribera, Jusefe, 258, 264
Ricci, Seymour, quoted, 228–231
Richelieu, Cardinal, 178, 194
Rinaldo, 181
_Rinaldo and Armida_ (Sir Anthony Van Dyck), 181
Robert, Hubert, 277, 316, 322
“Robert des ruines,” 320
_Robert Rich, Earl of Warwick_ (Sir Anthony Van Dyck), 187–190, 195
Roger de la Pasture, 163, 334
Roger van der Weyden, 124, 162, 166–169, 170, 174, 235
Rogers, Samuel, 92
Roldt, Max, quoted, 402
Romaunt de la Rose, 15, 334
Romney, George, 329, 330, 331, 332, 333, 337, 341, 361, 394, 426
Romney, George, quoted, 407
Rooses, Max, 184
Roses, 25, 31
Rosselli, Cosimo, 23, 24, 82
Royal Academy, 338, 354, 356, 360
Rubens, Peter Paul, 164, 176–180, 181, 182, 272, 335
Rucellai Madonna, 5, 17
Ruisdael, Jacob, 202, 232
Rushford, G. McNeil, quoted, 128
Ruskin, quoted, 34, 119
Ruysch, Rachel, 203
Sachs, Hans, 236
“Salvatore Rosa of the North,” 218
Sano di Pietro, 9
Sans Souci Palace, 291, 296
Santi, Giovanni, 74, 89
Sanuto, Marino, quoted, 150
Sargent, John Singer, 259
Saskia van Ulenburgh, 204, 207, 208
Sassetta, 3, 5–9, 31
Sassetti, Francisco, 72
Sassetti, Roderigo, 69
Sassetti, Teodoro, 72
Savonarola, 24, 61
Saxon School, 236, 252
Say, Lord, 190
Saybrooke, 190
Scalpin, 281
Scaramouche, 281
_Scene along the Adriatic Coast_ (Guardi), 152
Schöngauer, Martin, 168, 235–236
Scorel, Jan van, 201
Sebastian del Piombo, 121
Segna di Bonaventura, 3
Sélincourt, Beryl de, quoted, 119–120, 134
“Serena portraits, The,” 398
_Serinette, La_ (Chardin), 300
Seymour, Jane, 240
Sforza, Francesco, 243
Sforza, Ludovico (“Il Moro”), 21, 23, 82, 93, 106, 148–151
Sforza, Maximilian, 148–151, 243
Siddons, Mrs., 84
Sidney, Sir Philip, 187–188
Sidney, Sir Philip, quoted, 188
Siena, 3
Siena, Cathedral, 16, 17
Sienese Art, 4
Sienese School, 3–16
Signorelli, Luca, 74
_Simeon and Mary Presenting the Infant Christ in the Temple_
(Rembrandt), 214
Simeon in the Temple (Rembrandt), 206, 219
Simone Martini, 3, 9
Simonetta, Vespucci, 24, 59, 60
Simplicity (Reynolds), 346
Singerie, 284
_Sir Thomas More_ (Holbein), 244
Sistine Chapel, 24, 61, 70, 82
Six, Burgomaster Jan, 204
_Small Cowper Madonna_ (Raphael), 86
Smith, Nollekens, quoted, 362
Sneyd, Charlotte, 397
Sneyd, Honora, 398
Snyders, Frans, 165
Sortie of the Company of Captain Banning Cock (Rembrandt), 206
Southwark Fair (Hogarth), 336
Space Composition, 83
Spagnoletto, Lo, 258
Spencer, Countess of, 375
Spencer, Earl of Althorp, 356, 361, 375, 378
Spielmann, M. H., quoted, 347, 384
Spinello, Aretino, 18
Sposalizio (Raphael), 82
Squarcione, Francesco, 97, 106, 116, 117, 125
_St. Cosimas and St. Damianus_ (Fra Angelico), 39
St. Francis, 3, 6–8
_St. Francis and the Beggar_ (Sassetta), 5
St. Francis (Ghirlandaio), 72
St. Francis (Giotto), 6, 26
St. Francis, panels, 6
St. Jerome, 252
St. Jerome (El Greco), 260
St. Paul’s (London), Old, 182
St. Ursula (Carpaccio), 118
St. Ursula, Shrine of (Memling), 174
_Standard-Bearer, The_ (Rembrandt), 204
Stanley, Edward Smith (Derby), 400
Starnina, 19, 31, 257
Steelyard (London), 246
Steen, Jan, 202
Stefano di Giovanni, 3, 5–9
Stephens, F. G., quoted, 382
Stevenson, Robert Louis, quoted, 411
Stoffels, Hendrickje, 206
Strafford, Earl of, 190, 194
_Strawberry Girl, The_ (Reynolds), 340, 342–346, 353, 394
Strawberry Hill, 214, 219, 220, 331
Style, Louis Quinze, 276, 310
Style, Rubens, 179
Suardi, Bartolommeo, 93
Swabian School, 236
Swanenburch, Jacob van, 204
Syndics, The (Rembrandt), 207
Taddeo di Bartolo, 3, 9
Taddeo, Gaddi, 18
Tagliapanni (Mononi), 112
Taine, quoted, 115, 120, 142, 162–163
Tasso, 181
Tauromachia (Goya), 270
Tempest, John Walter, 392–394
Temple of Health, 404
Teniers, David the Younger, 165
Terborch, Gerard, 166, 202
Theotocopoulos, Domenico, 258, 260–262
Tiepolo, Giovanni Baptista, 121
Tintoretto (Tintoret), 119
Titian, 119, 137, 138, 140–147, 272
_Titian’s Schoolmaster_ (Moroni), 112
Tiziano Vecello, 119, 142
Tom Thumb, General, 192
Tondo form, first use of, 47
Tornabuoni, Giovanna, 66, 68
Tornabuoni, Giovanni, 69, 70
Tornabuoni, Lorenzo, 61, 68, 69
Tornabuoni, Lucrezia, 21, 56, 68
Tour, Maurice Quentin de la, 276
Tournament (Giuliano de’ Medici), 59
Tournament (Lorenzo de’ Medici), 59
Travellers to the Far East, 5
Trimmer, Rev. J. T., quoted, 380
Triumph of Cæsar (Mantegna), 107
Triumph of Galatea (Raphael), 90
Troost, Cornelis, 203
Tura, Cosimo, 93, 98
Turner, J. W. M., 337
Uccello, Paolo, 19, 20, 23, 74
Ugolino da Siena, 3
Umbrian School, 73–92
Utrecht, Adriaen van, 165
Vache qui se mire (Paul Potter), 201, 202
Valentiner Dr., quoted, 208
Van Eyck School, 163
Van Loo, Carle, 276, 277, 304, 306, 312, 394
Van Mander, quoted, 157
Vanni, Andrea, 3
Vanni, Lippo, 3
Vannucci, Pietro, 74, 80
Vargas, Luis de, 257
Vasari, quoted, 17, 32, 36, 39, 51
Vatican, 38, 82, 89, 121
Vecchietta, Lorenzo, 3, 9, 15
Veen, Otto van, 178
Velasquez, 258, 264–268, 270, 272
Velde, Adriaen van der, 201
Venetian School, 115–153
Veneto, Bartolommeo, 119, 148–151
Veneziano, Bartolommeo, 119–151
Veneziano, Domenico, 20, 74
Venturi, Adolfo, quoted, 100
Verhaaght, Tobias, 178
Vermeer, Jan, 162, 202, 228–232
Vermejo, Bartolomé, 257
Vernet, Joseph, 322
Veronese, Paolo, 10, 93, 99, 120
Verrocchio, Andrea, 21, 22–23, 59, 82
Veth, Dr. Jan, quoted, 214–216
Villa Aldobrandini, 138
Villa Ludovisi, 138
Vincent, François Élie, 326
_Virgin and Child_ (Bellini), 134
_Virgin and Child_ (Titian), 140
_Virgin and Child with the Infant St. John and Angel_ (Francia),
107
_Virgin and Child with St. Lucy, St. Catherine, St. Peter and St.
John the Baptist_ (Bellini), 130
_Virgin Appearing to St. Dominic_ (El Greco), 262
Virgin of the Rocks (Leonardo da Vinci), 96
_Virgin Receiving the Divine Message_ (Fra Angelico), 34
Virginia Government, 190
Vision of St. Eustache (Pisanello), 102, 103
Viti, Timoteo, 89, 108
Vivarini, Antonio, 8, 116, 125
Vivarini, Bartolommeo, 117
Vydts, Jodocus, 157
Waldegrave, Lady, 366
Walpole, Charlotte, Countess of Dysart, 368
Walpole, Edward, 366
Walpole, Horace, 214, 219, 331, 333, 366, 368
Walpole, Horace, quoted, 364, 368, 376, 400
Walpole, Louisa (the Hon. Mrs. F. Keppel), 368
Walpole, Maria, 366
Walpole, Sir Robert, 366
Ward, Humphrey, quoted, 332, 397
Wars of the Roses, 333
Watteau, Antoine, 275, 281–285, 294, 296, 314, 330
Watts, George Frederick, 425
Weenix, J. B., 203
West, Benjamin, 423, 424
Wilkie, Sir David, quoted, 412
Wilkie, John, 337
Wilson, Richard, 337
Wiltshire, John, 389–390
Winchester School, 334
Wohlgemut, Michael, 236, 237
Wolfram von Eschenbach, 235
Woltman, Dr. Alfred, quoted, 244
Wright, Mrs. (Patience), 419
Wynants, Jan, 201
Yellow Boy, The (Reynolds), 384
Young, Col. G. F., quoted, 20, 21, 45–46, 56, 58, 59–60
_Young Girl_ (Greuze), 308
_Young Girl Reading a Letter_ (Greuze), 306
Zeitblom, Bartholomäus, 236
Zuccaro, Federigo, 334, 335
Zurbaran, Francisco, 258
FOOTNOTES:
[1] “The early Byzantine masters represented the Madonna’s garments
enriched with lines of gold. Giotto and the early Florentine painters
as a rule preferred to suggest a plain material, often of delicate
color except when the Madonna was portrayed as Queen of Heaven. In
their devotional pictures the Sienese masters used gorgeous gold and
red, or white and gold fabrics. Some of the Giotteschi and perhaps
Gentile da Fabriano inherited from Siena their love of representing
splendid textiles. Later color effects were made more of a study and
deeper, richer tones appeared; but simple materials were represented
except among the Venetians, who frequently in their pictures of both
sacred and profane subjects painted elaborate, richly colored fabrics.
This cult of splendor reached its height in the Sixteenth Century under
Paolo Veronese.”--_Mediæval and Renaissance Paintings_ (Fogg Art
Museum, Cambridge, 1927).
[2] “The incident of the Adoration of the Magi is related only in the
Gospel of Saint Matthew, and there very briefly; but many legends grew
up around the Magi and Kings from the East. The number of the Magi was
at first indeterminate, but about the Fourth Century the number three
became general. It was not until the Fifth and Sixth Centuries that the
Magi became Kings and not until the Tenth Century were they represented
as crowned Kings. The Magi were for the first time pictured as of
different ages, an old man, a middle-aged man, and a young man, in an
Eastern manuscript dating from about 550. During the Middle Ages the
exact age of each was given--the eldest was sixty, the youngest twenty,
and the other forty years old. Their names, the Latin forms of which
were Jaspar--later Gaspard--Balthasar, and Melchior, first appeared
in a Greek Sixth Century manuscript. A passage attributed to Bede,
quoted in Male’s _Religious Art in France, Thirteenth Century_,
states that ‘Melchior, an old man with long, white hair and a long
beard, offered gold, symbol of the divine kingdom. The second, named
Caspar, young and beardless, with a ruddy countenance, honored Christ
in presenting incense, an offering pointing to his divinity. The third,
named Balthasar, with a dark skin and a full beard, testified in his
offering of myrrh that the Son of Man must die.’ It was not until the
Fourteenth and Fifteenth Centuries that artists represented the third
King as a negro, in accordance with the teachings of the theologians
that the three Kings represented the three races of mankind coming
to render homage to the Christ Child. The subject of the Adoration
of the Magi was a favorite one with artists, particularly in the
Fifteenth Century, as it lent itself to the richest and most elaborate
treatment. The early legends asserted that St. Joseph did not appear;
but in representations dating from the Fifteenth Century he is almost
invariably present.”--_Mediæval and Renaissance Paintings_ (Fogg
Art Museum, Cambridge, 1927).
[3] “The legend which makes St. Luke a painter was of Eastern origin
and was introduced into the West at the time of the First Crusade.
There may have been a Greek painter of Madonnas named Luca whom the
Western Church confused with the Evangelist, but the Evangelist was
always regarded an authority on the characteristics of the Madonna.
His Gospel gives the fullest account of her. The subject of St. Luke
painting the portrait of the Madonna was frequently treated in the
Middle Ages and in the Renaissance.“--_Mediæval and Renaissance
Paintings_ (Fogg Art Museum, Cambridge, 1927).
[4] “Double roses, pink or red, were the symbol of divine love and
were consecrated to the Madonna. One of her titles was the Madonna
della Rosa, doubtless based on the verse in the _Song of Solomon_
(ii. 1)--‘I am the Rose of Sharon and the lily of the valleys’--for as
early as the first centuries the Fathers of the Church applied to the
Madonna the imagery of the _Canticles_. The tradition is that when
the roses were massed together in garlands or baskets they symbolized
heavenly joys. The painters of Central Italy during the Fourteenth and
Fifteenth Centuries represented clusters of lilies and roses in the
foreground of their Madonna pictures as votive offerings to her of
sacred flowers. Often angels present bowls of flowers to her.
“Myrtle was one of the Madonna’s flowers and symbolized her purity and
other virtues. The jasmine, though not strictly a sacred flower, is
often found in religious paintings--the star-shaped blossom apparently
symbolized divine hope or heavenly joy. It is often found with roses
and lilies beside the Madonna. The carnation had no definite symbolic
meaning, but was frequently used instead of the rose; then it had the
same significance as the rose, the symbol of divine love, sacred to the
Madonna.--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
Cambridge, 1927).
[5] “In general, representations of the _Annunciation_ before the
Twelfth Century are rare; but after the beginning of the Thirteenth
Century they become very frequent, appearing somewhere on every
altar-piece--in medallions, or quatrefoils above the main panels, in
the pinnacles, or in the predella, or painted, or carved on the outside
of the shutters. The subject was often treated as a mystery, not as an
actual scene. Generally only the Virgin and Angel were represented,
although it was not unusual to find other figures. From the end of the
Fourteenth until the Sixteenth Century, God the Father is often seen
in the sky and the Dove of the Holy Spirit descends from Him to the
Virgin on rays of light. The Virgin was represented seated, standing,
about to rise at the approach of the Angel, or kneeling. Gabriel was
pictured standing, or kneeling, before her, or just alighting on
the earth, his feet not yet touching the ground. In the Thirteenth
Century representations, notably in the painted glass windows, the
Virgin and the Angel stand face to face; later the Italian artists
represented the scene as taking place in an open _loggia_, while
the Flemish artists painted the Virgin in meditation in her room when
the Angel appeared to her. Before the Thirteenth Century, Mary was
often represented with a basket of wool, or distaff as, according to
the Protevangelion, she continued to spin for the Temple after she had
become affianced to Joseph and was working when the Angel came. Gabriel
bears the light staff, or sceptre, of a herald, a scroll on which is
inscribed his greeting, an olive-branch, or a stalk of lilies.
“The lily probably was developed from a flower with a long stalk
which was introduced during the Thirteenth Century appearing in
glass-painting and miniatures and signifying springtime, ‘the time
of flowers,’ when the _Annunciation_ took place. Later, lilies
were used to symbolize the purity of the Virgin and were placed in
a jar, or vase, near her, or were carried by the Angel. In Spain
the vase of lilies was almost essential to representations of the
_Annunciation_ and became the special and distinguishing attribute
of the Virgin. The Spanish Order of the Lily of Aragon, established by
Ferdinand of Castile in commemoration of a victory over the Moors in
1410, had for its badge ‘pots filled with white lilies interlaced with
griffins, to which was pendent a medal having thereon an image of the
Virgin Mary.’ In Italy, neither the vase of lilies nor the stalk was
considered essential in representations of the _Annunciation_,
although they are of frequent occurrence. Certain of the Florentine
artists, notably Fra Filippo Lippi, represented both. Ghirlandaio,
in his _Annunciation_ at San Gimigniano, placed a vase beside
the Virgin’s desk and combined other flowers--roses, daisies, and
jasmine--with the lilies. The Angel bears the lily-stalk.
“It is interesting to note that while in the majority of Fourteenth-
and Fifteenth-Century _Annunciations_ the Archangel Gabriel
was represented bearing a lily, the Sienese painters seldom used
this flower, preferring the olive-branch, always a favorite symbol
with them. In the _Annunciation_ it referred to the Christ
Child as the bringer of peace on earth. One interpretation of the
avoidance of the use of the lily by Sienese artists is that it was
due to the hatred of Siena for Florence, the lily being the flower of
Florence.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
Cambridge, 1927).
[6] Col. G. F. Young, _The Medici_ (London, 1910).
[7] Julia Cartwright, _The Painters of Florence_ (London, 1916).
[8] Col. G. F. Young, _The Medici_ (London, 1909).
[9] Col. G. F. Young, _The Medici_ (London, 1909).
[10] “The pomegranate in the hand of the Child, bursting open and
showing the seeds, has been variously interpreted. It may be a symbol
of the hope in eternity, which the Christ gave to man, signified by the
unexpected sweetness of the fruit within the hard rind. In the writings
of the early Fathers the fruit is also interpreted as the emblem of
congregations, because of its many seeds, or as the emblem of the
Christian Church because of the inner unity of countless seeds in one
and the same fruit.”--_Mediæval and Renaissance Painting_ (Fogg
Art Museum, Cambridge, 1927).
[11] Berenson.
[12] “Space composition differs from ordinary composition in the first
place most obviously in that it is not an arrangement to be judged
as extending only laterally, or up and down, on a flat surface, but
as extending inwards in depth as well. It is composition in three
dimensions and not in two, in the cube, not merely on the surface....
Painted space composition opens out the space it frames in, puts
boundaries only ideal to the roof of heaven. All that it uses whether
the forms of the natural landscape, or of grand architecture, or even
of the human figure, it reduces to be its ministrants in conveying a
sense of untrammelled, but not chaotic, spaciousness. In such pictures
how freely one breathes,--as if a load had just been lifted from one’s
breast; how refreshed, how noble, how potent one feels; again, how
soothed; and, still again, how wafted forth to abodes of far-away
bliss!”
[13] Julia Cartwright, _Beatrice d’Este_ (London, 1908).
[14] Julia Cartwright, _Beatrice d’Este_ (London, 1908).
[15] Beryl de Sélincourt, _Venice_ (London, 1907).
[16] “In the north of Italy garlands of fruit took the place of votive
flowers. In pictures of Florentine origin, when the Madonna holds a
single rose, she is represented as the _Madonna del Fiore_--Our
Lady of the Flower--to whom the Cathedral at Florence was dedicated.
“Fruits in general symbolized the fruits of the spirit, or a votive
offering, or were often used purely for decorative purposes. The
cherries which the Angels offer to the Child are the fruit of Heaven,
typifying the delights of the blessed. In a picture by Memling in the
Uffizi, the Child holds in one hand a cluster of cherries--the fruit of
Paradise--while with the other He reaches out for the apple offered Him
by an Angel. This typifies His relinquishment of heavenly joys and His
taking upon Himself the sin of the world.
“The apple and the gourd were often painted together by artists,
notably Crivelli. The use of the gourd dates back to the wall-pictures
in the catacombs, where Jonah was represented as the type of the
Risen Christ and the gourd as the symbol of the Resurrection. As the
apple was the fruit of Eden which brought sin into the world, so
the gourd represented the Resurrection which saved the world from
the consequences of its sin. In early pictures the apple sometimes
represents the fruit of Paradise, which the King of Heaven brings down
to earth with Him. In general, however, it is used as the symbol of the
sin of the world which Christ takes upon Himself.”--_Mediæval and
Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).
[17] Beryl de Sélincourt, _Venice_ (London, 1907).
[18] It is interesting to see that Vasari calls Dürer a Fleming!
[19] This reminds us of the old Nursery rhyme:
“Sing a song of sixpence,
A pocket full of rye;
Four-and-twenty blackbirds
Baked in a pie.
When the pie was opened,
The birds began to sing;
Wasn’t that a dainty dish
To set before the King?”
Undoubtedly this jingle is an echo of the jokes and “pleasantries”
in confectionery and pastry that were perpetrated by the Mediæval
_chefs_.--E. S.
[20] This was a _fashion_ of the period, originating in Italy (see
pages 51, 86, 103).
[21] “The introduction of little angels singing vigorously and playing
on musical instruments about the Madonna’s throne was a favorite motif
of the Umbrian Boccatis. Indeed, angel musicians were represented by
artists of all Schools from the Twelfth to the Seventeenth Century.
They stand or kneel before the Madonna and Child, or--particularly in
Venetian and North Italian paintings--sit on the steps of the throne,
playing on lutes, harps, viols, miniature organs, blowing horns and
trumpets, striking cymbals and triangles or beating drums and timbrels,
and singing their songs of praise and adoration. They make a delightful
note of joyousness in representations of the Madonna and Child and are
among the happiest creations of painters and sculptors.”--_Mediæval
and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).
[22] For surprises in pastry, see page 160.
[23] _Strawberry Hill Simeon_ had not then been discovered.
[24] Leslie and Taylor, _Life and Times of Sir Joshua Reynolds_
(London 1865).
[25] William Smith (1756–1835) was a politician who took a great
interest in literature and art. He was a friend of Sir Joshua Reynolds,
for whose _Mrs. Siddons as The Tragic Muse_ he paid £320 at the
Calonne Sale in 1795 and sold it to Mr. G. W. Taylor for £900. At the
Taylor Sale in 1823 the picture cost Earl Grosvenor £1,837. It passed
recently to America along with Gainsborough’s _Blue Boy_.
“This picture Sir Joshua Reynolds valued at 1000 guineas--a large sum
in his day--but notwithstanding all the encomiums passed upon it,
_The Tragic Muse_ remained on his hands for several years. At
length it was purchased from the artist for £800 by M. de Calonne, the
ex-minister of finance in France.
“When M. de Calonne’s pictures were sold by Skinner and Dyke on March
28, 1795, _The Tragic Muse_ was bought by Mr. Smith of Norwich for
£700 and Mr. Smith sold it privately to Mr. G. Watson Taylor for £900.
At the sale of Mr. Taylor’s pictures in 1823 it was purchased by Earl
Grosvenor for £1,837-10. Inherited by the Dukes of Westminster, _The
Tragic Muse_ hung for many years in Grosvenor House, in company with
Gainsborough’s _Blue Boy_ until it was sold in 1921 to the late
Mr. Henry E. Huntington.”
[26] William T. Whitley, _Gainsborough_ (London, 1915).
[27] William T. Whitley, _Gainsborough_ (London, 1915).
[28] William B. Boulton, _Gainsborough_, 1907.
[29] Maria’s sister Louisa had married the Hon. and Rev. Frederick
Keppel, second son of the Earl of Albemarle.
[30] Maria’s sister who married Lionel, fifth Earl of Dysart.
[31] Name for evening dress.
[32] Maurice W. Brockwell, _Taft Catalogue of Paintings_ (New
York, 1920).
[33] _Thomas Gainsborough_ (London, 1915).
[34] The portrait of Henrietta Maria (see page 193) is another example.
[35] Humphrey Ward.
[36] Angelica Kauffman, the famous painter.
Transcriber’s Notes:
1. Obvious printers’, punctuation and spelling errors have been
corrected silently.
2. Some hyphenated and non-hyphenated versions of the same words have
been retained as in the original.
3. Superscripts are represented using the caret character, e.g. D^r. or
X^{xx}.
4. Italics are shown as _xxx_.
5. Bold print is shown as =xxx=.