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15 16 17 18 19 20 21 22 23 24 25 rederick Lane, Venice: A Maritime Republic (Baltimore: Johns Hopkins University Press, 1973), p. 147. William Shakespeare, The Merchant of Venice, ed. W. M. Merchant (London: Penguin, 1967), I. iii. 26–31. Merchant of Venice, IV. i. 215–16. Merchant of Venice, I. i. 65ff. Howard Adelman, ‘Leon Modena: The Autobiography and the Man’, in Mark R. Cohen (ed.), The Autobiography of a Seventeenth-Century Venetian Rabbi: Leon Modena’s ‘Life of Judah’ (Princeton: Princeton University Press, 1988) p.28; this article contains an excellent biographic supplement to Modena’s own autobiography, pp. 19–38. Ibid., p. 31. Natalie Z. Davis, ‘Fame and Secrecy: Leon Modena’s Life as an Early Modern Autobiography’, in Cohen (ed.), The Autobiography of a Seventeenth-Century Venetian Rabbi, p. 68. Leon Modena, ‘The Life of Judah’, in Cohen, op cit, p. 144. Ibid., p. 14. Ibid., p. 159. Ibid., p. 162. he Foreigner 1 2 3 Charles de Feir, Guide du Salon de Paris 1882 (Paris, 1882) p. 23; for a full list of contemporary criticisms of this painting see T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers (Princeton: Princeton University Press, 1986) pp. 310–11, fn. 65. Jules Compte, quoted and translated by T. J. Clark, The Painting of Modern Life, p. 240. Henri Houssaye, ‘Le Salon de 1882’, L’Art français 100
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4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 depuis dix ans (Paris, 1883), p. 242; I have used Clark’s translation, though the diction of the French original is much more emphatic; see Clark, The Painting of Modern Life, p. 243. Isaiah Berlin, Vico and Herder: Two Studies in the History of Ideas (London: Hogarth Press, 1976), p. xxiii. Ibid., pp. 197–8. Daniel Stern, Oeuvres, (Paris, 2nd ed., 1873) vol. 6, p. 353. Ibid., p. 224. Ibid., p. 466. Sophocles, Oedipus the King, trans. David Greene (Chicago: University of Chicago Press, 1954) p. 55; Greek original, Oedipus Tyraneus, Loeb Classical Library: 1030–5. Oedipus the King, p. 73; Oedipus Tyraneus, 1453. In this and the following three sentences I have taken the liberty of quoting myself; these sentences open my book The Conscience of the Eye (New York: Knopf, 1991), pp. 5–6. Harvey Cox, The Secular City (revised edn; New York: Macmillan, 1966), p. 49. Translated and quoted in Jaroslav Pelikan, Jesus through the Centuries (New Haven: Yale University Press, 1985), pp. 49–50. Augustine, The City of God, trans. Gerald G. Walsh, S.J., et al. (New York; Image, 1958), p. 325. Sophocles, Oedipus Coloneus (Cambridge, MA: Loeb Classical Library), 607–20. Herzen, My Past and Thoughts Trans. Constance Garnett, into Isiah Berlin (New York: Knopf, 1968), I, p. 1024. Ibid. Ibid., p. 1025. Ibid., p. 1399. Ibid.

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rederick Lane, Venice: A Maritime Republic (Baltimore: Johns Hopkins University Press, 1973), p. 147. William Shakespeare, The Merchant of Venice, ed. W. M. Merchant (London: Penguin, 1967), I. iii. 26–31. Merchant of Venice, IV. i. 215–16. Merchant of Venice, I. i. 65ff. Howard Adelman, ‘Leon Modena: The Autobiography and the Man’, in Mark R. Cohen (ed.), The Autobiography of a Seventeenth-Century Venetian Rabbi: Leon Modena’s ‘Life of Judah’ (Princeton: Princeton University Press, 1988) p.28; this article contains an excellent biographic supplement to Modena’s own autobiography, pp. 19–38. Ibid., p. 31. Natalie Z. Davis, ‘Fame and Secrecy: Leon Modena’s Life as an Early Modern Autobiography’, in Cohen (ed.), The Autobiography of a Seventeenth-Century Venetian Rabbi, p. 68. Leon Modena, ‘The Life of Judah’, in Cohen, op cit, p. 144. Ibid., p. 14. Ibid., p. 159. Ibid., p. 162.

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Charles de Feir, Guide du Salon de Paris 1882 (Paris, 1882) p. 23; for a full list of contemporary criticisms of this painting see T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and his Followers (Princeton: Princeton University Press, 1986) pp. 310–11, fn. 65. Jules Compte, quoted and translated by T. J. Clark, The Painting of Modern Life, p. 240. Henri Houssaye, ‘Le Salon de 1882’, L’Art français

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