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| Amico Aspertini Virgin and Child with St Helena and St Francis of Assisi ca. 1520 oil on panel National Museum Cardiff, Wales |
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| Altobello Melone Tobias and the Angel ca. 1520-25 oil on panel (altarpiece fragment) Ashmolean Museum, Oxford |
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| Antonio del Ceraiolo Virgin and Child with Angels ca. 1520 oil on panel York Art Gallery |
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| Camillo Filippi after Battista Dossi Adoration of the Shepherds ca. 1520-30 oil on panel Ashmolean Museum, Oxford |
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| attributed to Bonifazio Veronese Sacra Conversazione with St Jerome, St Justina, St Ursula, and St Bernardino of Siena ca. 1520-25 oil on canvas National Trust, Penrhyn Castle, Bangor, Wales |
from Biathanatos
That light which issues from the Moon doth best represent and express that which in ourselves we call the light of Nature, for as that in the Moon is permanent and ever there, and yet it is unequal, various, pale, and languishing, so is our light of Nature changeable. For being at the first kindling at full, it waned presently, and by departing further and further from God, declined by general sin to almost a total Eclipse: till God coming nearer to us, first by the Law, and then by Grace, enlightened and repaired it again, conveniently to his ends, for further exercise of his Mercy and Justice.
– John Donne (ca. 1609)
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| Andrea del Sarto Virgin and Child with St John the Baptist (The Fries Madonna) ca. 1520-21 oil on panel National Trust, Ascott House, Buckinghamshire |
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| Bernardino Luini Virgin and Child in a Landscape ca. 1520 oil on panel Wallace Collection, London |
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| Bernard van Orley and workshop Virgin and Child by a Fountain ca. 1520-40 oil on panel Kelvingrove Art Gallery and Museum, Glasgow |
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| follower of Jan Gossaert Cybele beseeching Saturn to spare her Child ca. 1520-30 oil on panel Bowes Museum, Barnard Castle, County Durham |
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| Master of the Mansi Magdalen Judith and the Infant Hercules ca. 1525 oil on panel National Gallery, London |
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| Lucas Cranach the Elder Adam and Eve 1526 oil on panel Courtauld Gallery, London |
Why is there more variety of Green than of other Colours?
It is because it is the figure of Youth wherein nature would provide as many greens as youth hath affections, and so present a Sea-green for profuse wasters in voyages; a Grass-green for sudden new men ennobled from Graziers; and a Goose-green for such Politicians as pretend to preserve the Capitol – or else prophetically foreseeing an age wherein they shall all hunt. And for such as misdemean themselves a Willow-green, for magistrates must as well have Fasces born before them to chastise the small offences, as Secatures to cut off the great.
– John Donne (ca. 1592-95)
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| Perino del Vaga Holy Family with St John the Baptist ca. 1528-37 oil on panel (unfinished) Courtauld Gallery, London |
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| Titian Portrait of Giacomo Doria ca. 1530-35 oil on canvas Ashmolean Museum, Oxford |
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| Il Garofalo (Benvenuto Tisi) Allegory of Love ca. 1530 oil on canvas National Gallery, London |
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| Anonymous Netherlandish Artist Adoration of the Shepherds 1535 oil on panel Courtauld Gallery, London |