Note 4 — Chapter II
Reading edition
It is, as has been said, a marvellous story by which this glorious painting,—in which the introduction of the patron-saint of Solothurn proves that it was created for one of her own altars,—was completely lost to her, and to the very histories of Art, and then returned to the city for which it was originally destined; all by a chain of seemingly unrelated accidents. But only the skeleton of that story can be given here.4