INDEX

Abbey, Edwin, [289]
Academy, Royal
Foundation of, [258], [261]
Schools, [289], [290], [294]
Medals, [261], [289], [291], [294], [302]
Exhibits at, [297], [299], [301]
Accademia delle Belle Arti, [204]
Achæan League, [108]
Acropolis at Athens, [12], [27], [77], [260]
At Pergamus, [91]
Ægospotami, [47], [194]
Æschylus, [8], [194]
Ætolian League, [109]
“Africa,” by Theed, [285]
Agasias, [69]
Agatharchus, painter, [56]
Ageladas, [23]
“Age of Brass,” by Rodin, [273], [275]
Agesander, [94]
“Agias” of Lysippus, [73]
Agostino di Duccio, [186]
“Agriculture,” by Thornycroft (the elder), [285]
Alaric, [139]
Albert Memorial, [284], [285]
Alcamenes, [36], [50]
“Pentathlon Winner” of, [23]
Alcibiades, [56]
Alexander the Great, [66]
Portrait by Lysippus, [78]
Alexander of Pheræ, [66]
Alexandria, sculpture of, [97], [98]
“The Nile,” [97], [98]
Conquest by Rome, [116]
Alexandrian Empire, [84], [85]
Allée d’Eau at Versailles, [239]
Altar of Zeus. See Zeus
Aluminium, [296]
Aldenham School
Alfred Gilbert at, [294]
Amboise, Cardinal of, [228]
American sculpture. See Preface
Amphion, [97]
Anet, Castle of, [230]
Angelico, Fra, [165], [184]
Angelo. See Michael Angelo
Angers, David d’, [265]
Anne of Brittany, [226]
Antigonus, [86]
Antinopolis, [137]
Antinous, [137], [138]
Antioch, on the Orontes, [86], [87]
Antiochus IV., [88]
Antipater, [86]
Apamea, City of, [87]
Aphrodite
Hellenistic conception of, [111]
“Aphrodite of Cnidus,” [61-64], [96], [228]
Comparison with “Venus of Medici,” [112]
Compared with Canova’s “Venus,” [249], [250]
Apollo
Type fixed by Praxiteles, [57]
“Apollo Belvedere,” [105], [108], [228]
Count Stroganoff’s statuette, [106-107]
Comparison with Pergamene style, [107]
Popularity in eighteenth century, [248]
“Apollo and Daphne” by Bernini, [218]
“Apollo and the Nymphs,” by Girardon, [237-239]
“Apoxyomenus” of Lysippus, [68-70], [74], [75]
Ara Pacis, of Augustus, [130]
Aratus, [108]
Archaistic art, [12], [122]
Architecture, [12], [29], [145], [146], [149], [152], [198], [222]
“Ares Ludovisi,” [71]
Argos, [108]
Second to Athens as an artistic centre, [22], [31]
“Ariadne” in Vatican, [228]
Aristogiton, [13]
Aristonidas of Rhodes, [103]
Armourers, Guild of, Florence, [172]
Armstead, H. H., [284], [285]
Artemesia, [48], [49]
“Artemis of Versailles,” [106]
Asceticism
In Gothic art, [152]
In Italian Renaissance, [165], [173], [177]
In French sculpture, [231]
“Asclepius,” British Museum, [42]
“Asia,” by Foley, [285]
Aspasia, [60]
Assisi, Francis of, [156-157], [161]
Assisi, Upper Church at, [157]
“Athamas,” Statue by Aristonidas, [103]
Athena, [27]
Polias, [30]
Parthenos, [8], [28-32], [35], [119]
“Lemnian Athena,” of Phidias, [77]
“Triumph of Athena,” at Pergamus, [92], [112]
Athenodorus, [94]
Athens, [8], [22], [44], [77], [84]
Influence of Ionia, [11], [12]
Painted dedicatory statues from Acropolis, [12-13]
Superiority over Dorian School, [22-24]
Effects of Persian invasion, [25], [28]
Parthenon, [27-33]
Decline of Empire, [44-49]
“Athens, the school of Hellas,” [47], [48]
Ceramicus at, [54-55]
Growth of individualism in, [53-56]
Women in, [58-60], [110-112]
Historical circumstances (362-338 b.c.), [66-68]
Influence upon Alexandrian Empire, [84], [85]
In Hellenistic times, [101-102], [114]
Plundered by Sulla, [119]
Visited by Roman Republicans, [118]
Rebuilt, by Hadrian, [137], [138]
Athens Museum, [12], [13], [103]
“Athlete struggling with Python,” by Leighton, [281], [287], [288], [293]
Athletic statuary
Influence upon Hellenic art, [14-24], [169]
In fourth century, [67-69]
Attalus I., [91]
Augustus Cæsar, [124], [131]
Augustan Rome last Hellenistic centre, [127]
“Organiser of Roman Imperialism,” [124], [125], [129], [130]
Statue of, in Vatican, [125], [127], [128]
Ara Pacis of, [130]
Aurelius, Marcus
Equestrian statue of, [139]
German invasion under, [139]
Austrian ascendency in Italy, [200], [218]
Autobiography of Cellini, [203], [204], [205-209], [228-229]
Avila, Convent of St. Joseph, [217]
Babou de la Bourdaisière, [225]
Babylonia, [7], [11], [35], [266]
Baily, E. H., [284]
Banks, Thomas, [284]
Baptistery at Florence, [162], [199], [275]
Barbara, St., [297]
Barberini Maffeo, [214]
Bargello, [173], [210]
Baroco style. Also see Bernini, [216]
Barye, [265], [267], [301]
“Centaur and Lapith,” [266]
Bates, Harry, [288], [290], [302]
“Pandora,” [300]
Baudelaire, [275]
Bayeaux, [148]
Bedford, Duke of, [259]
Belgian school, [237], [292], [293]
Bellini, Giovanni, [184]
“Belvedere Apollo.” See Apollo
Bentivoglio, [181]
Berlin Museum, [92]
Bernini and the Catholic reaction, [198], [200], [212-218]
Rebuilds St. Peter’s, [214]
“St. Teresa,” by, [216-217]
“Apollo and Daphne,” by, [218]
Fountains by, [218]
Visit to France, [235]
Influence upon Puget, [237]
“Birth of Venus,” by Botticelli, [196]
Boehm, Sir Edgar, [294]
Boethus of Chalcedon, [115]
Bologna, [181]
Bologna, Giovanni, [198], [200], [203], [218]
“Mercury,” by, [210]
“Rape of Sabine Women,” by, [211]
Influence upon French School, [211]
Characteristics of his art, [210-212]
Bontemps, [227]
Borghese, Pauline, [249-250]
Borgia, Cæsar, [200]
Borgia, Francis, [215]
Boscoreale, [115]
Botticelli, [184], [187], [196], [222], [232]
Boucher, [243]
Bourges, [148], [150]
“Boy strangling Goose,” [115]
Brennus, [106]
British Museum, [77], [230], [258]
British school, [256-262], [280-302]
Northern art, characteristics of, [221-224]
Italian influence in sixteenth century, [256-257]
Historical circumstances during seventeenth and eighteenth centuries,[257], [258]
Society of Dilettanti, [258-260]
Pseudo-Greek canon, effects of, [260-262], [281], [293]
Mid-Victorian, [283-285]
Comparison with French, [257], [280], [281], [293]
Naturalistic revival, [285-293]
Growth of individualism, [293-302]
Brock, Thomas, [290], [293]
“Eve,” [290]
Victoria Memorial, [290]
Bronze, [24], [103], [105], [120], [121]
Compared with marble, [68]
Original Greek, [102], [115], [121]
Casting of Cellini’s “Perseus,” [205-209]
Brotherhood of San Michele, 171
Brunelleschi, Filippo, [163], [173]
Bruni d’Arezzo, Leonardo, [166]
“Bruno, St.” by Houdon, [244]
Buonarroti, Ludovico, [185]
Burlington House, [282]
Byron, [89], [266]
Byzantine art, [140], [141], [155]
Cæsar, Julius, [119]
Founder of Roman Imperialism, [124], [129]
Portrait bust, [125], [126], [130]
Calydonian boar, [72]
Canova, [244-256], [262]
His Hellenism compared with Donatello’s, [174]
A borrowed Hellenism, [247], [254], [262], [281]
“Cupid and Psyche,” [249]
“Pauline Borghese,” [249], [250]
Napoleon, statue of, [250]
Flaxman compared with, [261], [262]
French School, influence on, [263], [271]
British School, influence on, [281-284]
“Cantoria,” by Luca della Robbia, [178], [179]
By Donatella, [178]
Caracalla, Baths of, [97]
Carpeaux, [265], [267], [268], [271], [285]
Art training, [267]
“Flora,” by, [267], [274]
“Dance,” by, [268]
Caraffa, [213]
Carrara marble mines, [154], [191]
Carrier-Belleuse, [273]
Catholic Church
Attitude of early Church towards sculpture, [140], [141]
Gothic Art, influence on, [146-152], [165]
Italian Platonists, [174]
Patrons of sculptors in fifteenth and sixteenth centuries,
[190], [191], [199]
Catholic reaction, [198], [200], [212-218]
Historical circumstances, [212-214]
Effect on sculpture, [214-218]
Ideals of, [215-216]
Effect on sculpture, [216-217]
and Puget, [237]
Cella of Parthenon, [29]
Cellini, Benvenuto, [198], [200], [203-210], [218]
Early life, [204]
French visit, [205], [228], [257]
“Perseus,” [205-210]
“Jove,” silver statue of, [229]
Michael Angelo compared with, [210]
“Centaur and Lapith,” by Barye, [266]
Ceramicus, [54], [55]
Cerigotto bronze, [102]
Chæronea, [66], [67]
Chambord, Châteaux of, [227]
“Chant du Départ,” by Rude, [255], [267]
Chantrey, Sir F., [284]
Chantrey Bequest, [288]
Chapu, Henri, [293]
“Charioteer of Delphi,” [14]
Mausoleum, comparison with Delphi Charioteer, [50]
Chares of Lindus, [104]
Charles the Great, [145], [146], [234]
Charles V., [202], [213]
Charles VIII., [225], [228]
Chartres, [148], [150]
Chatsworth, [252]
Chiarmonti, “Daughter of Niobe,” [51]
Child with Lantern, Terme Museum, [115]
Chios, [12]
Christianity
Attitude towards sculpture, [117], [140], [141], [224]
See also Catholic Church
Chryselephantine statues, [36], [56]
Athena Parthenos, [28]
Zeus at Olympia, [36]
Hera at Argos, [36]
Asclepius at Epidaurus, [42]
Cimon, [26], [27], [181]
Cipriani, [260]
Cithæron, [97]
City-state system
Civic pride in fifth-century Greece, [15], [16], [26], [27], [33],
[41], [108], [153]
Necessity for physical fitness in Greece, [16], [17], [18], [67], [68], [69]
Decline of civic pride, [46], [48], [49], [67]
Political circumstances in fourth century, [46], [47], [67]
Effects on sculpture, [69], [79], [80]
Hellenistic age, [108], [109], [110]
In France, [147], [148]
In Northern Italy, [153], [154], [160], [166], [169], [181], [199], [200], [214]
Clarence, Duke of, [297]
Clarence Memorial, Windsor, [297-299]
Clement VII., [191], [192]
Clement XIII., [244]
Clermont, [147]
Clodion (Claude, François Michel), [243]
Cluet, Jean, [225]
Cluny Museum, [243]
Cnidus. See Praxiteles’ Aphrodite
Cockerell, C. R., [50]
Colbert, [235], [236]
Colleoni Monument, by Verocchio and Leopardi, [139], [180]
Collignon, Maxime, [129]
Colombe, Michel
Tomb of Francis II. of Brittany, [225]
Founder of School of Tours, [225]
Colossus at Rhodes, [104]
Colour in statuary
Athenian dedicatory, [13]
Parthenon, [29]
Mausoleum, [50]
Aphrodite of Cnidus, [62]
Sidon Sarcophagi, [76]
“Augustus” in Vatican, [127], [128]
Collignon’s “Polychromie dans la Sculpture Grecque,” [129]
Evidence from wall paintings at Pompeii and Herculaneum, [129]
“Tinted Venus,” by Gibson, [282]
Commune, [272]
Company of Jesus. See Jesuits
Condé, Hotel de, [235]
Condivi, [188-189]
Congreve, [114]
Constable de Bourbon, [204]
Constantine, [140]
Constantinople, [76], [140]
Convent of St. Paul, Parma, [195]
Copenhagen, [251]
Corinth, [119]
Correggio, [184], [195], [222], [277]
Corupedion, Battle of, [86]
Cos, [61]
Cosimo de Medici, [181-182], [192], [201]
Cosimo, Piero di, [187]
Cosmopolitanism, influence of modern, [110], [246], [302]
Council of Trent, [202], [213]
Cour des Comptes, Paris, [275]
Cousin, [227]
“Creation Panel” in Ghiberti’s Baptistery gates, [165]
Cresilas, [77]
Criticism, modern sculptural, [70-76]
Critius, [14]
Crusades, [147], [154]
“Cupid and Psyche,” by Canova, [249]
“Cupid and Psyche,” by Thorvaldsen, [251]
“Cupid, The Winged,” Mr. Pierpont Morgan’s, [115]
Dalou, Jules
Pierre Puget and, [237]
École des Beaux Arts, [271], [272], [289], [290]
“Triumph of Silenus,” [272]
Rodin, connection with, [271]
Visit to England, [272], [287], [288]
“Maternity” by, [299]
“Danaid, Fallen,” by Rodin, [274]
“Dance,” by Carpeaux, [268]
Dante, influence on Rodin, [275]
Dashwood, Sir Francis, [259]
“David,” by Donatello, [173], [174], [188]
By Michael Angelo, [185-188], [296]
David d’Angers, [265]
David (painter), [253]
“Dawn,” by Michael Angelo, [193], [194], [196], [278]
“Death of Socrates,” [54]
Dedicatory offerings, Greek, [13], [18]
Delacroix, [264], [266]
Delafosse, [239]
Delphi, [73], [106], [119]
Demetrius, of Alopece, [79]
Demosthenes, [66], [67]
Devonshire, Duke of, [252]
“Dexileus Relief,” [54]
“Diadumenus” of Polyclitus, [22]
“Diana,” archaistic, Naples, [12]
“Diana,” by Houdon, [244]
Diana of Poitiers, [230-231], [232]
Statue of, in Louvre, [230]
Diappus, his “Perixyomenus,” [74], [75]
Dijon, [255]
Diocletian, [140]
Dionysus, Theatre of, [67]
Diploma Gallery, London, [282], [284]
Dirce, [97]
“Discobolus” of Myron, [15], [21], [23]
“Standing Discobolus,” [23]
Donatello, [168-174]
Assists Ghiberti, [164], [168]
Burgher patrons, [169], 170, [199]
Or San Michele, [172]
“St. Mark,” its Gothic character, [172], [173]
“St. George,” [172], [173]
“David,” [173], [188]
Platonism, influence of, [173-176]
Pisani, comparison with, [177], [178]
Cantoria, [178]
Luca della Robbia and, [178]
Rodin, compared with, [278], [279]
Dorchester House, [286]
Dorian invasion, [9]
Dorian sculptors, [22]
See also Polyclitus
“Doryphorus” of Polyclitus, [22]
Drama, Greek, [8]
Drapery, [31], [152]
Dresden Gallery, [194]
Dubois, Paul, [270], [293]
Duomo at Florence, [187], [195]
Durer, [224]
“Dying Gaul,” [88-93]
Inspired by Gaulish invasion, [89], [90]
Compared with later Pergamene art, [92], [93]
“Dying Jocasta,” [103], [104]
Eastern Empire. See Byzantium
École des Beaux Arts
Rude’s opinion, [254]
Influence on French sculpture, [269-272]
Rodin and, [274]
Compared with Royal Academy, [289]
Alfred Gilbert and, [294], [295]
Egypt
Ancient, [7], [9], [11], [35]
Ptolemaic age, [97], [98]
Hadrian, time of, [137]
“Egyptian Singer,” by Onslow Ford, [300]
Elgin marbles, [30], [31], [260]
Elgin, Thomas, Earl of, [260]
Elusis, Sacred Way to, [54]
Epheboi, [67]
Epidaurus
Chryselephantine statue of Asclepius at, [42]
“Eros” of Praxiteles, [60]
Of Thespiae, by Praxiteles, [61]
Of Centocelle, [61]
’Estampe, Madame D., [229]
Este family, [181]
Eumenes II., [91]
Euphranor, [36]
Eutychides of Sicyon, [87]
“Eve,” by Brock, [290], [293]
Exhibitions of 1851 and 1862, [283], [284]
Falconet, Etienne Maurice, [242]
“L’amour Menaçant,” [242], [243]
Falguière, [270]
Falieri, Senator, [249]
“Falling Titan,” by Banks, [284]
“Farnese Bull,” [97]
“Farnese Hercules,” [101], [102]
“Fates, The Three,” from Parthenon pediment, [31], [112]
Feltre, Vittorino of, [174-175]
Ferrara, [160], [181]
Ferruccio, Francesco, [187]
Fireplace, by Alfred Stevens, at Dorchester House, [286]
Flaxman
Connection with Neo-classical revival, [246], [247], [254], [261], [262]
Early life, [261]
Wedgwood, association with, [261]
“Michael and Satan,” [261]
Homeric illustrations, [262]
Elgin marbles, opinion upon, [260]
Successors of, [281], [284]
“Flora,” by Carpeaux, [267], [274]
Florence
Struggles between Empire and Papacy, [153]
Rise of city-state system, [153]
Contention between city and city, [160], [169]
Centre of intellectual activity in Italy, [160]
Influence of Pisani upon sculpture, [157], [158], [164]
Increase in trade and wealth, [169]
Burghers’ pride in city, [169]
Florentine guilds, their political influence, [169]
Commissions for Baptistery gates, [162-164], [166], [169]
Or San Michele, Oratory of, 171
Commissions for statuary on, Or San Michele, [172], [199]
Cathedral, building of, 171
Luca della Robbia’s “Cantoria,” [178], [179]
Influence of Medici family, [181], [191], [192], [196], [199], [203]
Lorenzo the Magnificent, [182]
State commissions Michael Angelo’s “David,” [185-187]
Siege of, [196]
Extinction of republic, [199]
Loss of liberty, [200], [201]
Decline of burgher class, [201]
Cellini at, [205], [209]
Sends craftsmen to France, [228]
National Museum, [163]
Foley, [284]
“Asia” in Albert Memorial, [285]
“Sir James Outram,” [285]
“Folly,” by Onslow Ford, [300]
Fontenoy, [241]
Ford, Onslow, [290]
“Rowland Hill” competition, [299]
“Henry Irving as Hamlet,” [299]
Statuettes “Folly” and “Egyptian Singer,” [300]
Fontainebleau
School of, [205]
Palace of, [227-229]
Fountain of the Dragon at Versailles, [238], [239]
Fountain of Innocents, by Goujon, [230]
Fountain of Trevi, by Bernini, [218]
Fouquet, [225]
Frémiet, [301]
Fragonard, [240], [242]
Frampton, George, [290]
Art training, [288], [302]
“Mysteriarch,” [301], [302]
London County Council, connection with, [302]
France
Northern mysticism, [221-224]
Communal life, rise of, [147]
Cathedrals built by lay guilds, [148]
Catholic Church, influence of, [148]
Cathedrals compared with Greek temples, [148-151]
Italian circumstances more favourable to sculpture, [152], [153]
Refuses anti-Humanistic creed of Reformation, [213], [224]
Italian Renaissance, influence of, [211], [213], [225], [228]
Tours, school of, [225], [226]
Political circumstances after 1515 a.d., [226], [227]
Francis I., “Creator of French Sculpture,” [227-229]
Cellini at Court of Francis I., [205], [228], [229]
Fontainebleau, school of, [205], [229]
Goujon, First French sculptor, [230]
Influence of women upon art, [230-233], [241], [243]
Louis Quatorze, political circumstances under, [234]
Versailles, 234-[236], [237-239]
Puget and Louis Quatorze, [236]
Influence of Bernini and Catholic reaction, [237]
Louis Quinze and Louis Seize, [239-245]
Popularity of single figures and statuettes, [240], [242], [243]
Pigalle and Saxe Memorial, [241], [242]
Eighteenth-century sculpture, characteristics of, [243]
Revolution, [253-256]
Pseudo-Hellenic school, [263-264]
Renascence of individualism, [263], [265-268]
Academic sculptors of to-day, [268-272]
Dalou and Rodin, [271-279]
Modern French sculpture compared with British, [280], [281]
Francis I.
In Italy, [213]
Cellini at court of, [205], [228], [229]
“Creator of French sculpture,” [227], [234]
His buildings, [227-229]
Francis of Assisi
Love of Nature, [156], [157]
Influence upon Naturalism, [157]
Andrea Pisano, and, [156], [158], [161]
Franciscans compared with Jesuits, [214], [215]
Friedland, [255]
Frieze of Parthenon
Use of colour, [29]
Panathenaic procession, [30], [31]
Frith, W. S., [288], [302]
Frost, K. T., criticism upon “Apoxyomenus,” [69], [75]
Fürtwangler, Professor
Upon Stroganoff Bronze, [107]
Upon bust of “Julius Cæsar,” footnote, [125]
Gaillon, Châteaux of, [228]
Gainsborough, [256], [262]
Galérie des Glaces, Versailles, [240]
Gardner, Mr. E. A., [50]
Gardner, Mr. Percy, [73]
“Gate of Hell,” by Rodin, [274-277]
Gaulish invasion
Of Asia Minor, [90-92], [106]
Of Greece, [106]
Of Rome, [139], [146]
Pergamene art, effects on, [88-93]
Hellenistic art, effects on, [105-108]
“Dying Gaul,” [89]
“Gaul killing his wife,” [89]
Genoa, [153], [154]
“George, St.” by Gilbert, [297], [298]
Gericault, [266]
Germany
Mysticism in, [221-223]
Protestantism in, [213]
Sculpture after Reformation, [223], [224], [298]
Modern sculpture, preface, [298]
Ghiberti, Lorenzo, [162-173], [184]
Early life and art education, [162]
Baptistery Gates competition, [162-164]
“Gates of Paradise,” [164-168], [275]
Pictorial quality in his art, [165], [167], [172]
Revolt against asceticism, [165], [177], [178]
Donatello compared with, [168], [172]
Or San Michele commissions, [170-173]
“John the Baptist,” 171
“Saint Matthew,” [172]
Gibbons, Grinling, [257]
Gibson, John
Visit to Rome, [247], [282]
“Tinted Venus,” [282], [284]
“Hylas and the Nymphs,” [282], [283]
Gibson Gallery, Burlington House, [282], [283]
Gilbert, Alfred, [293-299]
Early life, [294]
Lambeth School of Art, [288], [289]
Royal Academy Schools, [291], [294]
France, visit to, [294], [295]
Florence, visit to, [295]
Shaftesbury Memorial, [295], [296]
Clarence Memorial, [297-299]
“Saint George,” [297], [298]
The Carpeaux and Rodin of British sculpture, [290], [293], [299]
Ginevra, Maria, [207]
Giorgione’s “Venus,” [194]
Giotto
Andrea Pisano, influence upon, [157], [161]
Ghiberti compared with, [165]
Bernini compared with, [214], [215]
Giovanni de Medici, [181]
Giuliano, Duke of Nemours, tomb of, [192-197]
Girardon, Francis
Giovanni Bologna, influence upon, [211]
Inspector of Sculpture at Versailles, [237]
Versailles Gardens, [238], [239]
“Apollo and Nymphs,” [237], [238]
“Rape of Proserpine,” [211]
“Fountaine en Pyramide,” [239]
Glycon, [101]
Goethe, [248]
Goldsmithery, influence upon sculpture, [162], [205]
Gonzaga, Family of, [175], [181]
Goscombe John, see John
Gothic art, [145-154]
Mysticism in Northern Europe, [152], [153], [221-223]
Dates from about 1000 a.d., [145], [146]
Historical circumstances, [146], [147]
Cathedrals, [147], [148]
Compared with Hellenic, [148-153]
Compared with Italian, [152], [153], [177], [178]
Sculpture, [149-151]
Drapery in, [152]
Rodin and, [279]
Goujon, Jean
Employed by Francis I., [227], [257]
Fountain of the Innocents, [230]
“Diana” from Anet, [230]
Diana of Poitiers, and, [230-233]
Gozzoli, [164]
Græco-Roman style, [116], [118], [120-131], [155], [156]
Grand Prix de Rome, [244], [254], [269]
Greek colonies, [11]
Greek sculpture, see Hellenic and Hellenistic
Gregory VII., [147]
Gregory XIII., [198]
Guido Reni, worship of Byzantine “Madonna della Guardia,” [10]
Guildhall, [299]
Guilds, Florentine
Giovanni de Medici, leader of lesser, [181]
Commission Baptistery gates, [162] [164], [166], 171
Commission Or San Michele statuary, [172]
Guinigi, Paolo, [178]
Guise, Hotel de, [235]
Hadrian
Trajan’s policy, reaction against, [137]
Effect on sculpture, [138]
His buildings, [137]
Athens, visit to, [138]
Antinous and, [137], [138]
Hamdi Bey, [76]
Hamilton, Lady, [232]
Hannibal, [123]
Harmodius, [13]
Statue, by Cretius and Nesiotes, [14]
“Head of Peasant,” by Lanteri, [288]
Heine, [221], [266]
Hellenic age of Greece, 6-[80]
Early beginnings, [6-11]
Growth of Naturalism, [11-14]
Effect of athleticism, [14-24], [69]
Effect of religious beliefs, [16], [33-43], [217]
Effect of civic ideals, [15], [16], [32], [33], [109]
Comparison of philosophy with mysticism of North, [221-223]
Persian invasion, [26-28], [91], [106]
The fifth century “The golden age,” [41], [45], [46], [183]
Athens, “The School of Hellas,” [47], [48]
Transition to fourth century, [44-46]
Historical circumstances in fourth century, [46-49], [66-68]
Growth of individualism, [44-49], [53-56], [110]
More passionate note, [49-53]
Home life, [55], [56]
Womanhood, [58-64]
Reaction against fourth-century individualism, [65-69]
Portraiture, [77-80]
Transition to Hellenistic, [80], [83], [84]
Winckelmann upon Hellenism, [248]
Sculpture compared with Bernini’s, [217]
Sculptures compared with Rodin’s, [279]
Hellenistic age of Greece, [97-116]
Definition and comparison with Hellenic, [84], [99-101]
Historical circumstances during, [84-87], [106], [108], [109]
Decline of patriotism, [110]
Growth of individualism, [109], [110]
Comparison with twentieth-century ideals, [110]
Womanhood and home life, [110-113]
Sphere of Greek influence widened, [84], [85]
Absence of artists of first order, [99], [100]
Lesser intensity of motion, [113-116]
Tendency towards theatricalism, [96], [97]
Decline of fine critical faculty, [104]
Growth of allegory, [115]
Followers of Lysippus, [100-104]
Followers of Praxiteles, [105-108]
Conquest by Rome, [116]
Influence upon Roman art, [118], [119]
Henry II. of France, [230]
Tomb by Germain Pilon, [225]
Henry IV. of Germany, [153]
Henry IV. of France, [233], [234]
Henry VII., tomb in Westminster Abbey, [256]
Henry VIII. of England, [256]
Hephaestus, [29], [31]
Hera, [35]
Chryselephantine statue of, by Polyclitus, [36], [38]
“Of Samos, Louvre,” [11]
“Ludovisi,” [41]
“Barberine,” [42]
Heræa of Elis, [17]
Herculaneum, [129]
Hercules
Type fixed by Lysippus, [101]
Statue at Lansdowne House, [74]
“Farnese,” [101], [102]
“Commodus,” [228]
“Hermaphroditus,” of Praxiteles, [194]
Hermes
Type fixed by Praxiteles, [57]
“Bearded Hermes,” of fifth century, [57]
“Hermes,” of Praxiteles, [46], [57], [58], [195]
Compared with “Belvedere Apollo,” [107]
Hermitage, [244]
Hetaerae, [59], [60]
Hieron of Syracuse, [14]
Hobbs, [147]
Holbein, [224]
Holland, [222], [281]
Holy Roman Empire, [153]
Home life in Greece
Sacrificed in fifth century, [55]
In fourth century, [56]
In Hellenistic time, [110]
Homer, [8], [34], [114]
Influence on sculpture, [35], [36], [42]
Flaxman’s Homeric illustrations, [262]
Hope, Thomas, [251]
Houdon, Jean-Antoine
An eighteenth-century artist, [243], [244]
Visit to Italy, [244]
“Saint Bruno,” [244]
“Diana,” [244]
“Voltaire,” [244], [245]
“Hounds in Leash,” by Harry Bates, [300]
Hugo, Victor, [264], [266]
Humann, Carl, [92]
“Hylas and Nymphs,” by Gibson, [282], [283]
Ictinus, [28], [32]
Idealistic school of Praxiteles contrasted with realistic
school of Lysippus, [70]
Idrac, Antoine, [270], [293]
“Mercury inventing the Caduceus,” [270]
Ignatius of Loyola, [215], [216]
Ilaria del Carretto, Tomb by Quercia, [178]
“Immaculate Conception,” by Puget, [236-237]
Imperialism
Failure of, in Athens, [44-49]
Roman, [117-141]
Founded by Julius Cæsar, [129]
Effect on sculpture, [130]
Climax under Trajan, [132-136]
Effect on sculpture, [131], [135], [136]
Reaction under Hadrian, [136]
Effect on sculpture, [138]
Downfall of, [139], [140]
Effect on portraiture, [140]
British, [133-136], [257], [258]
Impressionist sculpture compared with Impressionist painting, [278]
India, [84], [133]
Individualism
In fifth-century Hellas, [15-17], [109], [110]
Growth of, in fourth century, [44], [49], [55], [56]
Effects on sculpture, [49-53], [54], [55], [69], [75]
In Hellenistic age, [101], [109], [110]
Effects on sculpture, [110-113]
Absent in Roman Empire, [130-132], [136]
In Italian city-states, [176], [177]
Modern individualism, [109], [110], [262], [264]
Effects on French sculpture, [265], [266]
Of Rodin, [273], [279]
Effects on English sculpture, [293], [302]
Innsbruck, [223]
Ionia, [11]
Ipsus, Battle of, [86]
“Irving, Henry, as Hamlet,” by Onslow Ford, [299]
Isis, Temple of, [98]
Italy
Philosophy compared with Northern mysticism, [152], [153], [221-223]
Circumstances after twelfth century, compared with French, [152-154]
Struggles between Emperor and Pope and city and city, [153], [160]
Pisa, [154-158]
Slow growth of sculpture compared with Greece, [159-160]
All centres of culture assist in moulding Italian Renaissance, [160]
Florence, [161-173], [181], [182]
Platonists, [173-178], [188]
Indebtedness to Greek sculpture, [174], [176]
Individualism in, [176], [177]
Educational ideals, [174], [175]
Status of sculptors compared with Gothic, [177], [187]
The Medici, [181], [182]
Michael Angelo, [183-197]
Catholic Church in fifteenth and sixteenth centuries, [190]
Political circumstances in early sixteenth century, [194-197]
Political circumstances between 1527 and 1580 a.d., [198-203]
Absence of political stability, [200]
Decline in morality, [201]
Cellini, [203-210]
Catholic Reaction, [212-218]
During Austrian ascendency, [200], [218]
Canova, [246-256]
Influence upon France, [228], [237]
Influence upon England, [256], [257]
Ivory, [36], [38]
Jacopo della Quercia. See Quercia
Jahn, Otto, [128]
“Jason,” by Thorvaldsen, [251]
Jerusalem, capture of, [154]
Jesuits, [213], [215]
“John the Baptist,” by Ghiberti, 171
John of Douay. See Giovanni da Bologna, [210]
John, Goscombe, [288]
“John, Saint,” by Dubois, [270]
By Rodin, [273], [277]
Joseph’s “Wilberforce,” [284]
Julius II., Tomb of, [189-191]
Juste, Jean, [225], [226]
King Arthur, by Peter Vischer, [223-224]
Kipling, Rudyard,
Comparison with sculptor of Nerva, [134], [135]
Kneller (painter), [259]
“Kiss, The,” by Rodin, [275], [276]
Lambeaux, Jef. (Belgian sculptor), [237]
Lambeth School of Art, [288], [289]
“L’amour Menaçant,” by Falconet, [242]
Lansdowne House, statue of Heracles, [74]
Lanteri, Professor, [288]
Laocoon Group, [93-97], [228]
“Laocoon” of Lessing, [248]
Lastricali, Alessandro, [207]
Laurion silver mines, [67]
Le Brun, Charles, [237], [240]
Legros, A., [287]
Leighton, Lord, [281], [287]
“Athlete struggling with Python,” [281], [287], [288], [293]
Lemoyne, [242]
Lennox, Charles, Duke of Richmond, [260]
Le Notre, André, [238]
Leopardi, The Colleoni Monument, [180]
Leo X., [97], [190], [192]
Lessing, [248], [255], [260], [282]
Library of Hadrian, [137]
Lichfield Cathedral, [148]
“Lion,” by Barye, in Louvre, [266]
Lippi, Filippino, [187]
Liverpool Walker Art Gallery, [291]
Livia, Villa of, [128]
Loggia dei Lanzi, [187], [202], [209]
Lombardy, [145]
London County Council, [296], [302]
Lorenzo de Medici
Pericles of Italian Renaissance, [181], [182]
Sculptors at his court, [182], [185], [187], [188]
Medici tombs, [192]
Lorenzo of Urbino, [192]
Tomb in Medici Chapel, [192-197]
Statue by Michael Angelo, [195]
Louis XI., [225]
Louis XII., [227], [228]
Tomb of Jean Juste, [225-226]
Louis XIV.
Political circumstances under, [233], [234]
Necessity for extreme centralisation, [233], [234]
Building of Versailles, [234], [236], [240]
Gardens of Versailles, [238], [239]
Pierre Puget and, [236], [237]
Marquise de Montespan and, [232], [233]
Louis XV.
Popularity of single figures and statuettes, [240]
Pigalle and, [241], [242]
Louvre
Works in, [106], [236], [242], [244], [254], [266], [267]
Preferred by Colbert to Versailles, [235], [236]
Dalou, curator of, [272]
Lovelace, [257]
Luca della Robbia
Singing Gallery (Cantoria), [178], [179]
“Visitation” at Pistoja, [179]
Humanity of his religion, [179]
Comparison with Donatello, [179]
Relation to Michael Angelo, [184]
Lucca, [154]
Lucian, [36], [79]
Ludovisi Villa, [89-90]
Leubke, Dr., and “Ares Ludovisi,” [72]
Luther, [224]
Luxembourg, works in, [270], [272], [273]
Value to French sculpture, [280], [281]
Lycæan Gymnasium, Athens, [67]
Lycurgus (The Athenian), [66], [67]
Lysimachus, [86], [90]
Lysippus, [65-80]
Historical circumstances of his age, [66-68]
Effect on sculpture, [68], [69]
“Apoxyomenus,” [68-75]
Characteristics of his style, [68], [70-75]
Portraiture of, [77-80]
Portrait of Alexander, [78], [79]
“Ares Ludovisi,” [72]
“Agias,” [73], [74]
“Cerigotto Bronze,” [103]
Hercules, type fixed by, [101]
His preference for bronze, [68]
Followers of, [79], [84], [100], [104], [120]
Lysistratus of Sicyon, [79]
Macedonia. See Alexander
MacDowell, Patrick, [281], [284]
“Madonna,” by Ugolino, 171
“Madonna della Guardia,” [10]
Mæcenas, [125]
Malatesta, Signor, [163]
Magliabecchian Library, [162]
Maison Carré at Nîmes, [137]
Mantegna, [184]
Mantinea, Battle of, [66]
Mantua, [174], [175], [181]
Marathon, [26], [28]
Marble
Copies of bronze originals, [24], [68], [90], [105], [120]
Pentelic, [29]
Praxiteles’ use of, [58]
Bronze preferred by Polyclitus and Lysippus, [68]
In “Dying Gaul,” [90]
Marcus Aurelius, [139]
“Mark, St.,” by Donatello, [172]
Maria della Vittoria, St., [216], [217]
Marius, [124]
“Marseillaise,” by Rude. See Chant du Départ
Marshall, W. Calder, [284]
“Maternity,” by Dalou, [299]
Matilda, [153]
“Matthew St.,” by Ghiberti, [172]
Mausoleum
Of Halicarnassus, [48], [49]
“Charioteer,” [50], [74]
Mausolus, statue of, [50]
Maximilian, tomb of, [223-224], [298]
Mazarin, [234]
Mazzini on Italian liberty and art, [200], [201], [218]
Medici Family
Donatello and, [173]
Relation to Florentine art, [181], [182]
Medici Chapel, [189], [191-197]
Michael Angelo and, [187], [188], [191], [192]
The Papacy and, [191], [192]
In sixteenth century, [199]
Patron of Cellini, [205]
Catherine of Medici, [225]
“Meleager,” [71], [72]
Melos, [42], [112]
Menelaus, [122]
“Menelaus and Patroclus,” [53], [75]
Mengs, Raphael, [246]
“Mercury,” by Pigalle, [242]
“Mercury inventing the Caduceus,” by Idrac, [270]
Metal additions in statuary, [29], [76]
Metopes, Parthenon, [29], [30]
Meunier, [292], [293]
Michel, Claude François. See Clodion
“Michael and Satan,” by Flaxman, [261]
Michael Angelo, [183-197]
Laocoon group, opinion upon, [94]
Donatello’s “St. Mark,” opinion of, [172]
Apotheosis of Italian sculpture compared with Shakespeare
and Phidias, [161], [183]
Historical circumstances of, [181], [182], [194], [196], [197]
Why worked early sixteenth century, [161], [180-184]
Early life, [184]
Court of Lorenzo de Medici, [185]
“David,” 185-[188]
“Pieta,” [188], [189]
Work for Papacy, [190], [218], [247], [250]
Tomb of Julius II., [189-191]
Medici Tombs, [191-197]
Artistic philosophy of, [192], [193]
Preference for male form, [193], [194]
Savonarola, influence of, [196]
Correggio, comparison with, [195]
Cellini and Bologna, comparisons with, [203], [210], [211], [212], [218]
Rodin’s impressionism compared with Angelo’s method, [278]
Alfred Stevens and, [286]
Milan, [153], [160], [181], [201], [228]
“Milo of Crotona,” by Puget, [236]
Milton, [256]
Mithridates, [119], [124]
Mona Fiore da Castel del Rio, [206]
Monciatto, Francesco, [187]
Moneychangers, Guild of, Florence, 171
Montefeltro, [181]
Montespan, Marquise de, [232], [233]
Montesquieu, [232]
Moody, the decorator, [286]
Moricière, General de la, [270]
“Moses,” from Tomb of Julius II., [190], [191]
“Mower,” by Meunier, [292], [293]
“Mower,” by Thornycroft, [291], [292], [293]
Mullins, Roscoe, [288]
Murray, Dr., [122]
Museo di Santa Maria del Fiore, Florence, [179]
Musée des Arts Décoratifs, [275]
Music, [149], [217], [223]
Mycenæan age, preface, [7], [9]
Myron, [31], [36]
“Discobolus” [15], [20-22], [23-24]
“Mysteriarch,” by Frampton, [301]
Nantes, Cathedral of, [270]
Naples, [160]
National Museum, [12], [14], [97], [129], [173]
Napoleon, [250], [251], [254], [264]
Colossal statue by Canova, [250]
“Narcissus” at Naples Museum, [173]
National Assembly, [253]
National Gallery, London, [187], [281]
Nationalism, preface
Definition of, [302], [303]
In Greece and N. Italy. See under City-state system
In seventeenth-century France, [226], [227], [234]
Of to-day, compared with Hellenic, [245], [281]
Naturalism
Growth in Greece, [11-14]
Absence in Byzantine Art, [140]
Growth in Italy, [155-158]
Influence of Francis of Assisi, [156], [157]
In modern French sculpture, [265-267]
In modern English sculpture, [285-288]
Naxos, [12]
“Neapolitan Fisher Boy,” by Rude, [254]
By Carpeaux, [267]
“Necropole Royale de Sidon,” [76]
Neo-classical Revival, [246-252]
Nerva, [131], [132]
Comparison with “Augustus” and “Antinous,” [131], [138]
Sculptor of, comparison with Kipling, [134], [135]
Nesiotes, [14]
Netherlands, [145]
Nicea, decree of Council at, [141]
Nicholas V., [190]
Nicias, painter of Praxiteles’ statuary, [62]
Nietzsche upon Greek art, [15]
“Night,” by Michael Angelo, [193-197], [278]
Nightingale Monument, by Roubilliac, [257]
“Nile,” statue of, [97], [98]
Nîmes, Maison Carré at, [137]
Niobe Group, [51-53]
Authorship doubtful, [51], [75]
Historical circumstances of, [46-49], [195]
Copies of Greek originals, [51]
Compared with Pergamene and Rhodian art, [52], [97]
Noailles, Hotel de, [235]
Nollekens, [284]
Normandy, [145]
Northern Europe, Mysticism of, [221-223]
Effect on sculpture, [222-223]
Nôtre Dame, [148]
Olympia, [57], [119]
Olympian Games. See Athletic Statues
Opera del Duomo, Florence, [187]
Opera House, Paris, [268]
Orcagna, 170, 171
“Orestes and Electra,” [122]
“Orpheus,” by Swan, [301]
Or San Michele, [168-173], [179], [180], [199]
“Outram, Sir James,” statue by Foley, [285]
Padua, [175]
“Paetus and Arria,” [89]
Painting, influence on Renaissance sculpture, [157], [161], [167]
Pajou, [257]
Palgrave, F. T., [283], [284]
Palazzo Vecchio, [187]
Pan-Athenaic procession on Parthenon frieze, [30]
Panathenaic Stadion, Athens, [67]
Pan-Hellenic League, [27]
Pantheon, Paris, [276]
“Pandora,” by Bates, [300]
Paola and Francesca, [275]
Papacy. See Catholic Church
Paris, [254], [289]
Park (sculptor), [284]
Paros, [12]
Parthenon, [28-33]
Gothic Cathedral compared, [147-149]
Statuary on, [29-31], [150-151]
Parthian War, [133], [137]
Parma, [195]
Pasiteles, school of, [121-123]
Pater, Walter, [80], [96], [126]
Pauline Borghese, Statue by Canova, [249-250]
Pausanias, [120]
“Zeus,” by Phidias, [37], [38]
“Hermes” of Praxiteles, [57]
Scopas and Temple of Athena at Tegea, [72]
Library of Hadrian, [137]
Paul III., [213]
Pavilion de Flora, Paris, [267]
Peloponnesian War, [114]
Pentathlon, [20], [24]
“Pentathlon Winner” of Alcamenes, [23]
Pentelicus, Marble Quarries, [29]
Pergamus, Kingdom of, [88-93]
Gaulish invasion, [90], [91], [107]
Effect on sculpture, [88-92]
“Dying Gaul,” [88-92]
Altar of Zeus, [91-93]
Loss of emotional balance, [92], [93]
Absence of great masters, [100]
Comparison with Hellenistic Greece, [100]
Willed by Attalus III. to Rome, [116]
Pericles, [26]
Characterised, [77]
Statue by Cresilas, [77-79], [126], [127]
Creator of Parthenon, [32]
His political purpose, [32], [33], [46]
Compared with Lorenzo de Medici, [181], [182]
“Perixyomenus” of Diappus, [74]
“Perseus and Andromeda,” by Puget, [236]
“Perseus,” by Cellini, [205-210]
Persia, [26-28], [84], [91], [106]
Perugino, [179]
Pharsalia, [124]
Phidias, [84], [161]
Argive School, connection with, [23]
Early life, [28]
Parthenon, [28-32]
Athena, statue of, [28], [29]
Pedimental groups, [29], [30], [31]
Frieze, [29], [30], [31]
Metopes, [29], [30]
Zeus, chryselephantine statue of, [36-38], [41]
Death at Elis, [31]
Praxiteles, compared with, [64], [114], [195]
Gothic sculptors, compared with, [151]
Giotto, compared with, [157]
Rodin and, [279]
Philetairus, [90]
Philip of Macedon, [66]
Philippe, Louis, [255]
Philosophy, Hellenic, [39], [40], [221-223]
Phocion, [67]
Statue of, [77], [78]
“Augustus,” compared with, [127]
“St. Mark,” by Donatello, compared with, [173]
Phryne, [59-61]
“Eros” of Praxiteles and, [60], [61]
“Aphrodite of Cnidus” and, [61-63]
French courtesans compared with, [232], [233]
Pauline Borghese compared with, [249], [250]
Piero di Cosimo, [187]
“Pieta” of Michael Angelo, [188-189]
Pigalle, Jean Baptiste, [241]
Tomb of Marshal de Saxe, [241-242]
“Mercury,” in Louvre, [242]
Pilon, Germain, [225], [226], [227]
Pisa, [153], [154-158]
Second crusade, [154]
Growth of prosperity, [154]
Really an aristocracy, [154], [169]
Sculpture, eclectic character of, [155], [156], [174]
Captured by Florence, [169]
Fifteenth-century Italian sculpture compared with, [177], [178]
Pisano, Niccola
Architect, [155]
Græco-Roman influences, [155], [156]
Gothic sculpture compared, [155]
Quercia compared with, [178]
Giovanni, compared with Niccola, [156], [157]
Gothic influences, [156]
Andrea, compared with Niccola, [157], [158]
Giotto, influence of, [157]
Pictorial character of work, [158]
Florentine Baptistery, [158], [162], [164]
Pisistratus, [12], [13], [154]
Pius IV., [213]
Platonists, Italian influence of, [173-179]
Plessis, Hotel du, [235]
Pliny, [73], [120]
Lysippus and followers, [70], [74], [79]
Hellenistic realists, [103]
Rhodian Colossus, [104]
Pasiteles, [121], [122]
Plutarch, [78]
Poetry, [217], [223]
Pollaiuolo, [184]
Polyclitus
Head of Dorian school, [22], [23]
Compared with Phidias, [31]
Compared with Praxiteles, [64]
Compared with Lysippus, [68], [69]
“Hera,” chryselephantine statue of, [36], [38], [41], [42], [157]
“Diadumenus,” [22]
“Doryphorus,” [22], [23]
Preference for bronze, [22], [68]
Polydorus, [94]
Polygnotus, [114]
Polyzalus, [14]
Pomeroy, F. W., [288]
Pompadour, Madame de, [243]
Pompeii, evidence of wall paintings as to colouring statuary, [129]
“Narcissus,” found at, [173]
Pope’s “Rape of the Lock,” [114]
Porte de l’Enfer. See “Gate of Hell,” by Rodin
Portraiture
Greek, [77-79]
Fifth century compared with fourth and Hellenistic, [77-79]
Hellenic compared with Roman, [125], [127], [131], [132]
Roman, [125-136]
“Julius Cæsar” and “Augustus” compared with “Pericles”
and “Phocion,” [125-127]
Imperialism and Roman, [131-136], [140]
Comparison with style of Kipling, [134], [135]
“Nerva,” statue of, [131], [132], [135]
“Voltaire,” by Houdon, [244], [245]
Poseidon and Athena on Parthenon pediment, [29], [31]
Poussin, Nicolas, [240]
Pradier, [265]
Praxiteles
Historical circumstances, [44-49]
Social circumstances, [55], [56], [58], [59]
Characteristics of his art, [57], [61], [63], [64], [211]
Lyrical note in art of, [54]
Influence of Greek womanhood, [58-60], [110], [111]
Phryne and, [60-63], [232], [249]
Female form, preference for, [193], [194]
Marble, preference for, [58]
“Hermes,” [57], [107], [120]
“Hermaphroditus,” [194]
“Aphrodite of Cnidus,” [61-63], [111], [195]
“Barberine Hera,” [42]
Ceramicus, statue in, [55]
Lysippus, compared with, [65], [66]
Michael Angelo, compared with, [193-195]
Followers of, [84], [105-115]
Primaticcio, [228], [229], [257]
“Prince,” Terme Museum, [121]
Prince Consort, [284]
Prix de Rome, Grand, [244], [254], [267], [269]
Propylæa, [77]
Ptolemy, [86]
Puget, Pierre
His early life, [237], [251]
Visit to Italy, [237]
Connection with Louis XIV., [236]
Influenced by Catholic reaction, [237]
“Milo of Crotona,” [236]
“Perseus and Andromeda,” [236]
“Immaculate Conception,” [237]
Introducer of “morbidezza,” [237]
Pythis, [50]
Quercia, Jacopo della
Competes for Baptistery gates commission, [163], [169]
Compared with the Pisani, [177]
Tomb of Ilaria del Carretto by, [178], [226]
Quincey, De, [115]
Rambouillet, Madame de, [232]
“Rape of Proserpine,” by Girardon, [211]
Raphael [184], [228], [250], [261]
Rasbourg, Van, [273]
Ravenna, basilicas of, [145]
Realism
In art of Lysippus, [65-80]
In Hellenistic art, [101-104]
In Roman portraiture, [131], [135]
Modern French realists, [272]
Reformation, [213], [224]
Religion
Greek, [16], [34], [35], [36], [39], [222], [223]
Early images, [8-11], [18], [19]
Religious statuary in Fifth Century, [28], [29], [33-43]
Compared with Gothic, [148], [152]
Sense of, dulled in Fourth Century, [63]
Effect on sculpture, [41], [42], [57], [63]
Christianity, influence of, [43], [140], [141]
Gothic, [145-154], [222], [223]
Effect on sculpture, [149-152]
Italian, [153], [157], [179], [196], [202]
Reformation, effects of, [213], [224]
Catholic reaction, effects of, [212-218], [237]
Rembrandt, [222], [261]
Revolution, French, [253], [264]
Reynolds, Sir J., [256], [262]
Rheims, [148]
Robbia, The della. See Luca della Robbia
Rhodes, [93-97], [100]
Compared with Hellenistic Greece, [100]
Influence upon Rome, [120]
“Laocoon group,” [93-97]
“Farnese Bull,” [97]
“Colossus” at, [104]
Richelieu, Cardinal, [234]
Richmond, Charles Duke of, [260]
Robespierre, [256]
Rochester, [46], [257]
Rodin
Early life, [272]
Fails to enter École des Beaux Arts, [271]
Pupil of Barye, [266], [272], [273]
“Age of Brass,” [273], [275]
“St. John the Baptist,” [273], [277]
“The Kiss,” [275-276]
“The Thinker,” [276]
“Danaid,” [274]
“Gate of Hell” (Porte de l’Enfer), [274-276]
Attitude towards human form, [277]
Impressionism compared with Rosso’s, [278], [279]
Philosophy based on Dante and Baudelaire, [275]
Sympathy with Gothic ideal, [279]
Compared with English sculptors, [290-291]
Influence upon Meunier, [292]
Roman Catholic Church. See Catholic Church
Romantic movement, [264]
Effect on sculpture, [265], [266]
Rome
Conquest of Greece, Syria, Egypt, [116]
Republican age, [117-125]
Culture borrowed from Greece, [118-121]
School of Pasiteles, [121-123]
Imperialism, rise of, [124-131]
Augustan age, [129], [130]
Climax under Trajan, [131-136]
Effect on sculpture, [131], [136]
Portraiture, [125-127], [131-136], [140]
Reaction under Hadrian, [136-138]
Reversion to Greek models, [137], [138]
Post-Hadrian sculpture, [138], [139]
Germanic invasion, [139], [140], [146]
Christianity, influence of, [140], [141]
Pisani, influence of Roman art upon, [155]
Michael Angelo in, [190], [191]
Sack of, [198], [199], [204]
Morality, decline of in sixteenth century, [196], [201], [202]
Effect on sculpture, [202], [203]
Catholic Reaction, [212], [218]
Historical circumstances, [212-214]
Ideals of, [215], [216]
Effect on sculpture, [214], [218]
Austrian ascendency, [200], [218]
Neo-classical revival, [247], [251], [252], [261]
Romney, [232]
Roselli, Cosimo, [187]
Rosso, Il (painter), [205], [228], [229]
Rosso (sculptor), [278], [279]
Roubilliac, [257]
Rouen, [230]
“Rowland Hill,” by Onslow Ford, [299]
Royal Exchange, [299]
Rude, François, [253-256]
Early life, [254]
École des Beaux Arts, and [254]
French sculpture, after, [265]
“Neapolitan Fisher Boy,” by, [254]
“Chant du Départ,” [255], [267]
Master of Carpeaux, [267]
Rue de l’Université, Paris, [275]
“Sabine Women,” by David, [253]
“Sacrifice of Isaac,” by Brunelleschi and by Ghiberti, [163]
Saida (Sidon), [76]
Salamis, [26], [28]
Salisbury Cathedral, [148]
Salon, [265], [273], [274]
Salon of Venus at Versailles, [239]
Salvestro, the jeweller, [187]
Samos, [77]
Sandwich, fourth Earl of, [259]
San Gallo, Giuliano di, [187]
Santa Sophia, [145]
“Sarcophagus of Alexander,” [76]
Sarcophagi, Roman Pisa, [155]
Sarto, Andrea del, [257]
“Satyr and Nymph,” by Clodion, [243]
“Satyr with Flute,” by Clodion, [243]
Savonarola, [195-196]
Saxe, Marshal de, tomb by Pigalle, [241]
Schubart, Baron de, [251]
Science, growth of, in fifth-century Greece, [39-41]
Scholasticism, [165]
Scopas, [42], [44]
Historical circumstances, [45-49]
Growth of individualism, [53-56]
Passionate note in his art, [53], [64], [75], [101]
Athenian by adoption, [48]
Temple of Athena at Tegea, [48], [72], [73]
Mausoleum, [49-51]
“Menelaus and Patroclus,” [53], [75]
“Niobe,” [51-53], [75], [195]
“Ares Ludovisi,” [71], [72], [74]
“Meleager,” [72-74]
“Venus of Milo,” [113]
Scotland, [213], [258]
Scott, Sir Gilbert, [284]
Scott, Sir W., [266]
Sculpture and Sculptors
Prehistoric, [6]
Birth of the art, [7-11]
Limitations compared with painting and poetry, [167], [197], [222], [223]
Impressionism in, [278], [279]
Sculptors’ dependence upon human form, [16], [17], [18], [69], [152], [164],
[165], [172], [193], [194], [215], [216], [277]
Sculptor’s relation to his age, [4], [302], [303]
Settignano quarries, [184]
Seleucia in Pieria, [87]
Seleucus, Empire of, [83], [86-88], [116]
Seleucus Nicator, [86]
“Seated Boxer,” Terme Museum, [121]
Sepulchral statuary
Greek legislation against, [54], [55]
Ceramicus at Athens, [54], [55]
Mausoleum of Halicarnassus, [49-51]
“Sarcophagus of Alexander,” [76]
Roman sarcophagi at Pisa, [155]
Tomb of Ilaria del Carretto, [178]
Tomb of Julius II., [190], [191]
Medici tombs, [191-197]
Tomb of Maximilian, [223], [224]
Tombs at St. Denis, royal, [225], [226]
Tomb of Marshal de Saxe, [241]
Duke of Clarence Memorial, [297], [298]
Sforza, family of, [181]
Shelley, [264]
Shakespeare, [46], [114], [183], [256]
Shaftesbury Memorial, by A. Gilbert, [295], [296]
Sicyon, [79], [87], [108]
Signorelli, [179]
Siena, [160], [163], 171, [178]
Silk Merchants’ Guild of Florence, 171
Simonetta, La Bella, [232]
Sistine Chapel, [191]
Skeuotheke of Philo, [66]
Society of Dilettanti, [8], [260]
Socrates, [210]
Sophocles, [114]
Statue of, [77], [78], [173]
Soranzo, Giacomo, [201]
Sosthenes, [106]
South Kensington School of Art, [272], [288]
Spain, [213]
Sparks (Lambeth School of Art), [288]
Sparta
Insistence upon physical fitness, [17-19]
Patronise Olympian games, [20]
Argive school, relationship with, [22-24]
Spartan supremacy, age of, [46], [48]
Imitated in revolutionary France, [253]
“Spartan Girl,” [17], [122]
“Spring,” by Botticelli, [196]
St. Angelo, Castle of, [204], [205]
St. Denis, royal tombs at, [225], [226]
St. Maclou, [230]
St. Paul’s Cathedral, [285]
St. Peter’s, Rome, [190], [214]
Statuettes, modern, [299]
“Stephen, St.,” by Ghiberti, [172]
Stevens, Alfred
Visit to Italy, [285]
Decorative designer, [286]
Fireplace at Dorchester House, [286]
Michael Angelo, indebtedness to, [286]
Wellington Memorial, [285], [286], [291], [295]
“Baptist of English Naturalism,” [286], [287]
Stone, Nicholas, [257]
Stroganoff, Count Sargei, bronze statuette of, [106]
Strozzi, epigram on Angelo’s “Night,” [197]
Sully, [234]
Swan, J. M., [290], [301]
Sykes, Godfrey, [286]
Symonds, J. A., [196], [277]
Syracuse, [14], [47], [119]
Syria. See also Seleucus, empire of, [84], [124]
Tate Gallery, [282], [284], [287], [288], [290], [300]
Taygetus, Mount, [18]
Tegea, Temple of Athena Alea at, [48], [72]
Temple Statuary. See under Religion
Terme Museum, Rome, [115], [121]
Terra-cotta, [179]
Theban supremacy, [46], [48], [66]
Theed, “Africa,” in Albert Memorial, [285]
Theodora, Empress, decree regarding sculpture, [141]
Theresa, Saint, [216], [217]
Statue, by Bernini, [216], [217]
“Theseus,” from Parthenon, [31], [248]
Thespiae, “Eros” of, [61]
Thetis, Temple of, [238]
“Thetis and Achilles,” by Banks, [284]
“Thinker,” by Rodin, [276]
Thomson, James, [95], [105]
Thornycroft, the elder, [285], [291]
Thornycroft, W. Hamo, [290-293]
Defeats Gilbert for Academy Gold Medal, [291]
“Warrior bearing Wounded Son from Battle,” [291]
“Mower,” [291-293]
Thorvaldsen
A borrowed Hellenism, [174], [247], [254], [262], [281]
Early life, [251]
Visit to Rome, [247], [251], [261]
Compared with Flaxman, [261], [262]
“Jason,” [251]
“Cupid and Psyche,” [251]
“Venus,” [252], [284]
Thrasymedes of Paros, [42]
“Three Fates” from Parthenon, [31], [261]
Throne Room at Versailles, [239]
“Tiber,” [98]
“Tinted Venus,” by Gibson, [282], [284]
Titian, [184]
Titus, Baths of, [94]
Tomb of Francis II. of Brittany, by Colombe, [225]
Torrigiano, [256], [257]
Toto, Antonio, [257]
Tours, school of, [225]
Trajan, [132], [133], [137]
Transtevere, Vicolo delle Palme in, [68]
Trent, Council of, [202]
“Triumph of Athena” from Pergamus, [92]
“Triumph of Silenus,” by Dalou, [272]
“Truth tearing out Tongue of Falsehood,” by Stevens, [286]
Tuileries, palace of, [267]
Turner (painter), [264], [266], [277]
Turquet, M., [273]
“Tyche of Antioch,” [87], [96]
Uccello, [164]
“Ugolino and his Sons,” by Carpeaux, [267]
Urban VIII., [214]
Urbino, [181]
Vasari, [173]
Vatican, works at, [24], [51], [62], [68], [71], [87], [89], [97], [105],
[122], [125], [131], [138], [190], [191]
Venice, [160], [200], [251]
Venus. See also Aphrodite
Of Capua, [113]
Of Medici, [112], [261]
Of Milo, [71], [112], [113]
By Thorvaldsen, [252]
In mid-Victorian times, [284]
Verocchio, Andrea del, [179-180], [184]
“Doubting Thomas,” by, [179-180]
Colleoni monument, by Leopardi and, [180]
Versailles, palace of, [234-240]
Historical necessity for, [234], [235]
Palaces of nobility at, [235]
Preferred by Louis to Louvre, [235], [236]
Sculpture at, [211], [237-239]
Victoria Memorial, [290], [294]
Villevieille, Marquis de, [244], [245]
Vinci, Leonardo da, [184], [187]
Virgil, [94], [95], [125], [129], [175]
Virgin, Michael Angelo upon the, [188-189]
Vischer, Peter, [223], [225], [297], [298]
Maximilian Tomb, [223], [224], [226]
Age of reformation, [224], [297]
Visconti, family of, [181]
Vittorino of Feltre, [174-175]
“Voltaire,” by Houdon, [244-245]
Waldstein, Dr. and “Ares Ludovisi,” [72]
Walker Art Gallery, [291]
Wallace Collection, [243]
Walpole, Sir Robert, [258]
Walpole, Horace, [259]
“Warrior bearing Wounded Son from Battle,” by Hamo Thornycroft, [291]
Watteau, [240], [242]
Watts, G. F., [165]
“Clytie,” [287]
Watson (sculptor), [284]
Watson, William, [149]
Wedgwood, [261]
Wellington Memorial, by Stevens, [285], [286]
Westmacott, [281], [284]
Westminster Abbey, [257], [284]
Westphalia, Peace of, [234]
Whistler, [291]
Wickhoff, on Roman portraiture, [131]
“Wilberforce,” by Joseph, [284]
Wilton, [260]
Winckelmann, [246], [248], [255], [260], [261], [281]
Windsor, Clarence Memorial at, 297-[299]
Wolsey, Cardinal, [256]
Wolsey Chapel, Windsor, [297]
Women
Physical training of Greek, [17]
Position in fifth century b.c., [58], [59]
Effect upon sculpture, [17], [42], [58], [111]
During fourth century, b.c., [60], [61]
Effect upon sculpture, [60], [64], [111], [233], [249], [250]
During Hellenistic age, [110-111]
Effect upon sculpture, [111-113]
During French monarchy, [230-232]
Influence upon sculptors, [233], [241-243]
Pauline Borghese and Canova, [249], [250]
Wood, Early Temple statues in Greece, [8], [9]
Wool Merchants Guild of Florence, [172]
Woolner, [284]
Wordsworth, [157]
Wren, Sir C., [256]
Wyatt, [281], [284]
Zethus, [97]
Zeus, [33-36]
On Parthenon pediment and frieze, [29-31]
Chryselephantine statue, by Phidias, [36-43]
Otricoli, [41], [42]
Altar of, at Pergamus, [91-93], [112], [130]

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Transcriber’s Notes:

The cover image was created by the transcriber, and is in the public domain.

The illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate.

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