S. SPOONER, M. D.,

AUTHOR OF "A BIOGRAPHICAL HISTORY OF THE FINE ARTS."

IN THREE VOLUMES.

VOL. II.

NEW YORK:
R. WORTHINGTON, Publisher,
770 Broadway.

CONTENTS.

Titian—Sketch of his Life,	[1]
Titian's Manners,	[5]
Titian's Works,	[6]
Titian's Imitators,	[7]
Titian's Venus and Adonis,	[8]
Titian and the Emperor Charles V.,	[10]
Titian and Philip II.,	[13]
Titian's Last Supper and El Mudo,	[14]
Titian's Old Age,	[15]
Monument to Titian,	[15]
Horace Vernet,	[16]
The Colosseum,	[29]
Nineveh and its Remains,	[34]
Description of a Palace Exhumed at Nimroud,	[37]
Origin and Antiquity of the Arch,	[41]
Antiquities of Herculaneum, Pompeii, and Stabiæ,	[43]
Ancient Fresco and Mosaic Painting,	[55]
Mosaic of the Battle of Platæa,	[55]
The Aldobrandini Wedding,	[56]
The Portland Vase,	[56]
Ancient Pictures on Glass,	[58]
Henry Fuseli; his Birth,	[59]
Fuseli's early Love of Art,	[59]
Fuseli's Literary and Poetical Taste,	[60]
Fuseli, Lavater, and the Unjust Magistrate,	[61]
Fuseli's Travels and his Literary Distinction,	[62]
Fuseli's Arrival in London,	[63]
Fuseli's change from Literature to Painting,	[63]
Fuseli's Sojourn in Italy,	[65]
Fuseli's Nightmare,	[66]
Fuseli's Œdipus and his Daughters,	[66]
Fuseli and the Shakspeare Gallery,	[67]
Fuseli's "Hamlet's Ghost,"	[68]
Fuseli's Titania,	[69]
Fuseli's Election as a Royal Academician,	[70]
Fuseli and Horace Walpole,	[71]
Fuseli and the Banker Coutts,	[72]
Fuseli and Professor Porson,	[73]
Fuseli's method of giving vent to his Passion,	[73]
Fuseli's Love for Terrific Subjects,	[73]
Fuseli's and Lawrence's Pictures from the "Tempest,"	[74]
Fuseli's estimate of Reynolds' Abilities in Historical Painting,	[75]
Fuseli and Lawrence,	[75]
Fuseli as Keeper of the Royal Academy,	[76]
Fuseli's Jests and Oddities with the Students of the Academy,	[77]
Fuseli's Sarcasms on Northcote,	[78]
Fuseli's Sarcasms on various rival Artists,	[79]
Fuseli's Retorts,	[80]
Fuseli's Suggestion of an Emblem of Eternity,	[82]
Fuseli's Retort in Mr. Coutts' Banking House,	[82]
Fuseli's Sarcasms on Landscape and Portrait Painters,	[83]
Fuseli's Opinion of his own Attainment of Happiness,	[84]
Fuseli's Private Habits,	[84]
Fuseli's Wife's method of Curing his fits of Despondency,	[85]
Fuseli's Personal Appearance, his Sarcastic Disposition, and Quick Temper,	[86]
Fuseli's near Sight,	[87]
Fuseli's Popularity,	[88]
Fuseli's Artistic Merits,	[88]
Fuseli's Milton Gallery, the Character of his Works, and the Permanency of his Fame,	[89]
Salvator Rosa,	[91]
Salvator Rosa and Cav. Lanfranco,	[91]
Salvator Rosa at Rome and Florence,	[92]
Salvator Rosa's Return to Rome,	[93]
Salvator Rosa's Subjects,	[93]
Flagellation of Salvator Rosa,	[95]
Salvator Rosa and the Higgling Prince,	[96]
Salvator Rosa's Opinion of his own Works,	[98]
Salvator Rosa's Banditti,	[98]
Salvator Rosa and Massaniello,	[100]
Salvator Rosa and Cardinal Sforza,	[100]
Salvator Rosa's Manifesto Concerning his Satirical Picture, La Fortuna,	[101]
Salvator Rosa's Banishment from Rome,	[102]
Salvator Rosa's Wit,	[103]
Salvator Rosa's Reception at Florence,	[103]
Histrionic Powers of Salvator Rosa,	[104]
Salvator Rosa's Reception at the Palazzo Pitti,	[105]
Satires of Salvator Rosa,	[105]
Salvator Rosa's Harpsichord,	[106]
Rare Portrait by Salvator Rosa,	[106]
Salvator Rosa's Return to Rome,	[109]
Salvator Rosa's Love of Magnificence,	[109]
Salvator Rosa's Last Works,	[111]
Salvator Rosa's Desire to be Considered an Historical Painter,	[112]
Don Mario Ghigi, his Physician, and Salvator Rosa,	[113]
Death of Salvator Rosa,	[115]
Domenichino,	[121]
The Dulness of Domenichino in Youth,	[121]
Domenichino's Scourging of St. Andrew,	[123]
The Communion of St. Jerome,	[124]
Domenichino's Enemies at Rome,	[125]
Decision of Posterity on the Merits of Domenichino,	[126]
Proof of the Merits of Domenichino,	[127]
Domenichino's Caricatures,	[127]
Intrigues of the Neapolitan Triumvirate of Painters,	[128]
Giuseppe Ribera, called Il Spagnoletto—his early Poverty and Industry,	[133]
Ribera's Marriage,	[134]
Ribera's Rise to Eminence,	[135]
Ribera's Discovery of the Philosopher's Stone,	[135]
Ribera's Subjects,	[136]
Ribera's Disposition,	[137]
Singular Pictorial Illusions,	[137]
Raffaelle's Skill in Portraits,	[138]
Jacopo da Ponte,	[139]
Giovanni Rosa,	[139]
Cav. Giovanni Centarini,	[139]
Guercino's Power of Relief,	[140]
Bernazzano,	[140]
Invention of Oil Painting,	[141]
Foreshortening,	[145]
Method of Transferring Paintings from Walls and Panels to Canvass,	[146]
Works in Scagliola,	[147]
The Golden Age of Painting,	[149]
Golden Age of the Fine Arts in Ancient Rome,	[152]
Nero's Golden Palace,	[155]
Names of Ancient Architects Designated by Reptiles,	[156]
Triumphal Arches,	[157]
Statue of Pompey the Great,	[159]
Antique Sculptures in Rome,	[159]
Ancient Map of Rome,	[160]
Julian the Apostate,	[160]
The Tomb of Mausolus,	[161]
Mandrocles' Bridge Across the Bosphorus,	[162]
The Colossus of the Sun at Rhodes,	[162]
Statues and Paintings at Rhodes,	[164]
Sostratus' Light-House on the Isle of Pharos,	[164]
Dinocrates' Plan for Cutting Mount Athos into a
Statue of Alexander the Great,	[165]
Pope's idea of Forming Mount Athos into a Statue of Alexander the Great,	[166]
Temple with an Iron Statue Suspended in the Air by Loadstone,	[168]
The Temple of Jupiter Olympius at Athens,	[168]
The Parthenon at Athens,	[170]
The Elgin Marbles,	[171]
The first Odeon at Athens,	[182]
Perpetual Lamps,	[182]
The Skull of Raffaelle,	[183]
The Four Finest Pictures in Rome,	[183]
The Four Carlos of the 17th Century,	[184]
Pietro Galletti and the Bolognese Students,	[184]
Ætion's Picture of the Nuptials of Alexander and Roxana,	[184]
Ageladas,	[185]
The Porticos of Agaptos,	[185]
The Group of Niobe and her Children,	[185]
Statue of the Fighting Gladiator,	[187]
The Group of Laocoön in the Vatican,	[187]
Michael Angelo's Opinion of the Laocoön,	[190]
Discovery of the Laocoön,	[190]
Sir John Soane,	[191]
Soane's Liberality and Public Munificence,	[192]
The Belzoni Sarcophagus,	[194]
Tasso's "Gerusalemme Liberata,"	[195]
George Morland,	[197]
Morland's Early Talent	[198]
Morland's Early Fame,	[199]
Morland's Mental and Moral Education under an Unnatural Parent,	[200]
Morland's Escape from the Thraldom of his Father,	[201]
Morland's Marriage and Temporary Reform,	[202]
Morland's Social Position,	[203]
An Unpleasant Dilemma,	[204]
Morland at the Isle of Wight,	[205]
A Novel Mode of Fulfilling Commissions,	[206]
Hassel's First Interview with Morland,	[206]
Morland's Drawings in the Isle of Wight,	[207]
Morland's Freaks,	[208]
A Joke on Morland,	[208]
Morland's Apprehension as a Spy,	[209]
Morland's "Sign of the Black Bull,"	[210]
Morland and the Pawnbroker,	[211]
Morland's idea of a Baronetcy,	[212]
Morland's Artistic Merits,.	[212]
Charles Jervas,	[213]
Jervas the Instructor of Pope,	[214]
Jervas and Dr. Arbuthnot,	[215]
Jervas' Vanity,	[215]
Holbein and the Fly,	[216]
Holbein's Visit to England,	[216]
Henry VIII.'s Opinion of Holbein,	[217]
Holbein's Portrait of the Duchess Dowager of Milan,	[218]
Holbein's Flattery in Portraits—a Warning to Painters,	[219]
Holbein's Portrait of Cratzer,	[219]
Holbein's Portrait of Sir Thomas More and Family,	[220]
Sir John Vanbrugh and his Critics,	[221]
Anecdote of the English Painter, James Seymour,	[223]
Precocity of Luca Giordano,	[224]
Giordano's Enthusiasm,	[225]
Luca Fa Presto,	[226]
Giordano's Skill in Copying,	[226]
Giordano's Success at Naples,	[227]
Giordano, the Viceroy, and the Duke of Diano,	[228]
Giordano Invited to Florence,	[229]
Giordano and Carlo Dolci,	[229]
Giordano's Visit to Spain,	[230]
Giordano's Works in Spain,	[231]
Giordano at the Escurial,	[232]
Giordano's Habits in Spain,	[233]
Giordano's First Picture Painted in Spain,	[233]
Giordano a Favorite at Court,	[234]
Giordano's Return to Naples,	[236]
Giordano's Personal Appearance and Character,	[237]
Giordano's Riches,	[238]
Giordano's Wonderful Facility of Hand,	[239]
Giordano's Powers of Imitation,	[240]
Giordano's Fame and Reputation,	[240]
Remarkable Instance of Giordano's Rapidity of Execution,	[242]
Revival of Painting in Italy,	[244]
Giovanni Cimabue,	[251]
Cimabue's Passion for Art,	[252]
Cimabue's Famous Picture of the Virgin,	[253]
The Works of Cimabue,	[255]
Death of Cimabue,	[256]
Giotto,	[257]
Giotto's St. Francis Stigmata,	[259]
Giotto's Invitation to Rome,	[260]
Giotto's Living Model,	[262]
Giotto and the King of Naples,	[264]
Giotto and Dante,	[266]
Death of Giotto,	[266]
Buonamico Buffalmacco,	[267]
Buffalmacco and his Master,	[267]
Buffalmacco and the Nuns of the Convent of Faenza,	[270]
Buffalmacco and the Nun's Wine,	[272]
Buffalmacco, Bishop Guido and his Monkey,	[273]
Buffalmacco's Trick on the Bishop of Arezzo,	[277]
Origin of Label Painting,	[278]
Utility of Ancient Works,	[280]
Buffalmacco and the Countryman,	[282]
Buffalmacco and the People of Perugia,	[283]
Buffalmacco's Novel Method of Enforcing Payment,	[285]
Stefano Fiorentino,	[286]
Giottino,	[286]
Paolo Uccello,	[287]
Ucello's Enthusiasm,	[288]
Uccello and the Monks of San Miniato,	[289]
Uccello's Five Portraits,	[290]
Uccello's Incredulity of St. Thomas,	[291]
The Italian Schools of Painting,	[292]
Claude Joseph Vernet,	[295]
Vernet's Precocity,	[295]
Vernet's Enthusiasm,	[296]
Vernet at Rome	[298]
Vernet's "Alphabet of Tones,"	[299]
Vernet and the Connoisseur,	[301]
Vernet's Works,	[301]
Vernet's Passion for Music,	[306]
Vernet's Opinion of his own Merits,	[307]
Curious Letter of Vernet,	[308]
Charles Vernet,	[310]
Anecdote of Charles Vernet,	[311]
M. de Lasson's Caricature,	[311]
Frank Hals and Vandyke,	[312]