BRIEF SKETCH OF A PLAN FOR AN AMERICAN NATIONAL GALLERY OF ART.
Public Galleries of Art are now regarded by the most enlightened men, and the wisest legislators, as of incalculable benefit to every civilized country. (See vol. i., page 6, of this work.) They communicate to the mind, through the eye, "the accumulated wisdom of ages," relative to every form of beauty, in the most rapid and captivating manner. If such institutions are important in Europe, abounding in works of art, how much more so in our country, separated as it is by the broad Atlantic from the artistic world, which few comparatively can ever visit: many of our young artists, for the want of such an institution, are obliged to grope their way in the dark, and to spend months and years to find out a few simple principles of art.
A distinguished professor, high in public estimation, has declared that the formation of such an institution in this country, however important and desirable it may be, is almost hopeless. He founds his opinion on the difficulty of obtaining the authenticated works of the great masters, and the enormous prices they now command in Europe. The writer ventures to declare it as his long cherished opinion that a United States National Gallery is entirely practicable, as far as all useful purposes are concerned; and at a tithe of the cost of such institutions in Europe. In the present state of the Fine Arts in our country, we should not attempt to emulate European magnificence, but utility. The "course of empire is westward," and in the course of time, as wealth and taste increases, sale will be sought here, as now in England, for many works of the highest art. It is also to be hoped that some public benefactors will rise to our assistance. After the foundation of the institution, it may be extended according to the taste and wants of the country; professorships may be added, and the rarest works purchased. When the country can and will afford it, no price should be regarded too great for a perfect masterpiece of art, as a model in a national collection. To begin, the Gallery should contain,
1st. A complete library of all standard works on Art, historical and illustrative, in every language.
2d. A collection of the masterpieces of engraving; these should be mounted on linen, numbered, bound, described and criticised.
3d. A complete collection of casts of medals and antique gems, where the originals cannot be obtained. There are about 70,000 antique medals of high importance to art. (See Numismatics, vol. iii., p. [269], of this work.) These casts could easily be obtained through our diplomatic agents; they should be taken in Plaster of Paris or Sulphur, double—i.e., the reverse and obverse,—classified, catalogued, described, and arranged in cases covered with plate glass, for their preservation.
4th. A collection of plaster casts of all the best works of sculpture, particularly of the antique. Correct casts of the Elgin marbles are sold by the British Museum at a very reasonable price, and in this case would doubtless be presented to the institution.
5th. A collection of Paintings. This is the most difficult part of the project, yet practicable. Masterpieces of the art only should be admitted, but historical authenticity disregarded. The works of the great masters have been so closely imitated, that there are no certain marks of authenticity, where the history of the picture cannot be traced. (See Spooner's Dictionary of Painters, etc., Introduction, and Table of Imitators.) Half the pictures in foreign collections cannot be authenticated, and many of those which are, are not the best productions of the master, nor worthy of the places they occupy. (See Mrs. Jameson's Hand-Book to the Public Galleries in and near London; also the Catalogues of the various Public Galleries of Europe.) Therefore, instead of paying 5,000 or 10,000 guineas for an authenticated piece by a certain master, as is sometimes done in Europe, competent and true men should be appointed to select capital works, executed in the style of the great masters. Many such can be had in this country as well as in Europe, at moderate prices.
6th. The Institution should be located in New York, as the most convenient place, and as the great centre of commerce, where artists could most readily dispose of their works. For this favor, the city would doubtless donate the ground, and her citizens make liberal contributions. The edifice should be built fire-proof, and three stories high—the upper with a skylight, for the gallery of paintings. Such an institution need not be very expensive; yet it would afford the elements for the instruction and accomplishment of the painter, the engraver, the sculptor, the architect, the connoisseur, the archæologist, and the public at large; it would be the means of awakening and developing the sleeping genius of many men, to the honor, glory, and advantage of their country, which, without it, must sleep on forever. See vol. ii., pp. 149 and 155, and vol. iii., p. [265] of this work.
INDEX.
Transcriber's Note: The Index covers all three volumes of this work. Only the links pertinent to Volume III have been completed on this occasion.
Advantages of the Cultivation of the Fine Arts to a Country, i, 6;
Sir M. A. Shoe's Opinion, i, 6;
Sir George Beaumont's, i, 7;
West's, i, 8;
Taylor's, i, 9;
see also, i, 69;
Reynolds' Opinion, i, 204;
Napoleon's, iii, [274].
Ætion, his picture of the Nuptials of Alexander and Roxana, ii, 184.
Agaptos, Porticos of, ii, 185.
Ageladus, his works, ii, 185.
Aldobrandini Wedding, Fresco of, ii, 55.
Allston, Washington, i, 60;
his Prayer answered, i, 61;
his success in London, i, 62;
his Death, i, 62;
Vanderlyn's letter—his Reflections on his Death, i, 63.
American Patronage at Home and Abroad, i, 66;
Weir, Greenough, and Cooper's testimony, i, 67;
Cooper's Letter, i, 68.
Amiconi, Jacopo, iii, [249].
Angelo, Michael, his Early Passion for Art, i, 47;
his Mask of a Satyr, i, 48;
his Sleeping Cupid, i, 48;
Angela and Julius II, i, 50;
St. Peter's Church, i, 50;
Angelo and Lorenzo the Magnificent, i, 52;
his Cartoon of Pisa, i, 53;
his Last Judgment, i, 54;
his Coloring, i, 56;
his Grace, i, 57;
his Oil Paintings, i, 58;
his Prophets and Julius II, i, 58;
his Bon-Mots, i, 59;
Angelo and Raffaelle, i, 70-72.
Anguisciola, Sofonisba, iii, [129];
her Early Distinction, iii, [129];
her Invitation to Spain iii, [130];
her Marriages, iii, [131];
her Residence at Genoa, her Honors, and her Intercourse with
Vandyck, iii, [132].
Antique Sculptures in Rome, ii, 159.
Antiquities of Herculaneum and Pompeii, ii, 43.
Antiquity of the Fine Arts, i, 12.
Aparicio, Canova, and Thorwaldsen, i, 236.
Apelles, i, 18;
his Works, i, 18;
his Industry, i, 19;
his Portraits of Philip and Alexander, i, 19;
his Venus Anadyomene, i, 20;
Apelles and the Cobbler, i, 23;
his Foaming Charger, i, 24;
his Freedom with Alexander, i, 25;
Apelles and Protogenes, i, 25;
the celebrated Contest of Lines, i, 26;
his Generosity to Protogenes, i, 28.
Apelles of Ephesus, i, 93;
his Treatment by Ptolomy Philopator, i, 94;
his Revenge in his famous Picture of Calumny, i, 94;
Lucian's description of it, i, 94;
Raffaelle's Drawing of it, i, 95;
Proof that there were two Painters named Apelles, i, 95.
Apollo Belvidere—West's Criticism, i, 41.
Apollo, Colossal Etruscan, i, 90.
Apollo Sauroctonos, i, 155.
Apollodorus the Painter, i, 162;
his Works and Style, i, 163.
Apollodorus the Architect, i, 163;
his Worke, i, 164;
Trajan's Column, i, 164;
Apollodorus and Adrian, i, 165;
his Wicked Death, i, 165.
Aqueducts of Ancient Rome, ii 152.
Arch, Origin and Antiquity of the, ii. 41.
Arches, Triumphal, ii, 157.
Archimedes, iii, [77];
his Genius, Discoveries, and Inventions, iii, [77];
his Wonderful Machines, iii, [78];
his Death and Monument, iii, [79];
Story of his Burning Glasses proved true, iii, [79].
Ardemans and Bocanegra—a Trial of Skill, iii, [201].
Art, Egyptian, iii, [1-42], and iii, [263].
Art, Grecian, derived from the Egyptian—Champollion's Opinion, iii, [1];
Origin of, iii, [265].
Athenians, Ingratitude of, to Artists, i, 159.
Backhuysen, Ludolph, Sketch of his Life and Works, iii, [235].
Banks, Thomas—his Ambition, i, 2;
his Character, i, 295;
his Genius, i, 297;
his Kindness to Young Sculptors, i, 298;
his Personal Appearance and Habits, i, 299;
Flaxman's Tribute, i, 300.
Barry, James—his Enthusiasm, i, 2;
his Poverty, Death, and Monument, i, 3;
Johnson's Opinion of his Genius, i, 3.
Bassano, Jacopo—singular instance of his Skill, ii, 139.
Beaumont, Sir George—his Opinion of the Importance of the
Fine Arts, i, 7;
his Enthusiasm and munificent gift to the English National
Gallery, i, 7.
Beauty, Ideal, as Conceived and Practiced by the Greatest
Masters, ii, 247.
Belzoni—his Travels in Egypt, iii, [25].
The Belzoni Sarcophagus, ii, 194.
Bernazzano, the Zeuxis of Italy, ii, 140.
Bernini, the Cav., i, 101;
his Precocity, i, 101;
his Bust of Charles I. and his Prediction, i, 101;
Bernini and Louis XIV., i, 102;
his Triumphal Visit to Paris, i, 102;
the Medal struck in his Honor, i, 103;
his Works, i, 103;
his Restoration of the Verospi Hercules, i, 104;
Lanzi's Critique, i, 103;
his Love of Splendor and his Riches, i, 104;
Bernini and Urban VIII., iii, [256].
Blake, William—his Enthusiasm, Eccentricity, and Poverty, i, 3;
his melancholy yet triumphant Death, i, 4.
Boydell's Shakespeare Gallery, iii, [305].
Bridge, Trajan's, across the Danube, i, 164.
Bridge, Mandrocles', across the Bosphorus, ii, 162.
Bridge, the Britannia Railway Tubular, iii [46];
the Tubes, iii, [47];
the Piers, iii, [48];
Construction of the Tubes, iii, [49];
Floating the Tubes, iii, [50];
Raising the Tubes, iii, [52];
the prodigious Hydraulic Presses used, iii, [53];
Bursting of one, iii, [55];
Sir Francis Head's Description, iii, [56];
Cost of the Structure, iii, [57].
Brower, Adrian, iii, [182];
his Escape from a Cruel Master, iii, [183];
Brower, the Duke d'Aremberg, and Rubens, iii, [184];
his Death, iii, [184];
his Works, iii, [185].
Brunelleschi, Filippo—remarkable instance of the Trials and Triumphs
of Genius, iii, [80];
his Inquiring Mind, Industry, and Discoveries, iii, [81];
his Genius, iii, [82];
his Ambition, iii, [83];
his first Visit to Rome and Assiduity, iii, [84];
Assembly of Architects to consult on the best means of raising the
Cupola of the Cathedral of Florence, iii, [85];
his Return to Rome, iii, [86];
his Invitation back to Florence, iii, [87];
his Discourse, iii, [87];
his Return to Rome, iii, [89];
grand Assemblage of Architects from all parts of Europe, iii, [90];
their Opinions and ridiculous Projects to raise the Cupola, iii, [91];
Filippo's Opposition and Discourse, iii, [92];
taken for a Madman, and driven out of the Assembly, iii, [93];
his Discourse, iii, [94];
his Arguments, and his Proposal that he who could make an Egg stand
on one end should build the Cupola, iii, [94];
his Plan submitted, iii, [96];
its Adoption, iii, [99];
Opposition encountered, iii, [101];
Lorenzo Ghiberti associated with him, iii, [101];
his Vexation and Despair, iii, [102];
Commencement of the Work, iii, [103];
Lorenzo's incapacity for such a Work, iii, [104];
Filippo's Scheme to get rid of him, iii, [105];
Lorenzo disgraced, iii, [109];
Filippo appointed Sole Architect, iii, [111];
his Industry, the wonderful Resources of his Mind, and his
triumphant Success, iii, [112];
Filippo chosen Magistrate of the City, iii, [116];
Jealousies he still encountered, iii, [118];
his Arrest, Mortifying Affront, and Triumph, iii, [118];
Grandeur and Magnificence of his Cupola, iii, [120];
his Enthusiasm, iii, [122];
Brunelleschi and Donatello, iii, [123].
Buffalmacco, the successor of Giotto, ii, 267;
his comical Tricks to enjoy his sweetest Sleep, ii, 268;
his Employment by the Nuns of Faenza, ii, 270;
his Use of their best wine, ii, 272;
his Employment by Bishop Guido, ii, 273;
Comical Pranks of the Bishop's Monkey, ii, 274;
his Trick on the Bishop, ii, 277;
Origin of Libel Painting, ii, 278;
Utility of ancient paintings, ii, 280;
his Commission from the Countryman, and its curious execution, ii, 282;
his Commission from the Perugians, ii, 283;
their Impertinence requited, ii, 284;
his Novel Mode of enforcing Payment, ii, 285.
Callot, Jacques, iii, [176];
his uncontrollable Passion for Art, iii, [176];
his Patriotism, iii, [177].
Callimachus—his invention of the Corinthian Capital, i, 152.
Cambiaso, Luca—his Precocity and remarkable Facility of Hand, iii, [187];
his Invitation to Spain, iii, [188];
Luca and Philip II., iii, [189];
his Artistic Merits, iii, [190];
Boschini and Mengs' Opinions, iii, [190].
Campaspe and Apelles, i, 21.
Campus Martius, i, 91.
Cano, Alonso, i, 230;
his Liberality, i, 231;
his Eccentricities, i, 231;
his Hatred of the Jews, i, 232;
his Ruling Passion strong in Death, i, 234;
Cano and the Intendant of the Bishop of Malaga, iii, [203];
his love of Sculpture, iii, [204].
Canova—his Visit to his Native Place in his old age, i, 32.
Capitol, ancient, of Rome, iii, [59].
Capugnano and Lionello Spada, iii, [247].
Caracci, the School of, ii, 122.
Caracci, Annibale—his Letter to Lodovico, and his Opinion of the
Works of Correggio, i, 253;
instance of his Skill, ii, 137;
his Jealousy of Agostino, iii, [258].
Carburi, Count—his Skill in Engineering, iii, [42].
Caracciolo, Gio. Battista—his Intrigues, ii, 128.
Carducci, Bartolomeo—his kind Criticism, iii, [203].
Carlos, the Four, of the 17th Century, ii, 184.
Caravaggio, Michael Angelo da—his Quarrelsome Disposition
and his Death, iii, [248].
Carreño, Don Juan, and Charles II, iii, [208];
his Copy of Titian's St. Margaret, iii, [208];
his Abstraction of Mind, iii, [209].
Castagno, Andrea del, his Treachery and Death, ii, 144.
Castillo's Sarcasm on Alfaro, iii, [204].
Catacombs of Egypt, iii, [12].
Catino, the Sagro, or Emerald Dish, iii, [215].
Cellini, Benvenute, iii, [255];
Cellini and Urban VIII;
his absolution for sins committed in the service of the
Church, iii, [255].
Cespedes, Pablo—his Last Supper, iii, [209];
Zuccaro's Compliment to Cespedes, iii, [210].
Chair of St. Peter, iii, [213].
Church, St Peter's, iii, [61]
Churches of Rome, iii, [60].
Cimabue, Giovanni—Sketch of his Life, ii, 251;
his Style, ii, 252;
his Passion for Art, ii, 252;
his famous picture of the Virgin, ii, 253;
remarkable instance of homage to Art, ii, 254;
his Works, ii, 255;
his Death, ii, 256;
his Care of Giotto, ii, 257.
Cloaca Maxima at Rome, ii, 42.
Coello, Claudio, his challenge to Giordano, ii, 234.
Column, Trajan's, i, 164.
Column of Austerlitz, iii, [280].
Colosseum, description of, ii, 29;
Montaigne's quaint account of its Spectacles, ii, 31.
Colossus of the Sun at Rhodes, ii, 162.
"Columbus and the Egg," story of, derived by him from
Brunelleschi, iii, [95].
Contarini, Cav. Giovanni—his skill in Portraits, ii, 139.
Contri, Antonio—his method of transferring frescos from walls to
canvass, ii, 146;
see also Palmarolis, ii, 147.
Cooper, J. Fennimore—his Encouragement of Greenough, i, 66;
his Letter to Induce his Countrymen to Patronize their own
Artists, i, 67.
Corenzio, Belisario—his Intrigues, ii, 128.
Corinthian Capital, invention of, i, 152.
Correggio—Sketch of his Life, i, 243;
his Cupola of the Church of St. John at Parma, i, 244;
his grand Cupola of the Cathedral, i, 246;
his Fate Exaggerated, i, 249;
Lanzi's Opinion, i, 251;
his Marriage and Children, i, 252;
Caracci's Opinion of Correggio, and his Letter, i, 258;
his Enthusiasm, i, 255;
his Grace, i, 255;
Correggio and the Monks, i, 256;
his Kindness—his Muleteer, i, 256;
Duke of Wellington's Correggio, i, 257;
Correggio's Ancona, i, 257;
Portraits of Correggio, i, 258;
did Correggio ever visit Rome? i, 259;
Singular History of Correggio's Adoration of the Shepherds, i, 261;
of his Education of Cupid, i, 262;
of a Magdalen, i, 264;
of a Charity, i, 265;
the celebrated Nótte of Correggio, iii, [259].
Cortona, Pietro—Sketch of his Life, iii, [253];
Anecdotes of, iii, [254].
David, Jacques Louis, i, 176;
his Politics and Love of Liberty, i, 176;
David and Napoleon, i, 177;
his Banishment to Brussels, i, 177;
his famous picture of the Coronation of Napoleon, i, 178;
David and Canova, i, 179;
Napoleon's Compliments to David, i, 180;
the King of Wurtemberg's, i, 181;
List of Portraits it contained, i, 182;
its Barbarous Destruction by the Bourbons, i, 184;
David and the Duke of Wellington at Brussels, i, 184;
David and the Cardinal Caprara, i, 185;
Talma and David in his Banishment, i, 186.
Denon, the Baron—his description of the Necropolis of Thebes, iii, [16],
his Employment by Napoleon, iii, [302].
Digby, Sir Kenelm—his Love Adventure in Spain, iii, [199].
Dinocrates—his Proposal to cut Mount Athos into a Statue of Alexander
the Great, ii, 165;
Pope's Idea of its Practicability, ii, 166;
Dinocrates' Temple with an Iron Statue suspended in the air by
Loadstone, ii, 168.
Domenichino, ii, 121;
his Dullness in his Youth, ii, 121;
Caracci's prediction of his rise to Eminence, ii, 122;
Lanzi and Mengs' Testimony of his Genius and Merits, ii, 123;
his Scourging of St. Andrew, ii, 123;
his Communion of St. Jerome, ii, 124;
his Enemies at Rome, ii, 125;
Lanzi's Account of the Decision of Posterity on his Merits, ii, 126;
his Caricatures, ii, 128;
Intrigues of the Neapolitan Triumvirate of Painters, ii, 128;
Lanzi's Account of this disgraceful Cabal, ii, 129;
his Works in the Chapel of St Januarius, and the Prices he
received, ii, 131;
his Death, ii, 132.
Donatello, iii, [125];
Donatello and the Merchant, iii, [126];
Donatello and his unworthy Kinsmen, iii, [127];
his Death, iii, [128];
Donatello and Michael Angelo Compared, iii, [128];
Donatello and Brunelleschi, iii, [123];
Donatello and Uccello, ii, 292.
Douw, Gerard, iii, [222];
his Style, iii, [224];
his Method of Painting, iii, [225];
his Works, iii, [226];
his Dropsical Woman, iii, [227].
Dramatic Scenery at Rome, i, 93.
Durer, Albert, iii, [228];
his unfortunate Marriage, iii, [229];
his Works as a Painter, iii, [229];
his Works as an Engraver, iii, [231];
his Fame and Death, iii, [233];
his Habits, iii, [234];
his Literary Works, iii, [234].
Egyptian Art, iii, [1], and iii, [263].
Electioneering Pictures at Rome, i, 91.
Emulation and Rivalry of Advantage to Artists, iii, [257].
Engraving, Invention of Copper-Plate, i, 287.
Era, Brightest, of Grecian Art, i, 11, and ii, 154.
Era, Brightest, of Roman Art, ii, 152.
Era, Brightest, of Italian Art, ii, 149.
Eyck, John van—his Invention of Oil Painting, ii, 141.
Fabius Maximus—his Estimation of Art, i, 145.
Fanaticism, Religious, destructive to Art, i, 105;
its Effects in England, i, 105.
Figure, the Nude, i, 109;
Barry's Opinion, i, 109;
Schlegel's, i, 110.
Fine Arts, Golden Age of, in Greece, i, 11.
Fine Arts, Golden Age of, in Rome, ii, 152
Fine Arts, Golden Age of, In Italy, ii, 149.
Finiguerra, Maso—his Invention of Copper-Plate Engraving, i, 287.
Fiorentino, Stefano, one of the Fathers of Painting, ii, 286.
Foreshortening, ii, 145;
its Invention, ii, 145.
Fontana, Domenico, iii, [33];
his Removal of an Obelisk at Rome, iii, [34];
Dangers he Encountered, iii, [37];
Honors bestowed on him for his Success, iii, [40].
Force of Habit, i, 202.
Fornarina, La Bella, i, 75.
Fountain, the Elephant, iii, [286].
"Four Carlos of the 17th Century," ii, 184.
"Four Finest Pictures at Rome," ii, 183
Frescos, Ancient, ii, 55;
the Aldobrandini Wedding, ii, 56.
Fuseli, Henry—his Birth, ii, 59;
his Early Passion for Art, ii, 59;
his Literary and Poetical Taste, ii, 60;
Fuseli, Lavater, and the Unjust Magistrate, ii, 61;
his Travels and Literary Distinction, ii, 62;
his Arrival in London, ii, 63;
his Change from Literature to Painting, ii, 63;
his Visit to Italy, ii, 65;
his "Nightmare," ii, 66;
his Œdipus and his Daughters, ii, 66;
Fuseli and the Shakspeare Gallery, ii, 67;
his Hamlet's Ghost, ii, 69;
his Titania, ii, 69;
his Election as a Royal Academician, ii, 70;
Fuseli and Walpole, ii, 71;
Fuseli and Coutts, ii, 72;
Fuseli and Prof. Porson, ii, 72;
his Method of giving Vent to his Passion, ii, 73;
his Love of Terrific Subjects, ii, 73;
his Revenge on Lawrence, ii, 74;
his Estimate of Reynolds as an Historical Painter, ii, 75;
his Friendship for Lawrence, ii, 75;
Fuseli as Keeper of the Royal Academy, ii, 76;
his Jests and Oddities with the Students, ii, 77;
his Sarcasms on Northcote, ii, 78;
on various Artists, ii, 79;
his Retorts, ii, 80;
his Retort in Mr. Coutts' Banking-House, ii, 82;
his Sarcasm on Landscape and Portrait Painters, ii, 83;
his own Attainment of Happiness, ii, 84;
his Habits, ii, 84;
his Wife's Novel Method of Curing his Fits of Despondency, ii, 85;
his Personal Appearance, Sarcastic Disposition, and Quick
Temper, ii, 86;
his Near Sight, ii, 87;
his Popularity, ii, 88;
his Artistic Merits, ii, 88;
his Milton Gallery, etc., ii, 89.
Fulton, Robert, as a Painter, i, 122;
his Love of Art, i, 123;
his Exalted Mind, i, 123;
his Account of his first Steamboat Voyage to Albany, and his
Predictions, i, 124.
Gallery, English National, i, 107.
Gallery, Dresden, iii, [262].
Gallery of the Louvre, iii, [289] and [302].
Gallery, United States National—Suggestions for One, iii, [307].
Galleries, Prices of, i, 112.
Galletti, Pietro, and the Bolognese Students, ii, 184.
Garland Twiner, i, 148.
Gaulli, Gio. Battista—his Excellence in Portraiture, iii, [250];
his curious method of Painting the Dead, iii, [250].
Genius, Trials of, i, 1, and iii, [80].
Ghiberti, Lorenzo—his famous Doors of San Giovanni, i, 60, and iii, [101];
as an Architect, iii, [102].
Giordano, Luca—his Wonderful Precocity, ii, 224;
his Enthusiasm, ii, 225;
Origin of his Nickname of Luca-fa Presto, ii, 226;
his Skill in copying and Imitating, ii, 226;
his Success at Naples, ii, 227;
Giordano, the Viceroy, and the Duke of Diano, ii, 228;
his Invitation to Florence—Giordano and Carlo Dolci, ii, 229;
his Invitation to the Court of Spain, ii, 230;
his Flattering Reception, ii, 230;
his Works in Spain, ii, 231;
in the Escurial, ii, 232;
his Habits, iii [233];
his first Picture at Madrid, ii, 233;
a great Favorite at Court, ii, 234;
Coello's Challenge, ii, 234;
Anecdotes, ii, 234;
Painting with his Fingers, ii, 235;
Rich Presents he Received, ii, 236;
his Return to Naples, ii, 236;
his Reception at Genoa, Florence, Rome and Naples, ii, 237;
his Personal Appearance and Character, ii, 237;
his Popularity, Love of Gain, and "Three Sorts of Pencils," ii, 238;
his Riches, ii, 238;
his Wonderful Facility of Hand, ii, 239;
his Fame and Reputation, ii, 240;
his Genius and merits, ii, 241;
his Tricks for Notoriety, his False Style and its Injurious Effects
on Art at the Time, ii, 241;
Remarkable Instance of his Rapidity of Execution in his altar-piece
of St. Francis Xavier, ii, 242.
Giotto—Sketch of his Life, ii, 257;
his Early Passion for Art, ii, 257;
his Works, ii, 258;
as an Architect, ii, 259;
his St. Francis Stigmata, ii, 259;
his Invitation to Rome, ii, 260;
"Round as Giotto's O," ii, 261;
Story of his Living Model, ii, 262;
Giotto and the King of Naples, ii, 264;
his Bon Mots, ii, 265;
Giotto and Dante, ii, 266;
Death of Giotto ii 266.
Giottino, ii, 286.
Gladiator, Statue of the Dying, i, 144.
Gladiator, Statue of the Fighting, ii, 187.
Glass, Ancient, ii, 57;
Ancient Pictures of, ii, 58.
Golden Age of Art in Greece, i, 11, and ii, 154.
Golden Age of Art in Rome, ii, 152.
Golden Age of Art in Italy, ii, 149.
Goldsmith, Dr., and Reynolds, i, 199;
his "Deserted Village," i, 200;
his Retaliation, i, 200.
Gomez, the Slave of Murillo, iii, [195].
Grecian Art derived from the Egyptians, iii, [1].
Greenough, Horatio—his Chanting Cherubs, i, 67;
Commission for his Statue of Washington for the Capitol, i, 68;
his Modesty, i, 69;
his account of the Miraculous Picture of the Virgin at
Florence, iii, [211].
Griffier, John—his Perilous Adventure, iii, [245].
Group of Niobe and her Children, ii, 185.
Group of Laocoön and his Sons, ii, 187.
Guercino—his Power of Relief, ii, 140.
Hals, Frank, and Vandyck, ii, 312.
Hanneman—his picture of Peace, i, 310.
Harpies, Curious Representations of, iii, [181].
Heliopolis, iii, [7].
Herculaneum—its Destruction—Antiquities and Works of Art
discovered, ii, 43.
Hogarth—Value of his Works, i, 6;
his Genius, i, 166;
his Apprenticeship, i, 167;
his Revenge, i, 168;
his Method of Sketching an Incident, i, 168;
his Marriage, i, 168;
his Successful Expedient to get Payment, i, 169;
his Picture of the Red Sea, i, 170;
his Courtesy, i, 171;
his Absence of Mind, i, 171;
his March to Finchley, i, 172;
his unfortunate Dedication to the King, i, 172;
his Strange Manner of Selling his Pictures, i, 172;
Paltry Prices he received, i, 174;
his last Work, "the Tail-Piece," i, 175;
his Death, i, 176.
Holbein, Hans, ii, 216;
his Portrait with the Fly, ii, 216;
his Visit to England, ii, 216;
Holbein and Henry VIII., ii, 217;
his Adventure with the Nobleman, ii, 217;
the King's Rebuke and Protection, ii, 218;
his Portrait of the Duchess of Milan, ii, 218;
his Dangerous Flattery, ii, 219;
his Portrait of Cratzer, ii, 219;
his Portraits of Sir Thomas More and his Family, ii, 220;
Bon-Mot of Sir Thomas, ii, 221.
Illusions in Painting, i, 228;
Singular Pictorial, ii, 137.
Industry necessary to Success in Art—Reynold's Opinion, i, 201;
Durer's, iii, [228] and [234];
Michael Angelo's, i, 60;
Apelles', i, 19;
Da Vinci's, i, 275, 280, and 282;
Vernet's, ii, 297 and 299;
Rubens', i, 80 and 82;
Raffaelle's, i, 71;
Poussin's, iii, [150] and [161];
Gierdano's, ii, 226 and 233;
Brunelleschi's, iii, [81] and [84].
Infelicities of Artists, i, 1-6.
Ingenuity of Artists, iii, [178].
Inquisition, Evil Influence of the, on Spanish Art, i, 211;
and Torreggiano, i, 2;
and Sir Anthony Moore, iii, [243].
Jarvis, John Wesley, i, 113;
his Eccentricity, and Lore of Jesting, Mimicking, and
Story-Telling, i, 113;
his Ludicrous Readings from Shakspeare, i, 115;
Dr. Francis' Account of him, i, 116;
the "Biggest Lie," i, 118;
Jarvis and Bishop Moore, i, 119;
and Commodore Perry, i, 119;
and the Philosopher, i, 120;
and Dr. Mitchell, i, 120;
his Habits, i, 121;
Jarvis and Sully, i, 122;
his Fondness for Notoriety, i, 122.
Jervas, Charles, ii, 213;
Jervas and Pope, ii, 214;
and Dr. Arbuthnot, ii, 215;
his Vanity, ii, 215;
Kneller's Sarcasm, ii, 216.
Jewelers, a hint to, iii, [179].
Johnson, Dr.—his Friendship for Reynolds, i, 196;
his Apology for Portrait Painting, i, 197;
his Portrait, i, 198;
his Death, i, 199.
Julian the Apostate—his Attempt to rebuild Jerusalem, ii, 160.
Jupiter—see Temples and Statues.
Kirk, Thomas—his Genius, Misfortune, and untimely Death, i, 5.
Kneller, Sir Godfrey—his Arrival in England, and great Success, i, 96;
Kneller's Portrait of Charles II., i, 99;
Kneller and James II., i, 97;
his Compliment to Louis XIV., i, 97;
his Wit and Bon-Mots, i, 98;
his Knowledge of Physiognomy, i, 99;
Kneller as a Justice of the Peace, i, 99;
his Decisions regulated by Equity rather than Law, i, 99;
Kneller and Clostermans, i, 100.
La Bella Fornarina, i, 75.
Labyrinth of Egypt, iii, [11].
Lake Moeris, iii, [9].
Lamps, Perpetual, ii, 182.
Laocoön, Group of the, ii, 187;
Pliny's Account of, ii, 189;
Michael Angelo's Opinion, ii, 190;
Sangallo's Account of its Discovery, ii, 190.
Lanfranco, the Cav., ii, 91;
his Hostility to Domenichino, ii, 125.
Lasson, M. de—his Caricature, ii, 311.
Layard—his Nineveh and its Remains, ii, 34.
Lebas, M.—his Removal of an Obelisk from Thebes to Paris, iii, [40].
Louvre, Gallery of the, iii, [302];
Dismantling of, iii, [289].
Love makes a Painter, i, 112, i, 148, i, 235, and iii, [195].
Love of Art among the Romans, i, 146.
Luca-fa-Presto, ii, 226.
Mabuse, John de, Anecdote of, iii, [246].
Mandrocles' Bridge across the Bosphorus, ii, 162.
March, Estéban—his Strange Method of Study, iii, [198];
his Adventure of the Fish fried in Linseed Oil, iii, [199].
Marbles, very curious Imitations of, ii, 147.
Marbles, the Elgin, ii, 171.
Matsys, Quintin, i, 112;
his Love and Monument, i, 113.
Masters, the Old, i, 111.
Mausolus, Tomb of, ii, 161.
Mechanics, Comparative Skill of the Ancients and Moderns in, iii, [45].
Medals, 70,000 Ancients, iii, [272].
Medals of Napoleon, iii, [281].
Memphis, iii, [8].
Messina, Antonella da, ii, 143.
Methodius and the King of Bulgaria, iii, [206].
Mieris and Jan Steen, Frolics of, iii, [241].
Mignard Pierre—his Skill in imitating other Masters, i, 186;
amusing instance of, i, 187;
his Skill in Portraits, ii, 138.
Modesty, an Overplus of, dangerous to Success, i, 307.
Moeris, Lake of, iii, [9].
More, Sir Anthony, iii, [242];
his Visit to Spain and great Success, iii, [242];
his Visit to England and flattering Reception, iii, [243];
More and Philip II., iii, [244];
his fortunate Escape, iii, [244];
his Success and Works, iii, [244].
Morland, George—Sketch of his Life, ii. 197;
his wonderful Precocity, ii, 198;
his early Fame, ii, 199;
his Mental and Moral Culture under an Unnatural Parent, ii, 260;
his Escape from his Thraldom, ii, 201;
his Marriage and Temporary Reform, ii, 202;
his Social Position, ii, 203;
his unpleasant Encounter, ii, 204;
his Stay in the Isle of Wight, ii, 205;
his Novel Mode of fulfilling commissions, ii, 206;
Morland and the Pig, ii, 206;
his Pictures in the Isle of Wight, ii, 207;
his Freaks, ii, 208;
his Dread of Bailiffs, ii, 208;
his Apprehension as a Spy, ii, 209;
his Sign of the "Black Bull," ii, 210;
Morland and the Pawnbroker, ii, 211;
his Idea of a Baronetcy, ii, 212;
his Artistic Merits, ii, 212.
Mosaics, i, 15;
ancient, ii, 55;
of the Battle of Platea, ii, 55.
Mudo, El, and Titian's Last Supper, ii, 14.
Murillo, i. 236;
his Visit to Madrid and Velasquez, i, 236;
his Return to Seville, i, 237;
Murillo and Iriarte, i, 238;
his Death, i, 238;
his Style, i, 239;
his Works, i, 240;
Soult's Murillos, i, 240 and 242;
Castillo's Tribute, i, 242;
his "Virgin of the Napkin," iii, [193];
his pictures in Spanish America, iii, [192];
Anecdote of an Altar-Piece in Flanders, iii, [194];
his Slave Gomez, iii, [195].
Musée Francais and Musée Royal, iii, [302].
Names of Architects designated by Reptiles, ii, 156.
Napoleon—his Love of Art, iii, [274];
his Enlightened Policy to Encourage Art, iii, [275];
his Works at Paris, iii, [276];
The Napoleon Medals, iii, [281];
the Elephant Fountain, iii, [286];
Interesting Drawing, iii, [287];
Sévres China, iii, [288];
Dismantling of the Louvre, iii, [289];
Removal of the Venetian Horses, iii, [296];
Removal of the Statue of Napoleon from the Column of
Austerlitz, iii, [301].
Needles, Cleopatra's, iii, [42].
Niello, Works in, i, 286.
Nineveh and its Remains, ii, 34;
Description of the Royal Palace exhumed at Nimroud, ii, 37;
Layard's description of its interior, ii, 39.
Niobe and her Children, Group of, ii, 185;
Schlegel's Criticism, ii, 186.
Nollekens, Joseph, i, 301;
his Visit to Rome, i, 301;
Nollekens and Garrick, i, 302;
his Talents in Bust Sculpture, i, 303;
his Bust of Johnson, i, 304;
his Liberality and Kindness to Chantrey, i, 304;
Nollekens and the Widow, i, 305;
his odd Compliments, i, 306.
Norgate, Edward—his Visit to Italy, Mishaps, and travelling Home on
foot, i, 308.
Northcote, James, and Fuseli, ii, 78.
Numismatics, iii, [269];
Value of the Science to Archæology, Philology, the Fine
Arts, etc., iii, [270];
70,000 Ancient Medals, iii, [272].
Obelisks, Egyptian, iii, [30];
Number of, at Rome, ii, 152;
Removal of one by Fontana, iii, [33];
Removal of one from Thebes to Paris, iii, [40];
Cleopatra's Needles, iii, [42].
Odeon, the first at Athens, ii, 182.
Olynthian Captive, Story of, i, 151.
Origin of Label Painting, ii, 278.
Pacheco—his Opinions on Art as restricted by the Inquisition, i, 212.
Pareda, Antonio—his Artifice to Keep up Appearances, iii, [202].
Pareja, Juan de, the Slave of Velasquez, i, 228;
his Love of Painting and his Success, i, 229;
his Gratitude to his Master, i, 229.
Painter, perilous adventure of a, iii, [245]
Painter of Florence, Curious Legend of the, iii, [217]
Painter-Friar, the Devil, and the Virgin, iii, [220].
Painting among the Egyptians, iii, and [263].
Painting among the Greeks, i, 22, 27, and iii, [265].
Painting among the Romans, i, 88, and ii, 152.
Painting, Revival of, in Italy, ii, 244.
Painting, Italian Schools of, ii, 292.
Painting, Golden Age of, in Italy, ii, 149;
Lanzi's Philosophy of, ii, 150;
Milizia's, ii, 154.
Painting—different Schools Compared, i, 110.
Painting, Effects of, on the Mind, i, 147.
Painting from Nature, i, 18.
Painting, Oil, Invention of, ii, 141.
Painting, oldest Oil, extant, iii, [181].
Painting, Portrait, Johnson's Apology for, i, 197.
Painting, Origin of Label, ii, 278.
Paintings transferred from Walls and Panels to Canvas, ii, 146.
Paintings, Curious, iii, [180].
Paintings, Evanescent, i, 106.
Palace, Nero's Golden, ii, 155.
Palaces of Rome, iii, [65].
Palmaroli—his Method of transferring Paintings from Walls and Panels
to Canvas, ii, 147.
Pantoja and the Eagle, iii, [205].
Parrhasius, i, 150;
his Demos and other Works, i, 150;
the Olynthian Captive, i, 151;
his Vanity, i, 152.
Parthenon at Athens, ii, 170;
its Dilapidation, by the Venetians, Turks, and Lord Elgin, ii, 171.
Pausias, i, 148; his Works and the Garland Twiner, i, 148.
Perpetual Lamps, ii, 182.
Pharos, Light-house of, ii, 164.
Phidias, i, 157;
his Statue of Minerva, i, 158, and ii, 171;
Phidias and Alcamenes, i, 159;
Ingratitude of the Athenians, i, 159;
his Olympian Jupiter, i, 17, and i, 160;
his Model for the Olympian Jupiter, i, 161.
Picture of Ialysus and his Dog, Protogenes, i, 149, and i, 281.
Picture of Calumny, Apelles', i, 94.
Picture of the Virgin, the Miraculous, iii, [211].
Pictures, first brought to Rome, i, 88.
Pictures of Glass, Ancient, ii, 58.
Pictures, Four finest at Rome, ii, 183.
Pillar of On, iii, [8].
Pœcile at Athens, i, 13.
Pompeii—its Destruction;
Antiquities and Works of Art discovered, ii, 43;
Vivid Sketch of its present Appearance, etc., by an American
Traveler, ii, 46.
Pope as a Painter—his Fame, i, 201;
his Proficiency in the Art, ii, 214;
his Idea of the Practicability of Dinocrates' Plan of cutting Mount
Athos into a Statue of Alexander the Great, ii, 166.
Portici, the Site of Herculaneum, ii, 44 and 46.
Portraits, Female, Rarity of, in Spain, iii, [191].
Poussin, Nicholas—his Noble Descent, iii, [148];
his First Celebrity, iii, [149];
his first Visit to Rome, iii, [150];
his Enthusiasm and Assiduity, iii, [150];
his Distress, and the Paltry Prices he received for his
Works, iii, [151];
his Ultimate Appreciation and Success, iii, [152];
his Invitation back to Paris, iii, [153];
the King's Autograph Letter on the Occasion, iii, [153];
Intrigues, his Disgust, and Secret Return to Rome, iii, [154];
his Modesty, unostentatious Mode of Living, and his
Generosity, iii, [155];
Poussin and Cardinal Mancini, iii, [155];
Reynolds' Critique, iii, [156];
Poussin and Marino, iii, [159];
Poussin Romanized, iii, [160];
his Habits of Study, iii, [161];
his Old Age, iii, [162];
his Master-Piece, iii, [163];
his last Work and Death, iii, [163];
his Letter to M. Felibien, iii, [164];
his Ideas of Painting, iii, [164];
Poussin and the Nobleman, iii, [165];
and Mengs, iii, [165];
and Domenichino, iii, [166];
and Salvator Rosa, iii, [166];
his Dignity, iii, [167];
Poussin, Angelo, and Raffaelle compared, iii, [168].
Prado, Blas de, and the Emperor of Morocco, iii, [207].
Praxiteles, i, 155;
his Works—the Venus of Cnidus and the Apollo Sauroctonos, i, 155;
Praxiteles and Phryne, i, 156;
the King of Bithynia, and the Venus of Cnidus, i, 157.
Press, Hydraulic, explained, iii [52];
its Tremendous Power and Use, iii, [53].
Proctor, his Genius and Works, i, 4;
his Misfortunes and melancholy Death, i, 5.
Protogenes, i, 149;
his Works, and his famous picture of Ialysus and his Dog, i, 149;
Protogenes and Demetrius Poliorcetes, i, 28, and i, 149;
and Apelles, i, 25.
Pyramids of Egypt, iii, [19].
Pyramid of Cephren, Perilous Ascent of, iii, [27].
Raffaelle, i, 70;
his ambition, i, 70;
Raffaelle and Michael Angelo, i, 71;
his Transfiguration, i, 72;
his Death, i, 74;
his Character, i, 74;
his Mistress, i, 75;
his Genius, i, 76;
his Model for his Female Saints, i, 76;
his Oil Paintings, i, 77;
his Portraits of Julius II., i, 78;
his different Manners, i, 78;
his Skill in Portraits, ii, 138;
Skull of Raffaelle in the Academy of St Luke, ii, 183.
Ranc, Jean—his Retort, iii, [201].
Rebuke, a Painter's just, iii, [200].
Retort Courteous, a Painter's, iii, [201].
Rembrandt—Sketch of his Life, iii, [170];
his Studio and Models, iii, [171];
his great Success, iii, [172];
his Deceits to sell and increase the Price of his Works, iii, [173];
his numerous Works, iii, [173];
his extraordinary Merits as an Engraver, iii, [174].
Reynolds, Sir Joshua, i, 188;
his pleasing Manners, Fortune, and Collection of Works of Art, i, 189;
his new Style and its Success, i, 189;
his Prices, i, 191;
his Method with his Sitters, i, 192;
his Removal to Leicester Square, i, 192;
his showy Coach, i, 193;
his Table and Guests, i, 194;
the Founding of the Royal Academy, and his election as
President, i, 194;
Reynolds and Dr. Johnson, i, 195;
Johnson's Friendship for Reynolds, and his Apology for Portrait
Painting, i, 196 and 197;
the Literary Club, i, 198;
Johnson's Portrait, i, 198;
Johnson's Death, i, 199;
Reynolds and Dr. Goldsmith, i, 199;
the "Deserted Village," i, 200;
"Retaliation," i, 200;
Pope's Fan i, 201;
Reynolds' first Attempts in Art, i, 202;
Force of Habit, i, 202;
Paying the Piper, i, 203;
his Modesty and his Generosity, i, 203;
his Love of Art, i, 204;
his Critique on Rubens, i, 205;
Reynolds and Haydn, i, 206;
his Skill in Compliment, i, 207;
his Excellent Advice, i, 208;
Reynolds as Mayor of Plympton and his two Portraits, i, 208;
his Kindness of Heart, i, 209;
Burke's Eulogy, i, 209;
his Experiments and Use of Old Paintings, i, 210;
his Method of Working, i, 193;
Rubens' Last Supper, i, 206.
Rhodes, Statues and Paintings at, ii, 164.
Ribalta Francisco—his Love Romance and his Success, i, 235.
Ribera, Giuseppe, (Spagnoletto,) his Early Enthusiasm, Poverty, and
Industry at Rome, ii, 133;
his Return to Naples and Marriage, ii, 134;
his Rise to Eminence, ii, 135;
his Discovery of the Philosopher's Stone, ii, 135;
his Favorite Subjects, ii. 136;
his Disposition, ii, 137;
his Intrigues, ii, 138;
Lanzi's Account of his Death, ii, 132.
Riley, John, i, 307;
his Diffidence and Merits, i, 308.
Rizi, Francisco—his Rebuke to Antonilez, iii, [200].
Romans, Fondness of, for Works of Art, i, 88;
for Etruscan Sculpture, i, 90.
Rome, Ancient, Glory of, ii, 152, and iii, [57] and [71];
first Pictures brought to Rome, i, 88;
Electioneering pictures at Rome, i, 91;
Dramatic Scenery at Rome, i, 93;
Ancient Map of Rome, ii, 160;
100,000 Statues at Rome, ii, 152.
Rome, Modem—its Churches, Palaces, Villas, and Treasures of
Art, iii, [60].
Rosa, Salvator, ii, 91;
Cav. Lanfranco's Generosity, ii, 91;
Rosa at Rome and Florence, ii, 92;
his Return to Rome, ii, 93;
brightest Era of Landscape Painting, ii, 93;
his Subjects, ii, 93;
his wonderful Facility of Execution, ii, 94;
his Flagellation by the Monks, ii, 95;
Rosa and the higgling Prince, ii, 96;
his Opinion of his own Works, ii, 98;
his Banditti, ii, 98;
Rosa and Massaniello, ii, 100;
and Cardinal Sforza, ii, 100;
his Manifesto, ii, 101;
his Banishment from Rome, ii, 102;
his Secret Visit to Rome, ii, 102;
his Wit, ii, 103;
his Reception at Florence, ii, 103;
his Histrionic Powers, ii, 104;
his Reception at the Pitti Palace, ii, 105;
his Satires, ii, 92 and 105;
his Harpsichord, ii, 106;
Rare Portrait, ii, 106;
his Return to Rome, ii, 109;
his Love of Show and Magnificence, ii, 109;
his Last Works, ii, 111;
his over-weening Desire to be considered a Historical Painter, ii, 112;
Ghigi, his Physician and Rosa, ii, 113;
Lady Morgan's Account of his Death-Bed, ii, 115;
Rosa and Poussin iii, [166];
Rosa and Fracanzani, iii, [256].
Rosada Tivoli, iii, [185];
his Works, iii, [186];
his wonderful Rapidity of Hand, iii, [186];
a Wager won, iii, [187];
his Habits and Improvidence, iii, [187].
Rosa, Giovanni—a modern Zeuxis, ii, 139.
Rosalba, Carriera, iii, [133];
her Modesty, and Knowledge of Tempers, iii, [133].
Rubens, Peter Paul, i, 79;
his Visit to Italy, i, 80;
his Reception by the Duke of Mantua, i, 80;
his Enthusiasm, i, 80;
his Embassy to Spain, i, 81;
his Return to Antwerp, i, 81;
his Marriage, House, and rich collection of Works of Art, i, 81;
his Habits, Extraordinary Memory and Acquirements, i, 82;
his Detractors, i, 82;
his Magnanimity, i, 83;
the Gallery of the Luxembourg, i, 83;
Rubens sent Ambassador to the Courts of Spain and England, i, 83;
his Reception and Works at Madrid, i, 84;
his Reception and Works in England, i, 84;
his Delicacy, Address, and the Honors conferred on him on the
occasion, i, 85;
his Death, i, 85;
his Numerous Works, i, 86;
his Method of Working, i, 206.
Ruysch, Rachel—her Life and Works, iii, [135].
Scagliola or Mischia, Works in, ii, 147.
Schwarts, amusing Anecdote of, iii, [175].
Sculpture, Invention of, i, 153;
Etruscan, i, 90;
Egyptian, iii, [1];
Grecian, i, 154 and 157.
Sculptures, Antique, at Rome, ii, 159.
Seymour, Anecdotes of, and the Proud Duke, ii, 223.
Shakspeare Gallery, iii, [305].
Sirani, Elizabeth—her Life and Works, iii, [134];
her melancholy Death, iii, [135].
Soane, Sir John, ii, 191;
his Success and Works, ii, 192;
his Liberality and Public Munificence, ii, 192;
his Museum, ii, 193 ;
the Belzoni Sarcophagus, ii, 194;
Tasso's MS. of Gerusalemme Liberata, ii, 195;
other rare MSS., Antiquities, Works of Art, etc., ii, 195.
Sostratus, his Light-House on the Isle of Pharos, ii, 164.
Spagnoletto—See Ribera.
Spain, Melancholy State of the Fine Arts in, i, 217;
Rarity of Female Portraits in, iii, [191].
Spanish Art, Evil Effects of the Inquisition on, i, 211.
Sphinx, the Colossal, iii, [10].
Stabiæ—its Destruction, ii, 43.
Statue of the Apollo Belvidere, i, 41;
of the Apollo Sauroctonos, i, 155;
of the Apollo, Colossal Etruscan, i, 90.
Statue of the Venus de Medici, i, 147.
Statue of the Venus of Cnidus, i, 156
Statue of the Venus Victrix, i, 147.
Statue of Minerva, Phidia's, i, 158, and ii, 171.
Statue of the Olympian Jupiter, Phidias', i, 160
Statue of the Fighting Gladiator, ii, 187.
Statue of the Dying Gladiator, i, 144.
Statue of Pompey the Great, ii, 159.
Statue of Semiramis, cut out of a Mountain, ii, 167.
Statue of Napoleon on the Column of Austerlitz, iii, [301].
Statue, Equestrian, of Peter the Great, iii, [42].
Statues, the Greek, i, 109.
Statues, Sounding, iii, [6].
Statues of Memnon, iii, [6].
Stratagem, an Architect's, i, 309.
Stratagem, Hogarth's, i, 169.
Steen, Jan, iii, [238];
his Works, iii, [238];
Kugler's Critique on, iii, [240];
Frolics of Steen and Mieris, iii, [241].
Stephenson, Robert, and the Britannia Bridge, iii, [46].
Stuart, Charles Gilbert, i, 124;
his Visit to Scotland and Return before the Mast, i, 125;
his Visit to London, i, 125;
his Skill in Music, and its Use in Time of Need, i, 126;
his Introduction to West, i, 126;
his Portrait of West, i, 126;
his Scholarship, i, 131;
his Rule of half prepayment, i, 131;
his Powers of Perception i, 132;
Allston's Eulogium, i, 133;
his great Conversational Powers, i, 133;
his Success in Europe, i, 136;
in Ireland, i, 136;
his Return to America, i, 137;
Stuart and Washington, i, 137;
his Last Picture, i, 142;
Stuart, his Boy and his Dog, i, 142;
his Mark, i, 142.
Tasso's MS. of "Gerusalemme Liberata," ii, 195.
Temple of Diana at Ephesus, i, 144.
Temple of Jupiter Olympius at Athens, ii, 168.
Temple of Jupiter Capitolinus, ii, 153, and iii, [59].
Temple of Minerva at Athens, ii, 170.
Temple of Carnac, iii, [5].
Temple of Luxor, iii, [5].
Titian—Sketch of his Life, ii, 1;
his famous picture of St. Peter the Martyr, ii, 2;
his Refusal of the Office of the Leaden Seal, ii, 4;
his different Manners, ii, 5;
his Works, ii, 6;
his Imitators, ii, 7;
his Venus, ii, 8;
Ottley's Description of it, ii, 8;
Titian and the Emperor Charles V., ii. 10;
extraordinary Friendship of Charles for Titian, his Favors and
Remarkable Sayings, ii, 11;
Charles' rebukes to his jealous Nobles, ii, 12;
Titian and Philip II., ii, 13;
his Letter of Congratulation to Philip, ii, 13;
Philip and the Titian Venus, ii, 14;
Titian's Last Supper and El Mudo, ii, 14;
his Old Age, ii, 15;
Monument to Titian, ii, 15.
Thebes, Ancient, iii, [2].
Theodoric the Great—his Love of Art, iii, [73].
Torregiano—his Visit to Spain, and his Group of the Virgin and
Child, i, 1;
his Horrid Treatment and Death, i, 2.
Torres—Sarcasm on his Imitations of Caravaggio, iii, [205].
Transfiguration of Raffaelle, i, 72.
Tristan, Luis, i, 229;
Tristan and Velasquez, i, 229;
Tristan and El Greco, i, 230.
"Triumvirate of Historical Painters," i, 244.
"Triumvirate of Landscape Painters," ii, 93.
Triumvirate of Neapolitan Painters, Intrigues of, ii, 128.
Uccello, Paolo, one of the Fathers of Painting, ii, 287;
his Enthusiasm, ii, 288;
Uccello and the Monks of San Miniato, ii, 289;
his remarkable Picture of the most distinguished Artists of his
Time, ii, 290;
his Incredulity of St. Thomas, ii, 291;
Uccello and Donatello, ii, 292.
Utility of Ancient Works, ii, 280.
Vanbrugh, Sir John, and his Severe Critics, ii, 221;
Reynolds' celebrated Criticism in his favor, ii, 221.
Vase, the Portland, ii, 56.
Vandyck, Sir Anthony—his Conduct in the School of Rubens, iii, [136];
his Visit to Italy, iii, [138];
his Return to Antwerp, iii, [139];
his Success and the Jealousy of Artists, iii, [140];
his celebrated Picture of the Elevation of the Cross, and the Canons
of Courtray, iii, [140];
his Visit to England, iii, [141];
his Success and Honors, iii, [141];
his Death and Character, iii, [142];
Remarkable Instance of his Rapidity of Execution, ii, 312.
Velasquez, Don Diego, i, 226;
Velasquez and Rubens compared by Mrs. Jameson, i, 226;
Velasquez and Philip IV—the favors and extraordinary Honors
conferred on him, i, 227;
his Skill in Portraits, i, 227;
his Portrait of Innocent X, i, 228;
his Generosity to his Slave, i, 228.
Velde, William van de, the Elder, iii, [143];
his Intrepidity in Painting Naval Engagements, iii, [143];
his Invitation to England and his Works, iii, [143];
Van de Velde and Charles II., iii, [145].
Velde, William van de, the Younger, iii, [145];
his Admirable Works, iii, [146];
Present Value of his Works, iii, [147];
his numerous Drawings, and their Estimation and Value, iii, [148].
Veneziano, Domenico, ii, 144;
his treacherous Death, ii, 144.
Venice, Foundation of, iii, [72].
Venetian Horses, the famous, Removal of from Paris, iii, [296].
Venus Anadyomene, i, 2.
Venus of Cnidus, i, 155.
Venus de Medici, i, 147.
Venus Victrix, i, 147.
Venus, Titian's, ii, 8.
Vermeyen, John C., and the Emperor Charles V., iii, [206];
his singular Dress and long Beard, iii, [207].
Vernet, Claude Joseph, ii, 295;
his Passion for Art, and his Precocity, ii, 295;
his Enthusiasm, ii, 296;
his Sketching the Tempest, lashed to the Mast, ii, 297;
his Arrival at Rome, ii, 298;
his Industry and Poverty, ii, 299;
his "Alphabet of Tones," ii, 299;
Vernet and the Connoisseur, ii, 301;
his Success and Works, ii, 301;
Diderot's Eulogy, ii, 303;
his Passion for Music, ii, 306;
his Opinion of his own Artistic Merits, ii, 307;
Characteristic Letter to the Marquis de Marigny, ii, 309;
his Prices, ii, 310.
Vernet, Charles, ii, 310;
his Works, ii, 310;
his rebuke to a Minister of State, ii, 311.
Vernet, Horace—his Life, Style, and Works, ii, 16-28.
Vieira, Francisco—his Love Romance, iii, [195];
his Success, iii, [198].
Vinci, Lionardo da, i, 266;
Precocity of his Genius, i, 266;
his first remarkable Picture, i, 267;
the extraordinary Versatility of his Talents, i, 268;
his Works at Milan, i, 268;
his famous Battle of the Standard, i, 270;
Vinci and Leo X., i, 271;
Vinci and Francis I., i, 271;
his Death, i, 272;
his Learning, i, 272;
his Writings, i, 273;
his Sketch Books, i, 275;
his Last Supper, i, 276;
Copies of his Last Supper, i, 278;
his Discrimination, i, 279;
his Idea of Perfection in Art, i, 280;
Vinci and the Prior, i, 282;
his Drawings of the Heads in the Last Supper, i, 284;
Francis I. and the Last Supper, i, 284;
Authenticated Works of Da Vinci, i, 285.
Weenix, John Baptist the Elder, iii, [236];
his wonderful Facility of Hand, iii, [236].
Weenix, the Younger, iii, [237].
Weesop, Anecdote of, i, 310.
West, Benjamin—his Opinion of the Value of the Fine Arts to a
Country, i, 8;
Anecdotes of West, i, 28;
his Ancestry, i, 28;
his Birth, i, 29;
his First Remarkable Feat, i, 30;
his doings with the Indians, i, 30;
his Cat's-Tail's Pencils, i, 30;
his First Picture, i, 31;
his First Visit to Philadelphia, i, 32;
his Ambition, i, 33;
his First Patrons, i, 34;
his Education, i, 35;
his Dedication to Art, i, 36;
his Early Prices, i, 38;
his Arrival at Rome, i, 39;
his Reception at Rome, i, 40;
his Criticism on the Apollo Belvidere, i, 41;
his Early Friends, i, 41;
his Course of Study, i, 42;
a Remarkable Prophecy, i, 43;
West in London—his Fondness for Skating, i, 44;
his Death of Wolfe, i, 45;
his Defense for Innovation before the King, i, 46;
Stuart's Anecdotes of West, i, 127-131.
Wilson, Richard—his Poverty and Want of Appreciation, i, 6;
Present Value of his Works, i, 6.
Winde William—his successful Stratagem, i, 399.
Wissing, William—Freedom of the Times in England in the reign of
Charles II., i, 309.
Wolf, the Bronze, "the Thunder-Stricken Nurse of Rome", i, 90.
Wonders, the Seven, of the World, iii, [75].
Wren, Sir Christopher, i, 290;
his Self-Command, i, 290;
his Restraints in designing his Edifices, i, 292;
the great Fire in London, i, 293;
St. Paul's Cathedral, i, 294;
his Death, i, 295;
Wren and Charles II., i, 295.
Zuccaro, Taddeo, iii, [250]; his Poverty, Enthusiasm, and Works, iii, [251].
Zuccaro, Federigo—his Resentment, iii, [251]; Royal Criticism on his
Self-Adulation, iii, [252].
FOOTNOTES:
[1] Arnolfo had proposed to raise the cupola immediately above the first cornice, from the model of the church in the chapel of the Spaniards, where the cupola is extremely small. Arnolfo was followed by Giotto in 1331. To Giotto succeeded Taddeo Gaddi, after whom, first Andrea Orgagna, next Lorenzo di Filippo, and lastly Brunelleschi were architects of the Cathedral.
[2] The story of Columbus and the Egg is familiar to every one. The jest undoubtedly originated with Brunelleschi, as it is attested by many of the Italian writers; it happened in 1420, fourteen years before Columbus was born. Toscanelli was a great admirer of Brunelleschi, whose knowledge of the Scriptures and powers of argument were so great, that he could successfully dispute in public assemblies, or in private with the most learned theologians, so that Toscanelli was accustomed to say that "to hear Filippo in argument, one might fancy one's self listening to a second Paul." So capital a retort could hardly have failed to reach Columbus, through his instructor, nor would he have hesitated to use it against his antagonists under similar circumstances. Brunelleschi was born in 1377 and died in 1444; Columbus in 1436, and died in 1506.
[3] Vasari means that Lorenzo continued to receive his salary till 1426, although Filippo had been appointed sole master of the works in 1423, as he himself relates in the sequel.
[4] How different was the treatment Ghiberti received from Brunelleschi, when the artists presented their models for one of the bronze doors of the Baptistery of San Giovanni at Florence. The designs of Ghiberti, Brunelleschi, and Donatello, were considered the three best; but the two latter, considering that Ghiberti was fairly entitled to the prize, withdrew their claims in his favor, and persuaded the syndics to adjudge the work to him. Brunelleschi was requested to undertake the work in concert with Ghiberti, but he would not consent to this, desiring to be first in some other art or undertaking than equal, or perhaps secondary, in another. "Now, this was in truth," says Vasari, "the sincere rectitude of friendship; it was talent without envy, and uprightness of judgment in a decision respecting themselves, by which these artists were more highly honored than they could have been by conducting the work to the utmost summit of perfection. Happy spirits! who, while aiding each other took pleasure in commending the labors of their competitors. How unhappy, on the contrary, are the artists of our day, laboring to injure each other, yet still unsatisfied, they burst with envy, while seeking to wound others."
[5] This distrust seems astonishing, after what Brunelleschi had accomplished, but it shows the opposition and enmity he had to encounter. In 1434, he received a mortifying affront from the Guild of Builders. Finding that he carried on the building without thinking to pay the annual tax due from every artist who exercised his calling, they caused him to be apprehended and thrown into prison. As soon as this outrage was known to the wardens, they instantly assembled with indignation, and issued a solemn decree, commanding that Filippo should be liberated, and that the Consuls of the Guild should be imprisoned, which was accordingly done. Baldinucci discovered and printed the authentic document containing the decree, which is dated August 20, 1434.
[6] Masselli says that the Tuscan braccio, is the ancient Roman foot doubled for greater convenience, and is equal to one foot nine inches and six lines, Paris measure. The editors of the Florentine edition of Vasari, 1846-9, remark that the measure of the whole edifice as given by Vasari, differs from that given by Fantozzi; the latter gives 196 braccia as its total height. Milizia says, "Brunelleschi completed his undertaking, which surpassed in height any work of the ancients. The lantern alone remained imperfect; but he left a model for it, and always recommended, even in his last moments, that it should be built of heavy marble, because the cupola being raised on four arches, it would have a tendency to spring upwards if not pressed with a heavy weight. The three mathematicians who have written on the cupola of St. Peter's, have clearly demonstrated a truth differing from the opinion of Brunelleschi, viz., that the small cupola increases, in a great degree, the lateral pressure. The whole height of the structure from the ground to the top, is 385 feet; that is, to the lantern 293 feet, the latter being 68 feet 6 inches; the ball 8 feet; the cross 15 feet 6 inches. * * *
"The plan of the dome is octangular; each side in the interior is 57 feet, and the clear width between the sides, not measuring into the angles, is 137 feet; the walls are 16 feet 9 inches thick; the whole length of the church is 500 feet. The nave has four pointed arches on each side, on piers, separating it from the side aisles. The transept and choir have no side aisles, but are portions of an octagon, attached to the base of the dome, giving the whole plan the figure of a cross. The edifice has a Gothic character, and is incrusted in marble and mosaic work." * * *
According to Fontani, this cupola exceeds that of the Vatican, both in height and circumference by four braccia; and although supported by eight ribs only, which renders it much lighter than that of the Vatican, which has sixteen flanking buttresses, it is nevertheless more solid and firm. Thus it has never required to be supported by circling hoops of iron, nor has it demanded the labors of the many engineers and architects who have printed volumes upon the subject. The construction of this cupola is remarkable in these particulars—that it is octangular, that it is double, and built entirely on the walls, unsupported by piers, and that there are no apparent counterforts.