| Egyptian Art, | [1] |
| Ancient Thebes, | [2] |
| The Temple of Carnac, | [5] |
| Temple of Luxor, | [5] |
| The Statues of Memnon, | [6] |
| Heliopolis, | [7] |
| Memphis, | [8] |
| Lake Moeris, | [9] |
| The Colossal Sphinx, | [10] |
| The Labyrinth of Egypt, | [11] |
| The Catacombs of Egypt, | [12] |
| The Pyramids of Egypt, | [19] |
| Perilous Ascent of the Pyramid of Cephren, | [27] |
| Egyptian Obelisks, | [30] |
| Removal of an Obelisk by Fontana, | [33] |
| Removal of an Obelisk from Thebes to Paris, | [40] |
| Carburi's Base for the Equestrian Statue of Peter the Great, | [42] |
| Comparative Skill of the Ancients and Moderns in Mechanics, | [45] |
| The Britannia Tubular Railway Bridge, | [46] |
| The Tubes, | [47] |
| Construction of the Tubes, | [49] |
| Floating the Tubes, | [50] |
| Raising the Tubes, | [52] |
| Glory of Ancient Rome, | [57] |
| The Capitol, | [59] |
| Modern Rome, | [60] |
| The Foundation of Venice, | [72] |
| Theodoric the Great, and his Love of the Fine Arts, | [73] |
| The Trials of Genius—Filippo Brunelleschi, | [80] |
| Brunelleschi's Enthusiasm, | [122] |
| Brunelleschi and Donatello, | [123] |
| Donatello, | [125] |
| Donatello and the Merchant, | [126] |
| Donatello and his Kinsmen, | [127] |
| Death of Donatello, | [128] |
| Donatello and Michael Angelo Compared, | [128] |
| Sofonisba Anguisciola's Early Distinction, | [129] |
| Sofonisba's Visit to Rome, | [130] |
| Sofonisba's Marriages, | [131] |
| Sofonisba's Residence at Genoa, and her Intercourse with Vandyck, | [132] |
| Carriera Rosalba, | [133] |
| Rosalba's Modesty, | [133] |
| Rosalba's Knowledge of Tempers, | [133] |
| Elizabeth Sirani, | [134] |
| Death of Elizabeth Sirani, | [135] |
| Rachel Ruysch, | [135] |
| Sir Anthony Vandyck, | [136] |
| Vandyck's Visit to Italy, | [138] |
| Vandyck's Return to Antwerp, | [139] |
| Vandyck's Visit to England, | [141] |
| William van de Velde the Elder, | [143] |
| Van de Velde and Charles II., | [144] |
| William van de Velde the Younger, | [145] |
| The Younger van de Velde's Works, | [146] |
| Nicholas Poussin, | [148] |
| Poussin's first Celebrity, | [149] |
| Poussin's first Visit to Rome, | [150] |
| Poussin's Distress at Rome, | [151] |
| Poussin's Success at Rome, | [152] |
| Poussin's Invitation to Paris, | [153] |
| Poussin's Return to Rome, | [154] |
| Sir Joshua Reynolds' Critique on Poussin, | [156] |
| Poussin's Views of his Art, | [157] |
| Poussin's Works, | [158] |
| Marino and Poussin, | [159] |
| Poussin Romanized, | [160] |
| Poussin's Habits of Study, | [161] |
| Poussin's Old Age, | [162] |
| Poussin's Last Work and Death, | [163] |
| Poussin's Ideas of Painting, | [164] |
| Poussin and the Nobleman, | [165] |
| Poussin and Mengs, | [165] |
| Poussin and Domenichino, | [166] |
| Poussin and Salvator Rosa, | [166] |
| Poussin, Angelo, and Raffaelle Compared, | [168] |
| Rembrandt, | [170] |
| Rembrandt's Works, | [173] |
| Rembrandt as an Engraver, | [174] |
| Anecdote of Schwarts, | [175] |
| Jacques Callot, | [176] |
| Callot's Patriotism, | [177] |
| Ingenuity of Artists, | [178] |
| A Hint to Jewelers, | [179] |
| Curious Paintings, | [180] |
| The Oldest Oil Painting Extant, | [181] |
| Curious Representations of the Harpies, | [181] |
| Adrian Brower, | [182] |
| Brower, the Duke d'Aremberg, and Rubens, | [183] |
| Death of Brower, | [184] |
| Brower's Works, | [185] |
| Rosa da Tivoli, | [185] |
| Rosa da Tivoli's Works, | [186] |
| Rosa da Tivoli's Facility of Execution, | [186] |
| Rosa da Tivoli's Habits, | [187] |
| Luca Cambiaso's Facility in Painting, | [187] |
| Cambiaso's Works in Spain, | [188] |
| Cambiaso's Artistic Merits, | [190] |
| Rarity of Female Portraits in Spain, | [191] |
| Murillo's Pictures in Spanish America, | [192] |
| Murillo's "Virgin of the Napkin," | [193] |
| Anecdote of an Altar-Piece by Murillo, | [194] |
| Murillo and his slave Gomez, | [195] |
| An Artist's Love of Romance, | [195] |
| Estéban March's Strange Method of Study, | [198] |
| March's Adventure of the Fish, fried in Linseed Oil, | [199] |
| A Painter's Rebuke, | [200] |
| A Painter's Retort Courteous, | [201] |
| Ardemans and Bocanegra—A Trial of Skill, | [201] |
| A Painter's Artifice to "Keep up Appearances," | [202] |
| A Good Natured Criticism, | [203] |
| Alonso Cano and the Intendant of the Bishop of Malaga, | [203] |
| Cano's Love of Sculpture, | [204] |
| Castillo's Sarcasm on Alfaro, | [204] |
| Torres' Imitations of Caravaggio, | [205] |
| Pantoja and the Eagle, | [205] |
| The Painter Methodius and the King of Bulgaria, | [206] |
| John C. Vermeyen and Charles V., | [206] |
| Blas de Prado and the Emperor of Morocco, | [207] |
| Don Juan Carreño, | [208] |
| Carreño's Copy of Titian's St. Margaret, | [208] |
| Carreño's Abstraction of Mind, | [209] |
| Anecdote of Cespedes' Last Supper, | [209] |
| Zuccaro's Compliment to Cespedes, | [210] |
| Dona Barbara Maria de Hueva, | [210] |
| The Miraculous Picture of the Virgin, | [211] |
| The Chair of St. Peter, | [213] |
| The Sagro Catino, or Emerald Dish, | [215] |
| The "Painter of Florence," | [217] |
| Legend of the Painter-Friar, the Devil, and the Virgin, | [220] |
| Gerard Douw, | [222] |
| Douw's Style, | [224] |
| Douw's Method of Painting, | [225] |
| Douw's Works, | [226] |
| Albert Durer, | [228] |
| Durer's Works as a Painter, | [229] |
| Durer's Works as an Engraver, | [231] |
| Durer's Fame and Death, | [233] |
| Durer's Habits and Literary Works, | [234] |
| Ludolph Backhuysen, | [235] |
| John Baptist Weenix the Elder, | [236] |
| Weenix's Facility of Hand, | [236] |
| John Baptist Weenix the Younger, | [237] |
| Jan Steen, | [238] |
| Jan Steen's Works, | [238] |
| Kugler's Critique on the Works of Jan Steen, | [240] |
| Frolics of Mieris and Jan Steen, | [241] |
| Sir Anthony More, | [242] |
| Sir Anthony More and Philip II., | [243] |
| More's Success and Works, | [243] |
| Perilous Adventure of a Painter, | [245] |
| Anecdote of John de Mabuse, | [246] |
| Capugnano and Lionello Spada, | [247] |
| Michael Angelo Caravaggio—His Quarrelsome Disposition, | [248] |
| Jacopo Amiconi, | [249] |
| Painting the Dead, | [250] |
| Taddeo Zuccaro, | [250] |
| Zuccaro's Resentment, | [251] |
| Royal Criticism, | [252] |
| Pietro da Cortona, | [253] |
| "Know Thyself," | [254] |
| Benvenuto Cellini, | [255] |
| Fracanzani and Salvator Rosa, | [256] |
| Pope Urban VIII. and Bernini, | [256] |
| Emulation and Rivalry in the Fine Arts, | [257] |
| The Nótte of Correggio, | [259] |
| The Dresden Gallery, | [262] |
| Painting among the Egyptians, | [263] |
| Painting among the Greeks, | [265] |
| Numismatics, | [269] |
| Restoring Ancient Edifices, | [274] |
| Napoleon's Love of Art, | [274] |
| Napoleon's Works at Paris, | [276] |
| The Napoleon Medals, | [281] |
| The Elephant Fountain, | [286] |
| Interesting Drawing, | [287] |
| Sévre China, | [288] |
| Dismantling of the Louvre, | [289] |
| Removal of the Venetian Horses from Paris, | [296] |
| Removal of the Statue of Napoleon from the Place Vendôme, | [301] |
| The Musée Français and the Musée Royal, | [302] |
| Boydell's Shakspeare Gallery, | [305] |
| Brief Sketch of a Plan for an American National Gallery of Art, | [307] |
| |
| [INDEX.] |