A History of Sculpture - Ernest Henry Short

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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