Excursions in Art and Letters - William Wetmore Story

The weird sisters are but outward personifications of the evil thoughts conceived and fermenting in the brains of Banquo and Macbeth; both high in station, both generals in the king’s army, both friends, and both nourishing evil wishes. They are visible only to these two friends; and though they are represented as having an outer existence independent of them, they are, metaphysically speaking, but embodiments of the hidden thoughts and desires of Banquo and Macbeth; as such they are a new and terrible creation, differing from the vulgar flesh-and-blood witches of Middleton. They look not like the inhabitants of the earth; they vanish into thin air; wild, vague, mysterious, they come and go, like devilish thoughts that tempt us, and take shape before us, as if they had come from the other world. The devils that haunt us and tempt us come out of ourselves, like the weird sisters of Macbeth.

INDEX.

Actors, in England, [234–239].
Adam, figure of, by Michel Angelo, [26].
Adriani, Giovanni Battista, letter of, to Vasari, [140].
Æschines, statement by, regarding Miltiades, [129], note.
Æschylus and Euripides, [30];
quotation from, [206].
Agasias the Ephesian, [109].
Agathenor, [94].
Ageledas, teacher of Polyclitus, [88].
Agoracrites, [66], [67], [70];
and Alcamenes, [71];
and Phidias, [72];
statue of Nemesis, at Rhamnus, by, [70], [91].
Ajax, the antique, [6].
Alberti, Leon Battista, [3], [8].
Alcamenes, [55];
the Venus of the Gardens, by, [68], [90];
and Agoracritos, [71];
and Phidias, [72], [96];
high distinction of, as an artist, [90];
works in the Temple of Zeus, [93].
Alcimus Avitus, quotation from his De Origine Mundi, [127].
Alexander, taming Bucephalus, statue of, at Rome, [77], [78];
praises Apelles and Lysippus, [131].
Alfieri, [8].
Ammonius, [108].
Anacreon, quotations from, [144].
“Ancora imparo,” a motto used by Michel Angelo in old age, [13].
Androsthenes, [88], [92].
Angelo, Michel, [4–7];
everything in Florence recalls, [8];
his house, [8], [9];
birth, [9];
death, [10];
early studies, [10];
early efforts as a sculptor, [10];
his Cupid and Bacchus, [10];
his Pietà, [11], [20];
colossal figure of David, [11], [20];
Sistine Chapel, [11];
the Moses, [11], [20];
Medici Chapel, [11];
Pauline Chapel, [11];
the Last Judgment, [11];
sculptor, painter, architect, engineer, and poet, [11], [43];
erection of St. Peter’s, [11];
his circumstances and characteristics, [12];
always learning, [13];
his later poetry, [13];
his power as a sculptor, [13], [20], [39];
his great works in the Medicean Chapel, [13–21];
meaning of his statues of Day, Night, Aurora, and Crepuscule, [16–18];
quatrain by, [17];
influence of Savonarola and Dante on, [17];
his works bad models for imitation [20];
figure of Christ by, in the Church of the Minerva, [20];
his struggles against ill-health and overwork, [20], [21];
his frescoes in the Sistine Chapel, [21–29];
Bramante’s jealousy of, [21], [22], [24];
Pope Julius II. strikes him with a cane, [25];
his extraordinary rapidity in working, [25], [26];
greater as a painter than as a sculptor, [26];
of heroic spirit, [29];
fragments of letters by, [30], [36];
Rafaelle and, [30–33], [35];
anecdote of, [32];
personal characteristics of, [33], [34];
and Vittoria Colonna, [34];
extract from a sonnet by, [34];
Dante the favorite poet of, [35];
Savonarola the friend of, [35];
originality of, [35];
devotion to his family, [36];
generosity of, [36], [37];
violent temper of, [33], [37];
patience of, [37];
difficulties under which he labored, [37], [38];
described by Vigenero, [38];
the impatience of his genius, [39];
appointed architect of St. Peter’s when sixty years old, [39];
Palazzo Farnese, the Church of Sta. Maria degli Angeli, and the Laurentian Library, designed by, [41];
not responsible for St. Peter’s as it now stands, [42];
poetry of, [42], [43];
trained in all the arts, [43];
the greatest monuments of his artistic power, [44];
enduring kingdom of, [48];
popular errors about, [49], [50], [69];
compared with Phidias, [79], [80].
Antenor, the first maker of iconic statues, [129].
Antoninus Pius, [230].
Apelles, and Alexander, [131];
praised by Nicephorus Chumnus, [132];
price paid for one of his portraits of Alexander, [132];
portraits of Campaspe and Phryne by, [132];
story about, by Pliny, [132].
Aphrodite Urania, chryselephantine statue of, by Phidias, [53], [58].
Apollo, the Temple of, at Phigaleia, [53].
Apollodorus, [182].
Apollonius, [109].
Appian hymn, the, [206].
Arcesilaus, sketches by, [135];
price received by, for a drinking-cup, [170];
for a statue of Fabatus, [170], [176].
Aretino, [3], [8].
Arezzo, discoveries at, [178].
Arezzo, Guido di, [4].
Argos, the Temple of Juno at, [53].
Ariosto, [3];
Dante and, [30];
lively spirit of, [42].
Aristotle, distinction drawn by, between Phidias and Polyclitus, [99–102].
Arrian, cited, [66], [70].
Art, deathblow of pagan, [1];
Christianity and, [1];
and religion, [2], [4], [208];
the golden age of Italian, [4];
spirit of Greek and Roman, [19];
ancient works of, difficulty of determining authorship of, [69];
the toreutic, [100];
the productions of, always show the true spirit of religion among any people, [208];
and nature, [232], [233].
Artemisia and Mausolus, [132].
Arts, all, aid each other, [43].
Athena Areia, statue of, by Phidias, [53], [58];
its height, [62];
described, [65].
Athena Lemnia, statue of, by Phidias, [62];
beauty of, [65].
Athena of the Parthenon, chryselephantine statue, by Phidias, [50–68], [82], [83], [97], [98], [111], [209], [210].
Athena Promachos, the, cast from spoils taken at Marathon, [59];
its height, [62], [64].
Athenagoras, cited, [66], [70].
Aulus Gellius, definition of “facies” by, [121].
Aurelius, Marcus, the Meditations of, [190–193], [228];
how the Meditations were written, [191];
no book of ancient literature higher and purer, [192];
his dust, [192];
a conversation with, [193–230];
Jesus of Nazareth reverenced by, [199];
supposed ideas of God held by, [199–202];
cannot understand modern pronunciation of Latin, [217];
purely a Stoic, [220];
did not persecute Christians, [220];
letters of, on the proper treatment of one’s enemies, [228].
Aurora, figure of, by Michel Angelo, [14–21].
Ausonius, cited, [68].
Baldi Chapel, the, [7].
Bargello, the, [6].
Bartolommeo, Fra, [31].
Baruch, cited, [150].
Batrachus, [107].
Beethoven and Mozart, [30].
Bembo, [4].
Berlinghi, family of the, [10].
Bibbiena, [3].
Biblical history, in Michel Angelo’s frescoes, [28], [29].
Boccaccio, [3].
Boiardo, [3].
Borgia, Lucrezia, [264].
Bostick and Riley, translation of Pliny by, [135].
Bramante, instigates Pope Julius II. to summon Michel Angelo to Rome, [21];
jealous of Michel Angelo’s fame, [22];
tries to induce the Pope to discharge Michel Angelo, [24].
Brass-casting, decline of the art of, [170].
Brick, printed on by the ancient Romans, [167].
British Museum, so-called plaster casts in, [164], [165].
Bronze statues, the method of the ancients in casting, [142].
Browning, Robert, [233].
Browning and Tennyson, [30].
Brunelleschi, [5], [6], [8], [40];
designs Church of San Lorenzo, [13].
Brunn, Dr., cited, [59], [60];
on Pliny’s Natural History, [120], [137–139].
Bryaxis, [68].
Buggiardini, [21].
Buonomini, Michel Angelo’s father one of the twelve, [10].
Byzantine tradition, [4].
Callicrates, and the Parthenon, [51], [52].
Callimachus, nicknamed, [130];
drill supposed to have been invented by, [171].
Cambronne, [74].
Campaspe, portrait of, by Apelles, [132].
Canossa, the Counts of, [10].
Canova, opinion of, as to the use of proportional compasses by ancient sculptors, [171].
Caprese, birthplace of Michel Angelo, [9].
Carmine, Church of the, [7].
Carpion and the Parthenon, [51].
Carrara, Michel Angelo at, [37].
Casting, from life or from the round, difficulties of, [159], [160];
distinction between, and modeling, [155], [161].
Casting in plaster, alleged practice of, among the Greeks and Romans, [115–189];
introduced by Verrocchio, [188].
Casts, plaster, not found in ancient houses or tombs, [157], [158], [176], [177].
Cato, book published by, [167].
Catulus, [67].
Cellini, the Renaissance Perseus of, [6];
accomplished in many arts, [43].
Ceres, the Temple of, at Eleusis, [52], [53].
Chalcosthenes, executed works in baked earth, [148].
Changes, only gradual, do real good, [197].
Christ, and Communism, [222], [223];
example of, not always followed by Christians, [226].
Christianity and Art, [1].
Christians, not persecuted by Marcus Aurelius, but punished as Communists, [220–222];
attitude of, toward the government, [221], [227];
theory and practice of, [225], [226].
Cicero, Demosthenes and, [30];
on the meaning of vultus, [121];
quoted, [125], [134], [141], [149], [152].
Cimabue, [4].
Clay, not a material for casting, [134];
why used by the ancients instead of gypsum, [158], [159].
Clemens Alexandrinus, cited, [68].
Colonna, Vittoria, and Michel Angelo, [34].
Columbus, [4].
Communists, the early followers of Christ were, [222].
Compasses, proportional, used by ancient sculptors, [171], [172].
Condivi, doubtful assertion of, [25].
Cooke, a safe guide for the tragic actor, [236].
Copies, exact, not made by ancient sculptors, [174–176].
Corœbus, begins the Temple of Initiation at Eleusis, [52].
Creed, every religious, should be living, [196].
Crepuscule, figure of, by Michel Angelo, [14–21].
Ctesilaus, [67], [97];
compared with Phidias, [96].
Cydon, competition of, with Phidias, [97], [98].
Cymon, [67].
Cyrenaicn, the, fragments of figures from, [164], [165].
Dædalus, statue to Hercules by, [182], [186].
Dallaway, cited, [109].
Damophilus, [117], [146].
Daniel, Michel Angelo’s figure of, [27].
Dante, [3], [5], [6], [8];
his influence on Michel Angelo, [17];
and Ariosto, [30];
the favorite poet of Michel Angelo, [35].
David, Michel Angelo’s statue of, [8], [11].
Day, Michel Angelo’s colossal figure of, [14–21].
Deity, figure of the, by Michel Angelo, [27].
Delacroix and Ary Scheffer, [30].
Delphi, group of statues at, [59], [60], [62], [64], [121].
Demetrius, on the work of Phidias, [81];
introduces the realistic school of portraiture, [130].
Demosthenes and Cicero, [30].
Devils, the, that haunt and tempt us, come out of ourselves, [286].
D’Hancarville, cited, [109].
Dibutades of Sicyon, [137–139].
Diocletian, ruins of the Baths of, [41].
Diodotos, [70].
Dion Chrysostomos, on the style of Phidias, [81].
Dionysius of Colophon, [132].
Dionysius of Halicarnassus, on the art of Phidias, [81], [102];
on the works of Polyclitus, [89].
Dives and Lazarus, [223].
Dolls, ancient, [166].
Drama, reaction in the, against conventionalism, [233].
Drill, the, supposed to have been invented by Callimachus, [171].
Dryads, [1].
Dust of the dead, [192].
Duty, the, of considering adverse doctrines, [224], [225].
Ectypa of baked clay, [156].
Eleusinian mysteries, meaning of the, [217], [218].
Eleusis, the Temple of Initiation at, [52];
the Temple of Ceres at, [52].
Elgin marbles, the, [49–114].
Elis, work of Phidias at, [53], [54].
Elpinice, portrait of, by Polygnotua, [132].
Epicurus, the face of, carried about by the Romans, [150].
Equanimity, the last watchword given by Antoninus Pius, [230].
Erechtheum, the, [94].
Esaias, Michel Angelo’s figure of, [27].
Euphranor, [73].
Euripides, Æschylus and, [30];
on the immensity of God, [206].
Ezekiel, Michel Angelo’s figure of, [27].
Fables of the ancients, the mythical garb of great truths, [211], [212];
true to the imagination, not to the reason, [212].
Facts, but dead husks, [212].
Faith, death of, [196];
easily degenerates into superstition, [204];
of the ancients compared with ours, [218–220].
Fame, what is, [228].
Fechter, as Hamlet, [236].
Fedi, [6].
Ficino, Marsilio, [3].
Firmicus, story by, about Zagreus, [101].
Florence, the city of the Renaissance, [5];
ungrateful, [7];
Dante and, [8].
Fol, Mr., the collection of, in Rome, [156], [168].
Forcellinus, cited, [120], [122], [123].
Forms, of little consequence, compared to essences, [195].
Formulas check growth in the spirit, [195];
but are useful, as trunks in which we pack our goods, [195].
Fornarina, the, [31], [34].
Francis I. and Leonardo da Vinci, [74].
Fresco-painting, source of the term, [25].
Fronto, De differentiis Vocabulorum of, [122], note.
Galatea, the, of Raffaelle, [32].
Galileo, [4], [8].
Garrick, [236–238].
Germans, as students of Shakespeare, [237].
Ghiberti, [6], [8], [43].
Ghirlandajo, Michel Angelo’s early master, [10], [22].
Giorgione, [4].
Giotto, [4];
the campanile of, [6];
frescoes of, [7];
accomplished in many arts, [43].
Glycon, [109].
God, tendency to humanize and degrade, [198];
the justice of, [200];
supposed ideas of, held by Marcus Aurelius, [199–202];
man cannot comprehend, [203];
yet man makes, [203];
Christian and pagan conceptions of, compared, [199–208];
representations of, in art, inferior to pagan works, [208].
Gods, images of, in early Greece, with clothes and false hair, [152];
the ancient, but anthropomorphic symbols, [210].
Gonsalvi, Cardinal, and Michel Angelo, [13].
Good, real, done only by gradual changes, [197].
Gorgasus, [117], [146].
Gorgias, [88].
Greek and Roman art, the spirit of, [19].
Greek sculptors not accustomed to put their names on statues, [107].
Guarini, [3].
Guelphs end Ghibellines, [3].
Guicciardini, [8].
Gypsum, not used by the ancients in casting, [157–159], [169];
Pliny on, [169].
Hamlet, the warnings of, needed by English actors, [234], [235];
not Hamlet on the English stage, [238];
mental aberration of, compared with that of Macbeth, [249], [250].
Hegias, [88].
Hermitage, Museum of the, [163].
Hercules, statue of, by Dædalus, [182], [186].
Hesychius, cited, [70], [103].
History, who knows, [214];
must be interpreted by imagination, [214].
Homer, and Virgil, [30];
relief in the British Museum, representing the deification of, [109].
Honesty of intention, not enough, [221].
Horace, quotation from, [126].
Horse-Tamer, the, statue of, ascribed to Phidias, [67], [70–79].
Hugo, Victor, and Lamartine, [30].
Hunt, Leigh, [233].
Iasos, [94].
Iconic statues, first made by Antenor, [129].
Ictinus, works of, [113].
Idealisti, motto of the, [232].
Images, draped with real stuffs by the Greeks and Romans, [152];
false hair on, [152].
Imagination in art, [232];
may work independently of real feelings, [251].
Inevitable, the, should be accepted without murmuring, [229].
Isis, [221].
Isocrates, quoted, [66].
Italy, the land of the Renaissance, [5].
Jehovah, the, of the Jews, development of, [205].
Jeremiah, figure of, by Michel Angelo, [27].
Jesus, reverenced by Marcus Aurelius, [199], [220].
John of Bologna, the Rape of the Sabines by, [6].
Julian, statement by, about Phidias, [84].
Julius II., Pope, and Michel Angelo, [21–25];
strikes Michel Angelo with a cane, [25].
Juno, the Temple of, at Argos, [53].
Jupiter, the true philosophic idea of, [204–207].
Jupiter Pluvius, [216].
Kalamis, [88];
works of, [93];
compared with Phidias, [96].
Kallimachus, [88].
Kallon, [88].
Kean, Charles, [236], [237].
Kean, the elder, [236].
Kemble, John, as Hamlet, [238], [239].
Kertch, excavations at, [163];
so-called casts from, in the British Museum, [164], [165].
Kleoitas, [88].
Knight, Richard Payne, opinion of, on the Elgin marbles, [99].
Kolotes, an assistant of Phidias, [55];
statue of Athena attributed to, by Pliny, [66], [70], [91].
Lacon, [88].
Lactantius, [206].
Lamartine, Victor Hugo and, [30].
Lanzi, [8].
Laocoön, the, [19].
Latin, modern pronunciation of, unintelligible to Marcus Aurelius, [217].
Laurentian Library, the, [42].
Lazarus, and Dives, [223].
Lear, the aberration of mind of, different from that of Macbeth, [249], [250].
Leo X., Pope, [13], [14].
Leochares, statues by, [130].
Leonardo, [43];
competition of, with Michel Angelo, [22];
story about his death, [74].
Libeccio, the howling, [190].
Libon, [113].
Lippi, [7].
Loclos, [94].
Lomazzo, statement by, about Leonardo’s death, [74].
Lorenzo, Duke of Urbino, [14].
Lorenzo the Magnificent, [3];
favors Michel Angelo, [10].
Lucan, lofty idea of God expressed by, [207].
Lucian, cited, [65], [67];
his ideal image of the most beautiful woman, [96];
comment by, on Demetrius, [130];
the “Tragic Jupiter” of, citations from, [181–185];
the “Somnium, seu Gallus,” of, quoted, [187].
Lysias, cited, [101], note.
Lysippus, statue of Opportunity by, [68];
varies the canon of proportion, [73];
gives a new impulse to the school of portraiture, [131];
praised by Nicephorus Chumnus, [132].
Lysistratus, and the art of casting in plaster, [116], [117], [139], [141], [143], [145];
and the practice of portraiture, [131];
probable use of color by, [154].
Macbeth, the true character of, [239–285];
not understood by Lady Macbeth till after the murder of Duncan, [241], [242], [244], [277];
Shakespeare’s worst villain, save Iago, [284].
Macbeth, Lady, the real, [230–241], [251–282].
Macchiavelli, [3], [8].
Maderno, Carlo, St. Peter’s injured by, [42].
Madonna di San Sisto, the, [32].
Mai, Cardinal, [122], note.
Mammon, worshiped, [227].
Man, inferior to woman in adjusting details, [259].
Marathon, the use made of spoils taken from the Medes at, [59].
Marbles, the Elgin and Phigaleian, work on, in the Library of Entertaining Knowledge, [99], [110].
Masaccio, [7].
Mausolus, statue of, [131].
Medicean Chapel, the, [9], [11];
great works of Michel Angelo in, [13–21], [39].
Medici, real mausoleum of the, [9];
burial chapel of the, [44–48];
coffins of the, neglected and robbed, [45–47];
sad lesson of their fate, [48].
Medici, Giuliano dei, mausoleum to, [14].
Melzi, cited, [74].
Metagenes, and the Temple of Initiation at Eleusis, [52].
Metoscopi, a story about, [132].
Middle Ages, the, [2].
Middleton, the witches of, different from Shakespeare’s weird sisters, [285], [286].
Miltiades, portrait statue of, at Delphi, [129].
Minerva, Church of the, [20].
Mini, Antonio, [21].
Mini, Giovanni Battista, letter by, [21].
Mirandola, Pico della, [3].
Mithras, [221], [225].
Mnesicles, [52].
Molière and Racine, [30].
Moses, statue of, by Michel Angelo, [39].
Mount Mithridates, excavations at, [163].
Mozart, Beethoven and, [30].
Müller, cited, [59], [101], note, [185].
Music, development of, [4].
Myron, [88];
great skill of, [89], [90];
inscription on his Discobolos, [108].
Mys, carving by, [64].
Myths, enchanting, [212].
Naiads, [1].
Narrow-mindedness, development of truth impeded by, [225].
Naturalisti, motto of the, [232].
Nature and art, [232].
Nemesis, statue of, at Rhamnus, [67], [70], [71];
inscription on, [109].
Nero, [77], [79];
like Macbeth, [243].
Nestocles, [88].
Nicephorus Chumnus, Apelles and Lysippus praised by, [132].
Nicias, statues colored by, [153].
Night, Michel Angelo’s colossal figure of, [14–21].
Odeum, the, [52], [53].
Olympia, the Temple of Zeus at, [53], [54].
Opinion, arrogance of, development of truth impeded by, [225].
Opinions but running streams, [229].
Orcagna, the Loggia of, [6].
Oreads, [1].
Orpheus, as the Good Shepherd, [1].
Othello, the trance of, unlike Macbeth’s aberration of mind, [249], [250].
Ovid, quoted, [122], [151].
Pæonios, [55], [88];
works of, [92], [93].
Pagan religion and pagan art, [1].
Painting, and sculpture, [1];
substances used by the ancients in, [145].
Palazzo Farnese, the, [41].
Pan, [1].
Pantarces, a victor in the Olympian games, [129].
Parrhasius, [64];
paints portrait of himself, [132].
Parthenon, the, sculptures in, [49], [50], [52–55];
builders of, [51], [52];
built between 444 and 438 B. C., [54];
the extant fragments of, not in the style of Phidias, [84–86];
probably executed by various hands, [94].
Pasiteles, [135].
Pauline Chapel, the, [11].
Pausanias, statements by, [59], [64–71], [75], [91];
the marble statues ascribed to Phidias by, [105–107];
on the invention of casting in bronze, [137].
Pelichus, statue of, by Demetrius, [130].
Pensiero, Il, [18].
Pericles, appoints Phidias director of public works in Athens, [49], [51];
directs the building of the Odeum, [52];
said by Strabo to have been director of public works, [52];
sole administrator of public affairs, [53];
likeness of, by Phidias, [60], [129].
Perkins, Charles C., his “Du Moulage en Plâtre chez les Anciens,” [115] ff.;
confounds modeling and casting, [162].
Perugino, [31].
Peruzzi Chapel, the, [7].
Petrarca, [3], [42];
admired by Michel Angelo, [35].
Petronius, cited, [90].
Phædrus, quoted, [108].
Phidias, [19];
painter and architect, as well as sculptor, [43];
and the Elgin marbles, [49–114];
appointed director of public works by Pericles, [49];
his chryselephantine statue of Athena, [50–68], [82], [83], [97], [98], [111];
doubtful if he ever made statues in marble, [51], [98–113];
testimony of Plutarch, [51], [52];
of Strabo, [52];
impossible for him to have done all the work that is attributed to him, [53–58], [63], [68];
a slow and elaborate worker, [55];
disadvantages of, [56], [57];
date of his birth, [58–62];
likeness of, by himself, [60], [129];
works ascribed to, [62–68];
incredible stories about, [71–73];
peculiarly celebrated for his statues of Athena, [75];
the Horse-Tamer, not the work of, [76–79];
compared with Michel Angelo, [80];
his style, [80], [81];
elaboration of his great works, [81–84], [86];
the Cellini of Athens, [84];
introduces the art of making statues in ivory and gold, [87];
estimation of, among his contemporaries, [96];
Propertius and Quinctilian on, [98];
appellation applied to, by Aristotle, [99–102];
skill of, in the toreutic art, [101];
marble statues ascribed to, by Pausanias, [105–107];
prosecuted for impiety, [129].
Phigaleia, the Temple of Apollo at, [53].
Photias, [72].
Phradmon, [67];
competes with Phidias, [97].
Phryne, portrait of, by Apelles, [132].
Phyromachos, [94].
Piece-moulds apparently not used by the ancient Greeks and Romans, [156], [157], [176], [178].
Pindar, quotation from, [206].
Pius VIII., monument of, by Tenerani, [61].
Plaster, the art of casting in, among the Greeks and Romans, [115–189].
Platæa, [53], [59].
Plautus, quoted, [121], [135].
Pliny, cited, [65–68], [70], [71], [76], [89], [90];
story by, about Phidias, Polyclitus, Ctesilaus, Cydon, and Phradmon, [97], [98];
statements by, about Phidias, [103], [104];
quotation from his Natural History, [116];
meaning of the quotation considered, [117] ff.;
the Natural History characterized, [118], [119];
stories by, about Apelles and Parrhasius, [132], [133];
Bostick and Riley’s translation of, [135];
his use of the term “cera,” [144];
chapter on “Plastices,” in the Natural History, [146–150];
chapter on the honor attached to portraits, [150], [151].
Plutarch, statements by, about Pericles and Phidias, [51], [52], [56], [57];
quoted, [66].
Plyntheria, the colossal Athena’s gold drapery washed at, [152].
Poliziano, Angelo, teacher of Michel Angelo, [3], [10].
Polybius, referred to, [146], note.
Polyclitus, [67];
his canon of proportion, [73];
his works, [88], [89];
compared with Phidias, [96], [97], [101];
price received by, for his Doryphoros, [176].
Polygnotus, the “Rape of Cassandra” by, [132].
Polyxines, [6].
Pompeii, works of art found in, [177].
Pomponius Mela, cited, [70].
Popes, the, and Michel Angelo, [12].
Portrait statues, erection of, in public, seldom allowed by the Greeks, [129].
Portraiture, in its true sense, the beginning of, [130];
development of, by Lysippus and Lysistratus, [131];
earliest specimen of, by a great painter, [132];
use of, by the Romans, [150].
Possis, excellent work of, [148].
Praxias, [88], [92], [94], [95].
Praxiteles, statue of Alexander taming Bucephalus, ascribed to, [77], [78];
praised by Lucian, [96];
and Nicias, [153];
price offered by Athens for the Venus of, [175].
Pre-Raphaelites, error of the, [233].
Printing, among the ancient Romans, [167].
Propertius, quoted, [98].
Propylæa, [53].
Pulci, the three, [3].
Pythagoras, [88].
Quinctilian, quoted, [98], [125];
criticises Demetrius, [130].
Quincy, M. Quatremere de, on chryselephantine statues, [100].
Quirinal Hill, statue of the Horse-Tamer on the, [67], [76].
Racine, Molière and, [30].
Raffaelle, [4], [8];
and the Sistine Chapel, [24];
and Michel Angelo, [30–33], [35];
character and style of, [31];
his finest work, [32];
his early death, [32];
characterized by contemporaries, [33];
and the Fornarina, [31], [34];
accomplished in many arts, [43].
Ravenna, Dante’s grave at, [8].
Reform, slow movement of, in England, [235].
Rehoboam, group by Michel Angelo, [29].
Religion, and art, hand in hand, [208];
no system of, ever embraced all truth, [224].
Religious controversy, nothing so bitter as, [225].
Religious ideas, each age has its, [196].
Renaissance, the, [3–5].
Revolutionizing the world, [227].
Rhamnus, statue of Nemesis at, [67], [70], [71].
Rhœcus, cast in bronze, [136].
Riches, denounced by Christ, [222].
Riley and Bostick, translation of Pliny by, [135].
Roman and Greek art, the spirit of, [19].
Rousseau and Voltaire, [30].
S. Justinus, [206].
S. Theophilus Antiochenus, [206].
Sallust, quoted, [152].
San Gallo, Antonio, architect of St. Peter’s, [39].
San Lorenzo, Church of, [9], [13].
Santa Croce, Church of, [7], [8].
Saurus, [107].
Savonarola, [5];
his influence on Michel Angelo, [17], [35].
Scheffer, Ary, Delacroix and, [30].
Scopas, [67];
celebrated for heroic figures and demigods, [75];
a worker in marble, [76].
Sculpture, and idolatry, [1];
considered more dignified than painting, by the Athenians, [133].
Second-sight, Macbeth’s, [246].
Secretive nature, the, always a puzzle to the frank nature, [244].
Semele and Zagreus, [161].
Seneca, quoted, [110];
sentiments of, regarding God, [207], [208].
Shakespeare, and Sir Philip Sidney, [30];
testimony of, as to English actors, [235];
interpreted by the Germans, [237];
his meaning perverted on the English stage, [238], [240];
no serious character of, rants like Macbeth, [251];
a master-stroke of, [259];
Iago and Macbeth his worst villains, [284];
his weird sisters a new creation, [285].
Sibylline verses, fragment of the, [206].
Sibyls, representations of, by Michel Angelo, [27], [28].
Siddons, Mrs., as Lady Macbeth, [239], [240], [264].
Sidney, Sir Philip, Shakespeare and, [30].
Sistine Chapel, the, [11];
Michel Angelo’s frescoes in, [21–29], [44];
opened to exhibit the frescoes in 1508 on All-Saints’ Day, [23].
Sixtus V., [77].
Smith, Philip, cited, [59], [61], [76].
Socrates, [88].
Solon, cited, [70].
Sophocles, unity and universality of God proclaimed by, [200].
Spartianus, statues modeled in plaster spoken of by, [160].
St. Paul, quoted, [231].
St. Peter’s, the Dome of, [5], [8], [11];
Michel Angelo’s work upon, [39–42];
the type of the universal church, [41];
Michel Angelo not responsible for it as it now stands, [42];
changes made in, by Carlo Maderno, [42].
Sta. Maria degli Angeli, Church of, [41].
Stage, tradition and convention on the English, [234–240].
Statius, quoted, [144].
Statues, ancient, singular defects in, [173].
Strabo, statements by, about Pericles and Phidias, [52];
opinion of, on the statue of Nemesis, at Rhamnus, [70];
on the work of Polyclitus, [89], [96].
Strozzi, Giovan’ Battista, quatrain by, [17].
Suidas, [72].
Sunium, [64].
Tartuffe, Macbeth not like, [254].
Tasso, [3], [42].
Tenerani, [61].
Tennyson, Browning and, [30].
Terra cotta, an ancient manufactory of, [178].
Tertullian, on the persecution of the Christians, [222].
Themistius, a saying of, [56];
cited, [80].
Theocosmos, [67], [92];
said to have been assisted by Phidias, [75].
Theocritus, [206].
Theodorus of Samos, cast in bronze, [136].
Theophrastus, treatise on mineralogy by, [159].
Thiersch, cited, [59], [61], [68].
Thoughts, our whole nature colored by our, [229].
Thrasymedes of Paros, [66], [70].
Thundering Legion, the, true story of, [215], [216].
Tintoretto, [4].
Tiridates, King of Armenia, [77], [79].
Titian, [4].
Toreutic art, the, [100].
Tradition, in English church and theatre, [235];
Shakespeare’s meaning perverted by, [238], [240].
Traditions about artists, unreliable, [74].
Troughton, Mr., [233].
Truth, infinite in form and spirit, [195];
a continual progression towards the divine, [195];
not all embraced in one system of religion, [224];
the growth of, impeded by narrow-mindedness, [225].
Tussaud, Madame, [154].
Tzetzes the Grammarian, story told by, [72];
an untrustworthy gossip, [73];
on Phidias, [103].
Urban VIII., [78].
Urbino, Michel Angelo’s servant, [37].
Valerius Maximus, quoted, [110], [111].
Valerius Soranus, God represented by, as the Father and Mother of us all, [207].
Valori, Bartolommeo, letter to, [21].
Varro, quoted, as to the meaning of “cera,” [144].
Vasari, Giorgio, doubtful assertion of, [25];
on Raffaelle, [33];
account by, of Verrocchio’s making casts, [188].
Veronese, [4].
Verrocchio, [43];
casting in plaster introduced by, [188].
Via Latina, tombs in the, [157].
Vigenero, description of Michel Angelo by, [38].
Villari, [3].
Virgil, Homer and, [30];
quoted, [122], [136].
Visconti, quoted, [99], [100];
his views examined, [100–104].
Vitruvius, [145];
description of process used in finishing walls by, [153].
Voltaire, Rousseau and, [30].
Walls, ancient process used in finishing, [153].
Wardour Street, the portraits of, [152].
Wax, the common vehicle of ancient painters, [144].
“Weird Sisters,” the, but outward personifications of evil thoughts, [285].
Welcker and Preller, cited, [59], [60].
Wilkins, William, opinion of, on the Elgin marbles, [99].
Wilson, Mr. Charles Heath, close examination of Michel Angelo’s frescoes by, [25].
“Wisdom of Solomon,” the, cited, [150].
Woman, superior to man in adjusting details, [259];
unable to bear the remembrance of what she has gone through, [277].
World, the, needs revolutionizing, [227].
Xenocles of Cholargos, finishes the Temple of Initiation at Eleusis, [52].
Xenophon, classes Polyclitus with Homer, Sophocles, and Zeuxis, as an artist, [89].
Zacharias, figure of, by Michel Angelo, [27].
Zagreus and Semele, [161].
Zenobius, cited, [70].
Zeus, chryselephantine statue of, by Phidias, [63], [59–63], [65], [81], [86], [98], [209];
inscription on, [109].
Zeus, the Temple of, at Olympia, [53].

FOOTNOTES

[1] Whether this inscription was placed there during the life of Phidias does not appear; but it is highly improbable, and not in harmony with the practice of the Greeks.

[2] Themistius, Orat. adeum qui postulaverat ut ex tempore sermonem haberet.

[3] τέκτονες, πλάσται, χαλκοτύποι, λιθουργοί, βαφεῖς, χρυσοῦ μαλακτῆρες καὶ ἐλέφαντος ζωγράφοι, ποικιλταῖ, τορευταῖ. This passage is generally cited as a statement by Plutarch that Phidias employed all these men; but in fact he is only urging, in justification of Pericles, and in answer to attacks made against him for expending such large sums of money in the public works, that these works gave employment to the enumerated classes of artists and mechanics.

[4] The date of the birth of Pericles is unknown, but he began to take part in public affairs in B. C. 469, when he could not probably have been less than twenty-one years of age. This would place his birth at 490. He died in 429; and this reckoning would make him only sixty-one at his death.