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, 1, 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.