Churches of Rome, iii, 60.
Cimabue, Giovanni--Sketch of his Life, ii, 251;
his Style, ii, 252;
his Passion for Art, ii, 252;
his famous picture of the Virgin, ii, 253;
remarkable instance of homage to Art, ii, 254;
his Works, ii, 255;
his Death, ii, 256;
his Care of Giotto, ii, 257.
Cloaca Maxima at Rome, ii, 42.
Coello, Claudio, his challenge to Giordano, ii, 234.
Column, Trajan's, i, 164.
Column of Austerlitz, iii, 280.
Colosseum, description of, ii, 29;
Montaigne's quaint account of its Spectacles, ii, 31.
Colossus of the Sun at Rhodes, ii, 162.
"Columbus and the Egg," story of, derived by him from
Brunelleschi, iii, 95.
Contarini, Cav. Giovanni--his skill in Portraits, ii, 139.
Contri, Antonio--his method of transferring frescos from walls to
canvass, ii, 146;
see also Palmarolis, ii, 147.
Cooper, J. Fennimore--his Encouragement of Greenough, i, 66;
his Letter to Induce his Countrymen to Patronize their own
Artists, i, 67.
Corenzio, Belisario--his Intrigues, ii, 128.
Corinthian Capital, invention of, i, 152.
Correggio--Sketch of his Life, i, 243;
his Cupola of the Church of St. John at Parma, i, 244;
his grand Cupola of the Cathedral, i, 246;
his Fate Exaggerated, i, 249;
Lanzi's Opinion, i, 251;
his Marriage and Children, i, 252;
Caracci's Opinion of Correggio, and his Letter, i, 258;
his Enthusiasm, i, 255;
his Grace, i, 255;
Correggio and the Monks, i, 256;
his Kindness--his Muleteer, i, 256;
Duke of Wellington's Correggio, i, 257;
Correggio's Ancona, i, 257;
Portraits of Correggio, i, 258;
did Correggio ever visit Rome? i, 259;
Singular History of Correggio's Adoration of the Shepherds, i, 261;
of his Education of Cupid, i, 262;
of a Magdalen, i, 264;
of a Charity, i, 265;
the celebrated Nótte of Correggio, iii, 259.
Cortona, Pietro--Sketch of his Life, iii, 253;
Anecdotes of, iii, 254.
David, Jacques Louis, i, 176;
his Politics and Love of Liberty, i, 176;
David and Napoleon, i, 177;
his Banishment to Brussels, i, 177;
his famous picture of the Coronation of Napoleon, i, 178;
David and Canova, i, 179;
Napoleon's Compliments to David, i, 180;
the King of Wurtemberg's, i, 181;
List of Portraits it contained, i, 182;
its Barbarous Destruction by the Bourbons, i, 184;
David and the Duke of Wellington at Brussels, i, 184;
David and the Cardinal Caprara, i, 185;
Talma and David in his Banishment, 1, 186.
Denon, the Baron--his description of the Necropolis of Thebes, iii, 16,
his Employment by Napoleon, iii, 802.
Digby, Sir Kenelm--his Love Adventure in Spain, iii, 199.
Dinocrates--his Proposal to cut Mount Athos into a Statue of Alexander
the Great, ii, 165;
Pope's Idea of its Practicability, ii, 166;
Dinocrates' Temple with an Iron Statue suspended in the air by
Loadstone, ii, 168.
Domenichino, ii, 121;
his Dullness in his Youth, ii, 121;
Caracci's prediction of his rise to Eminence, ii, 122;
Lanzi and Mengs' Testimony of his Genius and Merits, ii, 123;
his Scourging of St. Andrew, ii, 123;
his Communion of St. Jerome, ii, 124;
his Enemies at Rome, ii, 125;
Lanzi's Account of the Decision of Posterity on his Merits, ii, 126;
his Caricatures, ii, 128;
Intrigues of the Neapolitan Triumvirate of Painters, ii, 128;
Lanzi's Account of this disgraceful Cabal, ii, 129;
his Works in the Chapel of St Januarius, and the Prices he
received, ii, 131;
his Death, ii, 132.
Donatello, iii, 125;
Donatello and the Merchant, iii, 126;
Donatello and his unworthy Kinsmen, iii, 127;
his Death, iii, 128;
Donatello and Michael Angelo Compared, iii, 128;
Donatello and Brunelleschi, iii, 123;
Donatello and Uccello, ii, 292.
Douw, Gerard, iii, 222;
his Style, iii, 224;
his Method of Painting, iii, 225;
his Works, iii, 226;
his Dropsical Woman, iii, 227.
Dramatic Scenery at Rome, i, 93.
Durer, Albert, iii, 228;
his unfortunate Marriage, iii, 229;
his Works as a Painter, iii, 229;
his Works as an Engraver, iii, 231;
his Fame and Death, iii, 233;
his Habits, iii, 234;
his Literary Works, iii, 234.
Egyptian Art, iii, 1, and iii, 263.
Electioneering Pictures at Rome, i, 91.
Emulation and Rivalry of Advantage to Artists, iii, 257.
Engraving, Invention of Copper-Plate, i, 287.
Era, Brightest, of Grecian Art, i, 11, and ii, 154.
Era, Brightest, of Roman Art, ii, 152.
Era, Brightest, of Italian Art, ii, 149.
Eyck, John van--his Invention of Oil Painting, ii, 141.
Fabius Maximus--his Estimation of Art, i, 145.
Fanaticism, Religious, destructive to Art, i, 105;
its Effects in England, i, 105.
Figure, the Nude, i, 109;
Barry's Opinion, i, 109;
Schlegel's, i, 110.
Fine Arts, Golden Age of, in Greece, i, 11.