Part 20

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.

Church, St Peter's, iii, 61

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.

Fine Arts, Golden Age of, in Rome, ii, 152

Fine Arts, Golden Age of, In Italy, ii, 149.

Finiguerra, Maso--his Invention of Copper-Plate Engraving, i, 287.

Fiorentino, Stefano, one of the Fathers of Painting, ii, 286.

Foreshortening, ii, 145; its Invention, ii, 145.

Fontana, Domenico, iii, 33; his Removal of an Obelisk at Rome, iii, 34; Dangers he Encountered, iii, 37; Honors bestowed on him for his Success, iii, 40.

Force of Habit, i, 202.

Fornarina, La Bella, i, 75.

Fountain, the Elephant, iii, 286.

"Four Carlos of the 17th Century," ii, 184.

"Four Finest Pictures at Rome," ii, 183

Frescos, Ancient, ii, 55; the Aldobrandini Wedding, ii, 56.

Fuseli, Henry--his Birth, ii, 59; his Early Passion for Art, ii, 59; his Literary and Poetical Taste, ii, 60; Fuseli, Lavater, and the Unjust Magistrate, ii, 61; his Travels and Literary Distinction, ii, 62; his Arrival in London, ii, 63; his Change from Literature to Painting, ii, 63; his Visit to Italy, ii, 65; his "Nightmare," ii, 66; his OEdipus and his Daughters, ii, 66; Fuseli and the Shakspeare Gallery, ii, 67; his Hamlet's Ghost, ii, 69; his Titania, ii, 69; his Election as a Royal Academician, ii, 70; Fuseli and Walpole, ii, 71; Fuseli and Coutts, ii, 72; Fuseli and Prof. Porson, ii, 72; his Method of giving Vent to his Passion, ii, 73; his Love of Terrific Subjects, ii, 73; his Revenge on Lawrence, ii, 74; his Estimate of Reynolds as an Historical Painter, ii, 75; his Friendship for Lawrence, ii, 75; Fuseli as Keeper of the Royal Academy, ii, 76; his Jests and Oddities with the Students, ii, 77; his Sarcasms on Northcote, ii, 78; on various Artists, ii, 79; his Retorts, ii, 80; his Retort in Mr. Coutts' Banking-House, ii, 82; his Sarcasm on Landscape and Portrait Painters, ii, 83; his own Attainment of Happiness, ii, 84; his Habits, ii, 84; his Wife's Novel Method of Curing his Fits of Despondency, ii, 85; his Personal Appearance, Sarcastic Disposition, and Quick Temper, ii, 86; his Near Sight, ii, 87; his Popularity, ii, 88; his Artistic Merits, ii, 88; his Milton Gallery, etc., ii, 89.

Fulton, Robert, as a Painter, i, 122; his Love of Art, i, 123; his Exalted Mind, i, 123; his Account of his first Steamboat Voyage to Albany, and his Predictions, i, 124.

Gallery, English National, i, 107.

Gallery, Dresden, iii, 262.

Gallery of the Louvre, iii, 289 and 302.

Gallery, United States National--Suggestions for One, iii, 307.

Galleries, Prices of, i, 112.

Galletti, Pietro, and the Bolognese Students, ii, 184.

Garland Twiner, i, 148.

Gaulli, Gio. Battista--his Excellence in Portraiture, iii, 250; his curious method of Painting the Dead, iii, 250.

Genius, Trials of, i, 1, and iii, 80.

Ghiberti, Lorenzo--his famous Doors of San Giovanni, i, 60, and iii, 101; as an Architect, iii, 102.

Giordano, Luca--his Wonderful Precocity, ii, 224; his Enthusiasm, ii, 225; Origin of his Nickname of _Luca-fa Presto_, ii, 226; his Skill in copying and Imitating, ii, 226; his Success at Naples, ii, 227; Giordano, the Viceroy, and the Duke of Diano, ii, 228; his Invitation to Florence--Giordano and Carlo Dolci, ii, 229; his Invitation to the Court of Spain, ii, 230; his Flattering Reception, ii, 230; his Works in Spain, ii, 231; in the Escurial, ii, 232; his Habits, iii 233; his first Picture at Madrid, ii, 233; a great Favorite at Court, ii, 234; Coello's Challenge, ii, 234; Anecdotes, ii, 234; Painting with his Fingers, ii, 235; Rich Presents he Received, ii, 236; his Return to Naples, ii, 236; his Reception at Genoa, Florence, Rome and Naples, ii, 237; his Personal Appearance and Character, ii, 237; his Popularity, Love of Gain, and "Three Sorts of Pencils," ii, 238; his Riches, ii, 238; his Wonderful Facility of Hand, ii, 239; his Fame and Reputation, ii, 240; his Genius and merits, ii, 241; his Tricks for Notoriety, his False Style and its Injurious Effects on Art at the Time, ii, 241; Remarkable Instance of his Rapidity of Execution in his altar-piece of St. Francis Xavier, ii, 242.

Giotto--Sketch of his Life, ii, 257; his Early Passion for Art, ii, 257; his Works, ii, 258; as an Architect, ii, 259; his St. Francis Stigmata, ii, 259; his Invitation to Rome, ii, 260; "Round as Giotto's O," ii, 261; Story of his Living Model, ii, 262; Giotto and the King of Naples, ii, 264; his Bon Mots, ii, 265; Giotto and Dante, ii, 266; Death of Giotto ii 266.

Giottino, ii, 286.

Gladiator, Statue of the Dying, i, 144.

Gladiator, Statue of the Fighting, ii, 187.

Glass, Ancient, ii, 57; Ancient Pictures of, ii, 58.

Golden Age of Art in Greece, i, 11, and ii, 154.

Golden Age of Art in Rome, ii, 152.

Golden Age of Art in Italy, ii, 149.

Goldsmith, Dr., and Reynolds, i, 199; his "Deserted Village," i, 200; his Retaliation, i, 200.

Gomez, the Slave of Murillo, iii, 195.

Grecian Art derived from the Egyptians, iii, 1.

Greenough, Horatio--his Chanting Cherubs, i, 67; Commission for his Statue of Washington for the Capitol, i, 68; his Modesty, i, 69; his account of the Miraculous Picture of the Virgin at Florence, iii, 211.

Griffier, John--his Perilous Adventure, iii, 245.

Group of Niobe and her Children, ii, 185.

Group of Laocoön and his Sons, ii, 187.

Guercino--his Power of Relief, ii, 140.

Hals, Frank, and Vandyck, ii, 312.

Hanneman--his picture of Peace, i, 310.

Harpies, Curious Representations of, iii, 181.

Heliopolis, iii, 7.

Herculaneum--its Destruction--Antiquities and Works of Art discovered, ii, 43.

Hogarth--Value of his Works, i, 6; his Genius, i, 166; his Apprenticeship, i, 167; his Revenge, i, 168; his Method of Sketching an Incident, i, 168; his Marriage, i, 168; his Successful Expedient to get Payment, i, 169; his Picture of the Red Sea, i, 170; his Courtesy, i, 171; his Absence of Mind, i, 171; his March to Finchley, i, 172; his unfortunate Dedication to the King, i, 172; his Strange Manner of Selling his Pictures, i, 172; Paltry Prices he received, i, 174; his last Work, "the Tail-Piece," i, 175; his Death, i, 176.

Holbein, Hans, ii, 216; his Portrait with the Fly, ii, 216; his Visit to England, ii, 216; Holbein and Henry VIII., ii, 217; his Adventure with the Nobleman, ii, 217; the King's Rebuke and Protection, ii, 218; his Portrait of the Duchess of Milan, ii, 218; his Dangerous Flattery, ii, 219; his Portrait of Cratzer, ii, 219; his Portraits of Sir Thomas More and his Family, ii, 220; Bon-Mot of Sir Thomas, ii, 221.

Illusions in Painting, i, 228; Singular Pictorial, ii, 137.

Industry necessary to Success in Art--Reynold's Opinion, i, 201; Durer's, iii, 228 and 234; Michael Angelo's, i, 60; Apelles', i, 19; Da Vinci's, i, 275, 280, and 282; Vernet's, ii, 297 and 299; Rubens', i, 80 and 82; Raffaelle's, i, 71; Poussin's, iii, 150 and 161; Gierdano's, ii, 226 and 233; Brunelleschi's, iii, 81 and 84.

Infelicities of Artists, i, 1-6.

Ingenuity of Artists, iii, 178.

Inquisition, Evil Influence of the, on Spanish Art, i, 211; and Torreggiano, i, 2; and Sir Anthony Moore, iii, 243.

Jarvis, John Wesley, i, 113; his Eccentricity, and Lore of Jesting, Mimicking, and Story-Telling, i, 113; his Ludicrous Readings from Shakspeare, i, 115; Dr. Francis' Account of him, i, 116; the "Biggest Lie," i, 118; Jarvis and Bishop Moore, i, 119; and Commodore Perry, i, 119; and the Philosopher, i, 120; and Dr. Mitchell, i, 120; his Habits, i, 121; Jarvis and Sully, i, 122; his Fondness for Notoriety, i, 122.

Jervas, Charles, ii, 213; Jervas and Pope, ii, 214; and Dr. Arbuthnot, ii, 215; his Vanity, ii, 215; Kneller's Sarcasm, ii, 216.

Jewelers, a hint to, iii, 179.

Johnson, Dr.--his Friendship for Reynolds, i, 196; his Apology for Portrait Painting, i, 197; his Portrait, i, 198; his Death, i, 199.

Julian the Apostate--his Attempt to rebuild Jerusalem, ii, 160.

Jupiter--see Temples and Statues.

Kirk, Thomas--his Genius, Misfortune, and untimely Death, i, 5.

Kneller, Sir Godfrey--his Arrival in England, and great Success, i, 96; Kneller's Portrait of Charles II., i, 99; Kneller and James II., i, 97; his Compliment to Louis XIV., i, 97; his Wit and Bon-Mots, i, 98; his Knowledge of Physiognomy, i, 99; Kneller as a Justice of the Peace, i, 99; his Decisions regulated by Equity rather than Law, i, 99; Kneller and Clostermans, i, 100.

La Bella Fornarina, i, 75.

Labyrinth of Egypt, iii, 11.

Lake Moeris, iii, 9.

Lamps, Perpetual, ii, 182.

Laocoön, Group of the, ii, 187; Pliny's Account of, ii, 189; Michael Angelo's Opinion, ii, 190; Sangallo's Account of its Discovery, ii, 190.

Lanfranco, the Cav., ii, 91; his Hostility to Domenichino, ii, 125.

Lasson, M. de--his Caricature, ii, 311.

Layard--his Nineveh and its Remains, ii, 34.

Lebas, M.--his Removal of an Obelisk from Thebes to Paris, iii, 40.

Louvre, Gallery of the, iii, 302; Dismantling of, iii, 289.

Love makes a Painter, i, 112, i, 148, i, 235, and iii, 195.

Love of Art among the Romans, i, 146.

Luca-fa-Presto, ii, 226.

Mabuse, John de, Anecdote of, iii, 246.

Mandrocles' Bridge across the Bosphorus, ii, 162.

March, Estéban--his Strange Method of Study, iii, 198; his Adventure of the Fish fried in Linseed Oil, iii, 199.

Marbles, very curious Imitations of, ii, 147.

Marbles, the Elgin, ii, 171.

Matsys, Quintin, i, 112; his Love and Monument, i, 113.

Masters, the Old, i, 111.

Mausolus, Tomb of, ii, 161.

Mechanics, Comparative Skill of the Ancients and Moderns in, iii, 45.

Medals, 70,000 Ancients, iii, 272.

Medals of Napoleon, iii, 281.

Memphis, iii, 8.

Messina, Antonella da, ii, 143.

Methodius and the King of Bulgaria, iii, 206.

Mieris and Jan Steen, Frolics of, iii, 241.

Mignard Pierre--his Skill in imitating other Masters, i, 186; amusing instance of, i, 187; his Skill in Portraits, ii, 138.

Modesty, an Overplus of, dangerous to Success, i, 307.

Moeris, Lake of, iii, 9.

More, Sir Anthony, iii, 242; his Visit to Spain and great Success, iii, 242; his Visit to England and flattering Reception, iii, 243; More and Philip II., iii, 244; his fortunate Escape, iii, 244; his Success and Works, iii, 244.

Morland, George--Sketch of his Life, ii. 197; his wonderful Precocity, ii, 198; his early Fame, ii, 199; his Mental and Moral Culture under an Unnatural Parent, ii, 260; his Escape from his Thraldom, ii, 201; his Marriage and Temporary Reform, ii, 202; his Social Position, ii, 203; his unpleasant Encounter, ii, 204; his Stay in the Isle of Wight, ii, 205; his Novel Mode of fulfilling commissions, ii, 206; Morland and the Pig, ii, 206; his Pictures in the Isle of Wight, ii, 207; his Freaks, ii, 208; his Dread of Bailiffs, ii, 208; his Apprehension as a Spy, ii, 209; his Sign of the "Black Bull," ii, 210; Morland and the Pawnbroker, ii, 211; his Idea of a Baronetcy, ii, 212; his Artistic Merits, ii, 212.

Mosaics, i, 15; ancient, ii, 55; of the Battle of Platea, ii, 55.

Mudo, El, and Titian's Last Supper, ii, 14.

Murillo, i. 236; his Visit to Madrid and Velasquez, i, 236; his Return to Seville, i, 237; Murillo and Iriarte, i, 238; his Death, i, 238; his Style, i, 239; his Works, i, 240; Soult's Murillos, i, 240 and 242; Castillo's Tribute, i, 242; his "Virgin of the Napkin," iii, 193; his pictures in Spanish America, iii, 192; Anecdote of an Altar-Piece in Flanders, iii, 194; his Slave Gomez, iii, 195.

Musée Francais and Musée Royal, iii, 302.

Names of Architects designated by Reptiles, ii, 156.

Napoleon--his Love of Art, iii, 274; his Enlightened Policy to Encourage Art, iii, 275; his Works at Paris, iii, 276; The Napoleon Medals, iii, 281; the Elephant Fountain, iii, 286; Interesting Drawing, iii, 287; Sévres China, iii, 288; Dismantling of the Louvre, iii, 289; Removal of the Venetian Horses, iii, 296; Removal of the Statue of Napoleon from the Column of Austerlitz, iii, 301.

Needles, Cleopatra's, iii, 42.

Niello, Works in, i, 286.

Nineveh and its Remains, ii, 34; Description of the Royal Palace exhumed at Nimroud, ii, 37; Layard's description of its interior, ii,39.

Niobe and her Children, Group of, ii, 185; Schlegel's Criticism, ii, 186.

Nollekens, Joseph, i, 301; his Visit to Rome, i, 301; Nollekens and Garrick, i, 302; his Talents in Bust Sculpture, i, 303; his Bust of Johnson, i, 304; his Liberality and Kindness to Chantrey, i, 304; Nollekens and the Widow, i, 305; his odd Compliments, i, 306.

Norgate, Edward--his Visit to Italy, Mishaps, and travelling Home on foot, i, 308.

Northcote, James, and Fuseli, ii, 78.

Numismatics, iii, 269; Value of the Science to Archæology, Philology, the Fine Arts, etc., iii, 270; 70,000 Ancient Medals, iii, 272.

Obelisks, Egyptian, iii, 30; Number of, at Rome, ii, 152; Removal of one by Fontana, iii, 33; Removal of one from Thebes to Paris, iii, 40; Cleopatra's Needles, iii, 42.

Odeon, the first at Athens, ii, 182.

Olynthian Captive, Story of, i, 151.

Origin of Label Painting, ii, 278.

Pacheco--his Opinions on Art as restricted by the Inquisition, i, 212.

Pareda, Antonio--his Artifice to Keep up Appearances, iii, 202.

Pareja, Juan de, the Slave of Velasquez, i, 228; his Love of Painting and his Success, i, 229; his Gratitude to his Master, i, 229.

Painter, perilous adventure of a, iii, 245

Painter of Florence, Curious Legend of the, iii, 217

Painter-Friar, the Devil, and the Virgin, iii, 220.

Painting among the Egyptians, iii, 1 and 263.

Painting among the Greeks, i, 22, 27, and iii, 265.

Painting among the Romans, i, 88, and ii, 152.

Painting, Revival of, in Italy, ii, 244.

Painting, Italian Schools of, ii, 292.

Painting, Golden Age of, in Italy, ii, 149; Lanzi's Philosophy of, ii, 150; Milizia's, ii, 154.

Painting--different Schools Compared, i, 110.