Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art (Vol. 3 of 3) by S. Spooner (best ebook reader under 100 TXT) 📖

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.

 

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,