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

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.

 

Painting, Effects of, on the Mind, i, 147.

 

Painting from Nature, i, 18.

 

Painting, Oil, Invention of, ii, 141.

 

Painting, oldest Oil, extant, iii, 181.

 

Painting, Portrait, Johnson's Apology for, i, 197.

 

Painting, Origin of Label, ii, 278.

 

Paintings transferred from Walls and Panels to Canvas, ii, 146.

 

Paintings, Curious, iii, 180.

 

Paintings, Evanescent, i, 106.

 

Palace, Nero's Golden, ii, 155.

 

Palaces of Rome, iii, 65.

 

Palmaroli--his Method of transferring Paintings from Walls and Panels

   to Canvas, ii, 147.

 

Pantoja and the Eagle, iii, 205.

 

Parrhasius, i, 150;

   his Demos and other Works, i, 150;

   the Olynthian Captive, i, 151;

   his Vanity, i, 152.

 

Parthenon at Athens, ii, 170;

   its Dilapidation, by the Venetians, Turks, and Lord Elgin, ii, 171.

 

Pausias, i, 148; his Works and the Garland Twiner, i, 148.

 

Perpetual Lamps, ii, 182.

 

Pharos, Light-house of, ii, 164.

 

Phidias, i, 157;

   his Statue of Minerva, i, 158, and ii, 171;

   Phidias and Alcamenes, i, 159;

   Ingratitude of the Athenians, i, 159;

   his Olympian Jupiter, i, 17, and i, 160;

   his Model for the Olympian Jupiter, i, 161.

 

Picture of Ialysus and his Dog, Protogenes, i, 149, and i, 281.

 

Picture of Calumny, Apelles', i, 94.

 

Picture of the Virgin, the Miraculous, iii, 211.

 

Pictures, first brought to Rome, i, 88.

 

Pictures of Glass, Ancient, ii, 58.

 

Pictures, Four finest at Rome, ii, 183.

 

Pillar of On, iii, 8.

 

Poecile at Athens, i, 13.

 

Pompeii--its Destruction;

   Antiquities and Works of Art discovered, ii, 43;

   Vivid Sketch of its present Appearance, etc., by an American

   Traveler, ii, 46.

 

Pope as a Painter--his Fame, i, 201;

   his Proficiency in the Art, ii, 214;

   his Idea of the Practicability of Dinocrates' Plan of cutting Mount

   Athos into a Statue of Alexander the Great, ii, 166.

 

Portici, the Site of Herculaneum, ii, 44 and 46.

 

Portraits, Female, Rarity of, in Spain, iii, 191.

 

Poussin, Nicholas--his Noble Descent, iii, 148;

   his First Celebrity, iii, 149;

   his first Visit to Rome, iii, 150;

   his Enthusiasm and Assiduity, iii, 150;

   his Distress, and the Paltry Prices he received for his

   Works, iii, 151;

   his Ultimate Appreciation and Success, iii, 152;

   his Invitation back to Paris, iii, 153;

   the King's Autograph Letter on the Occasion, iii, 153;

 

Intrigues, his Disgust, and Secret Return to Rome, iii, 154;

   his Modesty, unostentatious Mode of Living, and his

   Generosity, iii, 155;

   Poussin and Cardinal Mancini, iii, 155;

   Reynolds' Critique, iii, 156;

   Poussin and Marino, iii, 159;

   Poussin Romanized, iii, 160;

   his Habits of Study, iii, 161;

   his Old Age, iii, 162;

   his Master-Piece, iii, 163;

   his last Work and Death, iii, 163;

   his Letter to M. Felibien, iii, 164;

   his Ideas of Painting, iii, 164;

   Poussin and the Nobleman, iii, 165;

   and Mengs, iii, 165;

   and Domenichino, iii, 166;

   and Salvator Rosa, iii, 166;

   his Dignity, iii, 167;

   Poussin, Angelo, and Raffaelle compared, iii, 168.

 

Prado, Blas de, and the Emperor of Morocco, iii, 207.

 

Praxiteles, i, 155;

   his Works--the Venus of Cnidus and the Apollo Sauroctonos, i, 155;

   Praxiteles and Phryne, i, 156;

   the King of Bithynia, and the Venus of Cnidus, i, 157.

 

Press, Hydraulic, explained, iii 52;

   its Tremendous Power and Use, iii, 53.

 

Proctor, his Genius and Works, i, 4;

   his Misfortunes and melancholy Death, i, 5.

 

Protogenes, i, 149;

   his Works, and his famous picture of Ialysus and his Dog, i, 149;

   Protogenes and Demetrius Poliorcetes, i, 28, and i, 149;

   and Apelles, i, 25.

 

Pyramids of Egypt, iii, 19.

 

Pyramid of Cephren, Perilous Ascent of, iii, 27.

 

 

Raffaelle, i, 70;

   his ambition, i, 70;

   Raffaelle and Michael Angelo, i, 71;

   his Transfiguration, i, 72;

   his Death, i, 74;

   his Character, i, 74;

   his Mistress, i, 75;

   his Genius, i, 76;

   his Model for his Female Saints, i, 76;

   his Oil Paintings, i, 77;

   his Portraits of Julius II., i, 78;

   his different Manners, i, 78;

   his Skill in Portraits, ii, 138;

   Skull of Raffaelle in the Academy of St Luke, ii, 183.

 

Ranc, Jean--his Retort, iii, 201.

 

Rebuke, a Painter's just, iii, 200.

 

Retort Courteous, a Painter's, iii, 201.

 

Rembrandt--Sketch of his Life, iii, 170;

   his Studio and Models, iii, 171;

   his great Success, iii, 172;

   his Deceits to sell and increase the Price of his Works, iii, 173;

   his numerous Works, iii, 173;

   his extraordinary Merits as an Engraver, iii, 174.

 

Reynolds, Sir Joshua, i, 188;

   his pleasing Manners, Fortune, and Collection of Works of Art, i, 189;

   his new Style and its Success, i, 189;

   his Prices, i, 191;

   his Method with his Sitters, i, 192;

   his Removal to Leicester Square, i, 192;

   his showy Coach, i, 193;

   his Table and Guests, i, 194;

   the Founding of the Royal Academy, and his election as

   President, i, 194;

   Reynolds and Dr. Johnson, i, 195;

   Johnson's Friendship for Reynolds, and his Apology for Portrait

   Painting, i, 196 and 197;

   the Literary Club, i, 198;

   Johnson's Portrait, i, 198;

   Johnson's Death, i, 199;

   Reynolds and Dr. Goldsmith, i, 199;

   the "Deserted Village," i, 200;

   "Retaliation," i, 200;

   Pope's Fan i, 201;

   Reynolds' first Attempts in Art, i, 202;

   Force of Habit, i, 202;

   Paying the Piper, i, 203;

   his Modesty and his Generosity, i, 203;

   his Love of Art, i, 204;

   his Critique on Rubens, i, 205;

   Reynolds and Haydn, i, 206;

   his Skill in Compliment, i, 207;

   his Excellent Advice, i, 208;

   Reynolds as Mayor of Plympton and his two Portraits, i, 208;

   his Kindness of Heart, i, 209;

   Burke's Eulogy, i, 209;

   his Experiments and Use of Old Paintings, i, 210;

   his Method of Working, i, 193;

   Rubens' Last Supper, i, 206.

 

Rhodes, Statues and Paintings at, ii, 164.

 

Ribalta Francisco--his Love Romance and his Success, i, 235.

 

Ribera, Giuseppe, (Spagnoletto,) his Early Enthusiasm, Poverty, and

   Industry at Rome, ii, 133;

   his Return to Naples and Marriage, ii, 134;

   his Rise to Eminence, ii, 135;

   his Discovery of the Philosopher's Stone, ii, 135;

   his Favorite Subjects, ii. 136;

   his Disposition, ii, 137;

   his Intrigues, ii, 138;

   Lanzi's Account of his Death, ii, 132.

 

Riley, John, i, 307;

   his Diffidence and Merits, i, 308.

 

Rizi, Francisco--his Rebuke to Antonilez, iii, 200.

 

Romans, Fondness of, for Works of Art, i, 88;

   for Etruscan Sculpture, i, 90.

 

Rome, Ancient, Glory of, ii, 152, and iii, 57 and 71;

   first Pictures brought to Rome, i, 88;

   Electioneering pictures at Rome, i, 91;

   Dramatic Scenery at Rome, i, 93;

   Ancient Map of Rome, ii, 160;

   100,000 Statues at Rome, ii, 152.

 

Rome, Modem--its Churches, Palaces, Villas, and Treasures of

   Art, iii, 60.

 

Rosa, Salvator, ii, 91;

   Cav. Lanfranco's Generosity, ii, 91;

   Rosa at Rome and Florence, ii, 92;

   his Return to Rome, ii, 93;

   brightest Era of Landscape Painting, ii, 93;

   his Subjects, ii, 93;

   his wonderful Facility of Execution, ii, 94;

   his Flagellation by the Monks, ii, 95;

   Rosa and the higgling Prince, ii, 96;

   his Opinion of his own Works, ii, 98;

   his Banditti, ii, 98;

   Rosa and Massaniello, ii, 100;

   and Cardinal Sforza, ii, 100;

   his Manifesto, ii, 101;

   his Banishment from Rome, ii, 102;

   his Secret Visit to Rome, ii, 102;

   his Wit, ii, 103;

   his Reception at Florence, ii, 103;

   his Histrionic Powers, ii, 104;

   his Reception at the Pitti Palace, ii, 105;

   his Satires, ii, 92 and 105;

   his Harpsichord, ii, 106;

   Rare Portrait, ii, 106;

   his Return to Rome, ii, 109;

   his Love of Show and Magnificence, ii, 109;

   his Last Works, ii, 111;

   his over-weening Desire to be considered a Historical Painter, ii, 112;

   Ghigi, his Physician and Rosa, ii, 113;

   Lady Morgan's Account of his Death-Bed, ii, 115;

   Rosa and Poussin iii, 166;

   Rosa and Fracanzani, iii, 256.

 

Rosada Tivoli, iii, 185;

   his Works, iii, 186;

   his wonderful Rapidity of Hand, iii, 186;

   a Wager won, iii, 187;

   his Habits and Improvidence, iii, 187.

 

Rosa, Giovanni--a modern Zeuxis, ii, 139.

 

Rosalba, Carriera, iii, 133;

   her Modesty, and Knowledge of Tempers, iii, 133.

 

Rubens, Peter Paul, i, 79;

   his Visit to Italy, i, 80;

   his Reception by the Duke of Mantua, i, 80;

   his Enthusiasm, i, 80;

   his Embassy to Spain, i, 81;

   his Return to Antwerp, i, 81;

   his Marriage, House, and rich collection of Works of Art, i, 81;

   his Habits, Extraordinary Memory and Acquirements, i, 82;

   his Detractors, i, 82;

   his Magnanimity, i, 83;

   the Gallery of the Luxembourg, i, 83;

   Rubens sent Ambassador to the Courts of Spain and England, i, 83;

   his Reception and Works at Madrid, i, 84;

   his Reception and Works in England, i, 84;

   his Delicacy, Address, and the Honors conferred on him on the

   occasion, i, 85;

   his Death, i, 85;

   his Numerous Works, i, 86;

   his Method of Working, i, 206.

 

Ruysch, Rachel--her Life and Works, iii, 135.

 

 

Scagliola or Mischia, Works in, ii, 147.

 

Schwarts, amusing Anecdote of, iii, 175.

 

Sculpture, Invention of, i, 153;

   Etruscan, i, 90;

   Egyptian, iii, 1;

   Grecian, i, 154 and 157.

 

Sculptures, Antique, at Rome, ii, 159.

 

Seymour, Anecdotes of, and the Proud Duke, ii, 223.

 

Shakspeare Gallery, iii, 305.

 

Sirani, Elizabeth--her Life and Works, iii, 134;

   her melancholy Death, iii, 135.

 

Soane, Sir John, ii, 191;

   his Success and Works, ii, 192;

   his Liberality and Public Munificence, ii, 192;

   his Museum, ii, 193 ;

   the Belzoni Sarcophagus, ii, 194;

   Tasso's MS. of Gerusalemme Liberata, ii, 195;

   other rare MSS., Antiquities, Works of Art, etc., ii, 195.

 

Sostratus, his Light-House on the Isle of Pharos, ii, 164.

 

Spagnoletto--See Ribera.

 

Spain, Melancholy State of the Fine Arts in, i, 217;

   Rarity of Female Portraits in, iii, 191.

 

Spanish Art, Evil Effects of the Inquisition on, i, 211.

 

Sphinx, the Colossal, iii, 10.

 

Stabiæ--its Destruction, ii, 43.

 

Statue of the Apollo Belvidere, i, 41;

   of the Apollo Sauroctonos, i, 155;

   of the Apollo, Colossal Etruscan, i, 90.

 

Statue of the Venus de Medici, i, 147.

 

Statue of the Venus of Cnidus, i, 156

 

Statue of the Venus Victrix, i, 147.

 

Statue of Minerva, Phidia's, i, 158, and ii, 171.

 

Statue of the Olympian Jupiter, Phidias', i, 160

 

Statue of the Fighting Gladiator, ii, 187.

 

Statue of the Dying Gladiator, i, 144.

 

Statue of Pompey the Great, ii, 159.

 

Statue of Semiramis, cut out of a Mountain, ii, 167.

 

Statue of Napoleon on the Column of Austerlitz, iii, 301.

 

Statue, Equestrian, of Peter the Great, iii, 42.

 

Statues, the Greek, i, 109.

 

Statues, Sounding, iii, 6.

 

Statues of Memnon, iii, 6.

 

Stratagem, an Architect's, i, 309.

 

Stratagem, Hogarth's, i, 169.

 

Steen, Jan, iii, 238;

   his Works, iii, 238;

   Kugler's Critique on, iii, 240;

   Frolics of Steen and Mieris, iii, 241.

 

Stephenson, Robert, and the Britannia Bridge, iii, 46.

 

Stuart, Charles Gilbert, i, 124;

   his Visit to Scotland and Return before the Mast, i, 125;

   his Visit to London, i, 125;

   his Skill in Music, and its Use in Time of Need, i, 126;

   his Introduction to West, i, 126;

   his Portrait of West, i, 126;

   his Scholarship, i, 131;

   his Rule of half prepayment, i, 131;

   his Powers of Perception i, 132;

   Allston's Eulogium, i, 133;

   his great Conversational Powers, i, 133;

   his Success in Europe, i, 136;

   in Ireland, i, 136;

   his Return to America, i, 137;

   Stuart and Washington, i, 137;

   his Last Picture, i, 142;

   Stuart, his Boy and his Dog, i, 142;

   his Mark, i, 142.

 

 

Tasso's MS. of "Gerusalemme Liberata," ii, 195.

 

Temple of Diana at Ephesus, i, 144.

 

Temple of Jupiter Olympius at Athens, ii, 168.

 

Temple of Jupiter Capitolinus, ii, 153, and iii, 59.

 

Temple of Minerva at Athens, ii, 170.

 

Temple of Carnac, iii, 5.

 

Temple of Luxor, iii, 5.

 

Titian--Sketch of his Life, ii, 1;

   his famous picture of St. Peter the Martyr, ii, 2;

   his Refusal of the Office of the Leaden Seal, ii, 4;

   his different Manners, ii, 5;

   his Works, ii, 6;

   his Imitators, ii, 7;

   his Venus, ii, 8;

   Ottley's Description of it, ii, 8;

   Titian and the Emperor Charles V., ii. 10;

   extraordinary Friendship of Charles for Titian, his Favors and

   Remarkable Sayings, ii, 11;

   Charles' rebukes to