Although it is universally admitted that the Greeks carried sculpture and architecture to such a state of perfection that they have never been equalled by the moderns, except in imitating them, yet there is a great contrariety of opinion among the most eminent modern writers as to their success in painting; some, full of admiration for the works of antiquity which have descended to us, have not hesitated to declare that the Greeks must have been equally successful in painting, while others, professing that we possess colors, vehicles, and science (as the knowledge of foreshortening, perspective, and of the chiaro-scuro) unknown to them, have as roundly asserted that they were far inferior to the moderns in this branch, and that their pictures, could we now see them in all their beauty, would excite our contempt. Much of this boasted modern knowledge is, however, entirely gratuitous; the Greeks certainly well understood foreshortening and perspective, as we have abundance of evidence in their works, to say nothing of these being expressly mentioned by Pliny, and that it is impossible to execute any work of excellence without them. This erroneous opinion has sprung from the ignorance and imperfections of the old fathers of Italian art in these particulars, and the discoveries and perfections of those more modern. If the moderns possess any advantages over the ancients, it is that chemistry has invented some beautiful colors unknown to them, the invention of oil painting, and that illusion which results from a perfect acquaintance with the principles of the chiaro-scuro; but even here the mineral colors—the most valuable and permanent—were well known to them; and if they had not oil colors, they had a method of encaustic painting not positively known to us, which might have answered as good a purpose—nor are we sure they did not practice the chiaro-scuro. Besides, the most renowned modern masters were more celebrated in fresco than in oil painting, and the ancients well understood painting in fresco.

In this, as in most other disputes, it may reasonably be presumed, that a just estimation of both will be found between the extremes. In comparing the paintings of the moderns with those of the ancients, it may be fairly inferred that the latter surpassed the former in expression, in purity of design, in attitude of the figures, and in ideal beauty. The moderns have doubtless surpassed the ancients in the arrangement of their groups, in perspective, foreshortening and chiaro-scuro—and in coloring. For a further disquisition on this subject, see Vol. I. p. 22, of this work, article Apelles.



NUMISMATICS.

Numismatics is the science which has for its object the study of coins and medals, especially those struck by the ancient Greeks and Romans. The word is derived from the Greek [Greek: nomisma], or the Latin numus, coin or medal. Numismatics is now regarded as indispensable to archaeology, and to a thorough acquaintance of the fine arts; it is also of great assistance in philology and the explanation of the ancient classics; it appears to have been entirely unknown to the ancients, but since the middle of the sixteenth century, it has occupied the attention of many learned men.

The name of coins is given to pieces of metal, on which the public authority has impressed different marks to indicate their weight and value, to make them a convenient medium of exchange. By the word medals, when used in reference to modern times, is understood pieces of metal similar to coins but not intended as a medium of exchange, but struck and distributed to commemorate some important event, or in memory of some distinguished personage. The name of medals, however, is also given to all pieces of money which have remained from ancient times. The term medallion is given to medals of a very large size, many of them being several inches in diameter. The parts of a coin or medal are the two sides; first, the obverse side, face or head, which contains the portrait of the person at whose command or in whose honor it was struck, or other figures relating to him: this portrait consists either of the head alone, or the bust, half length, or full figure; second, the reverse contains mythological, allegorical, or historical figures. The words around the border form the legend, and those in the middle the inscription. The lower part of the coin, which is separated by a line from the figures or the inscription, is the basis or exergue, and contains subsidiary matter, as the date, the place where the piece was struck, etc.

Numismatics has the same divisions as history.—Ancient Numismatics extends to the extinction of the empire of the West; the Numismatics of the middle ages commences with Charlemagne; and modern Numismatics with the revival of learning.

Medals indicate the names of provinces and cities, determine their position, and present pictures of many celebrated places. They fix the period of events, frequently determine their character, and enable us to trace the series of kings. They also enable us to learn the different metallurgical processes, the different alloys, the modes of gilding and plating practiced by the ancients, the metals which they used, their weight and measures, their different modes of reckoning, the names and titles of the various kings and magistrates, and also their portraits, their different divinities, with their attributes and titles, the utensils and ceremonies of their worship, the costume of their priests—in fine, everything which relates to their usages, civil, military, and religious. Medals also acquaint us with the history of art. They contain representations of several celebrated works of antiquity which have been lost, the value of which may be estimated from the ancient medals of those still existing, as the Farnese Hercules, Niobe and her Children, the Venus of Gnidos, etc. Like gems and statues, they enable us to trace the epochs of different styles of art, to ascertain its progress among the most civilized nations, and its condition among the rude.

The ancient medals were struck or cast; some were first cast and then struck. The first coins of Rome and other cities of Italy must have been cast, as the hammer could not have produced so bold a relief. The copper coins of Egypt were cast. The right of coining money has always been one of the privileges which rulers have confined to themselves. The free cities have inscribed only their names on their coins. The cities subject to kings sometimes obtained permission to strike money in their own name, but were most frequently required to add the name or image of the king to whom they were subject. The medals of the Parthians and the Phoenecians offer many examples of this sort. Rome, under the republic, allowed no individual the right to coin money; no magistrate could put his name thereon, though this honor was sometimes allowed, as a special favor, by a decree of the Senate. We can count as numismatic countries only those into which the Greeks and Romans carried the use of money; though some of the oriental nations used gold and silver as a medium of exchange, before their time it was by weight. The people in the northern part of Europe had no money.

The coins preserved from antiquity are estimated to be more numerous than those we possess from the middle ages, in the proportion of a hundred to one! Millin thinks that the number of extant ancient medals amounts to 70,000! What a fund of the most curious and authentic information do they contain, and what a multitude of errors have been corrected by their means! There are valuable cabinets of medals in all the principal cities of Europe; that of Paris is by far the richest; Pillerin alone added to it 33,000 ancient coins and medals. The coins of the kings of Macedon are the most ancient of any yet discovered having portraits; and Alexander I., who commenced his reign about B.C. 500, is the earliest monarch whose medals have yet been found. Then succeed the sovereigns who reigned in Sicily, Caria, Cyprus, Heraclea, and Pontus. Afterwards comes the series of kings of Egypt, Syria, the Cimmerian Bosphorus, Thrace, Parthia, Armenia, Damascus, Cappadocia, Paphlagonia, Pergamos, Galatia, Cilicia, Sparta Paeonia, Epirus, Illyricum, Gaul, and the Alps. This series reaches from the time of Alexander the Great to the Christian Era, comprising a period of about 330 years. A perfect and distinct series is formed by the Roman emperors, from the time of Julius Caesar to the destruction of the empire, and even still later. The Grecian medals claim that place in a cabinet, from their antiquity, which their workmanship might ensure them, independently of that advantageous consideration. It is observed by Pinkerton, that an immense number of the medals of cities, which, from their character, we might judge to be of the highest antiquity, have a surprising strength, beauty, and relief in their impressions. About the time of Alexander the Great, this art appears to have attained its highest perfection. The coins of Alexander and his father exceed in beauty all that were ever executed, if we except those of Sicily, Magna Grecia, and the ancient ones of Asia Minor. Sicilian medals are famous for workmanship, even from the time of Gelo. The coins of the Syrian kings, successors to Alexander, almost equal his own in beauty; but adequate judges confine their high praises of the Greek mint to those coins struck before the subjection of Greece to the Roman empire. The Roman coins, considered as medals in a cabinet, may be divided into two great classes—the consular and the imperial; both are numerous and valuable. In the cabinet of the Grand Duke of Tuscany is a set of twelve medals of Antonius Pius, each with one of the signs of the Zodiac on the reverse, and part of another set, eight in number with as many of the labors of Hercules.



RESTORING ANCIENT EDIFICES.

As in comparative anatomy it is easy, from a single bone, to designate and describe the animal to which it belonged, so in architecture it is easy to restore, by a few fragments, any ancient building. In consequence of the known simplicity and regularity of most antique edifices, the task of restoration, by means of drawings and models, is much less difficult than might be supposed. The ground work, or some sufficient parts of it, commonly extant, shows the length and breadth of the building, with the positions of the walls, doors and columns. A single column, or part of a column, whether standing or fallen, with a fragment of the entablature, furnishes data from which the remainder of the colonnade and the height of the edifice can be made out. A single stone from the cornice of the pediment, is sufficient to give the angle of inclination, and consequently the height of the roof. In this way the structure of many beautiful edifices has been accurately determined, when in so ruinous a state as scarcely to have left one stone upon another.



NAPOLEON'S LOVE OF ART.

Napoleon was not only a true lover of art, but an excellent connoisseur. He did more to elevate the arts and sciences in France than all the monarchs together who had preceded him. It was a part of his policy to honor and reward every man of genius, no matter what his origin, and thus to develop the intellect of his country. He foresaw the advantage of making Paris the great centre of art; therefore he did not hesitate to transport from the countries he conquered, the most renowned and valuable works of ancient and modern times. "Paris is Rome; Paris is now the great centre of art," said he to Canova in 1810, when that great sculptor visited Paris at his command, and whom he endeavored to persuade to permanently remain in his service. West, after his return to England from Paris, where he had had several interviews with Bonaparte, expressed his admiration of the man in such warm terms as offended the officials of the government, and caused such opposition, that he deemed it proper to resign the President's chair in the Royal Academy. The truth is, it was not the conqueror, as the English pretended, but his exalted ideas of the arts, and of their value to a country, which captivated West, whose peaceful tenets led him to abhor war and devastation.

Napoleon's enlightened policy is also seen in those stupendous works published by the French government, as the Description de l'Egypte, ou Recueil des Observationes et des Recherches pendant l'Expedition de l'Armee Francais, 25 vols. in elephant folio. This work corresponds in grandeur of its proportions to the edifices and monuments which it describes. Everything that zeal in the cause of science, combined with the most extensive knowledge, had been able to collect in a land abounding in monuments of every kind, and in the rarest curiosities, is described and illustrated in this work by a committee of savans appointed for the purpose. It contains more than 900 engravings, and 3000 illustrative sketches. The Musee Francais, and the Musee Royal, containing 522 plates, after the gems of the world, are not less grand and magnificent, and far more valuable contributions to art. These will be described in a subsequent page. Such was Napoleon; deprive him of every other glory, his love of art, and what he did for its promotion, and the adornment of his country, would immortalize his name.

Napoleon delighted to spend some of his leisure moments in contemplating the master pieces of art which he had gathered in the Louvre, and that he might go there when he pleased, without parade, he had a private gallery constructed leading to that edifice from the Tuilleries. (See Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects, articles West, David, Denon, Canova, etc., and vol i., page 8, of this work.)



NAPOLEON'S WORKS AT PARIS.

"The emperor was, most indisputably, the monarch who contributed in the greatest degree to the embellishment of Paris. How many establishments originated under his reign! nevertheless, on beholding them, the observer has but a faint idea of all he achieved; since every principal city of the empire witnessed alike the effects of his munificence and grandeur of mind; the streets were widened, roads constructed and canals cut; even the smallest towns experienced improvements, the result of that expanded genius which was daily manifested. I shall, therefore, content myself by placing before the reader a mere sketch of the works achieved at Paris; for were it requisite to give a catalogue of all the monuments erected during his reign, throughout the French empire, a series of volumes would be required to commemorate those multifarious labors."—Ireland.

Palaces.

The Louvre was completely restored, which a succession of French monarchs had not been able to accomplish. The Palace of the Luxembourg equally embellished throughout, as well in the interior as the exterior, and its gardens replanted. The Exchange founded. The Palace of the University reconstructed, as well as the Gallery uniting the Palace of the Tuilleries to that of the Louvre.

Fountains.

The situation of the Fountain of the Innocents changed, and the whole reerected; that of Saint Sulpicius; of the Four Nations; of Desaix in the Place Dauphine; of Gros-Caillon; of the Quay de L'Ecole; of the Bridge of Saint Eustatius; of the Rue Ceusder; of the Rue Popincourt; of the Chateau D'Eau; of the Square of the Chatelet; of the Place Notre Dame; of the Temple; and of the Elephant, in the Place of the Bastille.

Acqueducts.

The subterranean acqueducts were constructed, which convey the water of the Canal de L'Ourcq throughout the different quarters of Paris, from whence a vast number of small fountains distribute them in every direction, to refresh the streets during the summer season, and to cleanse them in the winter; these same channels being also formed to receive the waters which flow from the gutters in the streets.

Markets.

That of the Innocents, the largest in Paris; the Jacobins, where formerly stood the monastery of that name, and during the heat of the revolution, the club so called; the Valley for the sale of Poultry; the Market of Saint Joseph; the Halle for the sale of Wines; the Market of Saint Martin; that of Saint Germain, and of Saint Jacques-la-Boucherie.

Slaughter Houses.

Those of the Deux Moulins; of the Invalids; of Popincourt; of Miromeuil, and of Les Martyrs.

As the killing of animals, for the consumption of Paris, within the confines of the city, was deemed not only unwholesome, but very disgusting, these buildings were erected by order of Napoleon, and have proved of the greatest utility. The edifices are very spacious, containing all the requisites for the purpose intended, and being also placed in different directions and without the barriers of the city, the eyes of the inhabitants are no longer disgusted by beholding those torrents of blood which formerly inundated the streets, and which, in the summer season, produced an effluvia not only disgusting to the smell, but highly detrimental to the health of the population of the city.

Watering Places for Animals.

That of the School of Medicine, a superb marble structure, together with the Abreuvoir of the Rue L'Egout, Saint Germain.

Public Granary, or Halle du Ble.

Necessity gave rise to the noble plan of this stupendous fabric, the idea of which was taken from the people of antiquity.

Boulevard.

That called Bourdon was formed, occupying the environs of the spot where the Bastille stood.

Bridges.

Those of the Arts; of the City; of Austerlitz; and of Jena.

Triumphal Arches.

The Carousel; the Etoile; and the Arch of Louis XIV., restored.

Quays.

Those of Napoleon; of Flowers; of Morland; and of Catenat.

The Column of Austerlitz.

Situated in the centre of the Place Vendome, formed of the brass produced from the cannon which were taken from the Austrians during the memorable campaign of 1805.

Place de Victoires.

In the middle of this square was erected a colossal bronze statue of the gallant General Desaix, who nobly fell at the battle of Marengo, when leading to the charge a body of cavalry, which decided the fate of that desperate conflict; this tribute, however, to the memory of the brave, was removed by order of the Bourbons, on their first restoration.

Squares.

In the middle of the Place Royale a fine basin has been constructed, from whence plays a magnificent piece of water; the Squares of the Apport de Paris; of the Rotunda; and of Rivoli.

The Pantheon.

The pillars supporting the vast dome of this lofty pile, which had long threatened the overthrow of the structure were replaced, and the tottering foundations rendered perfect and solid.

The Hotel Dieu.

The whole facade of this immense Hospital was reconstructed.

The Canal de L'Ourcq.

This grand undertaking was rendered navigable, and the basin, sluices, &c. completely finished.



THE NAPOLEON MEDALS.

Of the numerous means employed to commemorate the achievements of Napoleon, the public buildings and monuments of France bear ample witness. Indeed, Bonaparte's name and fame are so engrafted with the arts and literature of France, that it would be impossible for the government to erase the estimation in which he is held by the French people.

A series of medals in bronze, nearly one hundred and thirty in number, struck at different epochs of his career, exist, each in celebration of the prowess of the French army, or of some great act of his government: a victory, a successful expedition, the conquest of a nation, the establishment of a new state, the elevation of some of his family, or his own personal aggrandizement.

The medal commemorative of the battle of Marengo bears, on one side, a large bunch of keys, environed by two laurel branches; and, on the reverse, Bonaparte, as a winged genius, standing on a dismounted cannon to which four horses are attached upon the summit of Mount St. Bernard, urges their rapid speed, with a laurel branch in one hand, whilst he directs the reins with the other.

That on the peace of Luneville is two inches and a quarter in diameter, with the head of the first consul in uncommonly bold relief; the device, as mentioned in another place, is the sun arising in splendor upon that part of the globe which represents France, and which is overshadowed by laurels, whilst a cloud descends and obscures Great Britain.

The commencement of hostilities by England, after the peace of Amiens, is designated by the English leopard tearing a scroll, with the inscription, Le Traite d'Amiens Rompu par l'Angleterre en Mai de l'An 1803; on the reverse, a winged female figure in breathless haste forcing on a horse at full speed, and holding a laurel crown, inscribed, L'Hanovre occupe var l'Armee Francaise en Juin de l'An 1803; and beneath, Frappee avec l'Argent des Mines d'Hanovre, l'An 4 de Bonaparte.

His medal, on assuming the purple, has his portrait, Napoleon Empereur, by Andrieu, who executed nearly all the portraits on his medals; on the reverse, he is in his imperial robes, elevated by two figures, one armed, inscribed, Le Senat et le Peuple.

The battle of Austerlitz has, on the reverse, simply a thunderbolt, with a small figure of Napoleon, enrobed and enthroned on the upper end of the shaft of the thunder.

In 1804, he struck a medal with a Herculean figure on the reverse, confining the head of the English leopard between his knees, whilst preparing a cord to strangle him, inscribed En l'An XII. 2000 barques sont construites;—this was in condemnation of the invasion and conquest of England.

The reverse of the medal on the battle of Jena represents Napoleon on an eagle in the clouds, as warring with giants on the earth, whom he blasts with thunderbolts.

The medal on the Confederation of the Rhine has, for its reverse, numerous warriors in ancient armor, swearing with their right hands on an altar, formed of an immense fasces, with the imperial eagle projecting from it.

Not the least characteristic of the series is a medal, with the usual head Napoleon Emp. et Roi, on the exergue, with this remarkable reverse, a throne, with the imperial robes over the back and across the sceptre, which is in the chair; before the throne is a table, with several crowns, differing in shape and dignity, and some sceptres with them lying upon it; three crowns are on the ground, one broken and two upside down; an eagle with a fasces hovers in the air; the inscription is, Souverainetes donnes M.DCCCVI.

The reverses of the last four in succession, struck during the reign of Napoleon, are, 1. The Wolga, rising with astonishment from his bed at the sight of the French eagle; 2. A representation of la Bataille de la Moskowa, 7 Septembre, 1812; 3. A view of Moscow, with the French flag flying on the Kremlin, and an ensign of the French eagle, bearing the letter N. loftily elevated above its towers and minarets, dated 14th September, 1812; 4. A figure in the air, directing a furious storm against an armed warrior resembling Napoleon, who, unable to resist the attack, is sternly looking back, whilst compelled to fly before it—a dead horse, cannon dismounted, and a wagon full of troops standing still, perishing in fields of snow; the inscription is, Retraite de l'Armee, Novembre, 1812.

The workmanship of the preceding medals are admirable, but most of them are surpassed in that respect by some to which we can do little more than allude.

A finely executed medal, two inches and five-eights in diameter, represents Napoleon enthroned in his full imperial costume, holding a laurel wreath; on the reverse is a head of Minerva, surrounded by laurel and various trophies of the fine arts, with this inscription—Ecole Francaise des Beaux Arts a Rome, retablie et augmentee par Napoleon en 1803. The reverses—of the Cathedral at Paris—a warrior sheathing his sword (on the battle of Jena)—and Bonaparte holding up the King of Rome, and presenting him to the people—are amongst the most highly finished and most inestimable specimens of art.

Unquestionably the worst in the collection is the consular medal, which, on that account, deserves description; it is, in size, about a half crown piece, on the exergue, over a small head of Bonaparte, is inscribed Bonaparte premier consul; beneath it, Cambaceres second consul, le Brun troisieme consul de la republique Francaise; on the reverse, Le peuple Francais a defenseurs, cette premiere pierre de la colonne nationale, posee par Lucien Bonaparte, ministre de l'interieur, 25 Messidore, An 8, 14 Juillet, 1800.—One other medal only appears with the name of Lucien Bonaparte; it is that struck in honor of Marshal Turenne, upon the Translation du corps de Turenne au Temple de Mars par les ordres du premier Consul Bonaparte; and is of a large size, bearing the head of Turenne, with, beneath it, Sa gloire appartient au peuple Francais. Several are in honor of General Desaix, whose memory Napoleon held in great esteem. Those on his marriage with Marie Louise bear her head beside his own; and a small one on that occasion has for its reverse, a Cupid carrying with difficulty a thunderbolt. Those on the birth of their child bear the same heads on the exergue, with the head of an infant, on the reverse, inscribed, Napoleon Francois Joseph Charles, Rio de Rome, XX. Mars M.DCCCXI.—Ireland.



THE ELEPHANT FOUNTAIN.

When Napoleon had decided that a stupendous fountain should occupy the centre of the area where the celebrated state prison of the Bastille stood, the several artists, employed by the government, were ordered to prepare designs for the undertaking, and numerous drawings were in consequence sent in for the emperor's inspection. On the day appointed, he proceeded to examine these specimens, not one of which, however, proved at all commensurate with the vast idea he had in contemplation; wherefore, after pacing the chamber a few minutes, Napoleon suddenly halted, exclaiming: "Plant me a colossal elephant there, and let the water spout from his extended trunk!" All the artists stood astonished at this bold idea, the propriety and grandeur of which immediately flashed conviction upon their minds, and the only wonder of each was, that no such thought should have presented itself to his own imagination: the simple fact is, there was but one Napoleon present!—Communicated to Ireland by David.

This fountain was modeled in Plaster of Paris on the spot. It is seventy-two feet in height; the jet d'eau is through the nostrils of his trunk; the reservoir in the tower on his back; and one of his legs contains the staircase for ascending to the large room in the inside of his belly. The elephant was to have been executed in bronze, with tusks of silver, surrounded by lions of bronze, which were to spout water from one cistern to another.



INTERESTING DRAWINGS.

On the sailing of the French expedition for Egypt, from Malta, under the orders of Bonaparte, the fleet was intentionally dispersed in order to arrive without being noticed; they had no sooner, however, left Malta, than they learned that Nelson had penetrated their design, and was in pursuit of them. Expecting every hour to be come up with, and being too weak to risk a combat, it was the resolution of Bonaparte and the rest of the illustrious persons on board the Orient to blow her up, rather than be taken prisoners; but, that the memory of those who perished might be preserved, and their features known by posterity, Bonaparte caused the portraits of eighteen to be taken on two sheets of paper, which were to be rolled up, put in bottles, and committed to the waves: the names of the persons are,—

First Drawing.

Desaix, Berthier, Kleber, Dalomieu, Berthollet, Bonaparte, Caffarelli, Brueys, Monge.

Second Drawing.

Rampon, Junot, Regnier, Desgenettes, Larrey, Murat, Lasnes, Belliard, Snulkanski.

The portraits were executed in medallions, with India ink; they were carefully preserved by the famous surgeon, Baron Larrey; and they adorned his study at Paris till his death.



SEVRES CHINA.

On the river at Sevres, near Paris, a manufactory is carried on, which produces the beautiful porcelain, commonly called Sevres, china. It is equal to all that has been said of it, and after declining, as every other great national establishment did, during the revolution, flourished greatly under the peculiar patronage of the emperor Napoleon. He made presents hence to those sovereigns of Europe with whom he was in alliance. Napoleon had two vases made of this china, which, even at this day, form the principal ornament of the gallery at St. Cloud. These were made at Sevres, and are valued at 100,000 francs each. The clay made use of was brought at a great expense from a distant part of France, and affords an instance of how much the value of raw material may be increased by the ingenuity of a skillful artist.



DISMANTLING OF THE LOUVRE.

In Scott's Paris Revisited (A. D. 1815), we have the following interesting particulars of the removal of the celebrated pictures and statues from this famous emporium of the fine arts.

"Every day new arrivals of strangers poured into Paris, all anxious to gain a view of the Louvre, before its collection was broken up; it was the first point to which all the British directed their steps every morning, in eager curiosity to know whether the business of removal had commenced. The towns and principalities, that had been plundered, were making sedulous exertions to influence the councils of the allies to determine on a general restoration; and several of the great powers leaned decidedly towards such a decision.

"Before actual force was employed, representations were repeated to the French government, but the ministers of the king of France would neither promise due satisfaction, nor uphold a strenuous opposition. They showed a sulky disregard of every application. A deputation from the Netherlands formally claimed the Dutch and Flemish pictures taken during the revolutionary wars from those countries; and this demand was conveyed through the Duke of Wellington, as commander-in-chief of the Dutch and Belgian armies. About the same time, also, Austria determined that her Italian and German towns, which had been despoiled, should have their property replaced, and Canova, the anxious representative of Rome, after many fruitless appeals to Talleyrand, received assurances that he, too, should be furnished with an armed force sufficient to protect him in taking back to that venerable city, what lost its highest value in its removal from thence.

"Contradicting reports continued to prevail among the crowds of strangers and natives as to the intentions of the allies, but on Saturday, the 23d of September, all doubt was removed. On going up to the door of the Louvre, I found a guard of one hundred and fifty British riflemen drawn up outside. I asked one of the soldiers what they were there for? 'Why, they tell me, sir, that they mean to take away the pictures,' was his reply. I walked in amongst the statues below, and on going to the great staircase, I saw the English guard hastily trampling up its magnificent ascent: a crowd of astonished French followed in the rear, and, from above, many of the visitors in the gallery of pictures were attempting to force their way past the ascending soldiers, catching an alarm from their sudden entrance. The alarm, however, was unfounded; but the spectacle that presented itself was very impressive. A British officer dropped his men in files along this magnificent gallery, until they extended, two and two, at small distances, from its entrance to its extremity. All the spectators were breathless, in eagerness to know what was to be done, but the soldiers stopped as machines, having no care beyond obedience to their orders.

"The work of removal now commenced in good earnest: porters with barrows, and ladders, and tackles of ropes made their appearance. The collection of the Louvre might from that moment be considered as broken up for ever. The sublimity of its orderly aspect vanished: it took now the melancholy, confused, desolate air of a large auction room, after a day's sale. Before this, the visitors had walked down its profound length with a sense of respect on their minds, influencing them to preserve silence and decorum, as they contemplated the majestic pictures; but decency and quiet were dispelled when the signal was given for the breaking up of the establishment. It seemed as if a nation had become ruined through improvidence, and was selling off.

"The guarding of the Louvre was committed by turns to the British and Austrians, while this process lasted. The Prussians said that they had done their own business for themselves, and would not now incur odium for others. The workmen being incommoded by the crowds that now rushed to the Louvre, as the news spread of the destruction of its great collection, a military order came that no visitors should be admitted without permission from the foreign commandant of Paris. This direction was pretty much adhered to by the sentinels as far as the exclusion of the French, but the words Je suis Anglais, were always sufficient to gain leave to pass from the Austrians: our own countrymen were rather more strict, but, in general, foreigners could, with but little difficulty, procure admission. The Parisians stood in crowds around the door, looking wistfully within it, as it occasionally opened to admit Germans, English, Russians, &c., into a palace of their capital from which they were excluded. I was frequently asked by French gentlemen, standing with ladies on their arms, and kept back from the door by the guards, to take them into their own Louvre, under my protection as an unknown foreigner! It was impossible not to feel for them in these remarkable circumstances of mortification and humiliation; and the agitation of the French public was now evidently excessive. Every Frenchman looked a walking volcano, ready to spit forth fire. Groups of the common people collected in the space before the Louvre, and a spokesman was generally seen, exercising the most violent gesticulations, sufficiently indicative of rage, and listened to by the others, with lively signs of sympathy with his passion. As the packages came out, they crowded round them, giving vent to torrents of pestes, diables, sacres, and other worse interjections.

"Wherever an Englishman went, in Paris, at this time, whether into a shop or a company, he was assailed with the exclamation, 'Ah! vos compatriotes!' and the ladies had always some wonderful story to tell him, of an embarrassment or mortification that had happened to his duke; of the evil designs of the Prince Regent, or the dreadful revenge that was preparing against the injuries of France. The great gallery of the Louvre presented every fresh day a more and more forlorn aspect; but to the reflecting mind, it combined a number of interesting points of view. The gallery now seemed to be the abode of all the foreigners in the French capital:—we collected there, as a matter of course, every morning—but it was easy to distinguish the last comers from the rest. They entered the Louvre with steps of eager haste, and looks of anxious inquiry; they seemed to have scarcely stopped by the way—and to have made directly for the pictures on the instant of their reaching Paris. The first view of the stripped walls made their countenances sink under the disappointment, as to the great object of their journey. Crowds collected round the Transfiguration—that picture which, according to the French account, destiny had always intended for the French nation: it was every one's wish to see it taken down, for the fame which this great work of Raffaelle had acquired, and its notoriety in the general knowledge, caused its departure to be regarded as the consummation of the destruction of the picture gallery of the Louvre. It was taken away among the last.

"Students of all nations fixed themselves round the principal pictures, anxious to complete their copies before the workmen came to remove the originals. Many young French girls were seen among these, perched upon small scaffolds, and calmly pursuing their labors in the midst of the throng and bustle. When the French gallery was thoroughly cleared of the property of other nations, I reckoned the number of pictures which then remained to it, and found that the total left to the French nation, of the fifteen hundred pictures which constituted their magnificent collection, was two hundred and seventy-four! The Italian division comprehended about eighty-five specimens; these were now dwindled to twelve: in this small number, however, there are some very exquisite pictures by Raffaelle, and other great masters. Their Titians are much reduced, but they keep the Entombment, as belonging to the King of France's old collection, which is one of the finest by that artist. A melancholy air of utter ruin mantled over the walls of this superb gallery: the floor was covered with empty frames: a Frenchman, in the midst of his sorrow, had his joke, in saying, 'Well, we should not have left to them even these!' In walking down this exhausted place, I observed a person, wearing the insignia of the legion of honor, suddenly stop short, and heard him exclaim, 'Ah, my God—and the Paul Potter, too!' This referred to the famous painting of a bull by that master, which is the largest of his pictures, and is very highly valued. It belonged to the Netherlands, and has been returned to them. It was said that the emperor Alexander offered fifteen thousand pounds for it.

"The removal of the statues was later in commencing, and took up more time; they were still packing these up when I quitted Paris. I saw the Venus, the Apollo, and the Laocooen removed: these may be deemed the presiding deities of the collection. The solemn antique look of these halls fled forever, when the workmen came in with their straw and Plaster of Paris, to pack up. The French could not, for some time, allow themselves to believe that their enemies would dare to deprive them of these sacred works; it appeared to them impossible that they should be separated from France—from la France—the country of the Louvre and the Institute; it seemed a contingency beyond the limits of human reverses. But it happened, nevertheless: they were all removed. One afternoon, before quitting the place, I accidentally stopped longer than usual, to gaze on the Venus, and I never saw so clearly her superiority over the Apollo, the impositions of whose style, even more than the great beauties with which they are mingled, have gained for it an inordinate and indiscriminating admiration. On this day, very few, if any of the statues had been taken away—and many said that France would retain them, although she was losing the pictures. On the following morning I returned, and the pedestal on which the Venus had stood for so many years, the pride of Paris, and the delight of every observer, was vacant! It seemed as if a soul had taken its flight from a body."



REMOVAL OF THE VENETIAN HORSES FROM PARIS.

"The removal of the well known horses taken from the church of St. Mark in Venice, was a bitter mortification to the people of Paris. These had been peculiarly the objects of popular pride and admiration. Being exposed to the public view, in one of the most frequented situations of Paris, this was esteemed the noblest trophy belonging to the capital; and there was not a Parisian vender of a pail-full of water who did not look like a hero when the Venetian horses were spoken of.

"'Have you heard what has been determined about the horses?' was every foreigner's question. 'Oh! they cannot mean to take the horses away,' was every Frenchman's answer. On the morning of Thursday, the 26th of September, 1815, however it was whispered that they had been at work all night in loosening them from their fastening. It was soon confirmed that this was true—and the French then had nothing left for it, but to vow, that if the allies were to attempt to touch them in the daylight, Paris would rise at once, exterminate its enemies, and rescue its honor. On Friday morning I walked through the square; it was clear that some considerable change had taken place; the forms of the horses appeared finer than I had ever before witnessed. When looking to discover what had been done, a private of the British staff corps came up, 'You see, sir, we took away the harness last night,' said he. 'You have made a great improvement by so doing,' I replied; 'but are the British employed on this work?' The man said that the Austrians had requested the assistance of our staff corps, for it included better workmen than any they had in their service. I heard that an angry French mob had given some trouble to the people employed on the Thursday night, but that a body of Parisian gendarmerie had dispersed the assemblage. The Frenchmen continued their sneers against the allies for working in the dark: fear and shame were the causes assigned. 'If you take them at all, why not take them in the face of day? But you are too wise to drag upon yourselves the irresistible popular fury, which such a sight would excite against you!'

"On the night of Friday, the order of proceeding was entirely changed. It had been found proper to call out a strong guard of Austrians, horse and foot. The mob had been charged by the cavalry, and it was said that several had their limbs broken. I expected to find the place on Saturday morning quiet and open as usual; but when I reached its entrance, what an impressive scene presented itself! The delicate plan—for such in truth it was—of working by night, was now over. The Austrians had wished to spare the feelings of the king the pain of seeing his capital dismantled before his palace windows, where he passed in his carriage when he went out for his daily exercise. But the acute feelings of the people rendered severer measures necessary. My companion and myself were stopped from entering the place by Austrian dragoons: a large mob of Frenchmen were collected here, standing on tip-toe to catch the arch in the distance, on the top of which the ominous sight of numbers of workmen, busy about the horses, was plainly to be distinguished. We advanced again to the soldiers: some of the French, by whom we were surrounded, said, 'Whoever you are, you will not be allowed to pass.' I confess I was for retiring—for the whole assemblage, citizens and soldiers, seemed to wear an angry and alarming aspect. But my companion was eager for admittance. He was put back again by an Austrian hussar:—'What, not the English!' he exclaimed in his own language. The mob laughed loudly, when they heard the foreign soldier so addressed; but the triumph was ours; way was instantly made for us—and an officer on duty, close by, touched his helmet as we passed.

"The king and princes had left the Tuilleries, to be out of the view of so mortifying a business The court of the palace, which used to be gay with young gardes du corps and equipages, was now silent, deserted, and shut up. Not a soul moved in it. The top of the arch was filled with people, and the horses, though as yet all there, might be seen to begin to move. The carriages that were to take them away were in waiting below, and a tackle of ropes was already affixed to one. The small door leading to the top was protected by a strong guard: every one was striving to obtain permission to gratify his curiosity, by visiting the horses for the last time that they could be visited in this situation. Permission, however, could necessarily be granted but to few. I was of the fortunate number. In a minute I had climbed the narrow dark stair, ascended a small ladder, and was out on the top, with the most picturesque view before me that can be imagined. An English lady asked me to assist her into Napoleon's car of victory: his own statue was to have been placed in it, when he came back a conqueror from his Russian expedition! I followed the lady and her husband into the car, and we found a Prussian officer there before us. He looked at us, and, with a good humored smile, said, 'The emperor kept the English out of France, but the English have now got where he could not! 'Ah, pauvre, Napoleon!'

"The cry of the French now was, that it was abominable, execrable, to insult the king in his palace—to insult him in the face of his own subjects by removing the horses in the face of day! I adjourned with a friend to dine at a restaurateur's, near the garden of the Tuilleries, after witnessing what I have described. Between seven and eight in the evening we heard the rolling of wheels, the clatter of cavalry, and the tramp of infantry. A number of British were in the room; they all rose and rushed to the door without hats, and carrying in their haste their white table napkins in their hands. The horses were going past in military procession, lying on their sides, in separate cars. First came cavalry, then infantry, then a car; then more cavalry, more infantry, then another car; and so on till all four passed. The drums were beating, and the standards went waving by. This was the only appearance of parade that attended any of the removals. Three Frenchmen, seeing the group of English, came up to us, and began a conversation. They appealed to us if this was not shameful. A gentleman observed, that the horses were only going back to the place from whence the French had taken them: if there was a right in power for France, there must also be one for other states but the better way to consider these events was as terminating the times of robbery and discord. Two of them seemed much inclined to come instantly round to our opinion: but one was much more consistent. He appeared an officer, and was advanced beyond the middle age of life. He kept silence for a moment; and then, with strong emphasis, said—'You have left me nothing for my children but hatred against England; this shall be my legacy to them.'"—Scott.



REMOVAL OF THE STATUE OF NAPOLEON FROM THE PLACE VENDOME.

"What will posterity think of the madness of the French government and the exasperation of public feeling in a nation like the French, so uniformly proud of military glory, when very shortly after the first arrival of their new monarch, Louis XVIII., an order was issued for leveling with the dust that proud monument of their victories, the famous column and statue of Napoleon in the Place Vendome cast from those cannon which their frequent victories over the Austrians had placed at their disposal? The ropes attached to the neck of the colossal brazen figure of the Emperor, wherewith the pillar was crowned, extended to the very iron gratings of the Tuillerie gardens; thousands essayed to move it, but all attempts were vain—the statue singly defied their malice; upon which a second expedient was resorted to, and the carriage horses, etc., from the royal stables were impressed into this service, and affixed to the ropes, thus uniting their powerful force to that of the bipeds: but even this proved abortive; the statue and column braved the united shocks of man and beast, and both remained immoveable." The statue was afterwards quietly dislodged from its station by the regular labors of the experienced artisan. It was not replaced till after the Revolution in 1830.—Ireland.



THE MUSEE FRANCAIS AND THE MUSEE ROYAL.

When the Allies entered Paris in 1815, they found in the gallery of the Louvre about two thousand works of art—the gems of the world in painting and antique sculpture—mostly the spoils of war, deposited there by the Emperor Napoleon. The selection of these works was entrusted to a commission, at the head of whom was the Baron Denon, who accompanied the Emperor in all his expeditions for this purpose. The Louvre, at this time, was the acknowledged emporium of the fine arts. The grand determination of Napoleon to place France highest in art among the nations, did not rest here. The design of combining in one single series, five hundred and twenty-two line engravings from the finest paintings and antique statues in the world, was a conception worthy of his genius and foresight, and by its execution he conferred a lasting favor not only on the artistic, but the civilized world, for the originals were subsequently restored by the Allies to their rightful owners and only about three hundred and fifty pieces remained of that splendid collection. "These works" (the Musee Francais, and the Musee Royal), says a distinguished connoisseur, "are unquestionably the greatest production of modern times. They exhibit a series of exquisite engravings by the most distinguished artists, of such a magnificent collection of painting and of sculpture as can never be again united." These works were intended as a great treasury of art, from which not only artists, but the whole world might derive instruction and profit. To secure the utmost perfection in every department, no expense was spared. The drawings for the engravers to engrave from, were executed by the most distinguished artists, in order to ensure that every peculiarity, perfection, and imperfection in the originals should be exactly copied, and these are pointed out in the accompanying criticisms. These drawings alone cost the French government 400,000 francs.

The engravings were executed by the most distinguished engravers of Europe, without regard to country, among whom it is sufficient to mention Raffaelle Morghen, the Chevalier von Mueller, and his son C. F. von Mueller, Bervic, Richomme, Rosaspina, Bartolozzi, Gandolfi, Schiavonetti, the elder and younger Laurent, Massard, Girardet, Lignon, Chatillon, Audouin, Forster, Claessens, etc. Stanley says that proof impressions of Bervic's masterpiece, the Laocooen, have been sold in London for thirty guineas each. There are many prints in these works not less celebrated, and which are regarded by connoisseurs as masterpieces of the art.

Nor was this all. Napoleon summoned Visconti, the famous antiquary, archaeologist, and connoisseur, from Rome to Paris, to assist in getting up the admirable descriptions and criticisms, particularly of the ancient statues. This department was confided to Visconti, Guizot, Clarac, and the elder Duchesne. The supervision of the engraving and publishing department was entrusted to the Messrs. Robilliard, Peronville, and Laurent. These works were published in numbers of four plates, atlas folio, at the price of 96 francs each for the proofs before the letter, and 48 francs for the prints. The first number of the Musee Francais was issued in 1803, and the last in 1811; but the Musee Royal, which was intended to supply the deficiencies of the Musee Francais, was not completed till 1819; nevertheless, it was Napoleon's work, though consummated in the reign of Louis XVIII.

The Musee Francais was originally published in five volumes, and contains, besides the descriptions and criticisms on the plates, admirable essays—1st. on the History of Painting, from its origin in ancient times down to the time of Cimabue; 2d. on the History of Painting in the German, Dutch, Flemish, and French schools; 3d. on the History of Engraving; 4th. on the History of Ancient Sculpture. The Musee Royal was published in two volumes. A second edition of the Musee Francais was published by the Messrs. Galignani, in four volumes, with an English and French letter-press, but both greatly abridged. The letter-press of the Musee Royal has never been rendered into English. The plates were sold by the French government in 1836, since which time a small edition has been printed from both works.



BOYDELL'S SHAKSPEARE GALLERY.

About the year 1785, Alderman J. Boydell, of London, conceived the project of establishing a 'Shakspeare Gallery,' upon a scale of grandeur and magnificence which should be in accordance with the fame of the poet, and, at the same time, reflect honor upon the state of the arts in Great Britain and throughout the world. Mr. Boydell was at this time a man of great wealth and influence, and a patron of the fine arts, being an engraver himself, and having accumulated his fortune mostly by dealings in works of that character.

He advertised for designs from artists throughout Great Britain, and paid a guinea for every one submitted, whether accepted or not; and for every one accepted by the committee, a prize of one hundred guineas. The committee for selecting these designs was composed of five eminent artists, Boydell himself being the president. The first painters of the age were then employed to paint these pictures, among whom were Sir Joshua Reynolds, Sir Benjamin West, Fusell, Romney, Northcote, Smirke, Sir William Beechy, and Opie.

Allan Cunningham, in his 'Lives of Eminent British Artists,' mentions that Sir Joshua Reynolds was at first opposed to Boydell's project, as impracticable on such an immense scale, and Boydell, to gain his approbation and assistance, privately sent him a letter enclosing a L1000 Bank of England note, and requesting him to paint two pictures at his own price. What sum was paid by Boydell for these pictures was never known. A magnificent building was erected in Pall Mall to exhibit this immense collection, called the Shakspeare Gallery, which was for a long time the pride of London.

The first engravers of England were employed to transfer these gems to copper, and such artists as Sharp, Bartolozzi, Earlom, Thew, Simon, Middiman, Watson, Fyttler, Wilson, and many others, exerted their talents for years in this great work. In some instances, the labor of more than five years was expended on a single plate, and proof impressions were taken for subscribers at almost every stage of the work. At length in 1803, after nearly twenty years, the work was completed. The price fixed (which was never reduced) was two guineas each for the first three hundred impressions, and the subscription list was then filled up at one guinea each, or one hundred guineas a set of one hundred plates.

Besides these subscriptions, large donations were made by many of the noblemen of England, to encourage the undertaking, and to enable Boydell to meet his enormous outlay. The cost of the whole work, from the commencement, is said to have been about one million pounds sterling; and although the projector was a wealthy man when he commenced it, he died soon after its completion, a bankrupt to the amount, it is said, of L250,000.

After these plates were issued, Boydell petitioned Parliament to allow him to dispose of his gallery of paintings by a lottery. The petition was granted, and the whole collection was thus disposed of. One of the finest of these pictures, King Lear, by Sir Benjamin West, is now in the Boston Athenaeum.

One fact in relation to these plates gives great value to them. "All the principal historical characters are genuine portraits of the persons represented in the play; every picture gallery and old castle in England was ransacked to furnish these portraits."



BRIEF SKETCH OF A PLAN FOR AN AMERICAN NATIONAL GALLERY OF ART.

Public Galleries of Art are now regarded by the most enlightened men, and the wisest legislators, as of incalculable benefit to every civilized country. (See vol. i., page 6, of this work.) They communicate to the mind, through the eye, "the accumulated wisdom of ages," relative to every form of beauty, in the most rapid and captivating manner. If such institutions are important in Europe, abounding in works of art, how much more so in our country, separated as it is by the broad Atlantic from the artistic world, which few comparatively can ever visit: many of our young artists, for the want of such an institution, are obliged to grope their way in the dark, and to spend months and years to find out a few simple principles of art.

A distinguished professor, high in public estimation, has declared that the formation of such an institution in this country, however important and desirable it may be, is almost hopeless. He founds his opinion on the difficulty of obtaining the authenticated works of the great masters, and the enormous prices they now command in Europe. The writer ventures to declare it as his long cherished opinion that a United States National Gallery is entirely practicable, as far as all useful purposes are concerned; and at a tithe of the cost of such institutions in Europe. In the present state of the Fine Arts in our country, we should not attempt to emulate European magnificence, but utility. The "course of empire is westward," and in the course of time, as wealth and taste increases, sale will be sought here, as now in England, for many works of the highest art. It is also to be hoped that some public benefactors will rise to our assistance. After the foundation of the institution, it may be extended according to the taste and wants of the country; professorships may be added, and the rarest works purchased. When the country can and will afford it, no price should be regarded too great for a perfect masterpiece of art, as a model in a national collection. To begin, the Gallery should contain,

1st. A complete library of all standard works on Art, historical and illustrative, in every language.

2d. A collection of the masterpieces of engraving; these should be mounted on linen, numbered, bound, described and criticised.

3d. A complete collection of casts of medals and antique gems, where the originals cannot be obtained. There are about 70,000 antique medals of high importance to art. (See Numismatics, vol. iii., p. 269, of this work.) These casts could easily be obtained through our diplomatic agents; they should be taken in Plaster of Paris or Sulphur, double—i.e., the reverse and obverse,—classified, catalogued, described, and arranged in cases covered with plate glass, for their preservation.

4th. A collection of plaster casts of all the best works of sculpture, particularly of the antique. Correct casts of the Elgin marbles are sold by the British Museum at a very reasonable price, and in this case would doubtless be presented to the institution.

5th. A collection of Paintings. This is the most difficult part of the project, yet practicable. Masterpieces of the art only should be admitted, but historical authenticity disregarded. The works of the great masters have been so closely imitated, that there are no certain marks of authenticity, where the history of the picture cannot be traced. (See Spooner's Dictionary of Painters, etc., Introduction, and Table of Imitators.) Half the pictures in foreign collections cannot be authenticated, and many of those which are, are not the best productions of the master, nor worthy of the places they occupy. (See Mrs. Jameson's Hand-Book to the Public Galleries in and near London; also the Catalogues of the various Public Galleries of Europe.) Therefore, instead of paying 5,000 or 10,000 guineas for an authenticated piece by a certain master, as is sometimes done in Europe, competent and true men should be appointed to select capital works, executed in the style of the great masters. Many such can be had in this country as well as in Europe, at moderate prices.

6th. The Institution should be located in New York, as the most convenient place, and as the great centre of commerce, where artists could most readily dispose of their works. For this favor, the city would doubtless donate the ground, and her citizens make liberal contributions. The edifice should be built fire-proof, and three stories high—the upper with a skylight, for the gallery of paintings. Such an institution need not be very expensive; yet it would afford the elements for the instruction and accomplishment of the painter, the engraver, the sculptor, the architect, the connoisseur, the archaeologist, and the public at large; it would be the means of awakening and developing the sleeping genius of many men, to the honor, glory, and advantage of their country, which, without it, must sleep on forever. See vol. ii., pp. 149 and 155, and vol. iii., p. 265 of this work.



INDEX.

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.

AEtion, 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.

Carreno, 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 Notte 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 Laocooen 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.

Laocooen, 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, Esteban—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.

Musee Francais and Musee 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; Sevres 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 Archaeology, 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.

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.