Soane, Sir John, ii, 191; his Success and Works, ii, 192; his Liberality and Public Munificence, ii, 192; his Museum, ii, 193 ; the Belzoni Sarcophagus, ii, 194; Tasso's MS. of Gerusalemme Liberata, ii, 195; other rare MSS., Antiquities, Works of Art, etc., ii, 195.

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

Spagnoletto—See Ribera.

Spain, Melancholy State of the Fine Arts in, i, 217; Rarity of Female Portraits in, iii, 191.

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

Sphinx, the Colossal, iii, 10.

Stabiae—its Destruction, ii, 43.

Statue of the Apollo Belvidere, i, 41; of the Apollo Sauroctonos, i, 155; of the Apollo, Colossal Etruscan, i, 90.

Statue of the Venus de Medici, i, 147.

Statue of the Venus of Cnidus, i, 156

Statue of the Venus Victrix, i, 147.

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

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

Statue of the Fighting Gladiator, ii, 187.

Statue of the Dying Gladiator, i, 144.

Statue of Pompey the Great, ii, 159.

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

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

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

Statues, the Greek, i, 109.

Statues, Sounding, iii, 6.

Statues of Memnon, iii, 6.

Stratagem, an Architect's, i, 309.

Stratagem, Hogarth's, i, 169.

Steen, Jan, iii, 238; his Works, iii, 238; Kugler's Critique on, iii, 240; Frolics of Steen and Mieris, iii, 241.

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

Stuart, Charles Gilbert, i, 124; his Visit to Scotland and Return before the Mast, i, 125; his Visit to London, i, 125; his Skill in Music, and its Use in Time of Need, i, 126; his Introduction to West, i, 126; his Portrait of West, i, 126; his Scholarship, i, 131; his Rule of half prepayment, i, 131; his Powers of Perception i, 132; Allston's Eulogium, i, 133; his great Conversational Powers, i, 133; his Success in Europe, i, 136; in Ireland, i, 136; his Return to America, i, 137; Stuart and Washington, i, 137; his Last Picture, i, 142; Stuart, his Boy and his Dog, i, 142; his Mark, i, 142.

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

Temple of Diana at Ephesus, i, 144.

Temple of Jupiter Olympius at Athens, ii, 168.

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

Temple of Minerva at Athens, ii, 170.

Temple of Carnac, iii, 5.

Temple of Luxor, iii, 5.

Titian—Sketch of his Life, ii, 1; his famous picture of St. Peter the Martyr, ii, 2; his Refusal of the Office of the Leaden Seal, ii, 4; his different Manners, ii, 5; his Works, ii, 6; his Imitators, ii, 7; his Venus, ii, 8; Ottley's Description of it, ii, 8; Titian and the Emperor Charles V., ii. 10; extraordinary Friendship of Charles for Titian, his Favors and Remarkable Sayings, ii, 11; Charles' rebukes to his jealous Nobles, ii, 12; Titian and Philip II., ii, 13; his Letter of Congratulation to Philip, ii, 13; Philip and the Titian Venus, ii, 14; Titian's Last Supper and El Mudo, ii, 14; his Old Age, ii, 15; Monument to Titian, ii, 15.

Thebes, Ancient, iii, 2.

Theodoric the Great—his Love of Art, iii, 73.

Torregiano—his Visit to Spain, and his Group of the Virgin and Child, i, 1; his Horrid Treatment and Death, i, 2.

Torres—Sarcasm on his Imitations of Caravaggio, iii, 205.

Transfiguration of Raffaelle, i, 72.

Tristan, Luis, i, 229; Tristan and Velasquez, i, 229; Tristan and El Greco, i, 230.

"Triumvirate of Historical Painters," i, 244.

"Triumvirate of Landscape Painters," ii, 93.

Triumvirate of Neapolitan Painters, Intrigues of, ii, 128.

Uccello, Paolo, one of the Fathers of Painting, ii, 287; his Enthusiasm, ii, 288; Uccello and the Monks of San Miniato, ii, 289; his remarkable Picture of the most distinguished Artists of his Time, ii, 290; his Incredulity of St. Thomas, ii, 291; Uccello and Donatello, ii, 292.

Utility of Ancient Works, ii, 280.

Vanbrugh, Sir John, and his Severe Critics, ii, 221; Reynolds' celebrated Criticism in his favor, ii, 221.

Vase, the Portland, ii, 56.

Vandyck, Sir Anthony—his Conduct in the School of Rubens, iii, 136; his Visit to Italy, iii, 138; his Return to Antwerp, iii, 139; his Success and the Jealousy of Artists, iii, 140; his celebrated Picture of the Elevation of the Cross, and the Canons of Courtray, iii, 140; his Visit to England, iii, 141; his Success and Honors, iii, 141; his Death and Character, iii, 142; Remarkable Instance of his Rapidity of Execution, ii, 312.

Velasquez, Don Diego, i, 226; Velasquez and Rubens compared by Mrs. Jameson, i, 226; Velasquez and Philip IV—the favors and extraordinary Honors conferred on him, i, 227; his Skill in Portraits, i, 227; his Portrait of Innocent X, i, 228; his Generosity to his Slave, i, 228.

Velde, William van de, the Elder, iii, 143; his Intrepidity in Painting Naval Engagements, iii, 143; his Invitation to England and his Works, iii, 143; Van de Velde and Charles II., iii, 145.

Velde, William van de, the Younger, iii, 145; his Admirable Works, iii, 146; Present Value of his Works, iii, 147; his numerous Drawings, and their Estimation and Value, iii, 148.

Veneziano, Domenico, ii, 144; his treacherous Death, ii, 144.

Venice, Foundation of, iii, 72.

Venetian Horses, the famous, Removal of from Paris, iii, 296.

Venus Anadyomene, i, 2.

Venus of Cnidus, i, 155.

Venus de Medici, i, 147.

Venus Victrix, i, 147.

Venus, Titian's, ii, 8.

Vermeyen, John C., and the Emperor Charles V., iii, 206; his singular Dress and long Beard, iii, 207.

Vernet, Claude Joseph, ii, 295; his Passion for Art, and his Precocity, ii, 295; his Enthusiasm, ii, 296; his Sketching the Tempest, lashed to the Mast, ii, 297; his Arrival at Rome, ii, 298; his Industry and Poverty, ii, 299; his "Alphabet of Tones," ii, 299; Vernet and the Connoisseur, ii, 301; his Success and Works, ii, 301; Diderot's Eulogy, ii, 303; his Passion for Music, ii, 306; his Opinion of his own Artistic Merits, ii, 307; Characteristic Letter to the Marquis de Marigny, ii, 309; his Prices, ii, 310.

Vernet, Charles, ii, 310; his Works, ii, 310; his rebuke to a Minister of State, ii, 311.

Vernet, Horace—his Life, Style, and Works, ii, 16-28.

Vieira, Francisco—his Love Romance, iii, 195; his Success, iii, 198.

Vinci, Lionardo da, i, 266; Precocity of his Genius, i, 266; his first remarkable Picture, i, 267; the extraordinary Versatility of his Talents, i, 268; his Works at Milan, i, 268; his famous Battle of the Standard, i, 270; Vinci and Leo X., i, 271; Vinci and Francis I., i, 271; his Death, i, 272; his Learning, i, 272; his Writings, i, 273; his Sketch Books, i, 275; his Last Supper, i, 276; Copies of his Last Supper, i, 278; his Discrimination, i, 279; his Idea of Perfection in Art, i, 280; Vinci and the Prior, i, 282; his Drawings of the Heads in the Last Supper, i, 284; Francis I. and the Last Supper, i, 284; Authenticated Works of Da Vinci, i, 285.

Weenix, John Baptist the Elder, iii, 236; his wonderful Facility of Hand, iii, 236.

Weenix, the Younger, iii, 237.

Weesop, Anecdote of, i, 310.

West, Benjamin—his Opinion of the Value of the Fine Arts to a Country, i, 8; Anecdotes of West, i, 28; his Ancestry, i, 28; his Birth, i, 29; his First Remarkable Feat, i, 30; his doings with the Indians, i, 30; his Cat's-Tail's Pencils, i, 30; his First Picture, i, 31; his First Visit to Philadelphia, i, 32; his Ambition, i, 33; his First Patrons, i, 34; his Education, i, 35; his Dedication to Art, i, 36; his Early Prices, i, 38; his Arrival at Rome, i, 39; his Reception at Rome, i, 40; his Criticism on the Apollo Belvidere, i, 41; his Early Friends, i, 41; his Course of Study, i, 42; a Remarkable Prophecy, i, 43; West in London—his Fondness for Skating, i, 44; his Death of Wolfe, i, 45; his Defense for Innovation before the King, i, 46; Stuart's Anecdotes of West, i, 127-131.

Wilson, Richard—his Poverty and Want of Appreciation, i, 6; Present Value of his Works, i, 6.

Winde William—his successful Stratagem, i, 399.

Wissing, William—Freedom of the Times in England in the reign of Charles II., i, 309.

Wolf, the Bronze, "the Thunder-Stricken Nurse of Rome", i, 90.

Wonders, the Seven, of the World, iii, 75.

Wren, Sir Christopher, i, 290; his Self-Command, i, 290; his Restraints in designing his Edifices, i, 292; the great Fire in London, i, 293; St. Paul's Cathedral, i, 294; his Death, i, 295; Wren and Charles II., i, 295.

Zuccaro, Taddeo, iii, 250; his Poverty, Enthusiasm, and Works, iii, 251.

Zuccaro, Federigo—his Resentment, iii, 251; Royal Criticism on his Self-Adulation, iii, 252.



FOOTNOTES:

[Footnote 1: Arnolfo had proposed to raise the cupola immediately above the first cornice, from the model of the church in the chapel of the Spaniards, where the cupola is extremely small. Arnolfo was followed by Giotto in 1331. To Giotto succeeded Taddeo Gaddi, after whom, first Andrea Orgagna, next Lorenzo di Filippo, and lastly Brunelleschi were architects of the Cathedral.]

[Footnote 2: The story of Columbus and the Egg is familiar to every one. The jest undoubtedly originated with Brunelleschi, as it is attested by many of the Italian writers; it happened in 1420, fourteen years before Columbus was born. Toscanelli was a great admirer of Brunelleschi, whose knowledge of the Scriptures and powers of argument were so great, that he could successfully dispute in public assemblies, or in private with the most learned theologians, so that Toscanelli was accustomed to say that "to hear Filippo in argument, one might fancy one's self listening to a second Paul." So capital a retort could hardly have failed to reach Columbus, through his instructor, nor would he have hesitated to use it against his antagonists under similar circumstances. Brunelleschi was born in 1377 and died in 1444; Columbus in 1436, and died in 1506.]

[Footnote 3: Vasari means that Lorenzo continued to receive his salary till 1426, although Filippo had been appointed sole master of the works in 1423, as he himself relates in the sequel.]

[Footnote 4: How different was the treatment Ghiberti received from Brunelleschi, when the artists presented their models for one of the bronze doors of the Baptistery of San Giovanni at Florence. The designs of Ghiberti, Brunelleschi, and Donatello, were considered the three best; but the two latter, considering that Ghiberti was fairly entitled to the prize, withdrew their claims in his favor, and persuaded the syndics to adjudge the work to him. Brunelleschi was requested to undertake the work in concert with Ghiberti, but he would not consent to this, desiring to be first in some other art or undertaking than equal, or perhaps secondary, in another. "Now, this was in truth," says Vasari, "the sincere rectitude of friendship; it was talent without envy, and uprightness of judgment in a decision respecting themselves, by which these artists were more highly honored than they could have been by conducting the work to the utmost summit of perfection. Happy spirits! who, while aiding each other took pleasure in commending the labors of their competitors. How unhappy, on the contrary, are the artists of our day, laboring to injure each other, yet still unsatisfied, they burst with envy, while seeking to wound others."]

[Footnote 5: This distrust seems astonishing, after what Brunelleschi had accomplished, but it shows the opposition and enmity he had to encounter. In 1434, he received a mortifying affront from the Guild of Builders. Finding that he carried on the building without thinking to pay the annual tax due from every artist who exercised his calling, they caused him to be apprehended and thrown into prison. As soon as this outrage was known to the wardens, they instantly assembled with indignation, and issued a solemn decree, commanding that Filippo should be liberated, and that the Consuls of the Guild should be imprisoned, which was accordingly done. Baldinucci discovered and printed the authentic document containing the decree, which is dated August 20, 1434.]

[Footnote 6: Masselli says that the Tuscan braccio, is the ancient Roman foot doubled for greater convenience, and is equal to one foot nine inches and six lines, Paris measure. The editors of the Florentine edition of Vasari, 1846-9, remark that the measure of the whole edifice as given by Vasari, differs from that given by Fantozzi; the latter gives 196 braccia as its total height. Milizia says, "Brunelleschi completed his undertaking, which surpassed in height any work of the ancients. The lantern alone remained imperfect; but he left a model for it, and always recommended, even in his last moments, that it should be built of heavy marble, because the cupola being raised on four arches, it would have a tendency to spring upwards if not pressed with a heavy weight. The three mathematicians who have written on the cupola of St. Peter's, have clearly demonstrated a truth differing from the opinion of Brunelleschi, viz., that the small cupola increases, in a great degree, the lateral pressure. The whole height of the structure from the ground to the top, is 385 feet; that is, to the lantern 293 feet, the latter being 68 feet 6 inches; the ball 8 feet; the cross 15 feet 6 inches. * * *

"The plan of the dome is octangular; each side in the interior is 57 feet, and the clear width between the sides, not measuring into the angles, is 137 feet; the walls are 16 feet 9 inches thick; the whole length of the church is 500 feet. The nave has four pointed arches on each side, on piers, separating it from the side aisles. The transept and choir have no side aisles, but are portions of an octagon, attached to the base of the dome, giving the whole plan the figure of a cross. The edifice has a Gothic character, and is incrusted in marble and mosaic work." * * *

According to Fontani, this cupola exceeds that of the Vatican, both in height and circumference by four braccia; and although supported by eight ribs only, which renders it much lighter than that of the Vatican, which has sixteen flanking buttresses, it is nevertheless more solid and firm. Thus it has never required to be supported by circling hoops of iron, nor has it demanded the labors of the many engineers and architects who have printed volumes upon the subject. The construction of this cupola is remarkable in these particulars—that it is octangular, that it is double, and built entirely on the walls, unsupported by piers, and that there are no apparent counterforts.]

THE END