ernal">3. Boiardo, 3. Borgia, Lucrezia, 264. Bostick and Riley, translation of Pliny by, 135. Bramante, instigates Pope Julius II. to summon Michel Angelo to Rome, 21; jealous of Michel Angelo’s fame, 22; tries to induce the Pope to discharge Michel Angelo, 24. Brass-casting, decline of the art of, 170. Brick, printed on by the ancient Romans, 167. British Museum, so-called plaster casts in, 164, 165. Bronze statues, the method of the ancients in casting, 142. Browning, Robert, 233. Browning and Tennyson, 30. Brunelleschi, 5, 6, 8, 40; designs Church of San Lorenzo, 13. Brunn, Dr., cited, 59, 60; on Pliny’s Natural History, 120, 137–139. Bryaxis, 68. Buggiardini, 21. Buonomini, Michel Angelo’s father one of the twelve, 10. Byzantine tradition, 4. Callicrates, and the Parthenon, 51, 52. Callimachus, nicknamed, 130; drill supposed to have been invented by, 171. Cambronne, 74. Campaspe, portrait of, by Apelles, 132. Canossa, the Counts of, 10. Canova, opinion of, as to the use of proportional compasses by ancient sculptors, 171. Caprese, birthplace of Michel Angelo, 9. Carmine, Church of the, 7. Carpion and the Parthenon, 51. Carrara, Michel Angelo at, 37. Casting, from life or from the round, difficulties of, 159, 160; distinction between, and modeling, 155, 161. Casting in plaster, alleged practice of, among the Greeks and Romans, 115–189; introduced by Verrocchio, 188. Casts, plaster, not found in ancient houses or tombs, 157, 158, 176, 177. Cato, book published by, 167. Catulus, 67. Cellini, the Renaissance Perseus of, 6; accomplished in many arts, 43. Ceres, the Temple of, at Eleusis, 52, 53. Chalcosthenes, executed works in baked earth, 148. Changes, only gradual, do real good, 197
class="pginternal">199–208; representations of, in art, inferior to pagan works, 208. Gods, images of, in early Greece, with clothes and false hair, 152; the ancient, but anthropomorphic symbols, 210. Gonsalvi, Cardinal, and Michel Angelo, 13. Good, real, done only by gradual changes, 197. Gorgasus, 117, 146. Gorgias, 88. Greek and Roman art, the spirit of, 19. Greek sculptors not accustomed to put their names on statues, 107. Guarini, 3. Guelphs end Ghibellines, 3. Guicciardini, 8. Gypsum, not used by the ancients in casting, 157–159, 169; Pliny on, 169. Hamlet, the warnings of, needed by English actors, 234, 235; not Hamlet on the English stage, 238; mental aberration of, compared with that of Macbeth, 249, 250. Hegias, 88. Hermitage, Museum of the, 163. Hercules, statue of, by DÆdalus, 182, 186. Hesychius, cited, 70, 103. History, who knows, 214; must be interpreted by imagination, 214. Homer, and Virgil, 30; relief in the British Museum, representing the deification of, 109. Honesty of intention, not enough, 221. Horace, quotation from, 126. Horse-Tamer, the, statue of, ascribed to Phidias, 67, 70–79. Hugo, Victor, and Lamartine, 30. Hunt, Leigh, 233. Iasos, 94. Iconic statues, first made by Antenor, 129. Ictinus, works of, 113. Idealisti, motto of the, 232. Images, draped with real stuffs by the Greeks and Romans, 152; false hair on, 152. Imagination in art, 232; may work independently of real feelings, 251. Inevitable, the, should be accepted without murmuring, 229. Isis, 221. Isocrates, quoted, 66. Italy, the land of the Renaissance, 5. Jehovah, the, of the Jews, development of, 205. Jeremiah, figure of, by Michel Angelo, 27. Jesus, reverenced by Marcus Aurelius, 199, 220. John of Bologna, the Rape of the Sabines by, 6. Julian, statement by, about Phidias, Plyntheria, the colossal Athena’s gold drapery washed at, 152. Poliziano, Angelo, teacher of Michel Angelo, 3, 10. Polybius, referred to, 146, note. Polyclitus, 67; his canon of proportion, 73; his works, 88, 89; compared with Phidias, 96, 97, 101; price received by, for his Doryphoros, 176. Polygnotus, the “Rape of Cassandra” by, 132. Polyxines, 6. Pompeii, works of art found in, 177. Pomponius Mela, cited, 70. Popes, the, and Michel Angelo, 12. Portrait statues, erection of, in public, seldom allowed by the Greeks, 129. Portraiture, in its true sense, the beginning of, 130; development of, by Lysippus and Lysistratus, 131; earliest specimen of, by a great painter, 132; use of, by the Romans, 150. Possis, excellent work of, 148. Praxias, 88, 92, 94, 95. Praxiteles, statue of Alexander taming Bucephalus, ascribed to, 77, 78; praised by Lucian, 96; and Nicias, 153; price offered by Athens for the Venus of, 175. Pre-Raphaelites, error of the, 233. Printing, among the ancient Romans, 167. Propertius, quoted, 98. PropylÆa, 53. Pulci, the three, 3. Pythagoras, 88. Quinctilian, quoted, 98, 125; criticises Demetrius, 130. Quincy, M. Quatremere de, on chryselephantine statues, 100. Quirinal Hill, statue of the Horse-Tamer on the, 67, 76. Racine, MoliÈre and, 30. Raffaelle, 4, 8; and the Sistine Chapel, 24; and Michel Angelo, 30–33, 35; character and style of, 31; his finest work, 32; his early death, 32; characterized by contemporaries, 33; and the Fornarina, 31, 34; accomplished in many arts, 43. Ravenna, Dante’s grave at, 100; his views examined, 100–104. Vitruvius, 145; description of process used in finishing walls by, 153. Voltaire, Rousseau and, 30. Walls, ancient process used in finishing, 153. Wardour Street, the portraits of, 152. Wax, the common vehicle of ancient painters, 144. “Weird Sisters,” the, but outward personifications of evil thoughts, 285. Welcker and Preller, cited, 59, 60. Wilkins, William, opinion of, on the Elgin marbles, 99. Wilson, Mr. Charles Heath, close examination of Michel Angelo’s frescoes by, 25. “Wisdom of Solomon,” the, cited, 150. Woman, superior to man in adjusting details, 259; unable to bear the remembrance of what she has gone through, 277. World, the, needs revolutionizing, 227. Xenocles of Cholargos, finishes the Temple of Initiation at Eleusis, 52. Xenophon, classes Polyclitus with Homer, Sophocles, and Zeuxis, as an artist, 89. Zacharias, figure of, by Michel Angelo, 27. Zagreus and Semele, 161. Zenobius, cited, 70. Zeus, chryselephantine statue of, by Phidias, 63, 59–63, 65, 81, 86, 98, 209; inscription on, 109. Zeus, the Temple of, at Olympia, 53. |
  |
