Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art | Page 2

Oil Painting, 141 Foreshortening, 145 Method of
Transferring Paintings from Walls and Panels to Canvass, 146 Works
in Scagliola, 147 The Golden Age of Painting, 149 Golden Age of the
Fine Arts in Ancient Rome, 152 Nero's Golden Palace, 155 Names of
Ancient Architects Designated by Reptiles, 156 Triumphal Arches, 157
Statue of Pompey the Great, 159 Antique Sculptures in Rome, 159
Ancient Map of Rome, 160 Julian the Apostate, 160 The Tomb of
Mausolus, 161 Mandrocles' Bridge Across the Bosphorus, 162 The
Colossus of the Sun at Rhodes, 162 Statues and Paintings at Rhodes,
164 Sostratus' Light-House on the Isle of Pharos, 164 Dinocrates' Plan
for Cutting Mount Athos into a Statue of Alexander the Great, 165
Pope's idea of Forming Mount Athos into a Statue of Alexander the
Great, 166 Temple with an Iron Statue Suspended in the Air by
Loadstone, 168 The Temple of Jupiter Olympius at Athens, 168 The
Parthenon at Athens, 170 The Elgin Marbles, 171 The first Odeon at
Athens, 182 Perpetual Lamps, 182 The Skull of Raffaelle, 183 The
Four Finest Pictures in Rome, 183 The Four Carlos of the 17th Century,
184 Pietro Galletti and the Bolognese Students, 184 Ætion's Picture of
the Nuptials of Alexander and Roxana, 184 Ageladas, 185 The Porticos
of Agaptos, 185 The Group of Niobe and her Children, 185 Statue of
the Fighting Gladiator, 187 The Group of Laocoön in the Vatican, 187
Michael Angelo's Opinion of the Laocoön, 190 Discovery of the
Laocoön, 190 Sir John Soane, 191 Soane's Liberality and Public
Munificence, 192 The Belzoni Sarcophagus, 194 Tasso's
"Gerusalemme Liberata," 195 George Morland, 197 Morland's Early
Talent 198 Morland's Early Fame, 199 Morland's Mental and Moral
Education under an Unnatural Parent, 200 Morland's Escape from the
Thraldom of his Father, 201 Morland's Marriage and Temporary
Reform, 202 Morland's Social Position, 203 An Unpleasant Dilemma,
204 Morland at the Isle of Wight, 205 A Novel Mode of Fulfilling
Commissions, 206 Hassel's First Interview with Morland, 206
Morland's Drawings in the Isle of Wight, 207 Morland's Freaks, 208 A
Joke on Morland, 208 Morland's Apprehension as a Spy, 209 Morland's

"Sign of the Black Bull," 210 Morland and the Pawnbroker, 211
Morland's idea of a Baronetcy, 212 Morland's Artistic Merits,. 212
Charles Jervas, 213 Jervas the Instructor of Pope, 214 Jervas and Dr.
Arbuthnot, 215 Jervas' Vanity, 215 Holbein and the Fly, 216 Holbein's
Visit to England, 216 Henry VIII.'s Opinion of Holbein, 217 Holbein's
Portrait of the Duchess Dowager of Milan, 218 Holbein's Flattery in
Portraits--a Warning to Painters, 219 Holbein's Portrait of Cratzer, 219
Holbein's Portrait of Sir Thomas More and Family, 220 Sir John
Vanbrugh and his Critics, 221 Anecdote of the English Painter, James
Seymour, 223 Precocity of Luca Giordano, 224 Giordano's Enthusiasm,
225 Luca Fa Presto, 226 Giordano's Skill in Copying, 226 Giordano's
Success at Naples, 227 Giordano, the Viceroy, and the Duke of Diano,
228 Giordano Invited to Florence, 229 Giordano and Carlo Dolci, 229
Giordano's Visit to Spain, 230 Giordano's Works in Spain, 231
Giordano at the Escurial, 232 Giordano's Habits in Spain, 233
Giordano's First Picture Painted in Spain, 233 Giordano a Favorite at
Court, 234 Giordano's Return to Naples, 236 Giordano's Personal
Appearance and Character, 237 Giordano's Riches, 238 Giordano's
Wonderful Facility of Hand, 239 Giordano's Powers of Imitation, 240
Giordano's Fame and Reputation, 240 Remarkable Instance of
Giordano's Rapidity of Execution, 242 Revival of Painting in Italy, 244
Giovanni Cimabue, 251 Cimabue's Passion for Art, 252 Cimabue's
Famous Picture of the Virgin, 253 The Works of Cimabue, 255 Death
of Cimabue, 256 Giotto, 257 Giotto's St. Francis Stigmata, 259 Giotto's
Invitation to Rome, 260 Giotto's Living Model, 262 Giotto and the
King of Naples, 264 Giotto and Dante, 266 Death of Giotto, 266
Buonamico Buffalmacco, 267 Buffalmacco and his Master, 267
Buffalmacco and the Nuns of the Convent of Faenza, 270 Buffalmacco
and the Nun's Wine, 272 Buffalmacco, Bishop Guido and his Monkey,
273 Buffalmacco's Trick on the Bishop of Arezzo, 277 Origin of Label
Painting, 278 Utility of Ancient Works, 280 Buffalmacco and the
Countryman, 282 Buffalmacco and the People of Perugia, 283
Buffalmacco's Novel Method of Enforcing Payment, 285 Stefano
Fiorentino, 286 Giottino, 286 Paolo Uccello, 287 Ucello's Enthusiasm,
288 Uccello and the Monks of San Miniato, 289 Uccello's Five
Portraits, 290 Uccello's Incredulity of St. Thomas, 291 The Italian
Schools of Painting, 292 Claude Joseph Vernet, 295 Vernet's Precocity,

295 Vernet's Enthusiasm, 296 Vernet at Rome 298 Vernet's "Alphabet
of Tones," 299 Vernet and the Connoisseur, 301 Vernet's Works, 301
Vernet's Passion for Music, 306 Vernet's Opinion of his own Merits,
307 Curious Letter of Vernet, 308 Charles Vernet, 310 Anecdote of
Charles Vernet, 311 M. de Lasson's Caricature, 311 Frank Hals and
Vandyke, 312

ANECDOTES
OF
PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS.

TITIAN,--SKETCH OF