Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art, Shearjashub Spooner [big screen ebook reader .TXT] 📗

Titian—Sketch of his Life, 1 Titian's Manners, 5 Titian's Works, 6 Titian's Imitators, 7 Titian's Venus and Adonis, 8 Titian and the Emperor Charles V., 10 Titian and Philip II., 13 Titian's Last Supper and El Mudo, 14 Titian's Old Age, 15 Monument to Titian, 15 Horace Vernet, 16 The Colosseum, 29 Nineveh and its Remains, 34 Description of a Palace Exhumed at Nimroud, 37 Origin and Antiquity of the Arch, 41 Antiquities of Herculaneum, Pompeii, and Stabiæ, 43 Ancient Fresco and Mosaic Painting, 55 Mosaic of the Battle of Platæa, 55 The Aldobrandini Wedding, 56 The Portland Vase, 56 Ancient Pictures on Glass, 58 Henry Fuseli; his Birth, 59 Fuseli's early Love of Art, 59 Fuseli's Literary and Poetical Taste, 60 Fuseli, Lavater, and the Unjust Magistrate, 61 Fuseli's Travels and his Literary Distinction, 62 Fuseli's Arrival in London, 63 Fuseli's change from Literature to Painting, 63 Fuseli's Sojourn in Italy, 65 Fuseli's Nightmare, 66 Fuseli's Œdipus and his Daughters, 66 Fuseli and the Shakspeare Gallery, 67 Fuseli's "Hamlet's Ghost," 68 Fuseli's Titania, 69 Fuseli's Election as a Royal Academician, 70 Fuseli and Horace Walpole, 71 Fuseli and the Banker Coutts, 72 Fuseli and Professor Porson, 73 Fuseli's method of giving vent to his Passion, 73 Fuseli's Love for Terrific Subjects, 73 Fuseli's and Lawrence's Pictures from the "Tempest," 74 Fuseli's estimate of Reynolds' Abilities in Historical Painting, 75 Fuseli and Lawrence, 75 Fuseli as Keeper of the Royal Academy, 76 Fuseli's Jests and Oddities with the Students of the Academy, 77 Fuseli's Sarcasms on Northcote, 78 Fuseli's Sarcasms on various rival Artists, 79 Fuseli's Retorts, 80 Fuseli's Suggestion of an Emblem of Eternity, 82 Fuseli's Retort in Mr. Coutts' Banking House, 82 Fuseli's Sarcasms on Landscape and Portrait Painters, 83 Fuseli's Opinion of his own Attainment of Happiness, 84 Fuseli's Private Habits, 84 Fuseli's Wife's method of Curing his fits of Despondency, 85 Fuseli's Personal Appearance, his Sarcastic Disposition, and Quick Temper, 86 Fuseli's near Sight, 87 Fuseli's Popularity, 88 Fuseli's Artistic Merits, 88 Fuseli's Milton Gallery, the Character of his Works, and the Permanency of his Fame, 89 Salvator Rosa, 91 Salvator Rosa and Cav. Lanfranco, 91 Salvator Rosa at Rome and Florence, 92 Salvator Rosa's Return to Rome, 93 Salvator Rosa's Subjects, 93 Flagellation of Salvator Rosa, 95 Salvator Rosa and the Higgling Prince, 96 Salvator Rosa's Opinion of his own Works, 98 Salvator Rosa's Banditti, 98 Salvator Rosa and Massaniello, 100 Salvator Rosa and Cardinal Sforza, 100 Salvator Rosa's Manifesto Concerning his Satirical Picture, La Fortuna, 101 Salvator Rosa's Banishment from Rome, 102 Salvator Rosa's Wit, 103 Salvator Rosa's Reception at Florence, 103 Histrionic Powers of Salvator Rosa, 104 Salvator Rosa's Reception at the Palazzo Pitti, 105 Satires of Salvator Rosa, 105 Salvator Rosa's Harpsichord, 106 Rare Portrait by Salvator Rosa, 106 Salvator Rosa's Return to Rome, 109 Salvator Rosa's Love of Magnificence, 109 Salvator Rosa's Last Works, 111 Salvator Rosa's Desire to be Considered an Historical Painter, 112 Don Mario Ghigi, his Physician, and Salvator Rosa, 113 Death of Salvator Rosa, 115 Domenichino, 121 The Dulness of Domenichino in Youth, 121 Domenichino's Scourging of St. Andrew, 123 The Communion of St. Jerome, 124 Domenichino's Enemies at Rome, 125 Decision of Posterity on the Merits of Domenichino, 126 Proof of the Merits of Domenichino, 127 Domenichino's Caricatures, 127 Intrigues of the Neapolitan Triumvirate of Painters, 128 Giuseppe Ribera, called Il Spagnoletto—his early Poverty and Industry, 133 Ribera's Marriage, 134 Ribera's Rise to Eminence, 135 Ribera's Discovery of the Philosopher's Stone, 135 Ribera's Subjects, 136 Ribera's Disposition, 137 Singular Pictorial Illusions, 137 Raffaelle's Skill in Portraits, 138 Jacopo da Ponte, 139 Giovanni Rosa, 139 Cav. Giovanni Centarini, 139 Guercino's Power of Relief, 140 Bernazzano, 140 Invention of 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,