Chapter XV: The Modern British School (2)

Cæsar, Julius, 119
Founder of Roman Imperialism, 124, 129
Portrait bust, 125, 126, 130
Calydonian boar, 72
Canova, 244-256, 262
His Hellenism compared with Donatello’s, 174
A borrowed Hellenism, 247, 254, 262, 281
“Cupid and Psyche,” 249
“Pauline Borghese,” 249, 250
Napoleon, statue of, 250
Flaxman compared with, 261, 262
French School, influence on, 263, 271
British School, influence on, 281-284
“Cantoria,” by Luca della Robbia, 178, 179
By Donatella, 178
Caracalla, Baths of, 97
Carpeaux, 265, 267, 268, 271, 285
Art training, 267
“Flora,” by, 267, 274
“Dance,” by, 268
Caraffa, 213
Carrara marble mines, 154, 191
Carrier-Belleuse, 273
Catholic Church
Attitude of early Church towards sculpture, 140, 141
Gothic Art, influence on, 146-152, 165
Italian Platonists, 174
Patrons of sculptors in fifteenth and sixteenth centuries,
190, 191, 199
Catholic reaction, 198, 200, 212-218
Historical circumstances, 212-214
Effect on sculpture, 214-218
Ideals of, 215-216
Effect on sculpture, 216-217
and Puget, 237
Cella of Parthenon, 29
Cellini, Benvenuto, 198, 200, 203-210, 218
Early life, 204
French visit, 205, 228, 257
“Perseus,” 205-210
“Jove,” silver statue of, 229
Michael Angelo compared with, 210
“Centaur and Lapith,” by Barye, 266
Ceramicus, 54, 55
Cerigotto bronze, 102
Chæronea, 66, 67
Chambord, Châteaux of, 227
“Chant du Départ,” by Rude, 255, 267
Chantrey, Sir F., 284
Chantrey Bequest, 288
Chapu, Henri, 293
“Charioteer of Delphi,” 14
Mausoleum, comparison with Delphi Charioteer, 50
Chares of Lindus, 104
Charles the Great, 145, 146, 234
Charles V., 202, 213
Charles VIII., 225, 228
Chartres, 148, 150
Chatsworth, 252
Chiarmonti, “Daughter of Niobe,” 51
Child with Lantern, Terme Museum, 115
Chios, 12
Christianity
Attitude towards sculpture, 117, 140, 141, 224
_See also_ Catholic Church
Chryselephantine statues, 36, 56
Athena Parthenos, 28
Zeus at Olympia, 36
Hera at Argos, 36
Asclepius at Epidaurus, 42
Cimon, 26, 27, 181
Cipriani, 260
Cithæron, 97
City-state system
Civic pride in fifth-century Greece, 15, 16, 26, 27, 33,
41, 108, 153
Necessity for physical fitness in Greece, 16, 17, 18, 67, 68, 69
Decline of civic pride, 46, 48, 49, 67
Political circumstances in fourth century, 46, 47, 67
Effects on sculpture, 69, 79, 80
Hellenistic age, 108, 109, 110
In France, 147, 148
In Northern Italy, 153, 154, 160, 166, 169, 181, 199, 200, 214
Clarence, Duke of, 297
Clarence Memorial, Windsor, 297-299
Clement VII., 191, 192
Clement XIII., 244
Clermont, 147
Clodion (Claude, François Michel), 243
Cluet, Jean, 225
Cluny Museum, 243
Cnidus. _See_ Praxiteles’ Aphrodite
Cockerell, C. R., 50
Colbert, 235, 236
Colleoni Monument, by Verocchio and Leopardi, 139, 180
Collignon, Maxime, 129
Colombe, Michel
Tomb of Francis II. of Brittany, 225
Founder of School of Tours, 225
Colossus at Rhodes, 104
Colour in statuary
Athenian dedicatory, 13
Parthenon, 29
Mausoleum, 50
Aphrodite of Cnidus, 62
Sidon Sarcophagi, 76
“Augustus” in Vatican, 127, 128
Collignon’s “Polychromie dans la Sculpture Grecque,” 129
Evidence from wall paintings at Pompeii and Herculaneum, 129
“Tinted Venus,” by Gibson, 282
Commune, 272
Company of Jesus. _See_ Jesuits
Condé, Hotel de, 235
Condivi, 188-189
Congreve, 114
Constable de Bourbon, 204
Constantine, 140
Constantinople, 76, 140
Convent of St. Paul, Parma, 195
Copenhagen, 251
Corinth, 119
Correggio, 184, 195, 222, 277
Corupedion, Battle of, 86
Cos, 61
Cosimo de Medici, 181-182, 192, 201
Cosimo, Piero di, 187
Cosmopolitanism, influence of modern, 110, 246, 302
Council of Trent, 202, 213
Cour des Comptes, Paris, 275
Cousin, 227
“Creation Panel” in Ghiberti’s Baptistery gates, 165
Cresilas, 77
Criticism, modern sculptural, 70-76
Critius, 14
Crusades, 147, 154
“Cupid and Psyche,” by Canova, 249
“Cupid and Psyche,” by Thorvaldsen, 251
“Cupid, The Winged,” Mr. Pierpont Morgan’s, 115

Dalou, Jules
Pierre Puget and, 237
École des Beaux Arts, 271, 272, 289, 290
“Triumph of Silenus,” 272
Rodin, connection with, 271
Visit to England, 272, 287, 288
“Maternity” by, 299
“Danaid, Fallen,” by Rodin, 274
“Dance,” by Carpeaux, 268
Dante, influence on Rodin, 275
Dashwood, Sir Francis, 259
“David,” by Donatello, 173, 174, 188
By Michael Angelo, 185-188, 296
David d’Angers, 265
David (painter), 253
“Dawn,” by Michael Angelo, 193, 194, 196, 278
“Death of Socrates,” 54
Dedicatory offerings, Greek, 13, 18
Delacroix, 264, 266
Delafosse, 239
Delphi, 73, 106, 119
Demetrius, of Alopece, 79
Demosthenes, 66, 67
Devonshire, Duke of, 252
“Dexileus Relief,” 54
“Diadumenus” of Polyclitus, 22
“Diana,” archaistic, Naples, 12
“Diana,” by Houdon, 244
Diana of Poitiers, 230-231, 232
Statue of, in Louvre, 230
Diappus, his “Perixyomenus,” 74, 75
Dijon, 255
Diocletian, 140
Dionysus, Theatre of, 67
Diploma Gallery, London, 282, 284
Dirce, 97
“Discobolus” of Myron, 15, 21, 23
“Standing Discobolus,” 23
Donatello, 168-174
Assists Ghiberti, 164, 168
Burgher patrons, 169, 170, 199
Or San Michele, 172
“St. Mark,” its Gothic character, 172, 173
“St. George,” 172, 173
“David,” 173, 188
Platonism, influence of, 173-176
Pisani, comparison with, 177, 178
Cantoria, 178
Luca della Robbia and, 178
Rodin, compared with, 278, 279
Dorchester House, 286
Dorian invasion, 9
Dorian sculptors, 22
_See also_ Polyclitus
“Doryphorus” of Polyclitus, 22
Drama, Greek, 8
Drapery, 31, 152
Dresden Gallery, 194
Dubois, Paul, 270, 293
Duomo at Florence, 187, 195
Durer, 224
“Dying Gaul,” 88-93
Inspired by Gaulish invasion, 89, 90
Compared with later Pergamene art, 92, 93
“Dying Jocasta,” 103, 104

Eastern Empire. _See_ Byzantium
École des Beaux Arts
Rude’s opinion, 254
Influence on French sculpture, 269-272
Rodin and, 274
Compared with Royal Academy, 289
Alfred Gilbert and, 294, 295
Egypt
Ancient, 7, 9, 11, 35
Ptolemaic age, 97, 98
Hadrian, time of, 137
“Egyptian Singer,” by Onslow Ford, 300
Elgin marbles, 30, 31, 260
Elgin, Thomas, Earl of, 260
Elusis, Sacred Way to, 54
Epheboi, 67
Epidaurus
Chryselephantine statue of Asclepius at, 42
“Eros” of Praxiteles, 60
Of Thespiae, by Praxiteles, 61
Of Centocelle, 61
’Estampe, Madame D., 229
Este family, 181
Eumenes II., 91
Euphranor, 36
Eutychides of Sicyon, 87
“Eve,” by Brock, 290, 293
Exhibitions of 1851 and 1862, 283, 284
Falconet, Etienne Maurice, 242
“L’amour Menaçant,” 242, 243
Falguière, 270
Falieri, Senator, 249
“Falling Titan,” by Banks, 284
“Farnese Bull,” 97
“Farnese Hercules,” 101, 102
“Fates, The Three,” from Parthenon pediment, 31, 112
Feltre, Vittorino of, 174-175
Ferrara, 160, 181
Ferruccio, Francesco, 187
Fireplace, by Alfred Stevens, at Dorchester House, 286
Flaxman
Connection with Neo-classical revival, 246, 247, 254, 261, 262
Early life, 261
Wedgwood, association with, 261
“Michael and Satan,” 261
Homeric illustrations, 262
Elgin marbles, opinion upon, 260
Successors of, 281, 284
“Flora,” by Carpeaux, 267, 274
Florence
Struggles between Empire and Papacy, 153
Rise of city-state system, 153
Contention between city and city, 160, 169
Centre of intellectual activity in Italy, 160
Influence of Pisani upon sculpture, 157, 158, 164
Increase in trade and wealth, 169
Burghers’ pride in city, 169
Florentine guilds, their political influence, 169
Commissions for Baptistery gates, 162-164, 166, 169
Or San Michele, Oratory of, 171
Commissions for statuary on, Or San Michele, 172, 199
Cathedral, building of, 171
Luca della Robbia’s “Cantoria,” 178, 179
Influence of Medici family, 181, 191, 192, 196, 199, 203
Lorenzo the Magnificent, 182
State commissions Michael Angelo’s “David,” 185-187
Siege of, 196
Extinction of republic, 199
Loss of liberty, 200, 201
Decline of burgher class, 201
Cellini at, 205, 209
Sends craftsmen to France, 228
National Museum, 163
Foley, 284
“Asia” in Albert Memorial, 285
“Sir James Outram,” 285
“Folly,” by Onslow Ford, 300
Fontenoy, 241
Ford, Onslow, 290
“Rowland Hill” competition, 299
“Henry Irving as Hamlet,” 299
Statuettes “Folly” and “Egyptian Singer,” 300
Fontainebleau
School of, 205
Palace of, 227-229
Fountain of the Dragon at Versailles, 238, 239
Fountain of Innocents, by Goujon, 230
Fountain of Trevi, by Bernini, 218
Fouquet, 225
Frémiet, 301
Fragonard, 240, 242
Frampton, George, 290
Art training, 288, 302
“Mysteriarch,” 301, 302
London County Council, connection with, 302
France
Northern mysticism, 221-224
Communal life, rise of, 147
Cathedrals built by lay guilds, 148
Catholic Church, influence of, 148
Cathedrals compared with Greek temples, 148-151
Italian circumstances more favourable to sculpture, 152, 153
Refuses anti-Humanistic creed of Reformation, 213, 224
Italian Renaissance, influence of, 211, 213, 225, 228
Tours, school of, 225, 226
Political circumstances after 1515 A.D., 226, 227
Francis I., “Creator of French Sculpture,” 227-229
Cellini at Court of Francis I., 205, 228, 229
Fontainebleau, school of, 205, 229
Goujon, First French sculptor, 230
Influence of women upon art, 230-233, 241, 243
Louis Quatorze, political circumstances under, 234
Versailles, 234-236, 237-239
Puget and Louis Quatorze, 236
Influence of Bernini and Catholic reaction, 237
Louis Quinze and Louis Seize, 239-245
Popularity of single figures and statuettes, 240, 242, 243
Pigalle and Saxe Memorial, 241, 242
Eighteenth-century sculpture, characteristics of, 243
Revolution, 253-256
Pseudo-Hellenic school, 263-264
Renascence of individualism, 263, 265-268
Academic sculptors of to-day, 268-272
Dalou and Rodin, 271-279
Modern French sculpture compared with British, 280, 281
Francis I.
In Italy, 213
Cellini at court of, 205, 228, 229
“Creator of French sculpture,” 227, 234
His buildings, 227-229
Francis of Assisi
Love of Nature, 156, 157
Influence upon Naturalism, 157
Andrea Pisano, and, 156, 158, 161
Franciscans compared with Jesuits, 214, 215
Friedland, 255
Frieze of Parthenon
Use of colour, 29
Panathenaic procession, 30, 31
Frith, W. S., 288, 302
Frost, K. T., criticism upon “Apoxyomenus,” 69, 75
Fürtwangler, Professor
Upon Stroganoff Bronze, 107
Upon bust of “Julius Cæsar,” footnote, 125

Gaillon, Châteaux of, 228
Gainsborough, 256, 262
Galérie des Glaces, Versailles, 240
Gardner, Mr. E. A., 50
Gardner, Mr. Percy, 73
“Gate of Hell,” by Rodin, 274-277
Gaulish invasion
Of Asia Minor, 90-92, 106
Of Greece, 106
Of Rome, 139, 146
Pergamene art, effects on, 88-93
Hellenistic art, effects on, 105-108
“Dying Gaul,” 89
“Gaul killing his wife,” 89
Genoa, 153, 154
“George, St.” by Gilbert, 297, 298
Gericault, 266
Germany
Mysticism in, 221-223
Protestantism in, 213
Sculpture after Reformation, 223, 224, 298
Modern sculpture, preface, 298
Ghiberti, Lorenzo, 162-173, 184
Early life and art education, 162
Baptistery Gates competition, 162-164
“Gates of Paradise,” 164-168, 275
Pictorial quality in his art, 165, 167, 172
Revolt against asceticism, 165, 177, 178
Donatello compared with, 168, 172
Or San Michele commissions, 170-173
“John the Baptist,” 171
“Saint Matthew,” 172
Gibbons, Grinling, 257
Gibson, John
Visit to Rome, 247, 282
“Tinted Venus,” 282, 284
“Hylas and the Nymphs,” 282, 283
Gibson Gallery, Burlington House, 282, 283
Gilbert, Alfred, 293-299
Early life, 294
Lambeth School of Art, 288, 289
Royal Academy Schools, 291, 294
France, visit to, 294, 295
Florence, visit to, 295
Shaftesbury Memorial, 295, 296
Clarence Memorial, 297-299
“Saint George,” 297, 298
The Carpeaux and Rodin of British sculpture, 290, 293, 299
Ginevra, Maria, 207
Giorgione’s “Venus,” 194
Giotto
Andrea Pisano, influence upon, 157, 161
Ghiberti compared with, 165
Bernini compared with, 214, 215
Giovanni de Medici, 181
Giuliano, Duke of Nemours, tomb of, 192-197
Girardon, Francis
Giovanni Bologna, influence upon, 211
Inspector of Sculpture at Versailles, 237
Versailles Gardens, 238, 239
“Apollo and Nymphs,” 237, 238
“Rape of Proserpine,” 211
“Fountaine en Pyramide,” 239
Glycon, 101
Goethe, 248
Goldsmithery, influence upon sculpture, 162, 205
Gonzaga, Family of, 175, 181
Goscombe John, _see_ John
Gothic art, 145-154
Mysticism in Northern Europe, 152, 153, 221-223
Dates from about 1000 A.D., 145, 146
Historical circumstances, 146, 147
Cathedrals, 147, 148
Compared with Hellenic, 148-153
Compared with Italian, 152, 153, 177, 178
Sculpture, 149-151
Drapery in, 152
Rodin and, 279
Goujon, Jean
Employed by Francis I., 227, 257
Fountain of the Innocents, 230
“Diana” from Anet, 230
Diana of Poitiers, and, 230-233
Gozzoli, 164
Græco-Roman style, 116, 118, 120-131, 155, 156
Grand Prix de Rome, 244, 254, 269
Greek colonies, 11
Greek sculpture, _see_ Hellenic and Hellenistic
Gregory VII., 147
Gregory XIII., 198
Guido Reni, worship of Byzantine “Madonna della Guardia,” 10
Guildhall, 299
Guilds, Florentine
Giovanni de Medici, leader of lesser, 181
Commission Baptistery gates, 162 164, 166, 171
Commission Or San Michele statuary, 172
Guinigi, Paolo, 178
Guise, Hotel de, 235

Hadrian
Trajan’s policy, reaction against, 137
Effect on sculpture, 138
His buildings, 137
Athens, visit to, 138
Antinous and, 137, 138
Hamdi Bey, 76
Hamilton, Lady, 232
Hannibal, 123
Harmodius, 13
Statue, by Cretius and Nesiotes, 14
“Head of Peasant,” by Lanteri, 288
Heine, 221, 266
Hellenic age of Greece, 6-80
Early beginnings, 6-11
Growth of Naturalism, 11-14
Effect of athleticism, 14-24, 69
Effect of religious beliefs, 16, 33-43, 217
Effect of civic ideals, 15, 16, 32, 33, 109
Comparison of philosophy with mysticism of North, 221-223
Persian invasion, 26-28, 91, 106
The fifth century “The golden age,” 41, 45, 46, 183
Athens, “The School of Hellas,” 47, 48
Transition to fourth century, 44-46
Historical circumstances in fourth century, 46-49, 66-68
Growth of individualism, 44-49, 53-56, 110
More passionate note, 49-53
Home life, 55, 56
Womanhood, 58-64
Reaction against fourth-century individualism, 65-69
Portraiture, 77-80
Transition to Hellenistic, 80, 83, 84
Winckelmann upon Hellenism, 248
Sculpture compared with Bernini’s, 217
Sculptures compared with Rodin’s, 279
Hellenistic age of Greece, 97-116
Definition and comparison with Hellenic, 84, 99-101
Historical circumstances during, 84-87, 106, 108, 109
Decline of patriotism, 110
Growth of individualism, 109, 110
Comparison with twentieth-century ideals, 110
Womanhood and home life, 110-113
Sphere of Greek influence widened, 84, 85
Absence of artists of first order, 99, 100
Lesser intensity of motion, 113-116
Tendency towards theatricalism, 96, 97
Decline of fine critical faculty, 104
Growth of allegory, 115
Followers of Lysippus, 100-104
Followers of Praxiteles, 105-108
Conquest by Rome, 116
Influence upon Roman art, 118, 119
Henry II. of France, 230
Tomb by Germain Pilon, 225
Henry IV. of Germany, 153
Henry IV. of France, 233, 234
Henry VII., tomb in Westminster Abbey, 256
Henry VIII. of England, 256
Hephaestus, 29, 31
Hera, 35
Chryselephantine statue of, by Polyclitus, 36, 38
“Of Samos, Louvre,” 11
“Ludovisi,” 41
“Barberine,” 42
Heræa of Elis, 17
Herculaneum, 129
Hercules
Type fixed by Lysippus, 101
Statue at Lansdowne House, 74
“Farnese,” 101, 102
“Commodus,” 228
“Hermaphroditus,” of Praxiteles, 194
Hermes
Type fixed by Praxiteles, 57
“Bearded Hermes,” of fifth century, 57
“Hermes,” of Praxiteles, 46, 57, 58, 195
Compared with “Belvedere Apollo,” 107
Hermitage, 244
Hetaerae, 59, 60
Hieron of Syracuse, 14
Hobbs, 147
Holbein, 224
Holland, 222, 281
Holy Roman Empire, 153
Home life in Greece
Sacrificed in fifth century, 55
In fourth century, 56
In Hellenistic time, 110
Homer, 8, 34, 114
Influence on sculpture, 35, 36, 42
Flaxman’s Homeric illustrations, 262
Hope, Thomas, 251
Houdon, Jean-Antoine
An eighteenth-century artist, 243, 244
Visit to Italy, 244
“Saint Bruno,” 244
“Diana,” 244
“Voltaire,” 244, 245
“Hounds in Leash,” by Harry Bates, 300
Hugo, Victor, 264, 266
Humann, Carl, 92
“Hylas and Nymphs,” by Gibson, 282, 283

Ictinus, 28, 32
Idealistic school of Praxiteles contrasted with realistic
school of Lysippus, 70
Idrac, Antoine, 270, 293
“Mercury inventing the Caduceus,” 270
Ignatius of Loyola, 215, 216
Ilaria del Carretto, Tomb by Quercia, 178
“Immaculate Conception,” by Puget, 236-237
Imperialism
Failure of, in Athens, 44-49
Roman, 117-141
Founded by Julius Cæsar, 129
Effect on sculpture, 130
Climax under Trajan, 132-136
Effect on sculpture, 131, 135, 136
Reaction under Hadrian, 136
Effect on sculpture, 138
Downfall of, 139, 140
Effect on portraiture, 140
British, 133-136, 257, 258
Impressionist sculpture compared with Impressionist painting, 278
India, 84, 133
Individualism
In fifth-century Hellas, 15-17, 109, 110
Growth of, in fourth century, 44, 49, 55, 56
Effects on sculpture, 49-53, 54, 55, 69, 75
In Hellenistic age, 101, 109, 110
Effects on sculpture, 110-113
Absent in Roman Empire, 130-132, 136
In Italian city-states, 176, 177
Modern individualism, 109, 110, 262, 264
Effects on French sculpture, 265, 266
Of Rodin, 273, 279
Effects on English sculpture, 293, 302
Innsbruck, 223
Ionia, 11
Ipsus, Battle of, 86
“Irving, Henry, as Hamlet,” by Onslow Ford, 299
Isis, Temple of, 98
Italy
Philosophy compared with Northern mysticism, 152, 153, 221-223
Circumstances after twelfth century, compared with French, 152-154
Struggles between Emperor and Pope and city and city, 153, 160
Pisa, 154-158
Slow growth of sculpture compared with Greece, 159-160
All centres of culture assist in moulding Italian Renaissance, 160
Florence, 161-173, 181, 182
Platonists, 173-178, 188
Indebtedness to Greek sculpture, 174, 176
Individualism in, 176, 177
Educational ideals, 174, 175
Status of sculptors compared with Gothic, 177, 187
The Medici, 181, 182
Michael Angelo, 183-197
Catholic Church in fifteenth and sixteenth centuries, 190
Political circumstances in early sixteenth century, 194-197
Political circumstances between 1527 and 1580 A.D., 198-203
Absence of political stability, 200
Decline in morality, 201
Cellini, 203-210
Catholic Reaction, 212-218
During Austrian ascendency, 200, 218
Canova, 246-256
Influence upon France, 228, 237
Influence upon England, 256, 257
Ivory, 36, 38

Jacopo della Quercia. _See_ Quercia
Jahn, Otto, 128
“Jason,” by Thorvaldsen, 251
Jerusalem, capture of, 154
Jesuits, 213, 215
“John the Baptist,” by Ghiberti, 171
John of Douay. _See_ Giovanni da Bologna, 210
John, Goscombe, 288
“John, Saint,” by Dubois, 270
By Rodin, 273, 277
Joseph’s “Wilberforce,” 284
Julius II., Tomb of, 189-191
Juste, Jean, 225, 226

King Arthur, by Peter Vischer, 223-224
Kipling, Rudyard,
Comparison with sculptor of Nerva, 134, 135
Kneller (painter), 259
“Kiss, The,” by Rodin, 275, 276

Lambeaux, Jef. (Belgian sculptor), 237
Lambeth School of Art, 288, 289
“L’amour Menaçant,” by Falconet, 242
Lansdowne House, statue of Heracles, 74
Lanteri, Professor, 288
Laocoon Group, 93-97, 228
“Laocoon” of Lessing, 248
Lastricali, Alessandro, 207
Laurion silver mines, 67
Le Brun, Charles, 237, 240
Legros, A., 287
Leighton, Lord, 281, 287
“Athlete struggling with Python,” 281, 287, 288, 293
Lemoyne, 242
Lennox, Charles, Duke of Richmond, 260
Le Notre, André, 238
Leopardi, The Colleoni Monument, 180
Leo X., 97, 190, 192
Lessing, 248, 255, 260, 282
Library of Hadrian, 137
Lichfield Cathedral, 148
“Lion,” by Barye, in Louvre, 266
Lippi, Filippino, 187
Liverpool Walker Art Gallery, 291
Livia, Villa of, 128
Loggia dei Lanzi, 187, 202, 209
Lombardy, 145
London County Council, 296, 302
Lorenzo de Medici
Pericles of Italian Renaissance, 181, 182
Sculptors at his court, 182, 185, 187, 188
Medici tombs, 192
Lorenzo of Urbino, 192
Tomb in Medici Chapel, 192-197
Statue by Michael Angelo, 195
Louis XI., 225
Louis XII., 227, 228
Tomb of Jean Juste, 225-226

Louis XIV.
Political circumstances under, 233, 234
Necessity for extreme centralisation, 233, 234
Building of Versailles, 234, 236, 240
Gardens of Versailles, 238, 239
Pierre Puget and, 236, 237
Marquise de Montespan and, 232, 233
Louis XV.
Popularity of single figures and statuettes, 240
Pigalle and, 241, 242
Louvre
Works in, 106, 236, 242, 244, 254, 266, 267
Preferred by Colbert to Versailles, 235, 236
Dalou, curator of, 272
Lovelace, 257
Luca della Robbia
Singing Gallery (Cantoria), 178, 179
“Visitation” at Pistoja, 179
Humanity of his religion, 179
Comparison with Donatello, 179
Relation to Michael Angelo, 184
Lucca, 154
Lucian, 36, 79
Ludovisi Villa, 89-90
Leubke, Dr., and “Ares Ludovisi,” 72
Luther, 224
Luxembourg, works in, 270, 272, 273
Value to French sculpture, 280, 281
Lycæan Gymnasium, Athens, 67
Lycurgus (The Athenian), 66, 67
Lysimachus, 86, 90
Lysippus, 65-80
Historical circumstances of his age, 66-68
Effect on sculpture, 68, 69
“Apoxyomenus,” 68-75
Characteristics of his style, 68, 70-75
Portraiture of, 77-80
Portrait of Alexander, 78, 79
“Ares Ludovisi,” 72
“Agias,” 73, 74
“Cerigotto Bronze,” 103
Hercules, type fixed by, 101
His preference for bronze, 68
Followers of, 79, 84, 100, 104, 120
Lysistratus of Sicyon, 79

Macedonia. _See_ Alexander
MacDowell, Patrick, 281, 284
“Madonna,” by Ugolino, 171
“Madonna della Guardia,” 10
Mæcenas, 125
Malatesta, Signor, 163
Magliabecchian Library, 162
Maison Carré at Nîmes, 137
Mantegna, 184
Mantinea, Battle of, 66
Mantua, 174, 175, 181
Marathon, 26, 28
Marble
Copies of bronze originals, 24, 68, 90, 105, 120
Pentelic, 29
Praxiteles’ use of, 58
Bronze preferred by Polyclitus and Lysippus, 68
In “Dying Gaul,” 90
Marcus Aurelius, 139
“Mark, St.,” by Donatello, 172
Maria della Vittoria, St., 216, 217
Marius, 124
“Marseillaise,” by Rude. _See_ Chant du Départ
Marshall, W. Calder, 284
“Maternity,” by Dalou, 299
Matilda, 153
“Matthew St.,” by Ghiberti, 172
Mausoleum
Of Halicarnassus, 48, 49
“Charioteer,” 50, 74
Mausolus, statue of, 50
Maximilian, tomb of, 223-224, 298
Mazarin, 234
Mazzini on Italian liberty and art, 200, 201, 218
Medici Family
Donatello and, 173
Relation to Florentine art, 181, 182
Medici Chapel, 189, 191-197
Michael Angelo and, 187, 188, 191, 192
The Papacy and, 191, 192
In sixteenth century, 199
Patron of Cellini, 205
Catherine of Medici, 225
“Meleager,” 71, 72
Melos, 42, 112
Menelaus, 122
“Menelaus and Patroclus,” 53, 75
Mengs, Raphael, 246
“Mercury,” by Pigalle, 242
“Mercury inventing the Caduceus,” by Idrac, 270
Metal additions in statuary, 29, 76
Metopes, Parthenon, 29, 30
Meunier, 292, 293
Michel, Claude François. _See_ Clodion
“Michael and Satan,” by Flaxman, 261
Michael Angelo, 183-197
Laocoon group, opinion upon, 94
Donatello’s “St. Mark,” opinion of, 172
Apotheosis of Italian sculpture compared with Shakespeare
and Phidias, 161, 183
Historical circumstances of, 181, 182, 194, 196, 197
Why worked early sixteenth century, 161, 180-184
Early life, 184
Court of Lorenzo de Medici, 185
“David,” 185-188
“Pieta,” 188, 189
Work for Papacy, 190, 218, 247, 250
Tomb of Julius II., 189-191
Medici Tombs, 191-197
Artistic philosophy of, 192, 193
Preference for male form, 193, 194
Savonarola, influence of, 196
Correggio, comparison with, 195
Cellini and Bologna, comparisons with, 203, 210, 211, 212, 218
Rodin’s impressionism compared with Angelo’s method, 278
Alfred Stevens and, 286
Milan, 153, 160, 181, 201, 228
“Milo of Crotona,” by Puget, 236
Milton, 256
Mithridates, 119, 124
Mona Fiore da Castel del Rio, 206
Monciatto, Francesco, 187
Moneychangers, Guild of, Florence, 171
Montefeltro, 181
Montespan, Marquise de, 232, 233
Montesquieu, 232
Moody, the decorator, 286
Moricière, General de la, 270
“Moses,” from Tomb of Julius II., 190, 191
“Mower,” by Meunier, 292, 293
“Mower,” by Thornycroft, 291, 292, 293
Mullins, Roscoe, 288
Murray, Dr., 122
Museo di Santa Maria del Fiore, Florence, 179
Musée des Arts Décoratifs, 275
Music, 149, 217, 223
Mycenæan age, preface, 7, 9
Myron, 31, 36
“Discobolus” 15, 20-22, 23-24
“Mysteriarch,” by Frampton, 301

Nantes, Cathedral of, 270
Naples, 160
National Museum, 12, 14, 97, 129, 173
Napoleon, 250, 251, 254, 264
Colossal statue by Canova, 250
“Narcissus” at Naples Museum, 173
National Assembly, 253
National Gallery, London, 187, 281
Nationalism, preface
Definition of, 302, 303
In Greece and N. Italy. _See under_ City-state system
In seventeenth-century France, 226, 227, 234
Of to-day, compared with Hellenic, 245, 281
Naturalism
Growth in Greece, 11-14
Absence in Byzantine Art, 140
Growth in Italy, 155-158
Influence of Francis of Assisi, 156, 157
In modern French sculpture, 265-267
In modern English sculpture, 285-288
Naxos, 12
“Neapolitan Fisher Boy,” by Rude, 254
By Carpeaux, 267
“Necropole Royale de Sidon,” 76
Neo-classical Revival, 246-252
Nerva, 131, 132
Comparison with “Augustus” and “Antinous,” 131, 138
Sculptor of, comparison with Kipling, 134, 135
Nesiotes, 14
Netherlands, 145
Nicea, decree of Council at, 141
Nicholas V., 190
Nicias, painter of Praxiteles’ statuary, 62
Nietzsche upon Greek art, 15
“Night,” by Michael Angelo, 193-197, 278
Nightingale Monument, by Roubilliac, 257
“Nile,” statue of, 97, 98
Nîmes, Maison Carré at, 137
Niobe Group, 51-53
Authorship doubtful, 51, 75
Historical circumstances of, 46-49, 195
Copies of Greek originals, 51
Compared with Pergamene and Rhodian art, 52, 97
Noailles, Hotel de, 235
Nollekens, 284
Normandy, 145
Northern Europe, Mysticism of, 221-223
Effect on sculpture, 222-223
Nôtre Dame, 148

Olympia, 57, 119
Olympian Games. _See_ Athletic Statues
Opera del Duomo, Florence, 187
Opera House, Paris, 268
Orcagna, 170, 171
“Orestes and Electra,” 122
“Orpheus,” by Swan, 301
Or San Michele, 168-173, 179, 180, 199
“Outram, Sir James,” statue by Foley, 285

Padua, 175
“Paetus and Arria,” 89
Painting, influence on Renaissance sculpture, 157, 161, 167
Pajou, 257
Palgrave, F. T., 283, 284
Palazzo Vecchio, 187
Pan-Athenaic procession on Parthenon frieze, 30
Panathenaic Stadion, Athens, 67
Pan-Hellenic League, 27
Pantheon, Paris, 276
“Pandora,” by Bates, 300
Paola and Francesca, 275
Papacy. _See_ Catholic Church
Paris, 254, 289
Park (sculptor), 284
Paros, 12
Parthenon, 28-33
Gothic Cathedral compared, 147-149
Statuary on, 29-31, 150-151
Parthian War, 133, 137
Parma, 195
Pasiteles, school of, 121-123
Pater, Walter, 80, 96, 126
Pauline Borghese, Statue by Canova, 249-250
Pausanias, 120
“Zeus,” by Phidias, 37, 38
“Hermes” of Praxiteles, 57
Scopas and Temple of Athena at Tegea, 72
Library of Hadrian, 137
Paul III., 213
Pavilion de Flora, Paris, 267
Peloponnesian War, 114
Pentathlon, 20, 24
“Pentathlon Winner” of Alcamenes, 23
Pentelicus, Marble Quarries, 29
Pergamus, Kingdom of, 88-93
Gaulish invasion, 90, 91, 107
Effect on sculpture, 88-92
“Dying Gaul,” 88-92
Altar of Zeus, 91-93
Loss of emotional balance, 92, 93
Absence of great masters, 100
Comparison with Hellenistic Greece, 100
Willed by Attalus III. to Rome, 116
Pericles, 26
Characterised, 77
Statue by Cresilas, 77-79, 126, 127
Creator of Parthenon, 32
His political purpose, 32, 33, 46
Compared with Lorenzo de Medici, 181, 182
“Perixyomenus” of Diappus, 74
“Perseus and Andromeda,” by Puget, 236
“Perseus,” by Cellini, 205-210
Persia, 26-28, 84, 91, 106
Perugino, 179
Pharsalia, 124
Phidias, 84, 161
Argive School, connection with, 23
Early life, 28
Parthenon, 28-32
Athena, statue of, 28, 29
Pedimental groups, 29, 30, 31
Frieze, 29, 30, 31
Metopes, 29, 30
Zeus, chryselephantine statue of, 36-38, 41
Death at Elis, 31
Praxiteles, compared with, 64, 114, 195
Gothic sculptors, compared with, 151
Giotto, compared with, 157
Rodin and, 279
Philetairus, 90
Philip of Macedon, 66
Philippe, Louis, 255
Philosophy, Hellenic, 39, 40, 221-223
Phocion, 67
Statue of, 77, 78
“Augustus,” compared with, 127
“St. Mark,” by Donatello, compared with, 173
Phryne, 59-61
“Eros” of Praxiteles and, 60, 61
“Aphrodite of Cnidus” and, 61-63
French courtesans compared with, 232, 233
Pauline Borghese compared with, 249, 250
Piero di Cosimo, 187
“Pieta” of Michael Angelo, 188-189
Pigalle, Jean Baptiste, 241
Tomb of Marshal de Saxe, 241-242
“Mercury,” in Louvre, 242
Pilon, Germain, 225, 226, 227
Pisa, 153, 154-158
Second crusade, 154
Growth of prosperity, 154
Really an aristocracy, 154, 169
Sculpture, eclectic character of, 155, 156, 174
Captured by Florence, 169
Fifteenth-century Italian sculpture compared with, 177, 178
Pisano, Niccola
Architect, 155
Græco-Roman influences, 155, 156
Gothic sculpture compared, 155
Quercia compared with, 178
Giovanni, compared with Niccola, 156, 157
Gothic influences, 156
Andrea, compared with Niccola, 157, 158
Giotto, influence of, 157
Pictorial character of work, 158
Florentine Baptistery, 158, 162, 164
Pisistratus, 12, 13, 154
Pius IV., 213
Platonists, Italian influence of, 173-179
Plessis, Hotel du, 235
Pliny, 73, 120
Lysippus and followers, 70, 74, 79
Hellenistic realists, 103
Rhodian Colossus, 104
Pasiteles, 121, 122
Plutarch, 78
Poetry, 217, 223
Pollaiuolo, 184
Polyclitus
Head of Dorian school, 22, 23
Compared with Phidias, 31
Compared with Praxiteles, 64
Compared with Lysippus, 68, 69
“Hera,” chryselephantine statue of, 36, 38, 41, 42, 157
“Diadumenus,” 22
“Doryphorus,” 22, 23
Preference for bronze, 22, 68
Polydorus, 94
Polygnotus, 114
Polyzalus, 14
Pomeroy, F. W., 288
Pompadour, Madame de, 243
Pompeii, evidence of wall paintings as to colouring statuary, 129
“Narcissus,” found at, 173
Pope’s “Rape of the Lock,” 114
Porte de l’Enfer. _See_ “Gate of Hell,” by Rodin
Portraiture
Greek, 77-79
Fifth century compared with fourth and Hellenistic, 77-79
Hellenic compared with Roman, 125, 127, 131, 132
Roman, 125-136
“Julius Cæsar” and “Augustus” compared with “Pericles”
and “Phocion,” 125-127
Imperialism and Roman, 131-136, 140
Comparison with style of Kipling, 134, 135
“Nerva,” statue of, 131, 132, 135
“Voltaire,” by Houdon, 244, 245
Poseidon and Athena on Parthenon pediment, 29, 31
Poussin, Nicolas, 240
Pradier, 265
Praxiteles
Historical circumstances, 44-49
Social circumstances, 55, 56, 58, 59
Characteristics of his art, 57, 61, 63, 64, 211
Lyrical note in art of, 54
Influence of Greek womanhood, 58-60, 110, 111
Phryne and, 60-63, 232, 249
Female form, preference for, 193, 194
Marble, preference for, 58
“Hermes,” 57, 107, 120
“Hermaphroditus,” 194
“Aphrodite of Cnidus,” 61-63, 111, 195
“Barberine Hera,” 42
Ceramicus, statue in, 55
Lysippus, compared with, 65, 66
Michael Angelo, compared with, 193-195
Followers of, 84, 105-115
Primaticcio, 228, 229, 257
“Prince,” Terme Museum, 121
Prince Consort, 284
Prix de Rome, Grand, 244, 254, 267, 269
Propylæa, 77
Ptolemy, 86
Puget, Pierre
His early life, 237, 251
Visit to Italy, 237
Connection with Louis XIV., 236
Influenced by Catholic reaction, 237
“Milo of Crotona,” 236
“Perseus and Andromeda,” 236
“Immaculate Conception,” 237
Introducer of “morbidezza,” 237
Pythis, 50

Quercia, Jacopo della
Competes for Baptistery gates commission, 163, 169
Compared with the Pisani, 177
Tomb of Ilaria del Carretto by, 178, 226
Quincey, De, 115

Rambouillet, Madame de, 232
“Rape of Proserpine,” by Girardon, 211
Raphael 184, 228, 250, 261
Rasbourg, Van, 273
Ravenna, basilicas of, 145
Realism
In art of Lysippus, 65-80
In Hellenistic art, 101-104
In Roman portraiture, 131, 135
Modern French realists, 272
Reformation, 213, 224
Religion
Greek, 16, 34, 35, 36, 39, 222, 223
Early images, 8-11, 18, 19
Religious statuary in Fifth Century, 28, 29, 33-43
Compared with Gothic, 148, 152
Sense of, dulled in Fourth Century, 63
Effect on sculpture, 41, 42, 57, 63
Christianity, influence of, 43, 140, 141
Gothic, 145-154, 222, 223
Effect on sculpture, 149-152
Italian, 153, 157, 179, 196, 202
Reformation, effects of, 213, 224
Catholic reaction, effects of, 212-218, 237
Rembrandt, 222, 261
Revolution, French, 253, 264
Reynolds, Sir J., 256, 262
Rheims, 148
Robbia, The della. _See_ Luca della Robbia
Rhodes, 93-97, 100
Compared with Hellenistic Greece, 100
Influence upon Rome, 120
“Laocoon group,” 93-97
“Farnese Bull,” 97
“Colossus” at, 104
Richelieu, Cardinal, 234
Richmond, Charles Duke of, 260
Robespierre, 256
Rochester, 46, 257
Rodin
Early life, 272
Fails to enter École des Beaux Arts, 271
Pupil of Barye, 266, 272, 273
“Age of Brass,” 273, 275
“St. John the Baptist,” 273, 277
“The Kiss,” 275-276
“The Thinker,” 276
“Danaid,” 274
“Gate of Hell” (Porte de l’Enfer), 274-276
Attitude towards human form, 277
Impressionism compared with Rosso’s, 278, 279
Philosophy based on Dante and Baudelaire, 275
Sympathy with Gothic ideal, 279
Compared with English sculptors, 290-291
Influence upon Meunier, 292
Roman Catholic Church. _See_ Catholic Church
Romantic movement, 264
Effect on sculpture, 265, 266
Rome
Conquest of Greece, Syria, Egypt, 116
Republican age, 117-125
Culture borrowed from Greece, 118-121
School of Pasiteles, 121-123
Imperialism, rise of, 124-131
Augustan age, 129, 130
Climax under Trajan, 131-136
Effect on sculpture, 131, 136
Portraiture, 125-127, 131-136, 140
Reaction under Hadrian, 136-138
Reversion to Greek models, 137, 138
Post-Hadrian sculpture, 138, 139
Germanic invasion, 139, 140, 146
Christianity, influence of, 140, 141
Pisani, influence of Roman art upon, 155
Michael Angelo in, 190, 191
Sack of, 198, 199, 204
Morality, decline of in sixteenth century, 196, 201, 202
Effect on sculpture, 202, 203
Catholic Reaction, 212, 218
Historical circumstances, 212-214
Ideals of, 215, 216
Effect on sculpture, 214, 218
Austrian ascendency, 200, 218
Neo-classical revival, 247, 251, 252, 261
Romney, 232
Roselli, Cosimo, 187
Rosso, Il (painter), 205, 228, 229
Rosso (sculptor), 278, 279
Roubilliac, 257
Rouen, 230
“Rowland Hill,” by Onslow Ford, 299
Royal Exchange, 299
Rude, François, 253-256
Early life, 254
École des Beaux Arts, and 254
French sculpture, after, 265
“Neapolitan Fisher Boy,” by, 254
“Chant du Départ,” 255, 267
Master of Carpeaux, 267
Rue de l’Université, Paris, 275

“Sabine Women,” by David, 253
“Sacrifice of Isaac,” by Brunelleschi and by Ghiberti, 163
Saida (Sidon), 76
Salamis, 26, 28
Salisbury Cathedral, 148
Salon, 265, 273, 274
Salon of Venus at Versailles, 239
Salvestro, the jeweller, 187
Samos, 77
Sandwich, fourth Earl of, 259
San Gallo, Giuliano di, 187
Santa Sophia, 145
“Sarcophagus of Alexander,” 76
Sarcophagi, Roman Pisa, 155
Sarto, Andrea del, 257
“Satyr and Nymph,” by Clodion, 243
“Satyr with Flute,” by Clodion, 243
Savonarola, 195-196
Saxe, Marshal de, tomb by Pigalle, 241
Schubart, Baron de, 251
Science, growth of, in fifth-century Greece, 39-41
Scholasticism, 165
Scopas, 42, 44
Historical circumstances, 45-49
Growth of individualism, 53-56
Passionate note in his art, 53, 64, 75, 101
Athenian by adoption, 48
Temple of Athena at Tegea, 48, 72, 73
Mausoleum, 49-51
“Menelaus and Patroclus,” 53, 75
“Niobe,” 51-53, 75, 195
“Ares Ludovisi,” 71, 72, 74
“Meleager,” 72-74
“Venus of Milo,” 113
Scotland, 213, 258
Scott, Sir Gilbert, 284
Scott, Sir W., 266
Sculpture and Sculptors
Prehistoric, 6
Birth of the art, 7-11
Limitations compared with painting and poetry, 167, 197, 222, 223
Impressionism in, 278, 279
Sculptors’ dependence upon human form, 16, 17, 18, 69, 152, 164,
165, 172, 193, 194, 215, 216, 277
Sculptor’s relation to his age, 4, 302, 303
Settignano quarries, 184
Seleucia in Pieria, 87
Seleucus, Empire of, 83, 86-88, 116
Seleucus Nicator, 86
“Seated Boxer,” Terme Museum, 121
Sepulchral statuary
Greek legislation against, 54, 55
Ceramicus at Athens, 54, 55
Mausoleum of Halicarnassus, 49-51
“Sarcophagus of Alexander,” 76
Roman sarcophagi at Pisa, 155
Tomb of Ilaria del Carretto, 178
Tomb of Julius II., 190, 191
Medici tombs, 191-197
Tomb of Maximilian, 223, 224
Tombs at St. Denis, royal, 225, 226
Tomb of Marshal de Saxe, 241
Duke of Clarence Memorial, 297, 298
Sforza, family of, 181
Shelley, 264
Shakespeare, 46, 114, 183, 256
Shaftesbury Memorial, by A. Gilbert, 295, 296
Sicyon, 79, 87, 108
Signorelli, 179
Siena, 160, 163, 171, 178
Silk Merchants’ Guild of Florence, 171
Simonetta, La Bella, 232
Sistine Chapel, 191
Skeuotheke of Philo, 66
Society of Dilettanti, 8, 260
Socrates, 210
Sophocles, 114
Statue of, 77, 78, 173
Soranzo, Giacomo, 201
Sosthenes, 106
South Kensington School of Art, 272, 288
Spain, 213
Sparks (Lambeth School of Art), 288
Sparta
Insistence upon physical fitness, 17-19
Patronise Olympian games, 20
Argive school, relationship with, 22-24
Spartan supremacy, age of, 46, 48
Imitated in revolutionary France, 253
“Spartan Girl,” 17, 122
“Spring,” by Botticelli, 196
St. Angelo, Castle of, 204, 205
St. Denis, royal tombs at, 225, 226
St. Maclou, 230
St. Paul’s Cathedral, 285
St. Peter’s, Rome, 190, 214
Statuettes, modern, 299
“Stephen, St.,” by Ghiberti, 172
Stevens, Alfred
Visit to Italy, 285
Decorative designer, 286
Fireplace at Dorchester House, 286
Michael Angelo, indebtedness to, 286
Wellington Memorial, 285, 286, 291, 295
“Baptist of English Naturalism,” 286, 287
Stone, Nicholas, 257
Stroganoff, Count Sargei, bronze statuette of, 106
Strozzi, epigram on Angelo’s “Night,” 197
Sully, 234
Swan, J. M., 290, 301
Sykes, Godfrey, 286
Symonds, J. A., 196, 277
Syracuse, 14, 47, 119
Syria. _See also_ Seleucus, empire of, 84, 124

Tate Gallery, 282, 284, 287, 288, 290, 300
Taygetus, Mount, 18
Tegea, Temple of Athena Alea at, 48, 72
Temple Statuary. _See_ under Religion
Terme Museum, Rome, 115, 121
Terra-cotta, 179
Theban supremacy, 46, 48, 66
Theed, “Africa,” in Albert Memorial, 285
Theodora, Empress, decree regarding sculpture, 141
Theresa, Saint, 216, 217
Statue, by Bernini, 216, 217
“Theseus,” from Parthenon, 31, 248
Thespiae, “Eros” of, 61
Thetis, Temple of, 238
“Thetis and Achilles,” by Banks, 284
“Thinker,” by Rodin, 276
Thomson, James, 95, 105
Thornycroft, the elder, 285, 291
Thornycroft, W. Hamo, 290-293
Defeats Gilbert for Academy Gold Medal, 291
“Warrior bearing Wounded Son from Battle,” 291
“Mower,” 291-293
Thorvaldsen
A borrowed Hellenism, 174, 247, 254, 262, 281
Early life, 251
Visit to Rome, 247, 251, 261
Compared with Flaxman, 261, 262
“Jason,” 251
“Cupid and Psyche,” 251
“Venus,” 252, 284
Thrasymedes of Paros, 42
“Three Fates” from Parthenon, 31, 261
Throne Room at Versailles, 239
“Tiber,” 98
“Tinted Venus,” by Gibson, 282, 284
Titian, 184
Titus, Baths of, 94
Tomb of Francis II. of Brittany, by Colombe, 225
Torrigiano, 256, 257
Toto, Antonio, 257
Tours, school of, 225
Trajan, 132, 133, 137
Transtevere, Vicolo delle Palme in, 68
Trent, Council of, 202
“Triumph of Athena” from Pergamus, 92
“Triumph of Silenus,” by Dalou, 272
“Truth tearing out Tongue of Falsehood,” by Stevens, 286
Tuileries, palace of, 267
Turner (painter), 264, 266, 277
Turquet, M., 273
“Tyche of Antioch,” 87, 96

Uccello, 164
“Ugolino and his Sons,” by Carpeaux, 267
Urban VIII., 214
Urbino, 181

Vasari, 173
Vatican, works at, 24, 51, 62, 68, 71, 87, 89, 97, 105,
122, 125, 131, 138, 190, 191
Venice, 160, 200, 251
Venus. _See also_ Aphrodite
Of Capua, 113
Of Medici, 112, 261
Of Milo, 71, 112, 113
By Thorvaldsen, 252
In mid-Victorian times, 284
Verocchio, Andrea del, 179-180, 184
“Doubting Thomas,” by, 179-180
Colleoni monument, by Leopardi and, 180
Versailles, palace of, 234-240
Historical necessity for, 234, 235
Palaces of nobility at, 235
Preferred by Louis to Louvre, 235, 236
Sculpture at, 211, 237-239
Victoria Memorial, 290, 294
Villevieille, Marquis de, 244, 245
Vinci, Leonardo da, 184, 187
Virgil, 94, 95, 125, 129, 175
Virgin, Michael Angelo upon the, 188-189
Vischer, Peter, 223, 225, 297, 298
Maximilian Tomb, 223, 224, 226
Age of reformation, 224, 297
Visconti, family of, 181
Vittorino of Feltre, 174-175
“Voltaire,” by Houdon, 244-245

Waldstein, Dr. and “Ares Ludovisi,” 72
Walker Art Gallery, 291
Wallace Collection, 243
Walpole, Sir Robert, 258
Walpole, Horace, 259
“Warrior bearing Wounded Son from Battle,” by Hamo Thornycroft, 291
Watteau, 240, 242
Watts, G. F., 165
“Clytie,” 287
Watson (sculptor), 284
Watson, William, 149
Wedgwood, 261
Wellington Memorial, by Stevens, 285, 286
Westmacott, 281, 284
Westminster Abbey, 257, 284
Westphalia, Peace of, 234
Whistler, 291
Wickhoff, on Roman portraiture, 131
“Wilberforce,” by Joseph, 284
Wilton, 260
Winckelmann, 246, 248, 255, 260, 261, 281
Windsor, Clarence Memorial at, 297-299
Wolsey, Cardinal, 256
Wolsey Chapel, Windsor, 297
Women
Physical training of Greek, 17
Position in fifth century B.C., 58, 59
Effect upon sculpture, 17, 42, 58, 111
During fourth century, B.C., 60, 61
Effect upon sculpture, 60, 64, 111, 233, 249, 250
During Hellenistic age, 110-111
Effect upon sculpture, 111-113
During French monarchy, 230-232
Influence upon sculptors, 233, 241-243
Pauline Borghese and Canova, 249, 250
Wood, Early Temple statues in Greece, 8, 9
Wool Merchants Guild of Florence, 172
Woolner, 284
Wordsworth, 157
Wren, Sir C., 256
Wyatt, 281, 284

Zethus, 97
Zeus, 33-36
On Parthenon pediment and frieze, 29-31
Chryselephantine statue, by Phidias, 36-43
Otricoli, 41, 42
Altar of, at Pergamus, 91-93, 112, 130

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