NB
33
.C15
B 917,941
UNIVERSITY OF CALIFORNIA.
7
Library Bulletin No. 6.
Photographs of Sculpture
PRESENTED BY
JOHN S. HITTELL.
[Supplement to the Report of the Secretary of the Board of Regents.
EUREKA
BERKELEY.
1885.

ARTES
1837
SCIENTIA
VERITAS
LIBRARY
OF THE
UNIVERSITY OF MICHIGAN
E-PLURIBUS UNUM
TUEBUR
SI-QUAERIS FENINSULAM·AMOENAM
CUMSPICE
CIRCUM

UNIVERSITY OF CALIFORNIA.
NB
33
.015
LIBRARY BULLETIN NO. 6.
PHOTOGRAPHS OF SCULPTURE
PRESENTED BY
JOHN S. HITTELL.
[Supplement to the Report of the Secretary of the Board of Regents.]
BERKELEY.
1885.
!

The following are the addresses of some leading dealers in photographs
of statuary:
LONDON.-W. A. Mansell & Co., 316 Oxford Street, London W.
Catalogue of photographs of British Museum collections, 120 pp. (12 cents).
London Stereoscopic Company. 108 Regent Street.
Edgar Lincoln. 239 High Holborn (Catalogue gratuitous).
Spooner. 329 Strand.
LIVERPOOL.-Philip. 49 South Castle Street.
PARIS.-A. Block. 8 Rue Vivienne (Catalogue, 1882-3, gratuitous).
A. Foncelle. 3 Quai Malaquais.
Giraudon. 15 Rue Bonaparte.
Hautecoeur. 35 Avenue de l'Opera.
Braun. Avenue de l'Opera.
Goupil & Cie. Avenue de l'Opera.
BERLIN.-Photographische Gesellschaft. Am Donhofs-platz.
Catalogue, 1883, 146 pp. (122 cents).
Hanfstaengl's Nachfolger.
MUNICH.-Schandri & Co. 8 Brienner Strasse.
B. Koestler. 35 Maximilian Strasse.
Lithauer.
FRANKFORT.-Carl Juegel's Nachfolger.
DRESDEN.-F. & O. Bruckmann's Nachfolger.
COPENHAGEN.-Johann Martinsen.
ROME.-Libreria Spithöver. 85 Piazzi di Spagna.
Catalogo delle photografie di Anderson, 1885, 46 pp. (gratuitous).
Alinari & Cook. 90 Via Corso.
R. Benvenuti. 92 Via Condotti.
L'Associazone Artistica Coöperativa. 75 Via Sistina.
GENOA.-C. Degoix. 7 Via Nuovissima.
FLORENCE.--G. Brogi. 1 Via Tornabuoni. (Catalogue, 1878, 234 pp., 1½ francs.)
Alinari Brothers. 20 Via Tornabuoni. (Catalogue, 1873, appendices 1876 and 1881;
each 13 francs.)
NAPLES.-G. Sommer. Largo Vittoria. (Catalogue, 1885, gratuitous.)
VENICE.-Carlo Ponti. Piazza di San Marco. (Catalogue gratuitous.)
BOSTON.-Soule Photographic Company. 338 Washington Street.
Catalogue 1883; supplement, 1884.
NEW YORK.-Kirschner. 10 East Fourteenth Street.
Photographs are sold most cheaply in Italy. Unmounted photographs, 8x10 inches, obtainable in Rome for
five or six francs a dozen, cost from ten to thirty or forty francs in Paris, Berlin, Munich, or London.
LIST OF PHOTOGRAPHS DONATED BY JOHN S. HITTELL.
INTRODUCTION.
The combination of monochrome, fixed position, and moderate size, in
statuary, enables the photographer to copy its beauties more fully and pre-
cisely than those of landscape, building, painting, or the human face. No
difficulty of adjusting a focus to a near foreground and a remote distance
at the same time; no disparity between the retina and the sensitized albu-
men in seizing the tone values of different colors; no fleeting expressions of
feature stand in the way of faithfully representing the modeling of marble.
Not only is sculpture far better suited than painting or architecture to
reproduction by photography, but the latter is also the most accurate
method of copying upon paper; being in this respect decidedly superior to
the various methods of engraving, great as the merits of these are in some
respects. Besides, the engravings are not only much more expensive, and
more troublesome to arrange in collections, because of irregularity of size
and greater thickness of paper, but they are also more rare; relatively but
few of the best statues having been well engraved. No comprehensive
collection of casts from the great statues has ever been made, and it is
impossible for the majority of people possessing cultivated tastes to visit
the galleries of Rome, Florence, Naples, Paris, Berlin, Munich, Vienna,
Copenhagen, and London, leaving out of consideration hundreds of famous
pieces of statuary elsewhere, many of them in private residences. Since
many great works of the chisel cannot be seen otherwise than in photo-
graphs, and since these show, with approximate fullness and correctness,
the beauties of sculpture, it is highly desirable that collections like this
should be provided as helps to public instruction.
The main purposes of this collection are two: first, to bring together for
the benefit of the people of California the largest obtainable number of
uniform copies of the best works of plastic art of all ages and countries;
and second, to show that our century competes creditably with the statuary
of antiquity, as shown in the remnants saved from its ruins. The ancient
statues have reputations established by time; they are nearly all owned by
a few national governments, and collected in a few galleries; views of them
may be taken without charge; and therefore cheap photographs of all are
obtainable. Not so with the productions of modern sculptors, many of
them not yet rewarded with the fame due them, scattered about in places
of which no record can be conveniently found, and in many cases kept out
of reach of the photographic art, because the author or owner of the
statue fears that familiarity with it will lessen its value. Thus it is that
it is no easy matter to learn the present situation of some of the notable
works of Canova, Thorwaldsen, and Gibson. To make a list of the lurk-
ing places of all the great pieces of recent sculpture would be a very
serious undertaking, and to get photographs of many of them is impos-
sible.
Some system of classification was necessary, and the question arose
whether the main basis should be time, country, or subject. If the princi-
pal purpose was to assist the student of the history of art, time should
determine the order, with country in subordinate position; if to interest the
4
public and aid the art student, subject should be preferred. The decision
was rendered in favor of the latter; and the categories of subject include:
I. Single female figures; II. Single male figures; III. Groups and eques-
trian; IV. Sepulchral and monumental; V. Reliefs. This arrangement,
also, is of value in showing deficiencies.
The ancient statues preserved to us are, with rare exceptions, either copies
or the works of inferior artists, mostly slaves. It was the custom of both
Greeks and Romans (and nearly all the best pieces of Greek sculpture now
in existence were found in Italy) to imitate, with modifications, the best
statues; but, as might have been expected, the imitations lacked the deli-
cate expression, the exact anatomy, the highly finished texture of the orig-
inals. The Hermes of Olympia (II:35), the Borghese Gladiator, the Venus
of Milo, the Laocoon, the Farnese Bull, the Faun of the Capitol, the Ludo-
visi Mars, and the Belvedere Torso, the Wearied Amazon, the Narcissus of
Naples, the Worshiper of Berlin, etc., are among the pieces presumed to be
Greek originals, and in regard to most of them the evidence is strong.
Doubt is thrown on the Laocoon by Pliny's statement that the original was
cut from one block of marble, while the work in the Vatican consists of
three pieces. Many connoisseurs think Pliny was in error.
+
Generally it will be observed that the antique faces are not remarkable
for beauty. They are heavy and dull, without those varied types of strong
and delicate feature, those serene, lively, majestic, and charming express-
ions which belong to superior humanity, and would be most becoming to
Gods and Goddesses. The existing remnants, give us, of consequence, a
very inadequate idea of the wealth of ancient sculpture. After the death
of the Emperor Julian, ecclesiastical zeal viewed with almost equal ani-
mosity the ancient superstition and the arts employed to provide splendid
decorations for its temples. Those statues unsuited-as nearly all were for
conversion into the conventional images of saints-were condemned to
destruction. Not only these, but the most beautiful variegated marbles
used in architectural work by the ancients, were thrown by the medieval
barbarians into the lime-kilns to furnish materials for their mortar. Most
of the statues saved from such destruction owe their preservation to the
fact that the buildings in which they stood fell into ruins and buried their
contents before the people in the neighborhood had exhausted the more
accessible materials for lime. In no case did governmental authority or
public opinion in any part of Greece or Italy continuously afford efficient
protection to an ancient statue.
Sculpture of high merit has been produced in three periods: First, Anti-
quity, between 450 B. C., and 750 A. D., in Greece and Italy. Second, the
Renaissance, from the fourteenth to the seventeenth century, in Italy; and
third, the Recent, or the nineteenth century, in Europe and America; or if
regard be had not to the countries where the sculptors were born, but
to those in which they received their artistic education, then in Germany,
France, and Italy. Recent sculpture is wonderful in the multitude and
variety of its productions, and still more wonderful in the brilliant promise
of its future. The signs of the beginning of a glorious era of sculpture are
more abundant than they were in the time of Pericles. Such men as
Houdon, Canova, Thorwaldsen, Gibson, Rauch, Drake, Enke, Schilling,
Dannecker, Benk, Carrière, Belleuse, DuPré, Carpeaux, Tantardini, and
Palmer, have given an impulse that will continue with increasing momen-
tum for centuries. The civilization of the present is safe from the greatest
danger which long threatened and finally overthrew the civilized rule of
antiquity. Industrial progress has combined superiority in arms with
superiority in intellectual refinement. The art treasures of the present are
in no danger from barbarian conquest or iconoclastic fury. National secu-
rity, popular enlightenment, a vast accumulation of wealth, a refined pub-
lic taste, the swift and wide flight of artistic fame, the instructive aid of
wood engraving and photography, the extensive demand for sculpture to
decorate private mansions, as well as public buildings and parks, the great
pecuniary and social rewards for successful artistic efforts, and the multi-
tude of art schools, art students, art publications, and local, national, and
international art exhibitions, are among the evidences that sculpture and
painting are on a flood-tide that will rise to a higher level than that of anti-
quity.
It is hoped that this collection will continue to grow, and that it will
receive the attention and aid of all educated Californians who travel
abroad, with the taste and the means to make suitable contributions.
Much is needed from Germany, France, Italy, Austria, England, and other
European countries; and the United States has at least a hundred pieces
of good statuary not here represented.
EXPLANATORY NOTE.
H.
Location of the original statue is indicated in parentheses; (Capitol), meaning Capitol-
ine Museum, Rome; (Naples), National Museuni, Naples; (Berlin), Königliche Museum,
Berlin; etc.
For the sake of abridgment much interesting information as to date and place of dis-
covery of antiques, restorations, etc., has been omitted.
The Latin, or more popular, names of ancient deities are employed.
Periods of ancient Greek and Roman sculpture referred to may be stated in general
terms to be:
1. Archaic: to about 460 B. C. (Myron, etc.)
2. Golden period: to about 400 B. C. (Phidias, Alcamenes, Polycleitus.)
3. Alexandrian: to about 320 B. C. (Scopas, Praxiteles, Lysippus.)
4. Hellenistic: to about 130 B. C. (Apollonius, Agesander.)
5. Graeco-Roman, or Roman: from about 140 B. Č. to decline of art after Hadrian.
In the body of the catalogue references are made to the following works:
Lübke, History of sculpture. 2d ed. 1878. 2 v.
Michaelis, Ancient marbles in Great Britain. 1882.
Mitchell, History of ancient sculpture. 1883.
Murray, History of Greek sculpture. 1880-3. 2 v.
Perkins, Historical handbook of Italian sculpture. 1883.
Perry, Greek and Roman sculpture. 1882.
The University Library contains many other works on fine art, of useful reference for
the student of sculpture.
To this collection Mr. Frank Happersberger has contributed photographs illustrative of
the Garfield monument at San Francisco.
In future supplements acknowledgment will be made to those presenting other photo-
graphs to fill numerous gaps.
SERIES I.-SINGLE FEMALE FIGURES.
1. Venus of Cnidos. (Vatican.)
This statue more nearly than any other resembles the masterpiece of Praxiteles. Lucian, in his
Amores and Imagines, phrases the universal esteem in which it was anciently held. Disfigured by
drapery, in pursuance of a papal order.
2. Venus of Cnidos. (Munich.)
Formerly in Braschi Palace. "Simple, pure, and graceful."
4. Venus dei Medici: front. (Uffizi.)
The inscription attributes this statue to Cleomenes, of Athens, son of Apollodorus, about B. C.
150. By Florentine critics and lately by Michaelis (Arch. Zeit. 1880, p. 13), the inscription has
been pronounced a falsification of the seventeenth century. A graceful variation on the Cnidian
original. "Not intended for a temple image; it is simply the embodiment of the highest ideal of a
lovely woman in the early springtide of her beauty, arrayed in all the external attractions which
can charm the senses of man."-Perry.
5. Venus dei Medici: left-front.
6. Venus dei Medici: left.
7. Venus dei Medici: back.
See Childe Harold, IV.: 49-53.
8. Venus dei Medici: bust.
10. Venus of the Capitol: front. (Rome.)
Work of the second century, B. C.
11. Venus of the Capitol: right-front.
6
14. Venus coming from the bath: Farnese. (Naples.)
Of the Roman period; in attitude of the Medicean Venus.
15. Venus Anadyomene: Pozzuoli. (Naples.)
Partly draped; with Cupid, dove, and sea-dragon.
18. Venus Sallustia. (Vatican.)
Portrait statue of Sallustia, wife of Alexander Severus.
20. Venus coming from the bath. (Louvre.)
21. Venus, Cupid, and Dolphin.
(Louvre.)
22. Venus and Cupid trying the armor of Mars. (Louvre.)
23. Venus coming from the bath. (Louvre.)
24. Venus coming from the bath. (Louvre.)
Small view of No. 20.
25. Venus coming from the bath: Farnese. (Naples.)
26. Venus and Dolphin. (Munich.)
Formerly in Bevilacqua Palace, Verona.
30. Venus Kallipyge: right. (Naples.)
Though attributed by some to Praxiteles, it is doubtless the product of a later century.
31. Venus Kallipyge: back.
33. Venus at the bath. (Where?)
34. Venus at the bath. (Vatican.)
36. Esquiline Venus. (Capitol.)
Of the later Greek period.
38. Venus Anadyomene: bronze statuette. (Brit. Mus.)
39. Venus torso. (Naples.)
42. Venus of Milo, Venus Victrix: front. (Louvre.)
Probably by [Ages] andros or [Alex] andros, of Antiocheia, Asia Minor. Found in 1820; 1. foot,
part of nose, lobes of ears restored by Lange. The "beau-ideal of proud, majestic womanhood."
43. Venus of Milo: front. (From Roman unrestored cast.)
44. Venus of Milo: right, unrestored.
47. Venus Victrix of Capua. (Naples.)
On the brow, Juuo's diadem; under 1. foot, Minerva's helmet. Arms restored by Brunelli.
48. Venus of Arles. (Louvre.)
Referred by Fröhner to the school of Praxiteles.
50. Venus Urania: the heavenly. (Uffizi.)
52. Venus seated. (Rome.)
53. Venus seated. (Rome.)
Draped from the waist.
55. Venus extracting a thorn. (Uffizi.)
58. Venus crouching in the bath: right-front. (Vatican.)
By Boupalos; after the original by Daedalus of Sicyon, of the school of Polycleitus; also attrib-
uted (Stark, 1860) to the later Daedalus of Bithynia.
59. Venus crouching: left-front.
60. Venus crouching: right-front. (Louvre.)
61. Venus crouching: right-front. (Louvre.)
Another repetition, different from No. 60; otherwise called Diana at the bath.
62-63. Venus crouching: unrestored, Venus de Vienne. (Louvre.)
66. Venus Genetrix. (Uffizi.)
Probably the best copy of Alcamenes' renowned "Venus in the Gardens."
70. Venus at the bath. (Louvre)
Other chief works are his Narcissus, and the following:
71. Diana at the bath. (Louvre)
74. Venus. (Rome)
75. Venus: Pauline Bonaparte. (V. Borghese)
77. Venus: front. (Copenhagen).
78. Venus: left-front; from cast in Rome.
80. Venus; in partly colored marble.
81. Venus: uncolored, large view.
83. Venus
84. Venus at the bath
90. Venus with mirror. (Rome)
95. Diana Agrotera, the Huntress. (Capitol.)
96. Diana Agrotera. (Vatican.)
98. Diana of Gabii. (Louvre.)
Referred to the Hellenistic period.
100. Diana seeing Endymion. (Vatican.)
104. Minerva Medica, Pallas Giustiniani. (Vatican.)
Of the Græco-Roman period; after the Phidian prototype.
108. Minerva. (Vatican.)
109. Minerva, Pallas Iliaca. (V. Ludovisi.)
Allegrain.
Allegrain.
Canova.
-Canova.
Thorwaldsen.
Thorwaldsen.
Gibson.
.Gibson.
Rinehart.
Macdonald.
[Modern.]
By Antiochus of Athens (?) "Able and careful copy of an older work."-Lübke.
110. Minerva, Athene Polias. (V. Albani.)
In the style of Phidias' Minerva Promachus. See Winckelmann, 1: 476.
111. Minerva. (Louvre.)
Bears a scale1 ægis on advanced 1. arm.
112. Pallas Athene..
114. Juno: Barberini; front. (Vatican.)
115. Juno: Barberini; right-front.
116. Juno. (Naples.)
.Benk.
7.
120. Juno Romana; bust. (Naples.)
See Mitchell, p. 392. "An echo of a strong time."
121. Juno; bust. (V. Ludovisi.)
*
In this "the divine and human, the goddess and the woman are exquisitely blended.”
124. Juno Sospita, the Protectress. (Vatican.)
Otherwise, Juno Lanuvina, as worshiped at Lanuvium.
128. Wearied Amazon: Mattei. (Vatican.)
This type of Amazon "is, on good grounds, referred to Polycleitus." Except restored quiver and
1. fore-arm, this figure is exactly similar to the Berlin and the Lansdowne copies. See Michaelis,
Anc. marbles, p. 462.
129. Wounded Amazon. (Vatican.)
Ascribed to Cresilas, contemporary of Polycleitus.
131. Caryatide. (Vatican.)
Ancient copy of those of the Erechtheum (Athens) of time of Phidias.
133. Ceres, Demeter. (Vatican.)
134. Fortuna, or Abundance. (Vatican.)
135, Urania. (Vatican.)
137. Flora: Farnese. (Naples.)
138. Flora. (Capitol.)
141. Pudicitia, Modesty. (Vatican.)
Head modern.
148. Comedy. (Vatican.)
150. Terpsichore. (Vatican.)
151. Euterpe. (Naples.)
152. Melpomene; colossal. (Louvre.)
Holds mask of Hercules.
156. Priestess. (Uffizi.)
Head and 1. hand modern.
157. Sabine Priestess. (Loggia de 'Lanzi.)
160. Danaide. (Vatican.)
161. Scold. (Capitol.)
162. Old Shepherdess. (Capitol.)
170. Julia, daughter of Titus. (Vatican.)
With singular coiffure.
171. Agrippina seated. (Capitol.)
172. Agrippina the Younger. (Naples.)
From the Berlin cast. Represents the mother of Nero at an advanced age. "Full of pathos."
180. Sleeping Ariadne, formerly Cleopatra. (Vatican.)
Drapery is managed with consummate skill."
181. Cleopatra. (Vatican.)
182. Cleopatra: bust. (Naples.)
Roman portrait sculpture.
183. Berenice: bronze bust. (Naples.)
184. Victory: bronze from Pompeii. (Naples.)
Niobe group. The original group is attributed to Scopas or Praxiteles, and was placed in a temple
of Apollo in Cilicia, Asia Minor, being brought to Rome the first century B. C. All except No. 194
are in the Uffizi gallery.
190. Niobid on his knees.
191. Niobid looking over right shoulder.
192. Niobid bending to his left.
In the Vatican replica this son is protecting a fallen sister.
193. Daughter of Niobe in flight.
194. Daughter of Niobe in flight. (Vatican.)
Of Parian marble; and, being vastly superior to the Florentine repetitions, thought to be of the
original group.
195. Daughter of Niobe.
Only extant copy of this daughter.
196. Daughter of Niobe.
198. Niobe and youngest daughter.
Want a better photo. or head alone.
199. Daughter of Niobe looking over right shoulder.
200. Pedagogue in attitude of protecting:
201. Youngest son,
Who should occupy a position in front of the Pedagogue.
202. Daughter of Niobe.
203. Niobid running: front.
204. Niobid running: back.
205. Daughter of Niobe stooping to her left.
206. Niobid fallen on left knee.
207. Niobid fallen on left knee, differing from 206.
208. Niobid extended in death.
210. Ilioneus (?) torso. (Munich.)
Ilioueus is the name given by Ovid to Niobe's youngest son. On account of entire nudity doubted
to belong to the group. It is, however, an original Greek work of the Praxitelean period.
220. Eve. (Ducal Palace, Venice).
221. Eve. (Duomo, Milan)
222. Adam. (Duomo, Milan)……
Antonio Rizzo (1462.)
A. Marini detto Il Siciliano.
.C. di Bartolo Solari "Il Gobbo" (1490.)
+
8
223. Annunciation. (S. Francesco, Empoli)
Bernardo di Matteo.
224. Eve..
225. Eve.
226. Adam and Eve.
230. Iris
231. Clytie.
232. Rebecca.
233. Rebecca
235. Hospitality
236. Hebe
237. Hebe
239. Pandora
240. Aurora
241. Psyche with Proserpine's jar.
242. Psyche with Cupid's arrow
246. Hope: last work of
247. Thorwaldsen with Hope.
250. Proserpine.
251. Flora
252. Miriam
253. Dancing Girl.
254. Dancing Girl (another)
255. Dancing Girl
256. Dancing Girl. (V. Borghese)
260. Ruth
261. Lost Pleiad
262. Nydia
-Ezekiel.
Benzoni.
Benzoni.
Turini.
Rinehart.
Rinehart.
Imhof.
Bläser.
Thorwaldsen.
Gibson.
Ives.
Gibson.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Simonds.
Imhof.
Imhof.
Thorwaldsen.
Gibson.
Tadolini.
Thorwaldsen.
Rogers.
-
Rogers.
Rogers.
270. Bather
Gibson favored the use of color in sculpture.
271. Bather
272. Bather
276. Susanna. (Luxembourg)
277. Phryne
279. Magdalen. (V. Carlotta, Lago di Como)-
280. Slave
282. Slave liberated.
285. A Spring
286. Elf..
287. Psyche
In imitation of the Psyche of Veii.
290. Toilette of Atalanta. (Louvre).
291. Atalanta
295. Dornröschen
296. Germania. (Niederwald).
297-299. Peace, War, the Rhine. (National monument, Niederwald.)
300. Judith.
301. Witch
302. Salammbô. (Luxembourg)
303. Sappho
304. Nymph Salmacis. (Louvre).
307. Joan of Arc..
308. Joan of Arc: equestrian. (Place des Pyramides)
310. Agrippina with the ashes of Germanicus..
311. Maiden confiding her first secret to Venus..
312. Young girl of Megara.
315. Cassandra under the protection of Pallas.
316. Fortune: bronze
318. Ariadne: reclining.
319. Cleopatra dying.
321. Spinning Girl. (Chatsworth)
322. Spinning Girl. (Luxembourg)
323. Au matin. (Luxembourg).
324. Au matin: side view....
325. Young girl at the fountain.
327. Somnolence
330. Message of love..
.Gibson.
Tantardini.
-Tabacchi.
Marqueste.
Barzaghi.
Canova.
Genotti.
Rossetti.
R. Cauer.
Toberenz.
Pradier.
Pradier.
Rinehart.
Sussmann-Hellborn.
Schilling.
Wolf.
C. Cauer.
Idrac.
Dupré.
Bosio.
Chapu.
Frémiet.
Maillet.
Jouffroy.
Barrias.
Millet.
Mercié.
Millet.
-(?)
Schadow.
Barrias.
Schonewerk.
Schonewerk.
Schonewerk.
Leroux.
331. Message of love. (Luxembourg)
333. Thetis
334. After the bath
335. Springtime. (Florence).
336. First youth..
340. 1871: France mourning.
341. Africa
350. June: bust...
351. Medusa: bust..
Caroni.
Delaplanche.
Barreau.
Noel.
Vela.
Caroni.
Cabet.
Caroni.
Palmer.
Miss Hosmer.
9
352. Oenone: bust
353. Alexandra, Princess of Wales: bust.
354. Countess Ostermann.
355. Princess Bariatinska.
356. Georgiana Elizabeth Russell
358. Letitia: mother of Napoleon. (Chatsworth).
360. Biblis changed into a fountain. (Louvre)…--
361. Dream of Armida..
362. Olympia dying-
363. Magdalen
364. Circassian Slave
365. Circassian Slave: different.
366. Innocent sleep..
370. Amalthea. (Louvre)
371. Amphitrite. (Louvre).
372. Diana.
373. Psyche
377. Cleopatra before Antony.
878. Pompeian after the bath
379. Berenice
380. Sylvia admiring herself in the water.
381. Bather..
382. Sunshine
383. Venus
384. Eve. (South Kensington)
385. Eve listening to the Voice. (South Kensington)
386. Egeria. (Mansion House)-
387. Musidora
388. Sandal-bearer. (Munich).
391. Lurline
392. Greek Slave.
395. Pride
396. Victory.
397. Justice.
398. Patriotism.
402. Hebe.
403. Flora.
404. Terpsichore.
405. Venus: small view
406. Clytie: bust.
406. Immortality: relief.
407. Sleeping Peri.
408. Indian convert: bust
409. Peasant girl: bust
!
410. Spring: bust
411. Sleep: relief.
412. White captive..
413. White captive: bust.
SERIES II.-SINGLE MALE FIGURES.
Miss Hosmer
Gibson.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Canova.
Dupaty.
Barré.
-Gauthier.
Junck.
Caroni.
Caroni.
Braga.
Jullien.
Anguier.
Captier.
L. Moreau.
Braga.
Tadolini.
Peduzzi.
Barzaghi.
Suchini.
Durham.
Bacon.
Macdowell.
Baily.
Foley.
Theed.
Schadow.
Copeland.
Powers.
Durham.
Gibson.
Palmer.
Palmer.
Palmer.
Palmer.
Palmer.
Palmer.
Palmer.
Palmer.
1. Apollo Belvedere. (Vatican.)
Probably by some skilful Greek artist of the time of Nero, after an original of the Hellenistic
period. (See Childe Harold, IV.: 161.)
2. Apollo Belvedere: bust.
"I forget all else as I gaze on this miracle of art, and myself assume a lofty attitude to contem-
plate it with becoming dignity."-Winckelmann.
5. Apollo. (V. Albani.)
Not the famous bronze.
7. Apollo Sauroctonos: the lizard slayer. (Vatican.)
A bronze copy is in the V. Albani. "Well calculated to give us an idea of the ineffable grace of
Praxitelean art."
9. Apollino. (Uffizi.)
"The idle, careless, dreaming god, the offspring of poetic fancy rather than of genuine faith."
12. Apollo Citharœdus, or Musagetes. (Vatican.)
Considered by some as a copy after an original by Scopas; by others as a work of Nero's time.
It "expresses in the rapid forward motion, the upturned eyes, and the whole expression of the face,
***the rapture of the musical enthusiast."
13. Apollo Citharœdus: smaller view.
With Terpsichore to his right, and Calliope and Socrates to the left.
14. Apollo with lyre. (Capitol.)
17. Apollo. (Copenhagen)
18. Phoebus Apollo -
20. Adonis. (Naples.)
24. Adonis. (Florence)..
25. Adonis. (Copenhagen)..
Thorwaldsen.
[Modern.]
Michel Angelo.
Thorwaldsen.
10
26. Adonis: cast. (Munich)
30. Narcissus: bronze. (Naples.)
Thorwaldsen.
Of the school of Praxiteles; height, 25 inches, eyes of silver. An "expression of charming youth-
ful life."
32. Worshiper, or Praying boy. (Berlin.)
Exquisite" Greek bronze, possibly by Boedas, son of Lysippus. "Its small head, slender pro-
portions, and peculiar treatment of the hair, mark it with certainty as belonging to the Lysippian
school."-Mitchell.
35. Mercury with infant Bacchus. (Museum, Olympia.)
Considered a genuine original by Praxiteles. Found in 1877. (See appreciative critical notices
(in English) in Mitchell, p. 437, and Perry, p. 455.)
36. Mercury: Belvedere Antinous. (Vatican.)
"The proportions, elegance of form, youthful grace, and high finish of this beautiful statue, have
received unqualified praise."—Hare.
37. Mercury. (British Museum.)
Of the school of Praxiteles.
"This really exquisite copy is said to have been praised by Canova
as finer and more perfect than that of the Vatican, which has been seriously impaired by modern
polishing."-Michaelis.
40. Mercury with purse. (Vatican.)
41. Mercury. (Vatican.)
Head does not belong to this statue.
45. Mercury tying sandal. (Munich.)
Copy in marble, after original bronze by Lysippus.
50. Mercury. (Bargello, Florence)
Giovanni di Bologna.
Conceived in the true spirit of poetry; one of the finest productions of modern art."-West-
macott, jun.
52. Mercury as Argus-slayer
53. Mercury inventing the caduceus. (Luxembourg.)
54. Mercury inventing the caduceus.
55. Mercury with purse: antique. (Louvre.)
56. Mercury attaching his wings. (Louvre)
57. Mercury attaching his wings
58. Ariadne
59. Mercury
63. Perseus with Medusa head. (Vatican.)
66. Perseus with Medusa head. (Loggia dei Lanzi)…….
See larger views of the figurines in Yriarte's Florence, 242–243.
68. Perseus..
70. Faun in repose. (Capitol.)
Thorwaldsen.
Chapu.
Fontenelle.
Pigalle.
Delorme.
Delorme.
Mayer.
Cellini.
Leenhoff.
After Praxiteles. This faun is "the human personification of the luxurious, dreamy spirit in
nature."
71. Faun in repose. (Vatican.)
73. Faun torso. (Uffizi.)
Considered not inferior to the Belvedere torso.
75. Faun playing the flute. (Vatican.)
77. Faun treading the scabellum. (Uffizi.)
Of the Graeco-Roman period; restored by Buonarroti. "Full of naive life."-Lübke.
78. Faun treading the scabellum. (Louvre.)
79. Faun dancing: bronze statuette. (Naples.)
81. Faun of red marble. (Vatican.)
Similar to replica in Capitol Museum.
83. Marsyas. (Lateran.)
Falsely restored as dancing, instead of flute playing. After Myron's original.
85. Faun head. (Louvre.)
Found in 1820 at Vienne (Dauphiné, France).
86. Faun: Barberini. (Munich.)
"An image of simple, unconstrained nature."- Winckelmann.
90. Faun asleep.
87. Faun drunk. (Vatican.)
91. Faun drunk.
92. Faun dancing: bronze..
101. Silenus standing. (Louvre.)
Miss Hosmer.
Sussmann-Hellborn.
Echtermayer.
100. Silenus standing. (Vatican.)
102. Silenus: statuette. (Naples.)
103. Silenus seated on wine cask. (Capitol.)
104. Silenus and panther. (Vatican.)
105. Silenus holding infant Bacchus. (Vatican.)
106. Silenus holding infant Bacchus. (Munich.)
107, Hercules and Telephus. (Vatican.)
The good-natured Hercules.
112. Bacchus standing. (Munich.)
Compare with the Apollino, No. 9.
113. Bacchus standing. (Vatican.)
120. Antinous-Bacchus: Braschi. (Vatican.)
Colossal portrait statue of Hadrian's favorite.
121. Antinous-Bacchus: head.
122. Antinous: relief. (V. Albani.)
123. Antinous-Mercury. (Capitol.)
11
124. Antinous. (Naples.)
"The last ideal figure which ancient art has produced."-Lübke.
130. Faun carrying young Bacchus. (V. Albani.)
131. Faun carrying young Bacchus. (Vatican.)
132. Faun carrying young Bacchus. (Naples.)
136. Bacchus and Ampelus. (Uffizi.)
138. Bacchus and young Faun. (Vatican.)
145. Bacchus. (Florence)
147. Bacchus.
150. Meleager and hound. (Vatican.)
Michel Angelo.
Thorwaldsen.
Supposed a copy after some bronze of the school of Lysippus. Boar's head is new.
160. Cupid bending his bow. (Capitol.)
161. Cupid shooting. (Vatican.)
Probably copied from the Praxitelean original at the Thespian temple, of which we know only
that it was winged.
164. Psyche: torso. (Naples.)
More properly in Series I, but introduced here for comparison with Nos. 166, 167.
165. Psyche: torso. (Naples.)
Considered by many as the gem of the Naples Museum. Referred to the school of Praxiteles.
166. Cupid: torso. Eros of Centocelle. (Vatican.)
Of inferior execution; but a copy of some great Greek type.
167. Cupid: torso.
A larger view of the "Genius of the Vatican," showing treatment of the hair, the dreamy, mel-
ancholy expression, and "the glance of the eye, from which the first rays of love seem to break
through a cloud of sadness."
172. Cupid. (Louvre)
173. Cupid: left. (Louvre)
174. Cupid looking at his arrow
175. Cupid...
177. Cupid's triumph
178. Cupid.
179. Cupid..
180. Cupid resting. (Chatsworth)
185. Paris seated." (Vatican.)
In costume of a Phrygian shepherd.
186. Paris standing. (Vatican.)
190. Paris. (Munich)
200. Mars. (V. Ludovisi.)
201.
Chaudet.
Chaudet.
Thorwaldsen.
Gibson.
R. Cauer.
Lemire.
Mabille.
Trentanove.
Canova.
Original Greek statue, once considered a free reproduction of Scopas' colossal Mars, but now
thought more properly to belong to the school of Lysippus. In respect to features, hair, and rela-
tive size of head, compare with the following:
Apoxyomenus. (Vatican.)
Copy of the famous bronze by Lysippus, so great a favorite with the Roman populare.
205. Discobolus. (Vatican.)
Free copy of Myron's original bronze. Head wrongly restored by Thorwaldsen: it should be
turned to the front.
207. Discobolus. (Vatican.)
Restored as a Discus-thrower, but supposed by some to be the best extant copy of Polycleitus'
Spear-bearer. See No. 227.
208. Discobolus. (Vatican.)
Attributed to Naucydes of Athens, and to Alcamenes.
209. Discobolus. (Louvre.)
Repetition of No. 208.
210. Athlete dropping oil into his hand. (Louvre.)
Referred to Myron. Replicas are in Dresden and Munich.
214. Borghese Gladiator, or Fighting Warrior: left-front. (Berlin cast.)
By Agasias of Ephesus, Asia Minor. "A display of muscular form under the severest tension,
carried out with complete technical skill."—Murray.
215. Borghese Gladiator: left-front. (Louvre.)
216. Borghese Gladiator: right. (From cast.)
217. Borghese Gladiator: front. (Louvre.)
218. Mercury with purse: Mercure Richelieu. (Louvre.)
221. Gladiator. (Capitol.)
222. Gladiator. (Naples.)
224. Alcibiades (?) (Vatican.)
Probably a Greek portrait sculpture.
227. Doryphorus: Spear-bearer. (V. Borghese.)
A masterpiece by Polycleitus, embodying "the principles of perfect proportion."
228. Doryphorus. (Naples.)
229. Diadumenus: Farnese.´ (British Museum.)
Athlete winding fillet around his brow. Copy after Polycleitus.
230. Diadumenus: another copy. (British Museum.)
235. Hercules torso: front. (Vatican.)
This Belvedere torso is the work of Apollonius, son of Nester of Athens, living in the Roman
period. In design it is worthy of the best period of Greek art.
236. Hercules torso: left front.
239. Hercules, Farnese: front.
By Glycon of Athens.
240. Hercules, Farnese: back.
(Naples.)
"Clumsy expression of physical strength."
12
241. Hercules, Farnese: back. ·
245. Hercules with Nemean lion's skin..
250. Ganymede borne by the eagle. (Vatican.)
Thorwaldsen.
After Leochares of Athens (B. C. 372). In the Roman period this group was frequently used for
a youth's funeral monument.
251. Ganymede and eagle. (Naples.)
252. Ganymede and eagle. (Naples.)
253. Ganymede and eagle. (Vatican.)
256. Ganymede and eagle. (Luxembourg)..
258. Ganymede---
259. Ganymede pouring nectar
260. Ganymede with eagle drinking
261. Ganymede and eagle. (Chatsworth)
270. Thorn-extractor, or Spinario: bronze. (Capitol.)
Barthélemy.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Taddolini.
"The simple, pure style, the natural, graceful attitude pertain to the golden Greek period;” the
fifth century B. C.
271. Thorn-extractor: marble. (Uffizi.)
280. Jupiter Otricoli: bust. (Vatican.)
Best extant copy, modified, of Phidias' Zeus. "Painfully unquiet in detail, especially about the
forehead and eyebrows, where excessive elevations and furrows altogether destroy the grand and
simple effect which characterizes the Parthenon marbles.”—Mitchell.
281. Jupiter: bust. (Naples.)
282. Jupiter: bust. (Vatican.)
Rather, Pluto-Serapis.
axis of Athens, B. C. 312.
288. Menelaus, or Ajax: bust.
On the head is the modius, or fruit measure.
After the original by Bry-
(Vatican.)
A replica of part of the following group.
289. Menelaus and Patroclus. (Loggia dei Lanzi.)
Otherwise, Ajax and Patroclus.
293. Phocion: right front. (Vatican.)
294. Phocion: front.
296. Sophocles. (Lateran.)
The "gem" of Greek portraiture. Referred to age of Lysippus.
297. Aeshines, or Aristides. (Lateran.)
298. Euripides. (Vatican.)
299. Demosthenes. (Vatican.)
After the celebrated original by Polyeuctus, set up in Athens B. C. 280; in which, however, the
hands were folded.
300. Demosthenes: bust. (Naples.)
Remark the lips, indicating the defect of speech.
301. Menander seated. (Vatican.)
302. Anacrean: so called. (V. Borghese.)
The portrait statues from No. 293-all pertain to the best Greek period.
303. Epicurus: bust. (Capitol.)
320. Dying Alexander. (Uffizi.)
Attributed to different epochs; a riddle of archæology.
325. Aesop: bust. (V. Albani.)
Perhaps an echo of Lysippus' work. "The refinement and acuteness of feature are harmonized
with the natural physical defects "
326. Dacian Slave: colossal head. (Vatican.)
330. Knife-sharpener, l'Arrotino. (Uffizi.)
Claimed for the school of Pergamus. "A disgusting mixture of servility and cruelty."
332. Gaul killing his wife, Paetus and Arria. (V. Ludovisi.)
Of the school of Pergannus.
334. Dying Gaul, Galatian or Gladiator. (Capitol.)
After the Pergamean bronze original. See Childe Harold IV; 140.
335. Dying Gaul. (Berlin copy.)
338. Dying Gladiator. (Louvre.)
345. Augustus Octavianus. (Vatican.)
See description in Mitchell, p. 674.
346. Young Augustus: bust. (Vatican.)
348. Pompey. (Vatican.)
Possibly the identical statue at the feet of which Cæsar fell.
350. Julius Cæsar young: bust._ (Vatican.)
351. Julius Cæsar old: bust. (Vatican.)
Julien.
353. Cicero: bust. (Capitol.)
354. Brutus young: bust. (Naples.)
355. Brutus: bronze bust. (Capitol.)
356. Brutus: marble bust. (Naples.)
360. Lucius Verus: nude. (Vatican.)
361. Lucius Verus: clothed. (Vatican.)
362. Germanicus: as an orator. (Lateran.)
363. Germanicus imperator. (Lateran.)
365. Britannicus. (Lateran.)
368. Domitian. (Vatican.)
369. Antoninus Pius. (Vatican.)
370. Faustina the Elder: wife of preceding. (Vatican.)
371. Claudius. . (Vatican.)
13
372. Nerva. (Vatican.)
373. Caligula. (Vatican.)
374. Titus: bust. (Naples.)
375. Nero: bust. (Naples.)
376. Caracalla: bust. (Vatican.)
This is about the last important production of ancient Roman sculpture. Replicas are numerous.
377. Esculapius. (Vatican.)
Probably portrait of Musa, physician to Augustus.
390. Marcus Aurelius: equestrian bronze. (Capitol piazza, Rome.)
In the middle ages thought to be a Constantine; therefore preserved.
392. Marcus Nonius Balbus: equestrian, left. (Naples.)
393. Marcus Nonius Balbus: right.
420. Jonah en whale. (Chigi chapel, S. Maria del Popolo, Rome.)
Designed by Raphael; executed by Lorenzetto.
431. Moses: front. (Rome).
432. Moses: right.
433. Moses: bust of preceding.
436. David. (Florence)
438. Captive. (Louvre)
442. Creugas. (Vatican)
443. Damoxenes. (Vatican).
Boxers mentioned by Pausanias, VIII: 40.
446. Hector. (Palazzo Emo-Treves, Venice).
447. Ajax. (Venice)
448. Ajax
450. Jason: first notable work by.
451. Roman Warrior
452. Mars and Cupid
453. Vulcan
460. Terror Romanorum
465. Young Shepherd
466. Young Shepherd with dog
467. Shepherd -
469. Young Fisher
Michael Angelo.
Michel Angelo.
Michel Angelo.
Canova.
..Canova.
Canova.
Canova.
Smith.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
-[?]
Schlüter.
Thorwaldsen.
Toberenz.
Macdonald.
Weyr.
470. Neptune -
471. Genius of steam
472. Genius of electricity
473. Archer
476. Vintager improvising: bronze. (Louvre)
480. Alexander: bronze.
482. Giotto as a youth (?).
485. Narcissus. (Luxembourg)-
486. Hylas..-
487. Othryades
494. Bubbles..
495. Pleasure
496. Path of flowers
497. Balilla que je la jette!.
498. Cupid...
540. Napoleon: bust
541. Napoleon: bust. (Palazzo Pitti)
542. Napoleon: bust. (Chatsworth)
543. Napoleon dying.
550. Schiller. (Stuttgart).
551. Schiller. (Munich)
554. Byron. (Library Trinity College, Cambridge)
560. Gerome: head
570. Domenico C. (Palazzo Pincio).
580. St. Bruno. (S. Maria degli Angeli, Rome)-
1. Laocoon. (Vatican.)
SERIES III.-GROUPS AND MONSTERS.
Rossetti.
Rossetti.
Corbel.
Duret.
Herter.
-[?]
Hiolle.
Morice.
Desbois.
J. Rogers.
Marioton.
H. Moreau.
Giani.
Falconet.
Thorwaldsen.
Canova.
Canova.
Guillaume.
Thorwaldsen.
Widmann.
Thorwaldsen.
Carpeaux.
Houdon.
Believed to be the original, described by Pliny, by the Rhodian sculptors Agesander, Athenodo-
rus, and Polydorus, about 100 B. C. See Childe Harold, IV: 160.
5. Farnese Bull. (Naples.)
Otherwise, the punishment of Dirce. By Apollonius and Tauriscus of Tralles; of Rhodian school.
6. Farnese Bull: back.
15. Young Centaur. (Capitol.)
By Aristeas and Papias of Aphrodisias, Roman period. In polished dark marble.
16. Old Centaur. (Capitol.)
By same sculptors. Each centaur originally carried a Cupid or Bacchus.
20. Theseus slaying the Minotaur. (V. Albani.)
23. Theseus slaying the Centaur. (Vienna)
25. Wrestlers, Lottatori. (Uffizi.)
Heads restored. School of Rhodes.
Canova.
14
عاية
30. Boy with Goose. (Vatican.)
After original by Boethos of Chalcedon, of Hellenistic period.
35. Orestes and Electra. (V. Ludovisi.)
Otherwise, Merope and Æpytus, Penelope and Telemachus, etc. By Menelaus, pupil of Stephanus,
the latter pupil to Pasiteles. Græco-Roman period.
45. Nile. (Vatican.)
The sphinx is emblematic of Egypt; the cornucopia, of its fertility; the waves, lotus, papyrus,
crocodile, and hippopotamus, of the river; while the sixteen Cupids represent the number of cubits
of an average annual rise.
47. Tiber. (Louvre.)
60-61. Horse-tamers. (Monte Cavallo, Rome.)
Inscriptions on the pedestals falsely attribute the work to Phidias and Praxiteles. Probably of
the time of Constantine.
70. Hercules and Cacus. (Florence)
See Perkins, p. 312.
72. Hercules slaying Nessus. (Florence).
75. Hercules throwing Lichas into the sea. (Venice).
85. Apollo pursuing Daphne. (V. Borghese)
86. Rape of Proserpine. (V. Ludovisi).
87. Rape of Polyxena by Achilles. (Fiorence)
88. Rape of the Sabines. (Florence)
90. Rape of the Sabines.
92. Orpheus and Eurydice
95. Prometheus bound and the Oceanidae.
96. Perseus delivering Andromeda
100. Eirene and infant Plutus. (Munich.)
Bandinelli.
Giovani di Bologna.
Canova.
Bernini.
Bernini.
Pio Fedi.
Giovani di Bologna.
R. Begas.
Auguste Paris.
Müller.
Puget.
Copy of the bronze group by Cephisodotus, representing Peace holding Riches. See Mitchell,
p. 433.
110. The Graces: antique. (Louvre.)
Roman work, much restored.
111. The Graces: antique. (Galleria dell'Opera del Duomo, Siena.)
114. The Graces. (Luxembourg) -.
116. The Graces
117. The Graces
120. Cupid and Psyche. (Capitol.)
Pradier.
---Canova.
Thorwaldsen.
Antique. "Purely Greek in tenderness and beauty of design, but of inferior, probably Roman,
execution."
125. Cupid and Psyc
Delaistre.
127. Cupid and Psyche.
Kiss
126. Cupid and Psy
e h
(Louvre).
128. Cupid and Psyche
129. Cupid and Psyche. (Louvre)
130. Cupid leaving Psyche. (Louvre)
131. Cupid leaving Psyche. (V. Carlotta, Lago di Como)..
132. Cupid leaving Psyche: cast...
135. Hector and Andromache (?) (Chatsworth.)
136. Daphnis and Chloe.
Thorwaldsen.
-Buchting.
Benk.
..Canova.
Canova.
Canova.
..Canova.
140. Psyche borne by the Zephyrs.
145. Venus and Cupid..
147. Cupid extracting a thorn from foot of Venus. (Chatsworth).
149. Latona and children. (Chatsworth).
150. Mercury and Psyche
160. Icarus and Daedalus. (Venice).
165. Marsyas and Olympus. (Naples)--
170. Faun and Cupid.
171. Faun and boy: A spring-
174. Young Bacchus and panther
175. Love conquering Force--
176. Faun and panther. (Museum, Tours)-
179. Leopard-hunter
185. Bacchante.
Same motive occurs in a Pompeian wall-painting.
187. Ariadne: front. (Frankfort and Berkeley)-
190. Maiden and swan.
188. Ariadne: back.
200. Charity. (Pitti gallery)
202. Sister and Brother.
203. Maternal joy
204. Hagar and Ishmael.
206. First funeral
207. Cephalus and Procris
210. Dreams fulfilled
212. German Wife demanding revenge
216. Lyric poetry and popular song
218. Springtime
219. Love and Folly.
-
Cantalamessa.
Gibson.
Blanchard.
Tenerani.
[?]
R. Begas.
Canova.
[?]
Toberenz.
Curfess.
Moller.
Caroni.
Becquet.
Jerichau.
Kalide.
Dannecker.
Engelhard.
Bartolini.
C. Begas.
Borghi.
Wittig.
Barrias.
Damé.
Brunnow.
Ohmann.
-Sussmann-Hellborn.
Cordonnier.
--[?]
15
222. Hebe asleep.
228. Abel and kid.
229. Boy with cock
230. Boy with merlin.
248. Pietà. (St. Peter's, Rome)
Executed in his twenty-fifth year.
249. Pietà. (Siena)..
250. Christ on the cross-
251. Crucifixion: relief
252. Pietà
253. Descent from the cross
254. Resurrection: relief
255. Descent from the cross: in ivory. (Uffizi.)
280. Boy and tortoise. (Louvre)-
285. Centaur and Bacchante..
287. Nereid and Triton. (Luxembourg)
290. Lion of Lucerne, Switzerland
291. Lion of Trafalgar Square (London); modeled by
292. Charlemagne: equestrian. (St. Peter's).
300. Outram: equestrian. (London)
303. Emanuel Filiberto: equestrian. (Turin)
304. Emanuel Filiberto: near view.
Relief represents battle of St. Quentin.
306. Carlo Alberto: equestrian. (Turin)
307. Carlo Alberto: left side.
310. Prince Poniatowski: equestrian
311. Maximilian Frederick of Bavaria: bronze equestrian.
312. Maximilian Frederick of Bavaria. (Copenhagen copy)
314. Frederick the Great: equestrian. (Berlin). -
"One of the most original works of modern times."-Lübke.
315. Frederick the Great: left side.
Carrier-Belleuse.
.Hiolle.
Falguiére.
Thabard.
..Michel Angelo.
Dupré.
Achtermann.
Achtermann.
Achtermann.
Achtermann.
Achtermann.
Rude.
.Leduc.
Cordier.
Thorwaldsen.
Landseer.
Cornacchini.
Foley.
Marochetti.
Marochetti.
Thorwaldsen.
(Munich.)
Thorwaldsen.
Rauch.
316. Prince Consort: equestrian. (Holborn Viaduct, London.)
317. Frederick William III.: equestrian. (Berlin)..
318. Frederick William III.: left side.
330. Lion-killer. (Berlin).
331. Amazon, mounted. (Berlin).
332. St. George..
-
A. Wolff.
W. Wolff.
Kis.
F
"The whole weight of his work rests on his excellent representation of the
336. Lion-killer: right side.
337. Shepherd surprised by lioness.
340. Amazon, mounted -
341. Amazon, mounted: another
342. Indian huntsman
350. Richard Coeur de Lion: equestrian. (London).
-
360. Ecole des Beaux-Arts: interior. (Paris.)
365. Cupid and Pan. (South Kensington)
351. Queen Victoria, with Justice and Mercy
362. Sculpture Hall, Chatsworth.
364. The Graces: small view..
366. Daphnis and Chloe.
367. Bacchante and infant Faun
368. Faun and infant Faun: antique. (Louvre.)
369. Phorbas the shepherd and Oedipus. (Louvre).
376. Faust and Margaret
379. Woman of the Roman Campagna
377. Venus and Adonis
378. Cupid and Psyche....
383. Una on the lion. (Not by Bell.)
384. Jupiter, with eagle.
385. Hebe, with eagle.
386. Ino and infant Bacchus
A
rse."-Lübke.
W. Wolff.
Franz.
Bell.
Bell.
R. Rogers.
Marochetti.
- Gibson.
Canova.
Holmecardwell.
Cortot.
Clodion.
Chaudet.
[?]
Canova.
-[?]
--Samain.
387. Ino and infant Bacchus.
388. Jacob wrestling with the angel.
391. The golden age
392. Taking the oath.
395. Works of
399. Maternal joy: small view
398. Prayer for victory.
400. Hercules and Omphale
401. Gloria Victis!.
402. You dirty boy!
403. The pet bird.
404. Vanity.
Malempré.
. Foley.
Beattie.
J. Rogers.
Carrier-Belleuse.
Borghi.
Blanchard.
Mercié.
Focardi.
405. Bacchante.
500-502. Arc de Triomphe de l'Etoile. (Paris.)
500. Genius of war calling to arms.
Rude.
16
501. Resistance to invasion.
502. Victory crowning Napoleon.
520. Dancing. (Opera House, Paris).
540. Neptune fountain. (Bologna)
Cortot.
..Carpeaux.
.Giovanni di Bologna.
"Compared with Ammanati's Neptune at Florence, this is a masterpiece which no other sculptor
of his time could have produced.”—Perkins.
543. Triton fountain. (Piazza Barberini, Rome)
544. Fountain. (Piazza Navona, Rome)
545-548. Fountain; details. (Piazza Navona, Rome.)
"A fable of Æsop done into stone."-Forsyth.
549. Fonte Gaja. (Siena)...
Bernini.
.Bernini.
Giacomo della Quercia.
The statues, consisting of Madonna and the seven theological virtues, have Quercia's character-
istic grace of line."
550. Fontana dei Calderari. (Piazza Navona, Rome.)
551. Fontana di Trevi. (Rome)-
552. Fountain at Caserta, near Naples.
From designs of Niccolò Salvi (1735).
560. Fontana dell' Acqua Felice. (Piazza Termini, Rome)......
Central niche contains Moses striking the rock.
561. Fountain at the Villa Aldobrandini, Frascati.
590. Private theatricals.
591. Peddler at the fair
592. Photographer.
Domenico Fontana.
J. Rogers.
J. Rogers.
J. Rogers.
SERIES IV.-SEPULCHRAL AND MONUMENTAL.
Pollajuolo.
100. Tomb, Innocent VIII. (St. Peters).
101. Tomb, Cardinal Basso della Rovere. (S. Maria del Popolo, Rome) Sansovino.
103. Tomb, Cardinal Rovere: Virtue.
105. Tomb, Cardinal Ascanio Maria Sforza: Virtue
108. Tomb, Lorenzo dei Medici. (S. Croce, Florence)
112. Tomb, Giuliano dei Medici. (S. Lorenzo, Florence).
Sansovino.
Michel Angelo.
Michel Angelo.
"Most people, though they dare not confess it, will find it difficult to understand the praises
which succeeding generations have heaped upon these statues."
115. Tomb, Michel Angelo Buonarroti. (S. Croce, Florence).
Executed by Giovanni dell'Opera, Cioli, and B. Lorenzi.
120. Tomb, Paul III. (St. Peters)---
121. Tomb, Paul III.: Justice.
122. Tomb, Paul II.: Prudence.
Port of the Pope's sister, Giulia Farnese.
Portrait of the Pope's mother, Giovanna Caetani.
126. Tomb, Urban VIII. (St. Peters)
Justice and Charity were executed by his pupils.
Hare.
Vasari.
Guglielmo della Porta.
129. Toab, Alexander VII. (St. Peters.) Last work of
131. Tomb, Countess Matilda, "la grande Italienne." (St. Peters)
Bas-relief: Gregory VII. absolving Henry IV.
135. Tomb, Leo XI. (St. Peters)
140. Tomb, Innocent XI. (St. Peters).-
144. Tomb, Clement X. (St. Peters):
Pope's statue is by Ferrata.
147. Tomb, Alexander VIII. (St. Peters)
Religion and Prudence are by Rossi.
148. Tomb, Innocent XII. (St. Peters).
151. Tomb, Clement XIII. (St. Peters)
152. Tomb, Stuart family. (St. Peters)
155. Tomb, Alfieri. (S. Croce, Florence).
156. Tomb, Canova. (Frari, Venice.) After design by
Bernini.
Bernini.
Bernini.
Algardi.
Monnot.
Rossi.
A. di San Martino.
Valle.
Canova.
Canova.
Canova.
Canova.
"Consummate in science, intolerable in affectation, rediculous in conception, null and void to the
uttermost in invention and feeling."-Ruskin.
157. Tomb, Marie Christine. (Vienna)
Canova.
160. Tomb, Pius VII. (St. Peters)-
163. Tomb, Pius VIII. (St. Peters)-
Thorwaldsen.
Tenerani.
170. Tomb, Maria Clementina (Stuart) Sobieski. (St. Peters.)
Designed by Barigioni; executed by Bracci.
176. Tomb, Gregory XIII. (St. Peters).
Bas-relief: reformation of the calendar.
Rusconi.
177. Tomb, Gregory XVI. (St. Peters).
183. Galileo tomb. (S. Croce, Florence).
186. Macchiavelli tomb. (S. Croce, Florence)
190. Inconsolable: tomb of Brunacci. (Pisa).
191. Genius of Death. (Gallerani chapel, Cemetery of Siena)
192. Monument, Countess Zamoyska." (S. Croce, Florence).
194. Titian monument. (Frari, Venice.) Designed by.
Reliefs are copied after the painter's masterpieces.
198. Tasso monument. (Rome)..
202. Dante monument. (S. Croce, Florence)
204. Dante monument. (Florence)..
207. Dante: bronze head. (Naples.)
From the death mask. See Century, 27:575, 956.
Amici.
.Foggini.
Rombotti, Spinazzi.
Bartolini.
Sarrochi.
Bartolini.
Zandomeneghi.
[?]
Ricci (1829).
Pazzi (1865).
17
210. Leonardo da Vinci monument. (Milan).
214. Columbus monument. (Genoa)
218. Demidoff monument. (Florence)
220. Angelica Catalani monument. (Pisa)
225. Pompeo Joseph monument. (S. Croce, Florence).
229. Vico monument. (Naples.)
230. Cavour monument. (Milan)
231. Cavour monument: muse of history. (Milan)……
232. Cavour monument. (Turin).
233–236. Cavour monument: details. (Turin.)
240. Manin monument. (Turin)
245. Mazzini monument. (Genoa).
247. Mazzini tomb. (Genoa.)
248. Warrior of Ravenna. (Accademia di Belle Arte)..
250. Lombardi portico and tomb. (Rome.)
Magni.
Canzio.
Bartolini.
Costoli.
Ricci.
Tabacchi.
Tantardini.
Dupré.
Vela.
Costa.
Guidarrelli.
256. Angelo del Lombardi. (S. Lorenzo Cemetery, Rome.)
260. Queens kneeling. (La Consolata, Turin).
Vela.
Maria Teresa, Queen of Charles Albert; Maria Adelaide, of Victor Emmanuel.
270. Brunelleschi monument. (Florence)
Pampaloni.
Seated opposite S. Maria del Fiore, looking up to the magnificent dome of which Brunelleschi
was the architect.
275. Brofferio monument. (Turin).
(1871.)
Tabacchi.
Albertoni.
276. Paleocapa monument. (Turin)
277. Lagrange monument. (Turin)
278. Vincenzio Gioberti monument. (Turin)
279. D'Azeglio monument. (Turin)
280. Balbo monument. (Turin)
282. Sardinian army (1857) monument. (Turin).
290. Mossotti tomb. (Pisa)...
281. Alessandro della Marmora monument. (Turin).
283. Murat monument. (Bologna)
295. Emperor Francis I.: bronze. (Vienna).
300. Campo Santo, Genoa.
301. Campo Santo, Genoa: in part.
-
302. Faith. (Campo Santo, Genoa).
303. Gerard monument. (Genoa)
304. Gatti monument. (Genoa)
305. Gatti monument: near view.
306. Piaggio monument. (Genoa)
307. Rocco Piaggio monument. (Genoa)
308. G. B. Piaggio monument. (Genoa)
309. Badaracco monument. (Genoa).
310. G. B. Badaracco monument. (Genoa)
311. Bozzino monument. (Genoa).
312. Carena monument. (Genoa)
313. Grillo monument. (Genoa)..
Albertoni.
Balzico.
Vela.
Cassano.
Vela.
Vela.
Dupré.
Marchesi.
Varni.
Fabiani.
Benetti.
Saccomano.
-Faliani.
..Benetci.
Cevasco.
Moreno.
Moreno.
Scan: i.
Scanzi.
Villa.
314. Fallabrini monument. (Genoa)
315. Chiappa monument. (Genoa)
316. Tomati monument. (Genoa)
317. Ghighlioni monument. (Genoa.)
318. Queirolo monument. (Genoa).
319. Gaggini monument. (Genoa).
320. Savagnoli monument. (Genoa).
321. Croce monument. (Genoa.)
322. Bertollo monument. (Genoa)
323. Rossi monument. (Genoa)
324. Lanata monument. (Genoa)
325. Lanata monument: detail.
326. Lanata monument: detail.
327. Scassi monument. (Genoa)-
328. D'Albertis monument. (Genoa)
329. Venrano monument. (Genoa).
330. Oneto monument. (Genoa)….
331. Oneto family monument. (Genoa)
332. Spinola monument. (Genoa)
333. Spinola monument: detail.
334. Picardo monument. (Genoa).
335. Patrone monument. (Genoa).
336. Taliacarne monument. (Genoa).
337. Pallavicini monument. (Genoa).
338. Pallavicini monument: near view.
338a. Pallavicini monument: the angel.
339. Dapassano monument. (Genoa)
340. Da Costa monument. (Genoa)
341. Peirano monument. (Genoa)..
2
Villa.
Villa.
A. Allegro.
Fabri.
-Fantacchiotti.
Pagani.
Benetti.
Benetti.
Benetti.
Benetti.
Benetti.
Monteverde.
Rota.
Varni.
Varni.
Varni.
Varni.
Rivalta.
Costa.
..Saccomano.
Rubatto.
..
18
342. Castelli monument. (Genoa).
343. Pescetto monument. (Genoa).
Fabiani.
Cevasco.
344. Noceti monument. (Genoa.)
345. Erminia fua Fusinato monument. (Genoa.)
346. Berlinghieri monument. (Genoa)
347. Pienovi monument. (Genoa).
348. Raggio monument. (Genoa.)
349. ? monument.
350. Countess Moltke Ferrari-Corbelli. (S. Lorenzo, Florence)
400. Zamoricière monument: Faith. (Cathedral, Nantes) -
401. Zamoricière monument: Charity.
402. Zamoricière monument: Philosophy.
"Well composed and teuder in sentiment."—Story.
"Too plainly a reminiscence of the Lorenzo de' Medici.”—Story.
403. Zamoricière monument: Valor.
500. Albert Memorial. (Hyde Park, London.)
Thorwaldsen.
Villa.
Morice.
Dupré.
Dubois.
Designed by Gilbert (d. 1878). Finished in 1872; but the bronze-gilt statue of the Prince, by
Foley, was placed in position in 1876.
502. Albert Memorial: Europe.
503. Albert Memorial: Asia.
504. Albert Memorial: Africa.
505. Albert Memorial: America
508. Albert Memorial: Agriculture
507. Albert Memorial: Manufactures
508. Albert Memorial: Commerce
509. Albert Memorial: Engineering-
510-514. Albert Memorial: Poets and musicians
515. Albert Memorial: Musicians and painters
516-521. Albert Memorial: Painters
522-527. Albert Memorial: Architects
528-533. Albert Memorial: Sculptors
550. Victoria: bust
560. Victoria and Prince Albert.
580. Leopold I. of Belgium monument. (Windsor.)
591. Princess Charlotte's cenotaph. (Windsor).
592. Sir John Franklin. (Westminster Abbey).
593. James Watt. (Westminster Abbey)
MacDowell.
Foley.
Theed.
Bell.
Marshall.
Weekes.
Thornycroft.
Lawler.
Armstead.
Armstead.
Armstead.
Philip.
Philip.
-(1882.)
Gibson.
Roubiliac.
590. Nightingale family monument. (Westminster Abbey)
594. Lord Palmerston. (Westminster Abbey).
600. Charles James Fox monument. (Westminster Abbey)
601. Poets' corner, Westminster Abbey.
605. Shakespeare. (Westminster Abbey.)
Designed by Keut; executed by Sheemakers.
506. Campbell, Southey, and Shakespeare. (Westminster Abbey.)
Campbell is by Marshall; Southey, by Weekes.
607. Charles Dickens' grave. (Westminster Abbey.)
608. John and Charles Wesley. (Westminster Abbey)
630. Nelson monument. (St. Paul's).
631. Charles Marquis Cornwallis monument. (St. Paul's)
Designed by Wyatt.
Noble.
Chantrey.
Jackson.
Westmacott.
Adams-Acton.
Flaxman.
640. George Peabody monument. (Near Bank of England).
700. Sleeping children. (Lichfield Cathedral)__
701. Sleeping boys.
.J. C. F. Rossi.
Story.
Chantrey,
Rinehart.
Boehm.
Pigalle.
Universally admired as the beau-ideal of artless beauty and unaffected grace."-Sandby.
710. Prince Imperial's monument. (Windsor)
720. Maurice of Saxony, tomb. (St. Thomas, Strassburg).
"Thoroughly picturesque."-Lübke.
730-732. Maximilian Joseph II. of Bavaria monument. (Munich.)
Of gilded bronze, cast from models by Zumbusch.
733. Leopold of Dessau monument. (Wilhelmsplatz, Berlin.)
Bronze; after original marble by Schadow.
741-744. Frederick William III. monument. (Thiergarten, Berlin)... Drake.
745. Louise monument. (Thiergarten, Berlin)-
Reliefs representing the blessings of peace
746–749. Louise monument: reliefs.
761. Frau Fessler tomb. (Munich.)
762. Angel of hope. (Munich.)
760. Madonna. (Munich)
Encke.
Halbig.
763. Angel with child. (Munich.)
764. Madonna comforting orphans. (Munich.)
765. Gaigel monument. (Múnich).
766. Liebig monument.
767. Sidonie von Paulinger: relief
780. Pediments. (Glyptothek, Munich.)
Ceres and Proserpine; Cupid and Psyche.
781. Sarcophagus. (Munich.)
782. Monument to the fallen of 1870-1. (Munich.)
Haf.
-(Martens ?)
19
783. Achilles statue. (Hyde Park, London)
Copied after the Horse-tamers of the Capitol, Rome.
799. Garfield monument: bronze statue. (San Francisco)
800. Garfield monument: sorrowing America
801-802. Garfield monument: eagles with standards.
803. Garfield monument: relief-the oath of office
804. Garfield monument: marble statue-
SERIES V.-RELIEFS.
100. Park: attendants with dogs. (British Museum)
•
150. River-god Illissus or Cephisus. (British Museum.)
Westmacott.
Happersberger.
Happersberger.
Happersberger.
Happersberger.
Happersberger.
From Kouyunjik.
From west pediment of the Parthenon. By Phidias or under his immediate direction.
151. Theseus: seated god, perhaps Olympus. (British Museum.)
From east pediment of the Parthenon. By Phidias.
152. Theseus: left.
153. Demeter, Persephone, and Iris. (British Museum.)
From east pediment of the Parthenon. By Phidias.
160-165. Parthenon metopes: combats of Greeks with Centaurs. (British Museum.)
Certain differences of style and execution indicate that these figures from the south front were
done by elder contemporaries of Phidias.
170-175. Parthenon frieze. (British Museum.)
Representing the quadrennial Panathenaic procession.
170. West frieze: horsemen.
171. North frieze: mounted youths.
172. North frieze: horsemen.
173. South frieze: horsemen riding rapidly.
174. East frieze: magistrates.
175. East frieze: seated gods.
199. Centaurs and Lapiths: sarcophagus. (Cathedral, Cortona.)
200. Mausoleum at Halicarnassus: frieze. (British Museum.)
From the east side; which was adorned by Scopas. (Pliny says.)
250. Scipio Africanus: sarcophagus. (Vatican.)
-
251. Hippolytus and Phaedra: sarcophagus. (Pisa.)
Placed over the sarcophagus of Beatrice, mother of the Countess Matilda.
260. Bacchanal, Comus, Faun, and Panther. (British Museum)
269. Apotheosis of Augustus. (Ravenna, S. Vitale.)
270–274. Sacrificial procession. (Vatican.)
From Augustus' Altar of Peace, dedicated B. C. 8. (See Mitchell, 671.)
275. Arch of Titus: triumphal procession. (Rome.)
276. Arch of Titus: spoils of Jerusalem.
289. Apollo and the Graces. (Naples.)
290. Orpheus, Eurydice, and Mercury. (V. Albani.)
291. Medusa head. (V. Ludovisi.)
(See finer profile view in Mitchell, p. 618.)
297. Judgment of Paris. (Naples.)
298. Boxers.
299. Tragan and officials.
Roman sculpture.
300. Marcus Aurelius in chariot. (Capitol.)
301. Marcus Aurelius and suppliants. (Capitol.)
302. Marcus Aurelius at sacrifice. (Capitol.)
350-364. Triumph of Alexander. (V. Carlotta, Lake of Como).-
Thorwaldsen.
351. Triumph of Alexander (2) with Thorwaldsen and Count Sommariva.
352. Triumph of Alexander (3).
Among the spoils the elephant bears the famous casket in which the conqueror kept his copy of
Homer.
358. Triumph of Alexander (9): Alexander in the quadriga.
359. Triumph of Alexander (10): head of procession of suppliant Persians; Mazæus and
children.
363. Triumph of Alexander (14): banks of Euphrates, river-god.
365. Alexander misled by Thais to burn Persepolis.
366. Hylas, the Argonaut, seized by Nymphs...
367. Muses at Helicon. (Completed in nine days).
368. Homer singing
369. Achilles deprived of Briseis-
370. Hector, Andromache, and Astyanax
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
371. Minerva giving Achilles' armor to Ulyssės.
Thorwaldsen.
372. Achilles holding Penthesilea, the Amazon
Thorwaldsen.
373. Achilles staunching the wounds of Patroclus.
Thorwaldsen.
374. Priam begging Achilles for Hector's body.
375. Pan instructing young Faun on the pipes.
376. Bacchante and young Faun
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
377. The Parcae, fates
378. Victory, in a chariot-
379. Nurture of Cupid..
380. Bacchus and Cupid treading grapes
381. Bacchus giving drink to Cupid...
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
20
:
382. Cupid writing Jupiter's laws
383. Cupid and Ganymede casting dice
384. Vulcan forging Cupid's arrows
385. Anacreon and Cupid...
386. Cupid and the fainting Psyche.
387. Cupid and Psyche.
388. Cupid leaving Psyche.
389. Psyche borne by Zephyr.
390. Venus and Cupid..
391. Cupid complaining to Venus of the bee…-
392. Cupid with rose and thistle.
393. Cupid and Hygea..
394. Cupid and Hymen.
395. Shepherdess with nest of Cupids.
420. Minerva bestowing a soul upon Prometheus' homunculus
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Gibson.
Gibson.
Gibson.
Gibson.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
421. Mercury bringing Bacchus to Ino.
..Thorwaldsen.
Thorwaldsen.
423. Hercules receiving from Hebe the drink of immortality.
Thorwaldsen.
-
424. Nemesis reading to Jupiter
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Thorwaldsen.
Dausch.
Dausch.
Dausch.
Dausch.
Thorwaldsen.
Thorwaldsen.
Rinehart.
422. Hygea and Esculapius.
425. Clio, muse of history.
426. Victory recording-
427. Genius of poetry.
428. Apollo--
429. Hollweg monument: relief
430. Hollweg monument: relief
450. Spring
451. Summer
452. Autumn
453. Winter
454. Spring
455. Summer
456. Autumn.
457. Winter
466. Day
467. Night.
468. Day
469. Night-
471. Night-
480. Angel of Peace in bonds
490. Italian spinning girl…--
491. Eve
492. Ariel
493. Venus and Cupid
494. Music and poetry.
500-502. Fox chase.
-
503. Minerva entrusting Pegasus to Bellerophon
504. Hours leading the horses of Phoebus.
550-553. Germania. (Wolff's statue, Berlin): frieze.
554-556. National monument. (Niederwald): reliefs.
580. Mirabeau in the States General
-
590. Alexander and Diogenes. (Louvre).
594–600. Reliefs of the Louis XIV. monument, formerly in Place des
Victoires, Paris, now in the Louvre.
594. Muse of history
595. Apollo presenting the portrait of Louis XIV.
596. Painting and sculpture
597. Painting and sculpture
598. Hercules crowned by Glory
599. Painting and sculpture
600. Religion treading on Idolatry-
620. Waterloo vase. (S. Kensington Museum.)
700-728. Bronze gates of the Baptistery, S. Giovanni, Florence.
Rinehart.
R. Rogers.
Palmer.
Sussmann-Hellborn.
Sussmann-Hellborn.
.F. M. Miller.
Schilling.
-[?]
Kiss.
Gibson.
Gibson.
Siemering.
Dalou.
Puget.
Rousselet.
Coustou.
Buirette.
Prou.
Desjardins.
Hutinot.
Hardy.
By Andrea Pisano (1270-1345). Represents scenes in the life of John the Baptist. Admirable
for the simplicity of design, the "sobriety and elegance of the architectural accessories," the use of
draperies in "broad folds which accentuate form without concealing it," and the rhythmic dis-
posal of the figures.-Perkins.
701. Porta Pisano: Angel and Zacharias.
702. Porta Pisano: Zacharias dumb.
703. Porta Pisano: Mary and Elizabeth.
704. Porta Pisano: Birth of John.
705. Porta Pisano: Brought to the Temple.
706. Porta Pisano: Departure to the desert.
707. Porta Pisano: John at Bethabara.
708. Porta Pisano: "Behold the Lamb of God."
21
709. Porta Pisano: John baptizing.
710. Porta Pisano: Baptism of Christ.
711. Porta Pisano: John before Herod.
712. Porta Pisano: John led to prison.
713. Porta Pisano: Disciples at prison door.
714. Porta Pisano: John preaching repentance.
715. Porta Pisano: Banquet of Herod.
716. Porta Pisano: John beheaded.
717. Porta Pisano: Herodias' daughter receiving John's head.
718. Porta Pisano: Herodias receiving John's head.
719. Porta Pisano: Disciples bearing the body.
720. Porta Pisano: Entombment.
721. Porta Pisano: Hope.
722. Porta Pisano: Faith.
723. Porta Pisano: Courage.
724. Porta Pisano: Temperance.
725. Porta Pisano: Charity.
726. Porta Pisano: Humility.
727. Porta Pisano: Justice.
728. Porta Pisano: Prudence.
729-757. Bronze gates of the Baptistery, S. Giovanni, Florence.
By Lorenzo Ghiberti (1378-1455). "Distinguished for clearness of narration, grace of line, and
repose."
730. Porta Ghiberti: Annunciation.
731. Porta Ghiberti: Angel and shepherds.
732. Porta Ghiberti: Presentation.
733. Porta Ghiberti: Christ and the elders.
734. Porta Ghiberti: Baptism.
735. Porta Ghiberti: Temptation.
736. Porta Ghiberti: Money-changers.
737. Porta Ghiberti: Walking on the lake.
738. Porta Ghiberti: Transfiguration.
739. Porta Ghiberti: Resurrection of Lazarus.
740. Porta Ghiberti: Entry into Jerusalem.
741. Porta Ghiberti: Last supper.
742. Porta Ghiberti: Agony in the garden.
743. Porta Ghiberti: Betrayal.
744. Porta Ghiberti: The scourging.
745. Porta Ghiberti: Pilate washing his hands.
746. Porta Ghiberti: Bearing the cross.
747. Porta Ghiberti: Crucifixion.
748. Porta Ghiberti: Resurrection.
749. Porta Ghiberti: Disciples at the tomb.
750. Porta Ghiberti: St. John.
751. Porta Ghiberti: St. Matthew.
752. Porta Ghiberti: St. Luke.
753. Porta Ghiberti: St. Mark.
754. Porta Ghiberti: St. Augustine.
755. Porta Ghiberti: St. Jerome.
756. Porta Ghiberti: St. Gregory the Great.
757. Porta Ghiberti: St. Ambrose.
758-768. Bronze gates of the Baptistery, S. Giovanni, Florence.
Called "Porta del Paradiso;" by Ghiberti. In these were applied the laws of perspective, then
lately discovered. They show "the most consummate knowledge of the art of composition."-
Perkins. The representations "appear like paintings in perspective gradation and with rich land-
scape and architectural backgrounds.”—Lübke. The statuettes are gems of art.
759. Porta del Paradiso: Creation.
760. Porta del Paradiso: Cain and Abel.
761. Porta del Paradiso: Story of Noah.
762. Porta del Paradiso: Story of Abraham.
763. Porta del Paradiso: Esau and his birth-right.
764. Porta del Paradiso: Story of Joseph.
765. Porta del Paradiso: Moses receiving the law.
766. Porta del Paradiso: Jordan, and fall of Jericho.
767. Porta del Paradiso: David and Goliah, etc.
768. Porta del Paradiso: Solomon and the Queen of Sheba.
769. Santa Casa, Loreto: main portal
Girolamo Lombardo. (1550.)
Embraces scenes from the Old Testament, which are "depicted with few figures, but these display
unusual animation."-Lübke.
770. Santa Casa, Loreto: north side portal.-
Tiburzio Verzelli.
Scenes from the Old Testament seeking to rival preceding works in richness of detail and pictur-
esque effect.
771. Santa Casa, Loreto: south side portal--
"Designed with similar magnificence and executed with delicacy."
772. Cathedral, Pisa: principal door.
Antonio Calcagni.
Executed after designs by Giovanni di Bologna, to replace the doors of Bonanno, made in twelfth
century but destroyed by fire.
22
773. Cathedral, Pisa: left door.
774. Cathedral, Pisa: right door.
775. Communicatorio. (Communal gallery, Spoleto)
776-779. Reliefs in Tabernacle. (S. Michele, Florence)
776. Betrothal of the Virgin.
777. Annunciation.
778. Nativity.
779. Presentation in the Temple.
790-791. Capitol, Washington: bronze doors.
These, left unfinished by Crawford, were completed by Rinehart.
Benedetto da Rovezzano.
---Orcagna.

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