ACTORS, in England, 234-239.
Adam, figure of, by Michel Angelo,
26.

Adriani, Giovanni Battista, letter of,
to Vasari, 140.

Eschines, statement by, regarding
Miltiades, 129, note.

Eschylus and Euripides, 30; quota-
tion from, 206.

Agasias the Ephesian, 109.
Agathenor, 94.

Ageledas, teacher of Polyclitus, 88.
Agoracritos, 66, 67, 70; and Alcame-
nes, 71; and Phidias, 72; statue of
Nemesis, at Rhamnus, by, 70, 91.
Ajax, the antique, 6.

Alberti, Leon Battista, 3, 8.
Alcamenes, 55; the Venus of the Gar-
dens, by, 68, 90; and Agoracritos,
71; and Phidias, 72, 96; high dis-
tinction of, as an artist, 90; works
in the Temple of Zeus, 93.
Alcimus Avitus, quotation from his
De Origine Mundi, 127.
Alexander, taming Bucephalus, statue
of, at Rome, 77, 78; praises Apelles
and Lysippus, 131.

Alfieri, 8.

Ammonius, 108.

Anacreon, quotations from, 144.
"Ancora imparo," a motto used by
Michel Angelo in old age, 13.
Androsthenes, 88, 92.

Angelo, Michel, 4-7; everything in
Florence recalls, 8; his house, 8, 9;
birth, 9; death, 10; early studies,
10; early efforts as a sculptor, 10;
his Cupid and Bacchus, 10; his Pi-
età, 11, 20; colossal figure of David,
11, 20; Sistine Chapel, 11; the
Moses, 11, 20; Medici Chapel, 11;
Pauline Chapel, 11; the Last Judg-
ment, 11; sculptor, painter, archi-
tect, engineer, and poet, 11, 43;
erection of St. Peter's, 11; his cir-
cumstances and characteristics, 12;
always learning, 13; his later po-

etry, 13; his power as a sculptor,
13, 20, 39; his great works in the
Medicean Chapel, 13-21; meaning
of his statues of Day, Night, Aurora,
and Crepuscule, 16-18; quatrain
by, 17; influence of Savonarola and
Dante on, 17; his works bad models
for imitation, 20; figure of Christ
by, in the Church of the Minerva,
20; his struggles against ill-health
and overwork, 20, 21; his frescoes
in the Sistine Chapel, 21-29; Bra-
mante's jealousy of, 21, 22, 24; Pope
Julius II. strikes him with a cane,
25; his extraordinary rapidity in
working, 25, 26; greater as a painter
than as a sculptor, 26; of heroic
spirit, 29; fragments of letters by,
30, 36; Raffaelle and, 30-33, 35; an-
ecdote of, 32: personal character-
istics of, 33, 34; and Vittoria Co-
lonna, 34; extract from a sonnet
by, 34; Dante the favorite poet of,
35; Savonarola the friend of, 35;
originality of, 35; devotion to his
family, 36; generosity of, 36, 37;
violent temper of, 33, 37; patience
of, 37; difficulties under which he
labored, 37, 38; described by Vige-
nero, 38; the impatience of his gen-
ius, 39; appointed architect of St.
Peter's when sixty years ol', 39;
Palazzo Farnese, the Church of Sta.
Maria degli Angeli, and the Lauren-
tian Library, designed by, 41; not
responsible for St. Peter's as it now
stands, 42; poetry of, 42, 43; trained
in all the arts, 43; the greatest mon-
uments of his artistic power, 44;
enduring kingdom of, 48; popular
errors about, 49, 50, 69; compared
with Phidias, 79, 80.

Antenor, the first maker of iconic
statues, 129.
Antoninus Pius, 230.
Apelles, and Alexander, 131; praised
by Nicephorus Chumnus, 132; price

52.

Apollodorus, 182.
Apollonius, 169.

Appian hymn, the, 206.

Arcesilaus, sketches by, 135; price
received by, for a drinking-cup, 170;
for a statue of Fabatus, 170, 176.
Aretino, 3, 8.

Arezzo, discoveries at, 178.
Arezzo, Guido di, 4.

Argos, the Temple of Juno at, 53.
Ariosto, 3; Dante and, 30; lively
spirit of, 42.

Aristotle, distinction drawn by, be-
tween Phidias and Polyclitus, 99-
102.

Arrian, cited, 66, 70.

Art, death-blow of pagan, 1; Christi-
anity and, 1; and religion, 2, 4, 208;
the golden age of Italian, 4; spirit
of Greek and Roman, 19; ancient
works of, difficulty of determining
authorship of, (9; the toreutic, 100;
the productions of, always show the
true spirit of religion among any
people, 208; and nature, 232, 233.
Artemisia and Mausolus, 132.
Arts, all, aid each other, 43.
Athena Areia, statue of, by Phidias,
53, 58; its height, 62; described,
C5.

Athena Lemnia, statue of, by Phidias,
62; beauty of, €5.
Athena of the Parthenon, chrysele-
plartine statue, by Phidias, 50-68,
82, 83, 97, 98, 111, 209, 210.
Athena Promachos, the, cast from
spoils taken at Marathon, 59; its
height, 62, 64.
Athenagoras, cited, 66, 70.
Aulus Gellius, definition of "facies"
by, 121.
Aurelius, Marcus, the Meditations of,
190-193, 228; how the Meditations
were written, 191; no book of an-
cient literature higher and purer,
192; his dust, 192; a conversation
with, 193-230; Jesus of Nazareth
reverenced by, 199; supposed ideas
of God held by, 199-202; cannot un-
derstand modern pronunciation of
Latin, 217; purely a Stoic, 220; did
not persecute Christians, 220; let-
ters of, on the proper treatment of
one's enemies, 228.

14-21.
Ausonius, cited, 68.

Baldi Chapel, the, 7.
Bargello, the, 6.
Bartolommeo, Fra, 31.
Baruch, cited, 150.
Batrachus, 107.

Beethoven and Mozart, 30.
Bembo, 4.

Berlinghi, family of the, 10.
Bibbiena, 3.

Biblical history, in Michel Angelo's
frescoes, 28, 29.
Boccaccio, 3.
Boiardo, 3.

Borgia, Lucrezia, 264.

Bostick and Riley, translation of
Pliny by, 135.

Bramante, instigates Pope Julius II.
to summon Michel Angelo to Rome,
21; jealous of Michel Angelo's fame,
22; tries to induce the Pope to dis-
charge Michel Angelo, 24.
Brass-casting, decline of the art of,

170.

Brick, printed on by the ancient Ro-
mans, 167.
plaster

British Museum, so-called
casts in, 164, 165.
Bronze statues, the method of the an-
cients in casting, 142.
Browning, Robert, 233.
Browning and Tennyson, 30.
Brunelleschi, 5, 6, 8, 40; designs
Church of San Loren: 0, 13.
Brunn, Dr., cited, 59, CO; on Pliny's
Natural History, 120, 137-139.
Bryaxis, 68.
Buggiardini, 21.

Buonomini, Michel Angelo's father
one of the twelve, 10.
Byzantine tradition, 4.

Callicrates, and the Parthenon, 51, 52.
Callimachus, nicknamed, 130; drill
supposed to have been invented by,

171.

Cambronne, 74.
Campaspe, portrait of, by Apelles,
132.

Canossa, the Counts of, 10.
Canova, opinion of, as to the use of
proportional compasses by ancient
sculptors, 171.

Caprese, birthplace of Michel Angelo,

9.

Carmine, Church of the, 7.
Carpion and the Parthenen, 51.
Carrara, Michel Angelo at, 37.
Casting, from life or from the round,

difficulties of, 159, 160; distinction
between, and modeling, 155, 161.
Casting in plaster, alleged practice of,
among the Greeks and Romans,
115-189; introduced by Verrocchio,
188.

Casts, plaster, not found in ancient

houses or tombs, 157, 158, 176, 177.
Cato, book published by, 167.
Catulus, 67.

Cellini, the Renaissance Perseus of,
6; accomplished in many arts, 43.
Ceres, the Temple of, at Eleusis, 52,
53.

Chalcosthenes, executed works in
baked earth, 148.

Changes, only gradual, do real good,
197.

Christ, and Communism, 222, 223; ex-
ample of, not always followed by
Christians, 226.
Christianity and Art, 1.

Christians, not persecuted by Marcus
Aurelius, but punished as Commun-
ists, 220-222; attitude of, toward
the government, 221, 227; theory
and practice of, 225, 226.

Cicero, Demosthenes and, 30; on the
meaning of vultus, 121; quoted, 125,
134, 141, 149, 152.
Cimabue, 4.

Clay, not a material for casting, 134;
why used by the ancients instead of
gypsum, 158, 159.

Clemens Alexandrinus, cited, 68.
Colonna, Vittoria, and Michel Angelo,
34.

Columbus, 4.

Communists, the early followers of
Christ were, 222.
Compasses, proportional, used by an-
cient sculptors, 171, 172.
Condivi, doubtful assertion of, 25.
Cooke, a safe guide for the tragic ac-
tor, 236.

Copies, exact, not made by ancient
sculptors, 174-176.
Corœbus, begins the Temple of Initia-
tion at Eleusis, 52.

Creed, every religious, should be liv-
ing, 196.

Crepuscule, figure of, by Michel An-
gelo, 14-21.

Ctesilaus, 67, 97; compared with Phid-
ias, 96.

Cydon, competition of, with Phidias,
97, 98.
Cymon, 67.

35.

David, Michel Angelo's statue of, 8,
11.

Day, Michel Angelo's colossal figure
of, 14-21.

Deity, figure of the, by Michel An-
gelo, 27.

Delacroix and Ary Scheffer, 30.
Delphi, group of statues at, 59, 60, 62,
64, 121.

Demetrius, on the work of Phidias,
81; introduces the realistic school
of portraiture, 130.
Demosthenes and Cicero, 30.
Devils, the, that haunt and tempt us,
come out of ourselves, 286.
D'Hancarville, cited, 109.
Dibutades of Sicyon, 137-139.
Diocletian, ruins of the Baths of, 41.
Diodotos, 70.

Dion Chrysostomos, on the style of
Phidias, 81.

Dionysius of Colophon, 132.
Dionysius of Halicarnassus, on the
art of Phidias, 81, 102; on the works
of Polyclitus, 89.
Dives and Lazarus, 223.
Dolls, ancient, 166.

Drama, reaction in the, against con-
ventionalism, 233.

Drill, the, supposed to have been in-
vented by Callimachus, 171.
Dryads, 1.

Dust of the dead, 192.
Duty, the, of considering adverse doc-
trines, 224, 225.

Ectypa of baked clay, 156.
Eleusinian mysteries, meaning of the,
217, 218.

Eleusis, the Temple of Initiation at,
52; the Temple of Ceres at, 52.
Elgin marbles, the, 49-114.
Elis, work of Phidias at, 53, 54.
Elpinice, portrait of, by Polygnotus,
132.

Epicurus, the face of, carried about by
the Romans, 150.

Equanimity, the last watchword given
by Antoninus Pius, 230.
Erechtheum, the, 94.

Esaias, Michel Angelo's figure of, 27.

Euripides, Aschylus and, 30; on the
immensity of God, 206.

27.