ompetent and _true_
men should be appointed to select capital works, executed in the style
of the great masters. Many such can be had in this country as well as in
Europe, at moderate prices.

6th. The Institution should be located in New York, as the most
convenient place, and as the great centre of commerce, where artists
could most readily dispose of their works. For this favor, the city
would doubtless donate the ground, and her citizens make liberal
contributions. The edifice should be built fire-proof, and three
stories high--the upper with a skylight, for the gallery of paintings.
Such an institution need not be very expensive; yet it would afford the
elements for the instruction and accomplishment of the painter, the
engraver, the sculptor, the architect, the connoisseur, the
archaeologist, and the public at large; it would be the means of
awakening and developing the sleeping genius of many men, to the honor,
glory, and advantage of their country, which, without it, must sleep on
forever. See vol. ii., pp. 149 and 155, and vol. iii., p. 265
of this work.

INDEX.

Advantages of the Cultivation of the Fine Arts to a Country, i, 6;
Sir M. A. Shoe's Opinion, i, 6;
Sir George Beaumont's, i, 7;
West's, i, 8;
Taylor's, i, 9;
see also, i, 69;
Reynolds' Opinion, i, 204;
Napoleon's, iii, 274.

AEtion, his picture of the Nuptials of Alexander and Roxana, ii, 184.

Agaptos, Porticos of, ii, 185.

Ageladus, his works, ii, 185.

Aldobrandini Wedding, Fresco of, ii, 55.

Allston, Washington, i, 60;
his Prayer answered, i, 61;
his success in London, i, 62;
his Death, i, 62;
Vanderlyn's letter--his Reflections on his Death, i, 63.

American Patronage at Home and Abroad, i, 66;
Weir, Greenough, and Cooper's testimony, i, 67;
Cooper's Letter, i, 68.

Amiconi, Jacopo, iii, 249.

Angelo, Michael, his Early Passion for Art, i, 47;
his Mask of a Satyr, i, 48;
his Sleeping Cupid, i, 48;
Angela and Julius II, i, 50;
St. Peter's Church, i, 50;
Angelo and Lorenzo the Magnificent, i, 52;
his Cartoon of Pisa, i, 53;
his Last Judgment, i, 54;
his Coloring, i, 56;
his Grace, i, 57;
his Oil Paintings, i, 58;
his Prophets and Julius II, i, 58;
his Bon-Mots, i, 59;
Angelo and Raffaelle, i, 70-72.

Anguisciola, Sofonisba, iii, 129;
her Early Distinction, iii, 129;
her Invitatio