ompared, iii, 128;
Donatello and Brunelleschi, iii, 123;
Donatello and Uccello, ii, 292.

Douw, Gerard, iii, 222;
his Style, iii, 224;
his Method of Painting, iii, 225;
his Works, iii, 226;
his Dropsical Woman, iii, 227.

Dramatic Scenery at Rome, i, 93.

Durer, Albert, iii, 228;
his unfortunate Marriage, iii, 229;
his Works as a Painter, iii, 229;
his Works as an Engraver, iii, 231;
his Fame and Death, iii, 233;
his Habits, iii, 234;
his Literary Works, iii, 234.

Egyptian Art, iii, 1, and iii, 263.

Electioneering Pictures at Rome, i, 91.

Emulation and Rivalry of Advantage to Artists, iii, 257.

Engraving, Invention of Copper-Plate, i, 287.

Era, Brightest, of Grecian Art, i, 11, and ii, 154.

Era, Brightest, of Roman Art, ii, 152.

Era, Brightest, of Italian Art, ii, 149.

Eyck, John van--his Invention of Oil Painting, ii, 141.

Fabius Maximus--his Estimation of Art, i, 145.

Fanaticism, Religious, destructive to Art, i, 105;
its Effects in England, i, 105.

Figure, the Nude, i, 109;
Barry's Opinion, i, 109;
Schlegel's, i, 110.

Fine Arts, Golden Age of, in Greece, i, 11.

Fine Arts, Golden Age of, in Rome, ii, 152

Fine Arts, Golden Age of, In Italy, ii, 149.

Finiguerra, Maso--his Invention of Copper-Plate Engraving, i, 287.

Fiorentino, Stefano, one of the Fathers of Painting, ii, 286.

Foreshortening, ii, 145;
its Invention, ii, 145.

Fontana, Domenico, iii, 33;
his Removal of an Obelisk at Rome, iii, 34;
Dangers he Encountered, iii, 37;
Honors bestowed on him for his Success, iii, 40.

Force of Habit, i, 202.

Fornarina, La Bella, i, 75.

Fountain, the Elephant, iii, 286.

"Four Carlos of the 17th Century," ii, 184.

"Four Finest Pictures at Rome," ii, 183

Frescos, Ancient, ii, 55;
the Aldobrandini Wedding, ii, 56.

Fuseli, Henry--his Birth, ii, 59;
his Early Passion for Art, ii, 59;
his Literary and Poetical Taste, ii, 60;
Fuseli, Lavater, and the Unjust Magistrate, ii, 61;
his Travels and Literary Distinction, ii, 62;
his Arrival in London, ii, 63;
his Change from Literature to Painting, ii, 63;
his Visit to Italy, ii, 65;
his "Nightmare," ii, 66;
his OEdipus and his Daughters, ii, 66;
Fuseli and the Shakspeare Gallery, ii, 67;
his Hamlet's Ghost, ii, 69;
his Titania, ii, 6