9;
his Election as a Royal Academician, ii, 70;
Fuseli and Walpole, ii, 71;
Fuseli and Coutts, ii, 72;
Fuseli and Prof. Porson, ii, 72;
his Method of giving Vent to his Passion, ii, 73;
his Love of Terrific Subjects, ii, 73;
his Revenge on Lawrence, ii, 74;
his Estimate of Reynolds as an Historical Painter, ii, 75;
his Friendship for Lawrence, ii, 75;
Fuseli as Keeper of the Royal Academy, ii, 76;
his Jests and Oddities with the Students, ii, 77;
his Sarcasms on Northcote, ii, 78;
on various Artists, ii, 79;
his Retorts, ii, 80;
his Retort in Mr. Coutts' Banking-House, ii, 82;
his Sarcasm on Landscape and Portrait Painters, ii, 83;
his own Attainment of Happiness, ii, 84;
his Habits, ii, 84;
his Wife's Novel Method of Curing his Fits of Despondency, ii, 85;
his Personal Appearance, Sarcastic Disposition, and Quick
Temper, ii, 86;
his Near Sight, ii, 87;
his Popularity, ii, 88;
his Artistic Merits, ii, 88;
his Milton Gallery, etc., ii, 89.

Fulton, Robert, as a Painter, i, 122;
his Love of Art, i, 123;
his Exalted Mind, i, 123;
his Account of his first Steamboat Voyage to Albany, and his
Predictions, i, 124.

Gallery, English National, i, 107.

Gallery, Dresden, iii, 262.

Gallery of the Louvre, iii, 289 and 302.

Gallery, United States National--Suggestions for One, iii, 307.

Galleries, Prices of, i, 112.

Galletti, Pietro, and the Bolognese Students, ii, 184.

Garland Twiner, i, 148.

Gaulli, Gio. Battista--his Excellence in Portraiture, iii, 250;
his curious method of Painting the Dead, iii, 250.

Genius, Trials of, i, 1, and iii, 80.

Ghiberti, Lorenzo--his famous Doors of San Giovanni, i, 60, and iii, 101;
as an Architect, iii, 102.

Giordano, Luca--his Wonderful Precocity, ii, 224;
his Enthusiasm, ii, 225;
Origin of his Nickname of _Luca-fa Presto_, ii, 226;
his Skill in copying and Imitating, ii, 226;
his Success at Naples, ii, 227;
Giordano, the Viceroy, and the Duke of Diano, ii, 228;
his Invitation to Florence--Giordano and Carlo Dolci, ii, 229;
his Invitation to the Court of Spain, ii, 230;
his Flattering Reception, ii, 230;
his Works in Spain, ii, 231;
in the Escurial, ii, 232;
his Habits, iii 233;
his first Picture at Madrid, ii, 233;
a great Favorite at Court, ii, 234;
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