Kunkel, Ger. glass chemist, 359 LABARRE, Fr. golds. 268 Lagrénée, Fr. paint. 327 L'Aigle, Nicolas de, Ven. glassm. 355 Lanfranco, Girolamo, It. ker. paint. 293 Laroche, ker. paint. at Sèvres, 327 Leigeber, Gottfried, Ger. arm. and cha. in Léonard Limousin, Jean, Fr. enam. paint. Leonardo, son of Giovanni, Flo. golds. and Lück, Ger. iv. sculp. and ker. mod. 35, 323 MABUINUS, golds. of Gaul, 203 Mengs, Ismail, Ger. enam. paint. 187 Meytens, Swe. enam. paint. 187 Michael Angelo, Michaelagnolo Buonarotti Michelagnolo di Viviano da Pinzidimoute, Michelino, It. eng. of fine stones, 54 Mimbielle, Fr. enam. paint. 181 Miotto or Miotti Domenico, Ven. glassm. 340, Misseroni, or Misuroni, family. Gasparo, Mohammed, son of Zin-Eddin, Arabian Monte, Michele, It. golds. 248 Mouret, Dominique, Fr. enam. paint. 181 Mutina, Thomas surnamed of, paint. 79 note NASSARO, Matteo dal, It. eng. of fine stones, Negroli, Filippo, It. arm. and dam. 192, 366 Maiano. (See Benedetto, Giuliano.) Martin, Fr. paint. and inventor of a lacquer, Mehlem, Van, Flem. paint. 83 Nicholas of Pisa, Nicolò Pisano, It. sculp. Nicolò, son of Guglielmo, It. golds. 241 Noualher, Pierre, enam. paint. 183 OBSTAL, Van, Flem. iv. sculp. 34 Meckenem, Israel van, Flem. paint. and eng. PALISSY, Bernard, Fr. ker. mod. and paint. on 82, 100 note. Fig. 46, xxii glass, 75, 304; quotations from his 177 Pénicaud, N. Fr. enam. paint. 177 Pénicault, Jean, Fr. enam. paint. 172 Pezold, Hans, Ger. eng. of medals and golds. Pfeifhofen, Ger. iv. sculp. 34 Piatti, Bartolomeo, It. dam. 192 arm. and dam. 192, 366 Piccolpasso il cavaliere, It. ker. paint. 293 Pietro of Piacenza, founder in bronze, 40, | Prieur, Fr. enam. paint. 186 QUERCIA. (See Jacopo.) Raffaelle dal Colle, It. ker. paint. 292, 294 XV Ratti, Agostino, It. ker. paint. 301 Rechambaut, Fr. enam. paint. 181 326 Reitz, Heinrich, Ger. golds. and eng. 43. Retour, Robert, Fr. golds. 235 Rizzo, Paolo, Ven. golds. dam. 192 Robbia, Luca della, Flo. sculp. golds. ker. and Robbia, Andrea, Giovanni, Luca, Girolamo, Rosset, ker. paint. at Sèvres, 327 Rosso, surnamed Maître Roux, Flo. paint. Rouquet, Fr. enam. paint. 187 Pietro, golds. of Arezzo, 153, 165, 238 Pietro, son of Giovanni, golds. of Pistoia, Ruker, Thomas, Ger. chas. in iron, 45 SADELER, Egidius, Flem. paint and eng. 295 Pietro, son of Antonio of Pisa, It. golds. 241 Salvator Rosa, It. paint. 27 note Piguigny, Jean de, Fr. golds. 235 Pilli, Salvador, It. chas. enam. 154 Piloto, It. golds. 260 Pinaigrier, Fr. paint. on glass, 75 Pollainolo, Antonio del, Flo. paint. sculp. Pollainolo, Pietro del, Flo. paint. and sculp. 23 Polycletus, Gk. arch. 272 Poncet, H., Fr. enam. paint. 182 Poussin, Nicolas, Fr. paint. 29 Salvi, Antonio, Flo. golds. 248 Sansovino, Jacopo Tatti surnamed, Ven. Sanzio or de' Santi, Raffaello, Raffaelle, called Sarazin, Jacques, Fr. paint. and sculp. and Sarrachi, the brothers, It. lap. 197 Schäuffin, Hans, Ger. paint. 26 Pozzo Giovanni, It. eng of med. and iv. Schlottheim, J., Ger. clockm. 377 sculp. 35 Schön. (See Schongauer.) Schongauer, or Schön, Martin, Ger. paint. | Trezzo, Jacopo da, It. lap. 197 and eng. 82 Schogia, Arabian founder and dam. 422 Selvaggio, Guido, It. ker. paint. 293 Stimmer, brothers, Ger. paint. on glass, 77 Stoss Veit, Ger. sculp. 21, 24 Teschler, Johann, Ger. sculp. 26 Thélot, Johann Andreas, Ger. golds. 269, 270 Toriti Giacomo, It. paint. Fig. 40, xxi Tovaloccio Piero, Giovanni, and Romolo del, Tribolo, Nicolò surnamed the, Flo. sculp. and Troger, Simon, Ger. iv. sculp. 35 Tschirnhans, Ehrenfried Walter de, Ger. che- Turini, Giovanni, It. chas. enam. 154 192 UBERTO da Piacenza, Flo. paint. and founder Ugolino, golds. of Siena, 163, 165, 238. Fig. VALERIO, Belli, surnamed Valerio Vicentino, 249 Vianen, Paulus Van, Flem. eng. of med. 44 Vite, Timoteo della, It. paint. 289 WALBAUM, Mathäus, Ger. golds. 267 Weckhard, Georg, Ger. iv. sculp. 34 Weihenmeyer, Ger. mod. in wax, 39 Wilhelm, Meister, Ger. paint. 79 note Willielmus, enam. 126 Woeiriot, Pierre, golds. and eng. of Lorraine, Wohlgemuth, Michel, Ger. paint and sculp. XANTO, Francesco, It. ker. paint. 290, 296, ZELLER, Jacob, Dutch iv. sculp. 33 Zick, Lorenz and Stephan, Ger. iv. sculp. 34 Zing, Swe. enam. paint. 187 Zuccaro Taddeo, It. ker. paint. 293 DESCRIPTION OF THE WOODCUTS. Fig. 1. Ivory chair of St. Maximian. At Ravenna. VIth century. This chair is now placed in a closet in the sacristy of the metropolitan church at Ravenna, of which it formerly decorated the presbytery. It is entirely overlaid with tablets of carved ivory. The monogram in front of the seat, refers this remarkable work to the time of the Archbishop Maximian, whose portrait is in the mosaic of the apsis of the basilica of St. Apollinaria-in-Classe, and in that of San Vitale (See fig. 39), both of which churches he consecrated; the first in 549, the second two years earlier. This same prelate also adorned the church of St. Stephen, now destroyed, with rich mosaics, and with curtains for the altar, upon which were represented the miracles of our Saviour.* Fig. 2. Abbey of Lorsch, in the Bergstrasse. The portico or gate-house here represented is in the late, debased Roman style, such as we find at that period when the traditions of Roman art were not entirely lost. Fig. 3. Martha and Mary advancing to the Saviour. Sculpture of Xth or XIth century, from Selsey, now in Chichester Cathedral. Fig. 4. The raising of Lazarus. Sculpture, IXth or Xth century. (Chichester Cathedral.) Fig. 5. Oliphant. XIVth century. Coll. Soltykoff. (Described p. 10.) Du Sommerard. Album 4 serie, pl. 26. (No. 154 Debruge-Labarte Collection.) Fig. 6. Ivory diptych of the Consul Clementinus. century. (Coll. Fejérváry.) Of Greek workmanship. VIth He is represented seated on a curule chair between the figures of Rome and Constantinople, holding the map of the Circus, and giving with it the sign for the beginning of the games. Above him, are his signet, his name and title, surmounted by a cross and portraits of the emperor Anastasius and the empress Ariadne. Under him, two boys emptying bags of presents, viz., coins, diptychs, and palm branches. At the time of the later emperors, the consuls had no other public duty than to give feasts to the people, and a name to the year. Clementinus was consul of the East, A.D. 513. The inside of this diptych contains the old Greek liturgy, engraved into the tables in the first year of Pope Adrian I., A.D. 778. This diptych, which has been published by Gori, D'Agincourt, and all the authors treating upon this class of monument, is known as the "Diptychon Nigelinum," it having remained for two centuries in the possession of the patrician family Nigelien in Nuremberg, whence it passed into the collection of Count Wiczay, and subsequently into that of the late M. Fejérváry.+ * Du Sommerard. Les Arts au Moyen Age. Album, ler sér, pl. ii. + Catalogue of the collection of Monuments of Art formed by the late Gabriel Fejérváry, of Hungary, described by Dr. E. Stenszlmann. b Fig. 7. Ivory Archangel. British Museum. The leaf of a diptych of the IVth century. Fig. 8. Statue-painter. From a miniature of the XVth century. (Imp. Lib., Paris.) A female artist is represented in the act of painting a statue of the Virgin. The subject is interesting, as showing us the implements used at that period in painting. The artist holds a pencil or brush in her right hand, and a palette with a handle in her left, thus affording incontestable evidence that the palette was used in France in the XVth century, and this is perhaps the earliest notice of this implement known. On a bench by her side, are placed the colours, mixed in shells as described by Alcherius and other writers, and also her brushes in a tray, and a second palette with a handle.* Fig. 9. Birth of St. John. Carving in speckstein, by Albert Dürer. XVIth century. British Museum. (Payne Knight's Collection.) Fig. 10. Fig. 11. Ecce Homo. Ivory carving. XVIIth century. Ivory tankard, after Rubens or Jordaens. XVIIth century. (Marlborough Fig. 12. Ivory knife and sheath of Diane de Poitiers. XVIth century. In the Fig. 13. Shrine of St. Sebald, by Vischer. XVIth century. Nuremberg. Begun in 1506, and finished in 1519. For this great work of art, Vischer was miserably paid, receiving only 770 florins for his thirteen years of labour. He has himself recorded in an inscription upon the monument that "he completed it for the praise of God Almighty alone, and the honour of St. Sebald, Prince of Heaven, by the aid of pious persons, paid by their voluntary contributions." There are seventy-two figures in this monument; Syrens hold candelabra at the angles, and it is supported at the base by huge snails. The centre has an air of singular lightness and grace. Fig. 14. Copper crucifix. XIIth century. Coll. Soltykoff. (No. 332 DebrugeLabarte Collection.) Copper enamelled and gilt.+ The Saviour is not clothed in the long Byzantine robe of the XIth century, but in a tunic descending to the knees, in which he is represented till the XIVth century. His feet are not crossed or nailed, but rest on a tablet (suppeditanum) which a third nail fixes to the cross. The cross is made of trunks of trees, with the branches lopped off, a form more favourable to sculpture than the squared timber of later times.§ At the foot of the cross, are the three * Merrifield's Ancient Practice of Painting, vol. i. p. cvii. Incorrectly stated p. 41, to be of bronze. Before the XIIIth century Jesus was attached to the cross by four nails-one to each hand and foot. In consequence of some anterior discussions, the feet from this period were placed over each other and attached by a single nail, it having been settled that three nails only were used at the crucifixion. Cimabue is said to have been the first painter who adopted this arrangement. This crucifix (Fig 14) was made at the end of the XIIth century, when the four nails had been rejected, but the feet had not been superposed, so to get rid of the difficulty, the third nail is here attached to the tablet which supports the feet. § The cross of Calvary was a tree, and therefore was painted green. In the painted window in the apsis of St. Denis near Paris, in another in the Sainte Chapelle, in the cathedrals of Bourges, Chartres, Rheims, and in the miniatures of manuscripts, the cross is a tree with the branches lopped, and covered with a greenish bark, and the round tree covered with bark and stripped of its branches is also sculptured in the porch of Notre Dame at Rheims. The green colour was retained even after the cross had been |