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;
    Coello’s Challenge, ii, 234;
    Anecdotes, ii, 234;
    Painting with his Fingers, ii, 235;
    Rich Presents he Received, ii, 236;
    his Return to Naples, ii, 236;
    his Reception at Genoa, Florence, Rome and Naples, ii, 237;
    his Personal Appearance and Character, ii, 237;
    his Popularity, Love of Gain, and “Three Sorts of Pencils,” ii, 238;
    his Riches, ii, 238;
    his Wonderful Facility of Hand, ii, 239;
    his Fame and Reputation, ii, 240;
    his Genius and merits, ii, 241;
    his Tricks for Notoriety, his False Style and its Injurious Effects
    on Art at the Time, ii, 241;
    Remarkable Instance of his Rapidity of Execution in his altar-piece
    of St. Francis Xavier, ii, 242.

  Giotto—­Sketch of his Life, ii, 257;
    his Early Passion for Art, ii, 257;
    his Works, ii, 258;
    as an Architect, ii, 259;
    his St. Francis Stigmata, ii, 259;
    his Invitation to Rome, ii, 260;
    “Round as Giotto’s O,” ii, 261;
    Story of his Living Model, ii, 262;
    Giotto and the King of Naples, ii, 264;
    his Bon Mots, ii, 265;
    Giotto and Dante, ii, 266;
    Death of Giotto ii 266.

  Giottino, ii, 286.

  Gladiator, Statue of the Dying, i, 144.

  Gladiator, Statue of the Fighting, ii, 187.

  Glass, Ancient, ii, 57;
    Ancient Pictures of, ii, 58.

  Golden Age of Art in Greece, i, 11, and ii, 154.

  Golden Age of Art in Rome, ii, 152.

  Golden Age of Art in Italy, ii, 149.

  Goldsmith, Dr., and Reynolds, i, 199;
    his “Deserted Village,” i, 200;
    his Retaliation, i, 200.

  Gomez, the Slave of Murillo, iii, 195.

  Grecian Art derived from the Egyptians, iii, 1.

  Greenough, Horatio—­his Chanting Cherubs, i, 67;
    Commission for his Statue of Washington for the Capitol, i, 68;
    his Modesty, i, 69;
    his account of the Miraculous Picture of the Virgin at
    Florence, iii, 211.

  Griffier, John—­his Perilous Adventure, iii, 245.

  Group of Niobe and her Children, ii, 185.

  Group of Laocooen and his Sons, ii, 187.

  Guercino—­his Power of Relief, ii, 140.