PLATES
Reading edition
PLATES I AND II. PORTRAITS OF BERNINI
NUMBER
I. Bernini. Pencil Drawing, by himself (p. 12); Brandegee Collection Frontispiece
FACING PAGE
II. Portrait, formerly thought to be of Velasquez, probably of Bernini (p. 12, footnote 3); Capitoline Gallery, Rome 4
PLATES III-X. WORKS OF BERNINI
III. Æneas and Anchises (p. 16); Borghese Collection, Rome 8
IV. David (p. 17); Borghese Collection 12
V. Proserpina and Pluto (p. 17); Borghese Collection 16
VI. Apollo and Daphne (p. 17); Borghese Collection 18
VII. Angel with the Crown of Thorns (p. 25); Church of S. Andrea delle Fratte, Rome 22
VIII. Angel with a Scroll (p. 25); Church of S. Andrea delle Fratte, Rome 24
IX. Saint Theresa (p. 30); Church of S. Maria della Vittoria, Rome 30
X. Louis XIV (p. 39); Versailles 38
PLATES XI-XXVII. SCULPTOR’S MODELS BY BERNINI; BRANDEGEE COLLECTION
XI. Female figure in relief, with helmet (p. 46, No. 1) 44
XII. Figure of Longinus, for St. Peter’s (p. 46, No. 2) 44
XIII. Putti, for the decoration of the piers in St. Peter’s (p. 47, Nos. 3 and 4) 44
XIV. Two saints, for the Ciborio in the Cappella del Sacramento in St. Peter’s (p. 47, Nos. 5, 7) 46
XV. Two saints, for the Ciborio in the Cappella del Sacramento in St. Peter’s (p. 47, Nos. 6, 8) 46
XVI. Bas-relief with half-figures (p. 47, No. 9) 46
xXVII. Half figure of a Triton holding a woman on his shoulders (p. 47, No. 10) 46
XVIII. Study for the head of the St. Jerome in the Duomo of Siena (p. 47, No. 11) 46
XIX-XXIV. Models of Angels (pp. 47, 48, Nos. 12–21) 48
XXV. Standing male figure in high relief (p. 49, No. 22) 48
XXVI. Oval bas-relief of the Virgin (p. 49, No. 23) 48
XXVII. Standing female figure, and standing Angel (p. 49, Nos. 24, 25) 48
PLATES XXVIII-XL. BERNINI’S DESIGNS FOR THE PIAZZA OF ST. PETER’S; BRANDEGEE COLLECTION
XXVIII. Orb, surmounted by a cross; outline of a crucified figure (p. 51, Nos. 1, 2) 50
XXIX. Outline plan of St. Peter’s church correlated with a figure on a cross above lines suggesting the colonnades (p. 52, Nos. 3, 4) 50
XXX. More complete correlation of the crucified figure with St. Peter’s church (p. 52, Nos. 5, 6) 50
XXXI. Outline elevation of north half of the facade of St. Peter’s, with the colonnade (p. 52, No. 7) 52
XXXII. Sketches of the north colonnade (p. 53, No. 8) 52
XXXIII. More elaborate sketch of the north colonnade (p. 53, No. 9) 52
XXXIV. Outline sketch of the outer end of the north arm of the colonnade, treated as if in two stories (p. 53, No. 10) 52
XXXV. Interior of inner end of north arm of colonnade (p. 53, No. 11) 52
XXXVI. Plan and elevation of the Cortile di S. Damaso (p. 53, No. 12) 54
XXXVII. Façade of St. Peter’s, with both colonnades treated as if in two stories (p. 53, No. 13) 54
XXXVIII. View looking east from the front of St. Peter’s (p. 54, No. 14) 54
XXXIX. The Borgo, looking toward St. Peter’s (p. 54, No. 15) 54
XL. Correlation of the Piazza with the Orb (p. 54, No. 16) 54
PLATES XLI-LI. PORTRAITS
XLI. Sheik-el-Beled, statue of wood, Fourth Dynasty (p. 57); Boulak Museum, Cairo 58
xiXLII. Sheik-el-Beled, head of statue shown in plate XLI 60
XLIII. Portrait, so-called Scipio type, now identified as priest of Isis (p. 57); Museum of Fine Arts, Boston 64
XLIV. Pericles (p. 78); British Museum 66
XLV. So-called Menander (p. 82); Brandegee Collection 72
XLVI. Periander (p. 82); Vatican Museum 74
XLVII. Unknown Roman, terra-cotta (p. 85); Museum of Fine Arts, Boston 78
XLVIII. Unknown old man, Roman (p. 85); Brandegee Collection 84
XLIX. Antoninus Pius (p. 88); Brandegee Collection 86
L. Roman girl (p. 90); Museum of Fine Arts, Boston 88
LI. Sabina? (p. 90); Brandegee Collection 90
PLATES LII-LIX. PHEIDIAS AND MICHAEL ANGELO
LII. Caryatid from the Erechtheum, Athens (p. 101); British Museum 96
LIII. Madonna and Child, by Michael Angelo (p. 116); Bruges 100
LIV. The Victor, by Michael Angelo (p. 116); National Museum, Florence 106
LV. Bacchus with Satyr, by Michael Angelo (p. 116); National Museum, Florence 112
LVI. Eros, by Michael Angelo (p. 118); South Kensington Museum 118
LVII. Ares and other Divinities (p. 118); Frieze of the Parthenon, Athens 124
LVIII. So-called Athena Medici (p. 119); École des Beaux-Arts, Paris 126
LIX. Madonna and Child, by Michael Angelo, unfinished (p. 131); Church of S. Lorenzo, Florence 130
PLATES LX, LXI. CYRENE ATHENA
LX. Profile view of head (p. 135); Cyrene 136
LXI. Front view of head 144
PLATES LXII-LXIX. PAINTINGS BY GIORGIONE
LXII. The Judgment of Solomon (p. 172); Kingston Lacy, England 162
LXIII. Adoration of the Magi, or Epiphany (p. 175); National Gallery, London 168
xiiLXIV. Shepherd’s Offering (p. 180); in the Lord Allandale Collection, London 174
LXV. The Storm, gypsy woman and soldier in the foreground (p. 181); Giovanelli Palace, Venice 180
LXVI. The Three Philosophers (p. 181); Vienna 186
LXVII. Head of Christ bearing the Cross (p. 185); Gardner Collection, Boston 194
LXVIII. Portrait (p. 202); Wood Collection, Temple Newsam, England 202
LXIX. Madonna and Child (p. 204); Vienna 204