href="@public@vhost@g@gutenberg@html@files@21198@[email protected]#Page_208" tag="{http://www.w3.org/1999/xhtml}a">208

Morland's Apprehension as a Spy, 209 Morland's "Sign of the Black Bull," 210 Morland and the Pawnbroker, 211 Morland's idea of a Baronetcy, 212 Morland's Artistic Merits,. 212 Charles Jervas, 213 Jervas the Instructor of Pope, 214 Jervas and Dr. Arbuthnot, 215 Jervas' Vanity, 215 Holbein and the Fly, 216 Holbein's Visit to England, 216 Henry VIII.'s Opinion of Holbein, 217 Holbein's Portrait of the Duchess Dowager of Milan, 218 Holbein's Flattery in Portraits—a Warning to Painters, 219 Holbein's Portrait of Cratzer, 219 Holbein's Portrait of Sir Thomas More and Family, 220 Sir John Vanbrugh and his Critics, 221 Anecdote of the English Painter, James Seymour, 223 Precocity of Luca Giordano, 224 Giordano's Enthusiasm, 225 Luca Fa Presto, 226 Giordano's Skill in Copying, 226 Giordano's Success at Naples, 227 Giordano, the Viceroy, and the Duke of Diano, 228 Giordano Invited to Florence, 229 Giordano and Carlo Dolci, 229 Giordano's Visit to Spain, 230 Giordano's Works in Spain, 231 Giordano at the Escurial, 232 Giordano's Habits in Spain, 233 Giordano's First Picture Painted in Spain, 233 Giordano a Favorite at Court, 234 Giordano's Return to Naples, public@vhost@g@gutenberg@html@files@21198@[email protected]#Page_236"