Chapter III: Illusion of Suspension and Motion in the Air (4)

represents the transition from one pose to another--he indicates
how insensibly the first glides into the second. In his work we
still see a part of what was, and we discover a part of what is to
be.

Rodin points to Rude's fine statue of Marshal Ney, and practically says that here the illusion is created by a series of progressive actions indicated in the attitude: the legs remaining as they were when the sword was about to be drawn, and the hand still holding the scabbard away from the body, while the chest is being thrown out and the sword held aloft. Thus the sculptor

compels, so to speak, the spectator to follow the development of an
act in an individual. The eyes are forced to travel upwards from
the lower limbs to the raised arm, and as in so doing they find the
different parts of the figure represented at successive instants,
they have the illusion of beholding the movement performed.

Rodin himself has followed a similar course with much success. The ancient Greek sculptors, when representing a figure in action, invariably chose a moment of rest between two progressive steps in the action. The Discobolus and Marsyas of Myron, and particularly the Atalanta in the Louvre, are fine examples.

[a] _Art, by Auguste Rodin_, compiled by Paul Gsell, 1916.

NOTE 70. PAGE 250

Mengs, in referring to the arrangement of the drapery in Raphael's figures, says[a]:

With him every fold has its proper cause; either in its own weight
or in the motion of the limbs. Sometimes the folds enable us to
tell what has preceded; herein too Raphael has endeavoured to find
significance. It can be seen by the position of the folds, whether
an arm or a leg has been moved forwards or backwards into the
attitude which it actually occupies; whether a limb has been, or is
being, moved from a contracted position into a straightened one, or
whether it was extended at first and is being contracted.

[a] _The Works of Anton Raphael Mengs_, vol. ii., D'Azara translation.

NOTE 71. PAGE 258

Besides assisting in providing an illusion, the title of a picture may lend great additional interest to it. Thus in Millet's The Angelus the associations called up by the title act most powerfully on the mind, and one almost listens for the sound of the bell.[a] A work of a similar character is Bonvin's Ave Maria, where the nuns of a convent are answering the call[b]; and Horace Walker has a picture with the same title, in which a boy who is driving cattle, stops in front of a Crucifix by the wayside[c]. An excellent example of this added interest is the title of Turner's great picture of the _Temeraire_,[d] as to which R. Phillimore writes[e]:

It is not difficult to imagine the picture of an old man-of-war
towed by a steam tug up a river. The execution of such a subject
may deserve great praise and give great satisfaction to the
beholder. But add to the representation the statement that it is
"The fighting Temeraire towed to her last berth, " and a series of
the most stirring events of our national history fills our
imagination.

[a] The Louvre.

[b] The Luxembourg.

[c] Corcoran Gallery, Washington.

[d] National Gallery, London.

[e] Preface to translation of Lessing's _Laocoon_.

NOTE 72. PAGE 261

There is an antique sculptured group in the Vatican in which a precisely similar figure of the son of Niobe has his left hand on the shoulder of his sister who has fallen to her knees from the effect of a wound, and it is very reasonably suggested that the Florence figure originally formed part of a like group. But the explanation of the act given by Perry[a] and others, that the drapery was raised by the brother to shield the girl, will scarcely hold good, as the folds are spread out at the back, forming a concavity, whereas they would fall loosely if the youth were resting. Apart from this, his legs are widely separated, and in a running position. It may therefore be surmised that in the Vatican group the artist intended to represent the precise moment when the fleeing youth reached his sister.

[a] _Greek and Roman Sculpture._

NOTE 73. PAGE 270

It is curious that among the countless pictures of the Annunciation, in very few indeed has surprise been expressed in the countenance and attitude of the Virgin, though it is impossible to imagine an incident more properly calling for profound astonishment on the part of the principal personage in a composition, even in the absence of startling miraculous accessories such as that introduced by Rossetti. Probably the reason for this is connected with the difficulty of expressing great surprise unaccompanied with some other feeling, as pleasure, or sorrow, or fear, but there does not seem to be any cause why an exalted joyful excitement should not be exhibited. Mrs. Jameson thinks that the Virgin should not appear startled, as She was "accustomed to the perpetual ministry of Angels who daily and hourly attended on Her,"[a] but it is questionable whether this can be properly assumed by the artist, and in any case from the point of view of art, the action should correspond with the nature of the event as it is generally understood. Of the few masters who have indicated surprise in an Annunciation picture, Tintoretto has gone the farthest. He shows the Virgin with Her lips parted, and both hands held up, evidently with astonishment,[b] an example followed by Paris Bordone.[c] Raphael in an early picture represents Her holding up one hand, but the attitude might signify the reception of an announcement of importance.[d] Perugino shows Her with both hands raised, but otherwise She appears unconcerned.[e] A few other artists, including Venusti and Foppa, and among modern men, Girodet, adopt Raphael's method of composition. Rubens goes a step farther, and represents the Virgin apparently standing back with surprise, though this is only faintly suggested by the facial expression.[f]

[a] _Legends of the Madonna._

[b] Scuolo di San Rocoo, Venice.

[c] Sienna Gallery.

[d] The Vatican.

[e] Santa Maria Nouvo, Perugia.

[f] Vienna Gallery.

INDEX OF SCULPTORS, PAINTERS, AND WORKS OF ART

NOTE.--The Schools to which the earlier Italian painters belonged are given in brackets.

A

Adam, Franz, 1815-1886, German
--Bavarian Regiment before Orleans, 257

Aivasovsky, I. K., 1817-1900, Russian, 205

Albani, Francesco, 1578-1660, Italian, 163
--Toilet of Venus, 118

Albertinelli, Mariotto, 1467-1512, Italian [Florentine]
--The Salutation, 243

Alcamenes, fifth century B.C., Greek, 304

Altdorfer, A., 1480 (_c._)-1538, German
--The Nativity, 268

Aman, Jean, 1860-, French
--Sorbonne panels, 254

Ancher, Anna K., 1859-, Danish
--The Funeral, 189

Andreani, A., 1540-1623, Italian, 257

Angelico, Fra (Giovanni da Fiesole), 1387-1455,
Italian [Florentine], 17, 101

Antico (Pier Giacomo Ilario), worked late 15th and early 16th century,
Italian, 326

Antonella da Messina, 1421 (_c._)-1493, Italian [Venetian]
--Crucifixion, 243

Antonio del Ceraiolo, worked first half sixteenth century,
Italian [Florentine], 345

Apelles, fourth century B.C., Greek, 10, 44
--Venus Anadyomene, 113, 330, Plate 4;
Alexander in the character of Jupiter, 209

Avercamp, Hendrick van, 1585-1663, Dutch, 292

B

Bartolommeo da Bagnacavallo (Bart. Ramenghi), 1484-1542,
Italian [Bolognese]
--Holy Family, 103

Bartolommeo, Fra (Baccio della Porta, or Bart. di Pagholo), 1475-1517,
Italian [Florentine]
--Adoration of the Shepherds, 265

Bartolozzi, Francesco, 1725-1815, Italian, 164

Basaiti, Marco, died after 1521, Italian [Venetian]
--The Dead Christ, 93;
Calling of the Children of Zebedee, 93;
Christ on the Mount of Olives, 243

Baschenis, Evaristo, 1617-1677, Italian, 247

Battistello (Giovanni Battista Caracciolo), 1580-1641, Italian, 17
--Adoration of the Shepherds, 271

Bellano, Bartolommeo, 1430-1498, 327

Benjamin-Constant, J. J., 1845-1902, French, 184

Benoit-Levy, Jules, 1866-, French
--Morning of July 4, 1789, 253

Berghem, Nicholas (or Berchem), 1620-1683, Dutch, 47, 292

Bernadino da Conti, died 1525, Italian [Venetian]
--Virgin and Child, 245

Bernini, G. L., 1598-1669, Italian, 31, 33

Berritini, Pietro, 1596-1669, Italian, 31

Bertoldo di Giovanni, 1420 (_c._)-1491, Italian, 327

Bischop, C, 1630-1674, Dutch, 292

Blyhooft, Z., 1622 (_c._)-1698, Dutch, 292

Boecklin, A., 1827-1901, German, 208
--Vita Somnium breve, 180;
Pieta, 170

Boltraffio, G. A., 1467-1516, Italian [Milanese]
--Virgin and Child, 103

Bonfiglio, Benedetto, 1420-1496 (_c._) Italian [Perugian]
--Virgin and Child, 103

Bonheur, Rosa, 1822-1899, French
--Ploughing in Nivernois, 256

Bordone, Paris, 1500-1570, Italian [Venetian]
--Annunciation, 354

Both, Andries, 1609-1644, Flemish, 47

Both, Jan, 1610 (_c._)-1652, Flemish, 47

Botticelli, Sandro (Alessandro di Mariano dei Filippi), 1444-1510,
Italian [Florentine] 96
--Pieta, 169;
Nativity, 269;
Reposing Venus, 117;
Athena and the Centaur, 124

Boucher, Francois, 1704-1770, French
--Louvre Portrait, 173;
Sleeping Venus, 118;
Birth of Venus, 268

Bough, S., 1822-1878, British
--Borrowdale, 204

Bouguereau, A. W., 1825-1905, French
--Assumption of the Virgin, 267;
Une ame au Ciel, 267;
Birth of Venus, 115;
Aurora, 271;
Twilight, 271;
The Lost Pleiad, 269

Bouts, Dirk, 1400-1475, Flemish
--Adoration of the Magi, 347

Braquemond, J. F., 1833-, French, 285

Bramantino (Bartolommeo Suardi), 1468-(_c._) 1530, Italian [Milanese]
--Christ, 93;
Virgin and Child, 103

Breton, Jules, 1827-1906, French
--Cry of Alarm, 253

Breughel, Jan, 1569-1642, Flemish, 46

Breughel, Pieter, 1528-1569, Flemish, 90

Bril, Paul, 1554-1626, Flemish, 46

Bronzino (Angelo Allori), 1502-1572, Italian [Florentine]
--Venus and Cupid, 348

Brown, Arnesby, 1866-, British
--The Drove, 257

Burne-Jones, E. B., 1833-1898, British
--Annunciation, 270;
Golden Stairs, 252;
Dies Domini, 93

C

Cabanel, Aexandre, 1823-1889, French
--Venus Anadyomene, 115

Calamis, fifth century B.C., Greek, 9

Canaletto (Antonio Canale), 1697-1768, Italian, 47

Canova, Antonio, 1757-1822, Italian
--L'Amour et Psyche, 191

Cappelle, Jan van de, 1624(_c._)-1679, Dutch, 46

Carracci, Agostino, 1558-1601, Italian, 31

Carracci, Annibale, 1560-1609, Italian, 31

Carracci, Ludovico, 1555-1619, Italian, 31

Caravaggio, M. (Michelangelo Amerighi), 1569-1609, Italian, 17, 246

Cavalori, Mirabello, middle sixteenth century, Italian [Florentine]
--The Carpet Weavers, 252

Cellini, Benvenuto, 1500-1571, Italian, 17, 323

Cephisodostos, early fourth century B.C., Greek
--Irene and Pluto, 101

Cezanne, Paul, 1839-1906, French, 37, 288

Chardin, J. S., 1699-1779, French, 173, 247

Chartier, H., 1870 (_c._)-, French
--Jena, 256;
Hanan, 256

Chase, W. M., 1849-1916, American
--Master Roland, 165

Cignani, Carlo, 1628-1719, Italian, 32, 164

Cimabue, Giovanni, 1240 (_c._)-1302, Italian [Florentine] 92, 95, 283
--Virgin and Child, 101

Cipriani, G. B., 1727-1785, Italian, 164

Claude Lorraine (Claude Gelee), 1600-1682,
French, 17, 30, 47, 195, 198, 201, 283
--Arcadian Landscape, Plate 17

Clausen, George, 1852-, British, 284, 349

Cogniet, L., 1794-1880, French.
--Tintoretto Painting his Dead Daughter, 191

Colton, W. R., 1867-, British
--Royal Artillery Memorial, 253

Constable, John, 1776-1837, British, 48, 195, 208

Copley, J. S., 1737-1815, American
--Death of Chatham, 190

Corenzio, Bellisario, 1588 (_c._)-1643, Greek, 17

Cornelius, Peter, 1783-1867, German
--Let there be Light, 267

Correggio (Antonio Allegri), 1494-1534,
Italian [Parma], 43, 69, 102, 108, 142
--Vice, 179;
Virtue, 179;
Mercury instructing Cupid, 130;
Madonna and Child with Saints (Parma), 268;
Parma frescoes, 229

Costa, Lorenzo, 1460-1535, Italian [Ferrarese]
--Coronation of the Virgin, 102;
Cupid crowning Isabella d'Este, 225

Cosway, Richard, 1742-1821, British, 164

Cot, P. A., 1837-1883, French
--The Storm, 210

Courbet, G., 1819-1877, French
--Funeral at Ornans, 189

Coypel, Antoine, 1661-1742, French, 163

Coypel, Noel, 1628-1707, French, 163

Crivelli, Carlo, 1440 (_c._)-1496, Italian (Venetian)
--Coronation of the Virgin, 264

Crome, John, 1769-1821, British, 208

Cuyp, Albert, 1605-1691, Dutch, 203, 245

D

Dalsgaard, Christen, 1824-, Danish
--The Child's Coffin, 189

Damophon, second century B.C., Greek, 122

Danby, F., 1793-1861, British, 209

Dehodencq, E. A., 1822-1882, French
--Bohemians returning from a Fete, 253

Delacroix, E. V. E., 1798-1863, French, 278

Delaroche, Paul (Hippolyte Delaroche), 1797-1856, French
--Death of Queen Elizabeth, 190

Demont-Breton, V., 1859-, French
--The Divine Apprentice, 321

Diaz, N., 1807-1876, French
--Descent of the Bohemians, 253

Dolci, Carlo, 1616-1686, Italian
--Christ Blessing, 175

Domenichino (Domenico Zampieri), 1581-1641, Italian, 19
--St. Cecilia, 176;
St. Paul's Vision, 265

Donatello (Donate di Betto Bardi), 1385 (_c._)-1466,
Italian, 30, 101, 108, 325

Doomer, Lambert, 1647 (_c._)-1694, Dutch, 292

Dore, Gustave, 1832-1883, French
--Creation of the Earth, 265;
Samson Slaying the Philistines, 252

Dossi, Dosso, 1479-1552, Italian [Ferrarese]
--Muse instructing a Court Poet, 175;
Nymph and Satyr, 175

Dow, Gerard, 1613-1675, Dutch, 46, 248
--The Dentist, 176

Duccio, Boninsegna di, 1260 (_c._)-1340, Italian [Siennese], 280
--Madonna and Child, 101

Dumont, Jacques (Le Romain), 1701-1781, French
--Madame Mercier and Family, 173

Duerer, Albrecht, 1474-1528, German, 45
--The Virgin with a Canary, 264

Dyce, William, 1806-1864, British
--St. John leading the Virgin from the Tomb, 245

E

Eakins, Thomas, 1844-1916, American
--Dr. Cross's Surgical Clinic, 185

Emmet, Lydia, 1866-, American
--Patricia, 247, Plate 23

Ercole di Roberti (E. di R. Grandi), 1470 (_c._)-1531,
Italian [Ferrarese]
--The Concert, 175

Everdingen, E. van, 1612-1675, Dutch, 204

F

Falconet, P. E., 1741-1791, French, 169

Ferrari, Gaudenzio, 1484-1549, Italian [Milanese]
--Madonna and Child, 173

Ferri C., 1634-1689, Italian
--David plans a Temple, 268

Feuerbach, A., 1828-1880, German
--Medea, 170

Filarete (Antonio Averlino), (_c._) 1399-1470, Italian, 327

Flaxman, John, 1755-1826, British, 130

Fontana, B. (G. B. Farinati), 1532-1592, Italian
--Vision of Resurrection, 267

Foppa, Vincenzo, 1427 (?)-1515, Italian [Milanese]
--Annunciation, 354

Fragonard, J. H., 1732-1806, French, 43, 283
--The Pursuit, 139;
The Rendezvous, 335;
Souvenirs, 335;
The Lover Crowned, 335;
The Abandonment, 335;
Venus Awakened by Aurora, 118

Francesco da Cotignola (F. dei Zaganelli), worked early sixteenth
century, Italian [Parma]
--Adoration of the Shepherds, 265

Francia (Francesco Raibolini), 1450-1517, Italian [Bolognese], 332
--Madonna and Child in Glory, 266;
Madonna and Child in a Rose Garden, 345

Fries, Hans, (_c._) 1450-1520, German
--Virgin and Child with St. Anne, 103

Frith, W. P., 1819-1909, British
--Poverty and Wealth, 178

Fromentin, E., 1820-1886, French, 185
--Couriers des Ooled Nayls, 257

G

Gaddi, Taddeo, 1300-1366, Italian [Florentine], 280

Gainsborough, T., 1727-1788, British, 160
--Mrs. Leybourne, 174;
Lady Sheffield, 174

Genga, Girolamo, 1476-1551, Italian.
Magdalene with Saints, 266

Gericault, Jean Louis, 1791-1824, French
--Epsom, 257

Ghiberti, Lorenzo, 1381-1455, Italian, 324

Ghirlandaio, Domenico, 1449-1494, Italian [Florentine], 30, 96
--Old Man and Boy, 151;
Birth of St. John Baptist, 251;
Death of St. Francis, 144

Ghirlandaio, Ridolfo, 1483-1560, Italian [Florentine]
--Madonna giving her girdle to St. Thomas, 265

Gilbert, John, 1817-1897, British
--Slaying of Job's Sheep, 209

Giordano, Luca, 1632-1705, Italian, 32

Giorgio, Francesco di, 1439-1502, Italian [Siennese]
--Christ bereft of His clothes before the Crucifixion, 93

Giorgione (Giorgio Barbarelli), 1477-1510,
Italian [Venetian], 278, 283, 336
--Adrastus and Hysipyle, 210, 225;
The Sleeping Venus, 116

Giotto (Giotto di Bondone), 1267 (_c._)-1337,
Italian [Florentine], 95, 108, 280, 283
--Madonna and Child, 101

Giovanni di Bologna (Jean de Douai), 1524-1608, French or Flemish, 323
--Mercury, 129

Girodet de Roncy, A. L., 1767-1842, French
--Burial of Atala, 191;
Annunciation, 355

Girolamo da Libri, 1472-1555, Italian [Venetian]
--Virgin and Child, 244

Gouthiere, Pierre, 1740-1806, French, 323

Goyen, Jan van, 1596-1656, Dutch
--View of The Hague, 195

Granacci, Francesco, 1477-1544, Italian [Florentine]
--The Virgin giving her girdle to St. Thomas, 267

Grant, Francis, 1803-1878, British
--Countess of Chesterfield and Mrs. Anson, 245

Greco, El (Dominico Theotocopuli), 1547 (_c._)-1614, Greek, 19

Grien, Hans Baldung, 1480-1545, German
--The Three Ages, 180;
Sacred and Profane Love, 182;
Pictures representing Death, 186

Gros, A. J., 1771-1835, French
--The Combat of Nazareth, 256;
Timoleon of Corinth, 170

Guardi, Francesco, 1712-1793, Italian
--Regatta on the Grand Canal, 252

Guercino (G. F. da Cento), 1590-1666, Italian
--Martyrdom of St. Peter, 265

Gutherz, C, 1844-1907, Swiss
--"They shall bear thee up," 267

H

Hacker, A., 1858-, British
--The Cry of Egypt, 170

Hals, Franz, 1580-1666, Dutch, 155, 248, 336
--The Laughing Cavalier, 177;
Stephanus Gereardts, 337;
Isabella Coymans, 337;
Lady with a Fan, 337;
Willem van Heythuysen, 337;
Merry Company at Table, 175

Hanneman, Adrian, 1611-1680, Dutch
--Constantine Huygens and Children, 248

Heim, F. J., 1787-1865, French, 184

Henneberg, R. F., 1825-1876, German
--Race for Fortune, 187

Hobbema, M., 1638-1709, Dutch, 46, 49, 202
--Landscape, Plate 18

Hoet, G., 1648-1733, Dutch
--Translation of Enoch, 269

Hogarth, W., 1697-1764, British, 225, 282

Holbein, Hans, 1497-1543, German, 283
--The Barber Surgeons, 220;
Holy Family, 103;
The Ambassadors, 40, 157;
Virgin and Child, 263

Homer, Winslow, 1836-1910, American
--All's Well, 176, Plate 15

Hoppner, John, 1758-1810, British, 161

Humphrey, Ozias, 1742-1810, British, 164

Hunt, W. H., 1827-1910, British
--Shadow of the Cross, 321;
The Scapegoat, 227

I

Ingres, J. A. D., 1780-1867, French
--Oath of Louis XIII., 264;
[OE]dipus and the Sphinx, 186;
Birth of Venus, 115

Innes, George, 1825-1894, American
--Niagara Falls, 211

J

Johnstone, J. H., 1857-, American
--Mysteries of the Night, 350

K

Kampf, Arthur, 1864-, German
--Night of March 31, 1888, 189

Kauffmann, Maria Angelica, 1741-1807, German, 164

Kaulbach, W. von, 1805-1874, German
--Marguerite, 170

Keyser, Thomas de, 1596 (_c._)-1679, Dutch
--Lesson in Anatomy, 185

Kulmbach, Hans (Hans Suess), 1476 (_c._)-1522, German
--Entombment of St. Catherine, 263

L

Lancret, Nicolas, 1660-1743, French, 180

Lard, F. M., late nineteenth century, French
--Glory Forgets not Obscure Heroes, 191

La Touche, G., 1854-1913, French, 285
--Firework pictures, 213

La Tour, Maurice Q., 1704-1788, French
--Madame de la Popeliniere, 174;
Mdlle. Camargo, 174;
Madame de Pompadour, 174

Latour, I. H. Fantin, 1836-1904, French, 285

Lawrence, Thomas, 1769-1830, British, 161, 224

Le Brun, Charles, 1619-1690, French, 163
--Death of Cato, 191

Leighton, F., 1830-1896, British
--Captive Andromache, 171

Leoni, Leone, died 1590, Italian, 323

Le Sueur, E., 1616-1655, French, 163
--Venus reposing, 118;
The Virgin appearing to St. Martin, 261

Levy, H. L., 1840-1904, French
--Young Girl and Death, 191

Liberale di Verona, 1452-1519, Italian [Veronese]
--Magdalene with Saints, 265

Lionardo da Vinci, 1452-1519,
Italian [Milanese], 16, 18, 30, 96, 172, 283, 325
--The Last Supper, 69, 93;
Mona Lisa (Paris), 151, 242, 341
--(formerly Boston), 242, 340;
Litta Madonna, 240, Plate 21;
Virgin and Child with St. Anne, 172, 243

Lippi, Filippo, 1406-1469, Italian [Florentine], 96
--Virgin and Child, 103, 251

Loefftz, L., 1845-, German
--The Dead Christ, 171

Longepied, L., 1849-1888, French
--Immortality, 191

Longhi, Pietro, 1702-1762, Italian, 31

Lorenzetto, P., first half fourteenth century, Italian [Siennese]
--Madonna and Child, 101

Lotto, Lorenzo, 1480-1556, Italian [Venetian]
--Three Ages of Man, 179;
Triumph of Chastity, 226

Luca di Tome, first half fourteenth century, Italian [Siennese], 261

Luini, Aurelio (A. del Lupino), 1530-1593, Italian [Milanese], 288

Luini, Bernadino (B. del Lupino), 1475 (_c._)-1536, Italian [Milanese]
--Entombment of St. Catherine, 263;
Salome, 173

Lux, H. L., late nineteenth century, French
--Sarpedon, 268

Lysippus, fourth century B.C., Greek, 10
--Hercules in depressed mood, 344

M

Mainardi, S., died about 1515, Italian [Florentine]
--Madonna giving her girdle to St. Thomas, 261

Maitre de Flemelle (Robert Campin), 1375 (_c._)-1444,
French or Flemish, 93, 170

Manet, Edouard, 1832-1883, French, 286
--Boy with a Sword, 165;
Dejeuner sur l'Herbe, 181;
Olympia, 287

Mantegna, Andrea, 1431-1506, Italian [Paduan]
--The Infant Christ, 102;
Virgin and Child, 175

Margaritone of Arezzo, 1216-1293, Italian [Tuscan], 279

Maratta, Carlo, 1625-1713, Italian, 33, 284

Martin, John, 1789-1854, British
--Plague of Hail, 210;
Destruction of Pharaoh, 210;
"I have Set My Bow in the Cloud," 210

Masaccio (Tommaso Guidi), 1402-1429, Italian [Florentine], 283, 322
--The Madonna enthroned, 104;
Tribute Money, 250

Matisse, Henry, 1876-, French, 37

Matsys, Quentin, 1463 (_c._)-1530, Flemish, 93

Meissonier, J. L. E., 1815-1891, French
--1814, 256

Mengs, Anton R., 1728-1779, German, 352
--St. John Baptist Preaching, 175

Menzel, A., 1815-1905, German
--Market Place in Verona, 252;
Iron Mill, 252

Meyer, K., 1618-1689, Swiss, 179

Michelangelo Buonarotti, 1475-1564,
Italian [Florentine, Roman], 10, 13, 16, 18, 19, 30, 43, 69,
92, 229, 260, 233, 350
--Holy Family (Florence), 182;
Last Judgment, 90, 93;
Reposing Venus, 117;
Leda, 320;
Night, 320;
San Lorenzo Madonna, 320;
Bargello Madonna, 320;
Pieta, 320;
Moses, 320;
Bacchus, 132;
St. Stephen, 93;
Creation of Adam, Plate 24

Mignard, Pierre, 1610-1695, French, 163

Millais, J. E., 1829-1896, British
--The Carpenter's Shop, 321

Millet, J. F., 1814-1875, French
--The Angelus, 352

Molyn, P., 1592(_c._)-1661, Dutch, 292

Monet, C. J., 1840-, French, 286

Montagna, B., 1450(_c._)-1523, Italian [Venetian]
--The Virgin Enthroned, 102

Moro, Antonio, 1512-1575, Flemish
--Catilina of Portugal, 159;
Maria of Austria, 159

Morot, A. N., 1850-, French
--Reichsoffen, 256

Moser, Lucas, first half fifteenth century, German
--Voyage of the Saints, 347

Murillo, B. E., 1618-1682, Spanish, 19, 163
--Holy Family, 103;
Ascension of Christ, 260;
Immaculate Conception pictures, 266

Myron, fifth century B.C., Greek, 9, 249
--Discobolus, 352;
Marsyas, 331, 352

N

Nattier, J. M., 1685-1766, French, 164
--Madame Louise, 173

O

Orcagna (Andrea di Cione), 1308(_c._)-1370, Italian [Florentine]
--Assumption of the Virgin, 261

Orchardson, W. Q., 1835-1907, British
--The Borgia, 189

P

Palma Giovane (Jacopo Palma), 1544-1628, Italian [Venetian]
--Christ in Judgment, 264

Palma Vecchio (Jacopo Palma), 1480(_c._)-1528, Italian [Venetian]
--Reposing Venus, 117;
Assumption, 266

Parmigiano (Francesco Mazzuoli), 1504-1540, Italian [Parma]
--Madonna and Child with Saints, 103

Pedrini, Giovanni (Giampietrino), late fifteenth and early sixteenth
centuries, Italian [Milanese]
--Madonna, 173

Perronneau, J. B., 1715-1783, French
--Madame Olivier, 173

Perugino, Pietro (Pietro Vanucci), 1446-1524,
Italian [Umbrian], 17, 332
--Christ's Rule, 264;
Deposition, 345;
Assumption of the Virgin, 262;
Ascension, 262, 263;
Baptism of Christ, 345;
Madonna with Child and Penitents, 264;
Annunciation, 354;
Crucifixion (Florence), 345

Phidias, fifth century B.C., Greek, 7, 10, 44, 57, 91, 108, 122, 328
--Olympian Zeus, 68;
Parthenon Athena, 68, 123

Picart, B., 1673-1733, French
--The Burning Coal, 262

Piero di Cosimo (Piero Rosselli or Piero di Lorenzo), 1462-1521,
Italian [Florentine], 322
--Marsyas and the Pipes of Athena, 124, 225, 331;
Death of Procris, 347;
Mars and Cupid, 347

Pinturicchio, B., 1454-1513, Italian [Umbrian], 332

Pisano, Giovanni, fourteenth century, Italian
--Madonna and Child, 101

Pisano, Giunto, first half thirteenth century, Italian
--Christ and the Virgin, 261

Pisano, Niccolo, 1206 (_c._)-1278, Italian
--Infant Christ, 108

Pissarro, C., 1830-1903, French, 286

Polidoro da Caravaggio (Polidoro Caldara), died 1543,
Italian [Neapolitan], 169

Pollaiuolo, Antonio (A. di Jacopo Benci), 1429-1498,
Italian [Florentine], 327
--Hercules contemplating death, 190, Plate 16, 343

Polyclitus, fifth century B.C., Greek
--Hera, 120

Polygnotus, fifth century B.C., Greek
--Frescoes from Homer, 69

Pontormo (Jacopo Carrucci), 1493-1558, Italian [Florentine], 142
--Venus Reposing, 117

Potter, Paul, 1625-1654, Dutch, 203, 245

Poussin, Gaspar (Gaspar Dughet), 1613-1675, French, 195

Poussin, Nicholas, 1594-1665, French, 16, 30, 47, 163, 195
--Jonah cast into the sea, 210;
Assumption of the Virgin, 267;
St. Francis Xavier, 261;
Vision of St. Paul, 267;
Venus Reposing, 117;
Adam and Eve, 265;
Diana Sleeps in the Forest, 345;
Descent from the Cross, 168

Poynter, E. J., 1836-, British
--Building the Treasure City, 253

Praxiteles, fourth century B.C., Greek, 7, 10, 13, 44, 136, 328
--The Cnidian Aphrodite, 112, 329;
Hermes and the Infant Bacchus, 101, 109, 129

Prevost, Jean, died 1529, French
--Old Man and Death, 186

Prudhon, P. P. 1758-1823, French
--Crucifixion, 170;
Abduction of Psyche, 266

R

Raeburn, Henry, 1756-1823, British, 161
--The Farmer's Wife, 174;
Mrs. Lauzun, 174;
Mrs. Balfour, 174;
Dr. N. Spens, 166

Raphael (Raffaello Sanzio), 1473-1520,
Italian [Umbrian, Florentine, Roman], 7, 10, 13, 16, 18, 28,
43, 57, 69, 92, 108, 125, 137, 142, 167, 229, 283
--God Appearing to Isaac, 261;
God Separating Water from Earth, 261;
Creation of the Sun and Moon, 261;
Transfiguration, 251;
Julius II., 40, 151, 289;
School of Athens, 144;
Parnassus, 125;
Prophets and Sybils, 243, 263;
Foligna Madonna, 263;
Creation of Woman, 263;
Maddalena Doni, 242;
Angelo Doni, 242;
Study from Mona Lisa, 242;
The Redeemer, 243;
Madonna and Child (Bridgewater), 102;
Madonna and Child with St. John (Berlin), 102;
Holy Family (Madrid), Deliverance of St. Peter, 251;
Fire at the Borgo, 251;
Flight of Lot and his Family, 251;
Crucifixion, 347;
Moses Striking the Rock, 251;
Saint Cecilia, 176;
Saint Sebastian, 243;
Venus Anadyomene, 113;
Christ Blessing, 93;
Casa Tempi Madonna, 173;
Cowper Madonna, 173;
Leo N. and the Cardinals Medici, 157;
Fornarina, 173;
Portrait of a Young Man, 173;
Mercury and Psyche, 129;
St. Margaret, 250, Plate 26;
Annunciation, 354;
Apollo and Marsyas, 125, 332, 345;
Virgin with a Goldfinch, 173, 345;
Sistine Madonna, 230

Ravestyn, Jan van, 1572-1657, Dutch, 158

Redon, O., died 1917, French
--Death, the Friend, 188

Regnault, H., 1843-1871, French
--Automedon and the Horses of Achilles, 256, Plate 28

Rembrandt van Ryn, H., 1606-1669, Dutch, 20, 21, 152, 160, 283, 289
--Rembrandt and Saskia, 177;
Angel quitting Tobias, 263;
Lesson in Anatomy, 185;
Lady with a Dog, 281;
Ascension of Christ, 266, 267;
Night Watch, 21;
Syndics of the Drapers, 281;
Portrait Young Man (Beit Coll.), 281;
do. (Wachtmeister Coll.), 281;
Martin Day, 150;
Machteld von Doorn, 150;
Samson menacing his father-in-law, 248

Reni, Guido, 1575-1642, Italian
--Assumption of the Virgin, 268

Rethel, A., 1816-1859, German
--Death at a Masked Ball, 187;
Death the Friend, 188

Reynolds, Joshua, 1723-1792, British, 142, 154, 160, 224, 282, 350
--The Infant Hercules, 176;
Mrs. Siddons as Tragedy, 161;
Mrs. Billington as Cecilia, 161;
Hon. Lavinia Bingham, 174;
Mrs. Abington, 174;
Viscountess Crosbie, 166

Riccio (Andrea Briosco), 1470-1532, Italian, 323, 326

Ribera, Giuseppe, 1593-1656, Italian, 17

Rigaud, H., 1659-1743, French, 163
--Louis XV. as a boy, 173

Robbia, Luca della, 1400-1482, Italian, 325

Robbia, Andrea della 1435-1525, Italian, 104

Roberts, David, 1796-1864, British
--The Israelites depart, 257

Rodin, A., 1840-1917, French, 249, 351
--La Vieille Heaulmiere, 317

Roll, A. P., 1847-, French, 271

Romano, Giulio (G. Pippi), 1492-1546, Italian [Roman]
--Holy Family, 104

Romney, George, 1734-1802, British, 142, 161, 164
--Lady Hamilton as a Bacchante, 174;
William Booth, 174;
Mrs. Thomas Raikes, 165;
The Ladies Spencer, 166;
Mrs. Yates, 174;
Mrs. Tickle, 174

Rosa, Salvator, 1615-1673, Italian, 32
--Samuel's Curse, 179

Rosalba (Rosalba Carriera), 1675-1757, Italian, 164

Roslin, A., 1718-1793, French, 173.

Rossellino, Antonio, 1429-1479, Italian, 104

Rossetti, D. G., 1828-1882, British
--Annunciation, 270

Rubens, P. P., 1577-1640, Flemish, 16, 20, 30, 46, 152, 226, 283
--Assumption of the Virgin (Dusseldorf), 266;
do. (Vienna), 266;
do. (Augsburg), 266;
do. (Brussels), 266;
Ascension (Vienna), 267;
do (Venice), 268;
Deity and Christ, 266;
Diana and Nymphs, 254, Plate 27;
Harvest Landscape (Munich), 211;
do. (Wallace Coll.), 211;
Virgin and Child (Rome), 262;
Birth of Venus, 115;
Landscape with a Rainbow, 211;
Shipwreck of Aeneas, 211;
Annunciation (Vienna), 355;
Landscape with Baucis and Philemon, 210;
Funeral of Decius, 188;
Boreas and Oreithyia, 260;
Landscape by Moonlight, 209;
Toilet of Venus, 118;
Christ on the Cross, 244;
Death of Seneca, 190;
The Four Philosophers, 157;
David's Last Song, 176;
Marie de' Medici series, 226

Rude, Francois, 1794-1855, French
--Marshal Ney, 351;
Marseillaise, 254

Ruysdael, Jacob, 1628 (_c._)-1682, Dutch, 49, 203, 208
--The Rising Storm, 206, Plate 20;
Landscape with flowing water, 204, Plate 19;
The Marsh, 203

S

Sacchi, Andrea, 1600-1661, Italian, 164

Saint-Bonvin, F., 1817-1887, French
--Ave Maria, 353

Saint-Gaudens, A., 1848-1907, American
--Shaw Memorial Relief, 254

Salviati, F. (Francesco de Rossi), 1510-1563, Italian [Florentine]
--Justice, 179

Sansovino (Jacopo Tatti), 1486-1570, Italian, 323

Sarto, Andrea del (Andrea Agnolo), 1488-1530,
Italian [Florentine], 142
--Holy Family (Hermitage), 104

Sassoferrato (Giovanni Battisto Salvi), 1605-1685, Italian, 164

Scheffer, Ary, 1795-1858, Dutch
--Temptation of Christ, 178

Schiavone, Andrea, 1462-1522, Italian [Venetian]
--Jupiter and Io, 348

Schnorr, J. von K., 1794-1872, German
--God's Promise to Abraham, 269

Schongauer, Martin, (_c._) 1445-1491, German, 45

Schonherr, C., nineteenth century, German
--Agony in the Garden, 265

Schreyer, Adolf, 1828-1899, German
--The Attack, 257

Schwind, M., 1804-1871, Austrian
--The Pleiads, 269, Plate 25;
Rainbow, 212;
Phantom in the Forest, 270

Scopas, fourth century B.C., Greek, 10
--Demeter, 122, Plate 7

Sebastiano del Piombo (Sebastiano Luciani), 1485-1547,
Italian [Venetian]
--Concert, 181

Signorelli, Luca, 1440 (_c._)-1521, Italian [Umbrian], 191
--Portrait of a Man, 182;
Madonna and Child, 103, 264

Simson, William, 1800-1847, British, 245

Snyders, Frans, 1579-1677, Flemish, 216, 257

Sodoma, Il, (Giovanni A. Bazzi), 1477-1549, Italian [Siamese]
--Sacrifice of Abraham, 244

Steen, Jan, 1629-1679, Dutch
--Terrace Scene, 245

T

Tassaert, O., 1800-1874, French, 17
--Assumption of the Virgin, 266

Teniers, David, 1610-1690, Dutch, 90

Terburg (or Terborch), Gerard, 1617-1681, Dutch, 46
--Peace of Munster, 158

Thoma, Hans, 1839-, German
--Temptation of Christ, 187;
Cupid and Death, 178;
Sin and Death, 187;
Progress of the gods to Walhalla, 212;
Rainbow, 211;
View of Laufenburg, 204

Thomson, John, 1778-1840, British
--Fast Castle, 207;
Dunluce Castle, 207

Tiepolo, G. B., 1692-1769, Italian, 31

Timanthes, fourth century B.C., Greek
--Sacrifice of Iphigenia, 168, Plate 14, 339

Tintoretto (Jacopo Robusti), 1518-1594, Italian [Venetian], 261
--Bacchus and Ariadne, 270;
Annunciation, 354;
Presentation of the Virgin, 243

Titian (Titiano Vecelli), 1477-1576,
Italian [Venetian], 13, 40, 108, 148, 152, 283, 336, 350
--Assumption of the Virgin, 266;
Sacred and Profane Love, 138, 181;
Resurrection, 264;
Madonna of the Cherries, 102;
Meeting of Joachim and Anna, 102;
Three Ages of Man, 179;
Madonna with SS. Anthony and John, 104, 348;
Jacopo Pesaro presented to St. Peter, 347;
Paul III. with the two Brothers Farnese, 157, 164;
Reposing Venus (Uffizi), 116;
Venus Anadyomene, 115;
Aretino, 144;
Man with the Gloves, 151;
Duke of Alba, 144;
portraits of Philip II., 144;
Charles V. at Muehlberg, 149, 347;
portraits of his Daughter, 149;
Duke of Ferrara, 149;
Physician of Parma, 336;
Toilet of Venus, 118;
Christ on the Cross, 244;
Pharaoh's Host overwhelmed, 257;
self-portrait, 149;
Venus and the Organ Player, 166

Turner, J. M. W., 1775-1851, British, 16, 17, 201
--Arundel Castle, 210;
The _Temeraire_ towed to her last berth, 353

U

Uhde, Fritz von, 1848-, German, 321
--Cavalry going into action, 257;
Revenge, 187;
The Three Magi, 104

V

Van der Neer, A., 1619-1683, Dutch, 208

Van de Velde, W., 1633-1707, Dutch, 46

Van der Venne, A. P., 1589-1661, Dutch
--The Soul Fishery, 211

Van der Weyden, Roger, 1400 (_c._)-1464, Flemish, 93, 170

Van Dyck, Anthony, 1599-1641, Flemish, 142, 148, 157, 216
--Four Ages, 180;
Christ on the Cross, 244, Plate 22;
Earl of Pembroke, 165;
Earl of Bedford, 150;
Philip le Roy, 165;
Henrietta Maria (Windsor), 150;
portrait of his Wife, 166;
Earl of Newport, 150;
Countess of Devonshire, 165

Van Eyck, Jan, 1385 (_c._)-1441, Flemish, 283
--Virgin and Child at the Fountain, 263;
Arnolfini and his Wife, 40;
Chancellor Rollin before the Virgin, 347

Van Gogh, V., 1853-1890, Dutch, 37, 288

Velasquez, D. R. de Silva, 1599-1660, Spanish, 152 _et seq._, 283
--Christ at the Column, 246;
Las Meninas, 155, 247;
Coronation of the Virgin, 266;
The Drinkers, 182;
The Three Musicians, 175;
The Breakfast, 155;
portraits of Philip IV., 153;
Olivares, 149;
Innocent X., 151;
Don Antonio el Ingles, 149;
Rokeby Venus, 119;
Surrender of Breda, 155;
Christ in the house of Martha, 155

Venusti, Marcello, died after 1579, Italian [Florentine]
--Annunciation, 354

Verestchagin, V., 1842-1904, Russian, 184

Vermeer, Jan (of Delft), 1632-1675, Dutch, 20

Vernet, E. J. Horace, 1789-1863, French
--La Smalah, 256

Veronese, Paolo (Paolo Caliari), 1528-1588,
Italian [Venetian], 231, 286, 350

Verrocchio, Andrea del, 1435-1488, Italian, 325

Viti, Timoteo della, 1470-1523, Italian [Umbrian], 332, 345

W

Walker, Horatio, 1858-, American
--Ave Maria, 353

Watteau, Antoine, 1684-1721, French, 278, 283
--Embarkation for Cythera (Paris), 254;
do. (Berlin), 269

Watts, George F., 1817-1904, British
--Death, the Friend, 188, 191

West, Benjamin, 1738-1820, American
--Death of General Wolfe, 190

Whistler, J. A. McN., 1834-1903, American, 50, 349

Wiertz, A., 1806-1865, Belgian
--The Orphans, 189;
Things of the Past, 226

Wilson, Richard, 1714-1782, British, 48

Witt, J. H., 1840-1901, American
--Bless the Lord, 262

Wouverman, Philip, 1614-1670, Dutch, 203, 245

Z

Zurbaran, Francisco, 1598-1662, Spanish, 19

GENERAL INDEX

A

Actors in stage roles, portraits of, 223

Aerial perspective, Claude the first master of, 47;
its importance, 198;
method of producing, 200

Aesthetic systems, all of them untenable, 3, 274;
Carritt on, 274;
of Hegel, 277;
of Croce, 273

Ages of man, pictures contrasting the, 179

Allegorical painting, when secondary art, 225

Angel of Death in art, instances of, 191;
symbol of, 188

Angels, representation of, in aerial suspension and flight, 262, 266

Animal painting, in action, 255;
ideals in, not possible, 56

Annunciation, The, indication of surprise in expression, 270, 354

Apelles, his Venus Anadyomene, 113, 330;
epigrams on, 331

Aphrodite (_see_ Venus)

Apollo, his representation in art, 124

Architecture, its position in the Fine Arts, 53;
imitative character of, 53, 294;
unconcerned with ideals, 58;
produces sensorial beauty only, 64;
simplicity its keynote, 75;
standard of judgment in, 75;
S. Colvin on, 292

Ares (_see_ Mars)

Aristotle, on imitation in art, 215, 292;
on metrical form in poetry, 54, 296;
his division of the painter's art, 62;
his connection of morals with art, 314

Art, definition of, 1;
its mimetic character, 52;
sensorial beauty, first aim of, 72;
must deal chiefly with types, 55;
independent of social and political conditions, 4;
of psychological impulses, 8, 14;
great periods of, 8;
suggested evolution in, 7;
"Classic" and "Romantic," 278;
relation of, to nature, 55;
popular appreciation of, 74;
Grecian, cause of its decline, 10;
Italian Renaissance of, cause of its decline, 11;
limitation of sculpture and painting in, 81;
Tolstoy's definition of, 275;
ideals in (_see_ The Ideal in Art)

Artemis (_see_ Diana)

Artists, training necessary for, 25;
cause of variation in work of, 20;
reputations of great, 283;
as judges of works of art, 305

Arts (_see_ Fine Arts)

Assent, Law of General, 72 _et seq._

Associated Arts, the arts associated, 53;
first law of the, 60;
highest art in, recognized by general opinion, 77;
ideals in, 58;
cannot properly be used for moral or social purposes, 82;
their method of producing beauty, 78 _et seq._;
limitations of, 80

Athena, her representation in art, 123

Atmospheric effects, limitations in producing, 202;
exceptional phases, 202

B

Bacchus, his representation in art, 131

Barbizon School, anticipated by Dutch masters, 291;
sketches of the, of little importance, 290;
use of heavy gilt frames for works of the, 291

Beauty, definitions of, unsatisfactory, 2, 59;
alleged objectivity of, 2;
highest form of, 72;
unconnected with philosophy, 2;
first law of, in the Associated Arts, 60;
ideal, 86;
kinds of, in the arts, 4, 60, 273;
degrees of, in the arts generally, 60, in painting, 83;
sensorial (or emotional), 60, 72;
intellectual (or beauty of expression), 2, 273;
of form, 273;
of color, 228 _et seq._;
methods of producing, 78;
as the "expression of emotion," 275;
Longinus on the highest, 73;
standard of judgment of, in poetry, 77,
in sculpture, 77,
in painting, 77,
in architecture, 75,
in fiction, 77,
in landscape, 194,
in still-life, 214,
in secondary art, 219 _et seq._;
general agreement in respect of, 86

Bon Dieu d'Amiens, Ruskin on, 319;
Farrar on, 319;
corresponds with certain Greek art, 319, Plate 2

Brevity in expression, highest beauty in poetry, marked by, 65

Broad style of painting, cause of, with great artists, 21;
its limitations, 39;
advocacy of, by impressionists, 38;
as used by Rembrandt, 281;
by Hals, 336

Bronze statuettes of the Renaissance, 321 _et seq._

Byron on nature and art in respect of landscape, 345

C

Caricature, its place in art, 225

Carritt, E. F., on the result of aesthetic systems, 275

Cave men, their art, 5

Ceres (_see_ Demeter)

Chaldean Art, Illustration of, Plate 1

Character of Artists, influence of, in their work, 16

Cherubs, use of, in assisting illusion of suspension in the air, 265

Christ, representation in art, 92;
the established ideal, 92;
Ruskin on the best ideal of, 319

Christian conception of the Deity, its effect in art, 88

"Classic Art," Hegel's definition, 277;
varied meanings of the term, 278

Claude Lorraine, the first great landscape painter, 47;
the cause of his success, 16;
Goethe on, 49;
the model for Turner, 49

Clausen, G., his definition of Impressionism, 284;
on Whistler's nocturnes, 349

Clouds, use of, in relation to air-suspended figures, 263

Coast views, illusion of motion in, 206

Color, beauty of, 228 _et seq._;
its relative importance, 228;
in landscape, 194;
juxtaposition of pure colors, 35, 287;
by Venetian artists, 231, 350;
exceptional color effects, 234;
its use by impressionists, 34 _et seq._

Colvin, S., claims music and architecture as non-imitative arts, 292

Comedy, its place in the painter's art, 224

Contentment, quality of expression in the Madonna, 97;
in Venus, 119

Contrast, its use in composition, 177;
of forms, 177;
of ages, 179;
of beauty and strength, 177;
of Good and Evil, 178;
of Poverty and Wealth, 178;
of Vice and Virtue, 178;
of nude and clothed figures, 180

Correggio, and the sublime, 229

Criticism, the new, 29

Croce, B., his aesthetic system, 273;
on genius, 282

D

Darwin, C., on the result of nerve exercise, 281;
on natural music, 293

Death, representation of, 183 _et seq._;
in the Crucifixion, 184;
typified by a skeleton, 186;
in massacres and executions, 184;
in interior scenes, 190;
funeral scenes, 188;
scenes of approaching, 190;
Angel of, 188

Decorative art, imitation in, 218

Deformity in art, 89

Deity, the, representation of, 92;
ideals of, 91

Demeter, representation of, 121, Plate 7

Demosthenes, example of his art, 300

De Quincey, T., on the representation of progressive actions, 348

Descriptive poetry, its limits, 79;
in the seventeenth century, 308;
example from Sophocles, 310,
from Cornelius Gallus, 309

Diana, representation of, 126

Dignity, in portraiture, 146;
practice of Titian, 148;
of Van Dyck, 148;
of Velasquez, 149

Dionysus (_see_ Bacchus)

Drama, The, pictures from the written, 221;
from the acted, 222;
importance of tragedy in painting, 221

Drapery, with use of in sculpture,
proportions possible which are not feasible in nude figures, 328;
use of, in painting by Raphael, 251, 352;
for assisting illusions, 260

Dutch painters of the seventeenth century,
their limited imaginations, 19

E

Eaton, D. C., on the origin of impressionism, 286

Egyptian art, its early high development, 7, Plate 1

Emotional element in beauty (_see_ Beauty)

Emotions, The, influence of, in the work of artists, 16;
expression of, in relation to beauty, 275

Evolution, not applicable to art generally, 7;
Spencer on, 276;
Symonds on, 276

Execution in painting, must be balanced with imagination, 18;
of Hals, 155;
of Lionardo, 18;
of Rembrandt, 19;
of Velasquez, 153

Expression, in ideals generally, 86;
in Christian ideals, 91 _et seq._;
in classical ideals, 106 _et seq._;
in portraiture, 141 _et seq._;
in the representation of grief, 168;
with the smile, 171;
the open mouth, 174;
in the exhibition of deformity, 89;
in scenes of death, 183;
of Raphael, 339;
of Rembrandt, 42;
of the fourteenth century Italian painters, 279;
of the thirteenth century French sculptors, 315;
in the literary arts, 65 _et seq._

F

Falconet, E., on the representation of grief, 169

Farrar, Dean, on the ideal of Christ, 319;
on the early Italian painters, 279

Fiction, as a fine art, 4, 52;
one of the Associated Arts, 53;
imitation in, 52;
forms of, 69;
basic and structural in character, 81;
standard of judgment in, 73;
in relation to sensorial beauty, 79;
unconcerned with ideals, 58
(_see also_ Novel)

Fine Arts, imitative in character, 52;
classified according to their signs, 53;
their methods of producing beauty, 78;
standards of judgment in the, 77

Fireworks, unsuitable for the painter, 212

Flight, representation of
(_see_ Illusion of suspension and motion in the air)

Flowers, their representation in still-life, 216;
in decorative art, 217

Foreground in landscape, illusion of opening distance in, 202

Form, beauty of, 273;
ideal, 86

Frames of pictures, their use in Barbizon works, 291;
exclusion of, in artificial means to secure relief, 240

French sculptors of the thirteenth century,
their forms in the Greek manner, 315;
their representation of the Virgin and Child, 101, 315

Frescoes, necessarily divided into sections, 69;
Reynolds on Raphael's, 303

Funeral scenes in art, 188

G

General opinion, standard of judgment in all arts except music, 73, 77

Genius, how produced, 21 _et seq._;
Reynolds on, 282;
Johnson on, 282;
Hogarth on, 282

Geology, study of, may be assisted by landscape painting, 315

Gods, Mythological (_see_ Grecian, under their separate headings);
Roman, 328

Grace, inferior as a special quality in portraiture, 164;
as applied in Greece and Rome, 162;
in sixteenth century art, 163;
in seventeenth century art, 163;
in England in the eighteenth century, 164;
in France, 163;
kinds of, 338

Grandeur, highest quality of beauty in architecture, 75;
practically impossible in landscape, 193;
in portraiture, 160;
in Van Dyck's works, 160;
in Gainsborough's works, 160

Grecian art, cause of its decline, 10;
development of, compared with that of the Renaissance, 10 _et seq._

Grecian sculpture, its high place in art, 106;
ideals in, 88, 95;
representation of adults with children in, 100;
studied by the great masters of the Renaissance, 108;
in portraiture, 145

H

Hals, Franz, his facility, 155;
his limited imagination, 155;
his broad manner, 336;
the works of pupils attributed to him, 337

Hegel, G. W., his "periods" in art, 277

Hephaestus (_see_ Vulcan)

Hera (_see_ Juno)

Hercules, his representation as contemplating death, 190

Hermes (_see_ Mercury)

Historical painting, its place in art, 83

Hogarth, W., on genius, 282

Holmes, C. J., on the framing of Barbizon pictures, 291

Homer, example of his art, 65

Hood, T., his moods and his work, 17

Horses, representation in action, 255

Human figure, principal sign in the Associated Arts, 53, 73;
produces highest form of beauty, 72;
general ideal of, 86;
Greek ideals, 106

Humboldt, A., on the position of landscape in art, 344

Humorous subjects, their place in the painter's art, 224

Hyperides, example of his art, 300

I

Ideal in art, The, only possible in respect of the human form, 57, 87;
inapplicable to form without expression, 86;
definition of, 86;
must be general, 86;
general agreement in respect of, 87;
can only be applied to excellence, 89;
limitation of, 56;
ideals of the Greeks, 89, 91,
of the early Italians, 94,
of the thirteenth century French sculptors, 315,
of the Deity, 88, 91,
of Christ, 92, 94,
of the Madonna, 95,
of Zeus, 88,
of the other Grecian deities, 89,
of Phidias, 10,
of Raphael, 97, 137,
of Praxiteles, 10,
in, of Michelangelo, 320;
general ideals, 135;
universality of, 138, 315;
ideal qualities, 89

Illusion of continuity, in death scenes, 189

Illusion of movement, in landscape, 197;
in sea views, 205;
in coast views, 206;
in sculpture, 249, 351;
in figure painting, 250 _et seq._;
in animal painting, 255 _et seq._;
may be suggested by title of work, 257

Illusion of opening distance, in distance landscape, 197;
in nearground work, 203;
in sea views, 205

Illusion of relief, its value in painting, 236;
mechanical methods of producing, 240

Illusion of suspension and motion in the air, with the assistance
of flowing drapery, 260;
of clouds, 263;
of cherubs, 265;
of Angels, 266;
of smoke, 268

Imagination, The,
influence of precocious, in the production of genius, 23;
must be balanced with skill in execution, 18;
of Lionardo, 18;
of the Dutch painters, 19;
of the Spanish painters, 19;
of Shakespeare, 23, 24

Imitation, the province of art, 52;
should be generalized, 237;
in landscape, 194,
in still-life, 214,
in decorative art, 218,
in architecture, 294,
in music, 293;
of other arts by the painter, 221 _et seq._;
Aristotle on, 215;
S. Colvin on, in respect of the fine arts, 292

Impressionism, definitions of, 25, 284 _et seq._;
its origin, 285 _et seq._;
its influence, 38;
its limitations, 35;
its defects, 34 _et seq._;
its effects, 51;
its correspondence with Sprezzatura, 32

Industry, the key to success in art, 24, 282

Inspiration in art, not recognized by great artists, 16;
actual instances of, unknown, 15;
suggested national, 9 _et seq._;
individual, 14

Interiors, pictures of, their place in art, 84

Invention in art, its relative importance, 54;
in poetry, 54;
in painting, 312;
Lessing on, in poetry and painting, 312;
in landscape, 193;
the term used in two senses, 311

Irony, works conveying, unsuitable for the painter, 224

Italy, Art of, decline of the Renaissance, 11 _et seq._;
in the seventeenth and eighteenth centuries, 30 _et seq._;
Renaissance ideals, 12

J

Japanese, their practice in decoration, 217

Johnson, Dr., on genius, 282

Juno, representation of, by the painter, 120

Jupiter, Greek representation of, 88, 89;
ideal of, 89, 91;
by the painter, 109

L

Landscape painting, its place in art, 48, 84;
produces only sensorial beauty, 192;
Humboldt on, 344;
signs in, 199;
disadvantages of, 44;
limitations in, 192 _et seq._, 348;
varieties of, 49;
relative difficulty of execution in, 48;
compositions must be invented, 194;
illusion of motion in, 197 _et seq._;
precise imitation necessary in, 194;
as a useful art, 314;
early development of, 46,
in ancient Rome, 45,
in Italy, 47,
in Holland, 46,
in England and France, 48

Lanzi, A. L., on the range of Raphael in expression, 339

La Touche, G., on the origin of impressionism, 286

Latour, Fantin, and the origin of impressionism, 285

Laugh, a, when unobjectionable in painting, 177

Lessing, G., on progressive actions, 348;
on the relative importance of invention and execution, 312;
on the representation of grief, 169;
on descriptive poetry, 309;
on signs in art, 346;
on Homer and the beauty of Helen, 298;
on the Laocoon design, 311;
on the dictum of Simonides, 307;
on ugliness in poetry and painting, 341

Lewes, G. H., on the execution of signs in art, 346

Lightning, its use in landscape, 209;
must be subordinated, 209;
where used in painting by great masters, 210

Lionardo da Vinci, his imagination compared with his execution, 18;
his relief, 239;
on success in painting, 16;
his representation of Christ, 93

Literary arts,
the painter must take his action from them or from nature direct, 81
(_see_ Poetry and The Novel).

Literary movement in England in the sixteenth century, 278

Longinus, on the test of the sublime and beautiful, 73;
on certain examples of beauty in the literary arts, 300

Luini, A., On an "impressionist" landscape by Titian, 288

M

MacColl, D. S., on the origin of impressionism, 284

Madonna, The, her representation,
the test of art during the Renaissance, 12,
by Cimabue and Giotto, 95,
in Crucifixion scenes, 99;
her surroundings in art, 99,
her representation at different ages, 98,
Michelangelo on her presumed age, 320;
her presumed social condition, 100;
the ideal of the early Italian, 12, 95,
of Raphael, 97,
Michelangelo's portrayals of, 320;
limitations in the ideal of, 98

Madonna and Child,
representation of, by thirteenth century French sculptors, 101, 315;
in Italy, 101;
changes in grouping of, in the fifteenth century, 101;
practice of later artists, 102 _et seq._

Manner in painting, its limitations, 39;
the public indifferent to, 39;
of Rembrandt, 21;
of Hals, 336

Manet, E., his connection with the rise of impressionism, 287

Marine painting (_see_ Sea views)

Mars, representation of, in painting, 128

Mauclair, C., on impressionism, 285

Mengs, A. R., on Raphael's treatment of drapery, 352

Mercury, his representation in painting, 129

Metaphor, with the poet, 65, 227, 296;
with the painter, 226

Michelangelo, and the sublime, 229;
his studies in Greek art, 108;
Reynolds on, 282;
his ideals of the Madonna, 320;
on her presumed age at the Crucifixion, 320;
on the cause of Raphael's success, 16;
on the public judgment of works of art, 304;
on the Venetian painters, 350

Miller, Marion M., his translation of Sappho's Hymn to Aphrodite, 302

Minerva (_see_ Athena)

Modesty, quality in expression unsuitable to a goddess, 119

Mona Lisa, the Louvre example, 151, 172;
the Boston example, 172;
her reputed age in the picture, 240;
her smile, 341

Mood, influence of, in the work of artists, 17

Moonlight scenes, their place in art, 208

Morals, pictures illustrating, their place in art, 85

Moreau-Vautier, C., on the juxtaposition of pure colors, 287

Music,
highest beauty in, produced by complex combinations of signs, 73;
greatest works in, the least popular, 75;
ideals not possible in, 58;
cannot present intellectual beauty, 64;
standard of judgment in, 305;
cannot be connected with painting, 285;
its connection with poetry, 54, 76;
imitative character of, 53, 293;
claimed by Colvin as non-imitative, 292;
Darwin on natural, 293

Muther, R., on the origin of Impressionism, 287

Mystery in painting, indicates inferior art, 341

Mythological subjects, their place in painting, 83, 133

N

Nature, relation of, to art, 57;
and landscape, Byron on, 345

Near-ground painting in landscape, 202

Neptune, his representation in painting, 127

Nerves of the senses,
their advanced condition at birth cause of precocity in art, 21;
alike in all people, 86;
connection of genius with development of, 22;
physiological changes in, 22, 72;
Darwin on the, 281

Night, should be symbolized in painting, 350;
Whistler attempts to represent beauty of, 349

Nocturnes, origin of Whistler's, 349

Norwich school of painting, 48

Novel, the, compared with the short story, 70;
limit of, 71;
of little service to the painter, 221 (_see_ Fiction)

Nude with clothed figures, contrasts of, 180

O

Objectivity of beauty, 2

Open Mouth, The, 174;
when not objectionable, 177

P

Painter, the, his requirements, 25

Painting, imitative character of, 52;
degrees of beauty in, 83;
compared with sculpture, 135;
its relation to poetry, 307;
general ideals in, 86 _et seq._;
classical ideals in, 106 _et seq._;
Christian ideals in, 91 _et seq._;
action cannot be originated in, 81;
great, marked by simplicity, 69;
standard of judgment in, 73;
general expression in, 167;
relation of invention to execution in, 312;
broad manner of, 39;
of divinities, 109;
of classical scenes, 133;
of humorous subjects, 224;
of contrasts, 177 _et seq._;
of scenes from fiction, 221,
from the written drama, 221,
from the acted drama, 222;
of portraits in character, 222;
of ugliness, 341;
deformity in, 178;
representation of death in, 183;
portrait, 141 _et seq._;
landscape, 192 _et seq._;
of moonlight scenes, 208;
of still-life, 214;
secondary art of, 85, 219;
metaphor in, 226;
color in, 228 _et seq._;
impressionist, 25;
of events in time, 219;
symbolical, 227;
Barbizon school of, 290;
quality of grace in, 161,
of contentment, 97,
of modesty in respect of goddesses, 119;
illusion of relief in, 239 _et seq._;
illusion of movement in, 249,
in animal action, 255,
of opening distance, 197,
of suspension in the air, 259,
in representation of progressive actions, 204,
of continuity, 189,
assisted by title, 257;
portraiture, 141 _et seq._

Pastoral occupations, pictures representing, 84

Periods of art, not attributable to national aesthetic stimulus, 8;
Hegel's, 277

Phidias, his exalted position in art, 10;
his ideals, 91

Philips, A., his translation of Sappho's Ode to Anactoria, 301

Philosophy, art not specially related to, 2

Pythian, F., on the origin of impressionism, 286

Poe, Edgar A., on sadness and beauty, 280

Poetry, the highest art, 81;
its imitative scope, 52;
not primarily a combined art, 55;
value of metrical form in, 54;
its association with music, 76;
its relation to painting, 307;
cannot depict sensorial beauty by description, 79;
descriptive, 309;
in relation to human beauty, 79,
to natural beauty, 79;
basic and structural in character, 81;
its range unlimited, 81;
ugliness in, 341;
standard of judgment in, 73, 76;
Watts-Dunton's definition of, 296;
translations of, 297

Pompeian Frescoes, 45, 162, 169, 170, 171, 261, 344

Popular appreciation of art, 73 _et seq._, 306;
Tolstoy on, 307

Portraiture, its position in art, 141;
variation in work of portraitists, 141;
generalization, 143;
added qualities in, 148;
quality of dignity in, 146;
quality of nobility in, 161;
action in, 164;
use of the smile in, 171;
of stage characters, 223;
in ancient Greece, 145, 162;
in ancient Rome, 145;
of women, 158;
of Raphael, 151;
of Titian, 148;
of Moro, 159;
of Van Dyck, 150;
of Rembrandt, 150;
of Velasquez, 149, 152;
of Hals, 155;
of Reynolds, 160;
of Gainsborough, 160;
of Romney, 161;
effects of fashion in, 159;
quality of grace in, 161;
limitations in, 141, 143;
decoration in, should be subordinated, 156;
multiple portraits, 156

Poseidon (_see_ Neptune)

Praxiteles, his development of new ideals, 111;
his Cnidian Aphrodite, 111

Precocity in art, cause of, 22

Progressive actions, in figure subjects, 254;
in sea views, 204;
in coast scenes, 206;
in landscape, 203;
Lessing on, 348;
De Quincey on, 349

Psychological influence in art conceptions, alleged, 14

Q

Quintilian: on the Sacrifice of Iphigenia, by Timanthes, 340

R

Rainbow, its use in landscape, 210 _et seq._

Raphael, and the sublime, 229;
his superiority the cause of the decline of the Renaissance, 11;
his achievement in the ideal Madonna, 12 _et seq._, 140;
the composition of his ideal, 97;
his range in expression, 167;
Lanzi on, 339;
his representation of movement, 250;
his portraiture, 151;
his drapery arrangements, 250;
his representation of suspension in the air, 261;
his study of ancient art, 108;
his fresco work, 69;
Michelangelo on, 16;
his trees, 345

Recognition, Law of, explanation of, 57;
examples of, 65 _et seq._;
music and architecture excluded from the, 64;
division of the arts in applying, 62

Relief (_see_ "Illusion of Relief")

Rembrandt, his imagination compared with his execution, 20;
cause of variation in his work, 21;
his simplicity, 150;
his broad work, 289;
his use of color, 152;
his position in art, 44;
his representation of character, 42;
suggested as impressionist, 41, 290;
compared with the idealists, 43;
his palette-knife pictures, 281;
classification of his portraits, 281

Renaissance (_see_ Italy, Art of)

Repose, in portraiture, 164;
in the representation of Venus, 116

Reynolds, Joshua, his high position in portraiture, 160;
on color, 350;
on the representation of grief, 169;
on the cause of excellence in painting, 282;
on genius in art, 282;
nobility in his portraits, 160;
as a painter of women, 161;
on the work of Raphael, 303;
on Michelangelo, 282;
on the early Italian painters, 280;
on the Venetian painters, 350;
his portraits of actors in character, 224;
his use of the smile, 174

Rodin, A., on the suggestion of movement in sculpture, 249, 351;
on ugliness in art, 317;
his La Vieille Heaulmiere, 317;
on Greek ideals, 319

Romans, The ancient, had no separate sacred art, 328

"Romantic Art," its various meanings, 278;
Hegel's period of, 277

Romney, G., the quality of grace in his portraits, 161

Ruskin, J., on the trees of Raphael, 345;
on the ideal of Christ, 319;
on the position of landscape in art, 344;
on the Italian painters of the fourteenth century, 279

Ruysdael, Jacob, his painting of breaking water, 204, 206;
his near-ground work, 203

S

Sacred Art, offers highest scope for the artist, 63;
in Greece, 91;
in Italy, 12

Sadness, as a quality of beauty, 280

Saints, representation of, 104

Sappho, her Ode to Anactoria, and the cause of its beauty, 67;
translation of the Ode, 301;
her Hymn to Aphrodite, 302

Satan, representation of, 178

Satire, works conveying, unsuited to the painter, 224

Schopenhauer, on music as a non-imitative art, 292