Chapter III: Illusion of Suspension and Motion in the Air (5)

Sculpture, its imitative scope, 52;
ideals in, 135;
compared with painting, 135;
importance of simplicity in, 68;
standard of judgment in, 73;
illusion of motion in, 249;
Rodin on the illusion, 351;
in ancient Greece, 106;
in Greek and Roman portraiture, 145;
thirteenth century French, 315

Sea views, illusion of opening distance in, 204;
progressive actions in, 206

Secondary Art, its nature, 85;
in historical work, 220;
in actions drawn from the novelist, 221;
from the written drama, 221;
from the acted drama, 222;
humorous pictures, 224;
in allegorical and symbolical painting, 225 _et seq._

Shakespeare, his imagination, 23;
example of his art, 66;
represents characters above experience, 61

Short story, the, its essentials, 70;
compared with the novel, 69 (_see also_ Fiction)

Signs, of the fine arts, 56;
separation of the arts according to character of, 53;
the two classes of, in art, 56;
must be completely painted, 199;
Lewes on, 346;
Lessing on, 346;
suggestive, belong to the poet and not to the painter, 200

Simonides, on the relation of poetry to painting, 307

Simplicity, necessary in the higher forms of the Associated Arts, 71

Skeleton, as a symbol in art, 186 _et seq._

Smile, the, transitory, should be avoided in art, 171;
in Raphael's work, 173;
in Lionardo's, 172, 341;
of the Milanese artists generally, 172;
in portraiture, 173;
in French portraits, 174;
in British, 174

Smoke, use of, in illusions of air suspension, 268

Sophocles, example of descriptive poetry from, 310

Spencer, Herbert, on evolution in art, 276

Sporting pictures, their place in art, 85

Sprezzatura, origin of, in the seventeenth century, 30 _et seq._;
correspondence with impressionism, 32

Stage scenes, pictures of, 222

Still-life, its place in art, 85, 214;
beauty in, 214;
its varieties, 215;
in decoration, 218;
custom of the Japanese in, 217

Stories, pictures illustrating, their place in art, 85, 221;
painter of, subordinate to the writer, 221

Sublime, The, Longinus on, 73;
painters who have achieved, 229

Supreme Being, final ideal of human form can only apply to, 88

"Symbolic" period of painting, Hegel's, 277

Symbolical painting, when secondary art, 227

Symonds, J. A., on evolution in art, 271;
on the Venetian artists, 350

T

Taine, H., on music as a non-imitative art, 294

Tanagra figures, quality of grace in, 162

Temperament, influence of, on the work of artists, 16

Titian, as a portrait painter, 144;
the dignified pose in his figures, 148;
the pose a test of his portraiture, 335;
his impressionist landscape, 288;
his coloring, 231;
some doubtful attributions to, 336

Titles of pictures, may assist in providing illusion of motion, 257;
may add interest to a work, 352

Tolstoy, Leo, on the meaning of "art," 275;
on popular appreciation of art, 307

Tragedy, only section of drama which the painter may properly use, 221

Translations of poetry, varying values of, 297

Trees in art, the slender trees of Raphael, 345;
of other artists, 345

Turner, J. M. W., secret of his success, 16

Twilight scenes, their place in art, 208

Types, importance of, in nature and art, 55

U

Ugliness in art, may be used in poetry, but not in painting, 342;
Rodin on, 317;
Lessing on, 341;
Waldstein on, 318

Uncivilized races, their understanding of beauty, 333

V

Van Dyck, A., 30;
his portraiture, 150

Velasquez, his place in art, 44;
his simplicity in design, 152;
his limited imagination, 155;
his execution, 153;
compared with the idealists, 43;
his perfect balance, 43;
claimed as an impressionist, 41, 290

Venus, her representation in art, 110;
Anadyomene, 114 _et seq._;
reposing, 116;
at her toilet, 118;
of Phidias, 111;
of Praxiteles, 111 _et seq._;
of Apelles, 113;
of Raphael, 114;
of Michelangelo, 117;
de' Medici, 119;
of Titian, 115;
of other artists, 115 _et seq._

Verestchagin, V., his war pictures, 184

Vinci, Lionardo da (_see_ Lionardo)

Virgin, The (_see_ Madonna, The)

Virtue and Vice, pictures representing, 178

Vulcan, representation in painting, 132

W

Waldstein, C., on ugliness in sculpture, 318

Watts-Dunton, T., his definition of poetry, 296

Whistler, J. McN., his nocturnes, 349

Wings, use of, in suspended figures, 262

Women in portraiture, during the Renaissance, 159;
by Moro, 159;
by Van Dyck, 159;
by the eighteenth century British artists, 161;
Reynolds preeminent in painting of, 160

Z

Zeus (_see_ Jupiter)

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