  - Abydos, Temple of Seti, 89.
- Academic method of art teaching, the, 58–65.
- Action, representation of, 52, 54.
- Advertisements, the curse of modern, 77, 78, 84.
- Allegory in art, 278.
- Anagni, chasuble from the Cathedral of, 206.
- Animal forms in decoration, 203–224.
- Architecture, importance of, in art training, 44, 50.
- Art, influence of economic questions in, 23;
- value of sound traditions in, 29;
- social function of, 32;
- the teaching of, 35–56;
- sympathetic atmosphere a necessity for, 36–40;
- connection between architecture and, 44;
- essential unity of, 44, 48;
- the imitative and imaginative sides of, 48;
- advantage of architectural over pictorial training in, 50;
- methods of art teaching, 58–68;
- academic methods of teaching, 58–65;
- dominated by the sculptor’s art and aims, 64;
- modern possibilities of teaching, 66–68;
- Tolstoi’s views on, 69–75;
- the social and ethical bearings of, 88–101;
- influence of, in the church, 93;
- not the monopoly of the rich, 95–97;
- refining influence of, 97, 98;
- change in the conditions of the practice of, 99, 100.
- “Art Nouveau, L’,” 128, 129.
- Art Workers’ Guild, the, 18, 31;
- device for, 251, 253.
- Arts and Crafts Exhibition Society, the: formation of, 20;
- first exhibition of, 21;
- objects and principles of, 22.
- Assyrian reliefs, object and value of, 90.
- Bacchus, visit of, to Icarius, Romano-Greek relief, 106.
- Bamberg, Royal mantle from the Treasury of, 205.
- Barron, O., 200.
- Bell, R.A., 159.
- Bellamy’s “Looking Backward,” quoted, 83.
- Berthelet, Thomas, bindings by, 227, 229.
- Birmingham, scheme for frescoes illustrating local history at, 120.
- Blake, William, 5, 6.
- Bland, J.P., specimen of calligraphy by, 65.
- Blickling, ceiling at, 144;
- relation of, to decorative art, 265–272.
- Pinturicchio’s decoration of the Appartamenti Borgia, 238, 239, 240, 248.
- Plaster, treatment of, 158, 159.
- Pomeroy, Mr., 159.
- Pompeian decoration, 113.
- Pre-Raphaelite movement, the, 12, 14, 15, 175.
- Pugin, A.W.N., 17.
- Ranworth rood-screen, 133–139, 141, 143.
- Reynes, John, binding by, 233.
- Richard II, figure of, in the Wilton picture, 219.
- Rigby, H.A., pen-drawings by, 55, 57.
- Rome, St. Peter’s, use of gilding in, 246.
- Rossetti, D.G., 10, 12, 15, 175.
- Royal College of Art, specimens of students’ work, 37–67.
- Ruskin, John, 14.
- Sandys, Frederick, 12, 13.
- Scott, Sir Walter, 10.
- Sevenoaks, Combe Bank, decorations at, 159.
- Shaw, Henry, 16.
- Shaw, Norman, 18.
- Shea, J.R., cabinet designed by, 59;
- wood carving by, 61.
- Sicilian Silk Patterns, 207–214, 218.
- South Kensington Museum, formation and influence of, 16.
- Southwold, rood-screen at, 247.
- Spooner, W.G., studies by, 49, 51, 53.
- Stencilling, development of, 136.
- Stevens, Alfred, 4.
- Stevenson, James A., frieze by, 63.
- Stothard, Thomas, 10.
- Street decorations, temporary, 192–202.
- Sykes, Godfrey, 4.
- Temple Bar, suggestion for temporary gatehouse at, 197.
- Tennyson, the Moxon edition of, 9–12.
- Thoreau’s “Walden,” 111.
- Tintoretto, 270.
- Tolstoi, Count, his “What is Art?” 69–75.
- Tristram, E.W., design for Tapestry by, 43.
- Van der Meer, 142.
- Van Dyck’s “Jan Arnolfini and his wife,” 142.
- Venice, St. Mark’s, mosaics in, 244;
- Ducal Palace, <
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