A " B " C " D " E " F " G " H " I " J " K " L " M " N " O " P " R " S " T " V " W
(Note: The Page number is the link to the reference.
123^x indicates that the reference is only in the Footnote; 123,^x indicates that the reference is also in the Footnote).

• Ancient Buildings, Society for the Protection of, 42, 43, 217.
• Animals, treatment of, in art, 185-204.
• Architecture, modern domestic, 48;
  • arts allied to, 125-146;
  • of the nineteenth century, 225-227.
• Art education, 56, 57, 107-110, 114, 115, 242-245, 250.
• Art, study and practice of, 105-122;
  • of the nineteenth century, 223-237.
• "Art Nouveau, L'," 232.
• Arts and Crafts Exhibition Society, the, 28, 67, 68, 70, 71, 95, 96, 230, 248, 249.
• Art Workers' Guild, the, 59, 60, 70, 93.
• Assyrian art, animals in, 187, 188, 190.
• Athens, architecture of, 126.
• Ball, John, 41.
• Bates, Harry, 61, 228.
• Bell, R. Anning, 134.
• Bellamy, Edward, his "Looking Backward," 10, 11, 214.
• Benson, Frank, 236.
• Binyon, Laurence, 65.
• Birmingham, St. Philip's, 29.
• Blake, William, 228.
• Bokhara, embroidery from, 154, 155.
• Brangwyn, Frank, 92.
• Brown, Ford Madox, 17, 28, 92, 230, 253.
• Brown, Prof. Frederick, 92.
• Bullen, Wentworth, 25.
• Burges, William, 50, 51, 227.
• Burne-Jones, Sir Edward, 15, 25, 26, 28, 36, 37, 61, 230.
• Burne-Jones, Lady, 29.
• Butterfield, William, 227.
• Cambridge, Jesus College, 28.
• Canova, Antonio, 227.
• Carlisle, Earl of, 15.
• Carlyle, Thomas, 21, 40, 213.
• Cennini, Cennino, his "Trattato," 164-176.
• Century Guild, the, 67.
• Chinese art, 63, 65, 231.
• City and Guilds of London Institute, the, 67.
• Clausen, George, 69, 92.
• Clay, modelling in, 145.
• Cleveland, Ohio, mosaic floor for bank at, 132.
• Cobden-Sanderson, T. J., 28², 34.
• Coire, gesso work at, 164.
• Courbet, Gustave, 264, 265.
• Cowper, F. Cadogan, 78⁴.
• Crane, Walter, his designs for "The Glittering Plain," 36;
  • associated with the proposal for a National Exhibition of the Arts, 69;
  • President of the Arts and Crafts Exhibition Society, 95;
  • design in mosaic for a bank at Cleveland, 132.
• Cretan embroideries, 152, 153.
• Darius, frieze from palace of, 139.
• Day, Lewis F., 59.
• Dearle, H., 25.
• Drawing, study of, 242-245.
• Dress, modern, 212-214.
• Dressler, Conrad, 139.
• "Earthly Paradise, The," 7, 8, 16;
  • projected illustrated edition, 37.
• Eastlake, C. L., his "Hints on Household Taste," 53.
• Edinburgh, Art Congress at (1889), 29, 74.
• Egyptian art, animals in, 185-188, 190;
  • mummies, use of gesso on, 182.
• Embroidery, colour and its treatment, 149-159.
• Eve, G. W., 192.
• Flaxman, John, 227.
• Florence, Riccardi Chapel, 141.
• Forbes, Stanhope, 92.
• Ford, Onslow, 227.
• Furse, Charles, 92.
• Gainsborough, Thomas, 228.
• Gallia Placida, Mausoleum of, 133.
• Gesso work, early Italian, 136, 137, 141, 163-182.
• Gibson, John, 227.
• Gilbert, Alfred, 61.
• Giotto, 140.
• Glasgow School, the, 232.
• Glass, stained, 28, 29, 144.
• "Glittering Plain, The," 36.
• Gozzoli, Benozzo, 141.
• Greek art, animals in, 190-192.
• Grosvenor Gallery, the, 65, 71, 268, 270.
• Gwalior, stone carvings of animals at, 198, 200-203.
• Hammersmith Socialist Society, 27, 28,².
• "Hobby Horse, The," 67.
• Hogarth, William, 228.
• Hokusai, 63.
• Holiday, Mr. and Mrs. Henry, 134.
• Home Arts and Industries Association, the, 67.
• Hooper, W. H., 36.
• Horne, Herbert P., 67.
• Horniman Museum, mosaic design on the, 134.
• Houses of Parliament, frescoes in the, 78⁴.
• Hughes, Arthur, 17.
• Hunt, Holman, 49, 69, 230.
• Indian art, animals in, 189, 190, 198, 200-203.
• Israels, Joseph, 91.
• Jackson, John, 108⁵.
• Japanese art, influence of, 63-65, 231;
  • treatment of animals in, 198.
• Kelmscott House, 27, 28,².
• Kelmscott Press, the, 5, 29-33, 34-36.
• Landseer, Sir Edwin, 203.
• Lascelles, Frank, 236.
• La Thangue, H. H., 92.
• Leighton, Lord, 61.
• Leverett, Arthur, 36.
• Liebermann, Max, 91.
• Lindsay, Sir Coutts, 65.
• Liverpool, Art Congress at (1888), 73, 74.
• London, aspect of, 207-214;
  • architecture of, 226.
• London County Council, its technical schools, 68, 69.
• Magnus, Sir Philip, 67.
• MagnÚsson, Professor, 16.
• Manchester, frescoes in the Town Hall, 253.
• Marlborough College Chapel, decoration of, 168.
• Merton Abbey, 25, 27, 28,².
• Meunier, Constantin, 91, 228.
• Michael Angelo, 141.
• Micklethwaite, J. T., 132.
• Millais, Sir J. E., 230.
• Millar, W., his "Plastering," 164.
• Millet, FranÇois, 91.
• Moody, T. W., 63, 138.
• Moore, Albert, 61, 264.
• More, Sir Thomas, 41.
• Morgan, William de, 55, 139.
• Morland, George, 228.
• Morris, Miss May, 36.
• Morris, William, 3-43, 51, 230, 271;
  • his Socialism, 5, 7-14, 36-41;
  • visit to Iceland, 16;
  • and the artistic revival, 16-20, 54, 93-95, 232, 248;
  • his birth and education, 21, 22;
  • experiments in dyeing, 24;
  • weaving, 24-26;
  • painted glass, 28, 29;
  • his MS. of Omar KhayyÁm, 29-33;
  • the Kelmscott Press, 5, 29, 34-36;
  • illustrations for "Cupid and Psyche," 37;
  • founds the Society for Protection of Ancient Buildings, 42;
  • his appreciation of humour, 44,³.
• Morris and Co., 15, 17, 27, 28, 54.
• Mosaic, marble, 129-132;
  • glass, 132-134;
  • pebble, 134, 135.
• Murray, Fairfax, 29, 36.
• Mycenae, Cyclopean gate of, 126, 190.
• National Association for the Advancement of Art, the, 29, 73, 74.
• National Exhibition of the Arts, proposed, 69.
• New English Art Club, the, 69.
• "News from Nowhere," 5, 10, 11.
• New York, improvement of, 211, 212.
• Nineveh, wall sculptures of, 126, 188.
• Northern Art Workers' Guild, the, 60.
• "Omar KhayyÁm," illuminated by Morris, 29-33.
• Oxford, Exeter College, 26;
  • Christ Church, 28.
• Pageants, 236.
• Parthenon, the, 126.
• Peacock Room, the, 266.
• Pennell, Mr. and Mrs., their "Life of Whistler," 259-272,¹¹.
• Petrie, W. M. Flinders, 182(Note).
• Philadelphia, art-teaching in, 107;
  • mosaic altar-piece in, 134.
• Photography, influence of, 252.
• Pinturrichio, 141, 166.
• Pisa, Campo Santo, 141.
• Pistoia, 140.
• Plaster work, decorated, 135, 136.
• Poster, the modern, 111, 252, 253.
• Post-impressionists, the, 233.
• Pracatic (Bohemia), sgraffito designs at, 137,

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  Transcriber's Note:

  The book cover was created by the transcriber (using elements from the Title Page) and placed in the Public Domain.

  Missing or damaged punctuation has been repaired.

  Both hyphenated and un-hyphenated variants of some words appear in this book. All have been retained. The author has used UK-English variants of some words (e.g. 'colour', etc., not 'color', etc.), and some older spellings.

  All Illustrations that interrupted paragraphs have been moved to more convenient positions nearby, between paragraphs, and closer to their descriptive text. The page numbers in the TOC have been adjusted accordingly.

  The text in the Omar KhayyÁm illustrations appears to be missing some end-punctuation, or it is partially hidden by the design. It seems to have been a hand-written copy, by the author (William Morris), of the Fitzgerald translation of Omar KhayyÁm. As it is hand-written, it has not been amended to the Fitzgerald translation.

  Page 25 and Index: 'Wentworth Buller' is mentioned on Page 25; 'Bullen, Wentworth, 25.' is the entry in the Index. The transcriber cannot find which spelling is correct, so both have been retained.

  Page 54: 'Hebblewhite' corrected to 'Hepplewhite'.

  "... and Chippendale, Sheraton, and Hepplewhite...."

  Page 72: 'For in spite the immense activity and industry, the independent artists in design and handicraft were but few,...'

  should probably read either:

  'For despite the immense activity and industry,...'

  or

  'For in spite of the immense activity and industry,...'

  OED gives:

  spite, n. & v.t. 1. ... (in) ~ of, notwithstanding.

  So 'in' may be optional, but 'of' seems to be needed. The transcriber has chosen to correct 'in spite' to 'in spite of'.

  In other places, the author has used brief notes rather than grammatically correct prose. These appear to have been hasty jottings, and have been retained.

  Page 75: 'fatigueing' corrected to 'fatiguing'.

  "We have no word-symbols for defining those delicate shades of difference so important to the artist, and to be perpetually qualifying is fatiguing."

  Page 78, Footnote 4: 'Cooper' corrected to 'Cowper'. (Reference: Wikipedia)

  "... by some of our ablest men of the younger school, such as Mr. Payne and Mr. Cadogan Cowper,...". Index entry is correct.

  Page 174: 'droping' corrected to 'dropping'.

  "by the use of the brush in floating or dropping on the forms of the ornament."

  Page 241: 'intance' corrected to 'instance'.

  "... different points of view—for instance, (1) as an accessory...."

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