A
Actors in stage rÔles, portraits of, 223
Aerial perspective, Claude the first master of, 47;
its importance, 198;
method of producing, 200
Æsthetic 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 Æsthetic 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 Æsthetic 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, 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 Æsthetic 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;
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)