INDEX

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Hume Nisbet

A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, R, S, T, U, V, W, Y, Z

Abbey, 157
A B C of art, 115
Aberdonian clipper, 146
Academies, 96
Actions of nature, 28
Adoration in art, 255
Age of romance, 281
Agnosticism, 306-9
Aikenhead (Major), 97
Aissouas, the, 107
‘Ally Sloper’s Half Holiday,’ 166, 167
Alma-Tadema, his work, 80, 193, 194, 273
Almanack, Comic, 166
Anatomy, 95
Ancient Egypt, style of, 299-301
‘Ansidei Madonna,’ its value, 231
Apocalypse, Albert DÜrer’s, 156
Ark, dimensions of, 135
Art, realism in, 34;
fashion in, 90;
instinct of, 98;
lessons in, 102;
savage, 102, 214-16;
Eastern, 105;
false, 107;
true aim of, 108, 252;
A B C of, 115;
uses of, 117-18;
practical, 157;
individualism in, 160;
influence of Turner on illustrative, 163;
sacred, 250;
sacrifices of, 252;
imagination in, 254;
adoration in, 255;
soul in, 255;
comic, 260;
Dutch, 268;
dignity in, 268, 293;
symbol of, 291
Art course, time of, 116
Artist and butterfly, 291
Artists as readers, 273
Assyria, styles of, 60
Astronomy, artistic, 276
Atheism, 307
Australian experience, 108-12
Backgrounds, old style, 7
Barnard (F.), 157
Bayeux Tapestry, the, 139
Beauty, 209, 257;
spirit of, 289
Bell, his ‘Mary Queen of Scots,’ 45
Bellini (Giovanni), 238
Bewick, 159, 160, 173
Black and gold marble, 189
‘Black and White,’ 165
Blake (William), 35, 89
Blemishes in marbles, 195
Blunders of science, 278
Boats, Egyptian, 136
Body colour, 92
Bolton, 171
Book, an illustrated, 152, 172-5
—— plates, 276
Books on painting, 83
Boots and feet, 200, 201, 203
Botany, artistic, 284
Botticelli (Sandro F.), 240
Bough (Sam), 82
Breydenbach’s Travels, 155
Bronzino (Angelo), 240
Brushes, 69
Buddha, 298
Burnett on painting, 127, 129
Burns (Robert), 211
Byron (Lord), 89
Cameron (Hugh), 47, 48
Canvas, preparing a, 179
Carlyle (Thomas), 20, 87, 101
Cassell & Co., 155, 169
Centre line, the, 225
Chalmers (George Paul), 82, 239, 246, 292
Champs and champing, 183, 184
Chatto (W. A.), 150, 152
Chatto & Windus, 166
Chemistry of colour, 92
Chevreul, his book, 115
China collecting, 273
Classification of light, 129
Coleridge, 89, 217
Colour, body, 92;
chemistry of, 92
—— perception, 269
Colours, blending of, 59;
the primaries, 58
Combing, 181, 182
Comfort in ornament, 224
Comic Almanack, 166
—— art, 260
Consistency in ornament, 225
Constable (John), 86, 160
Contrast of ships, 142-5
Contrivance for lighting, 18
Copying, benefit of, 35;
its use and abuse, 81
Correggio (Allegri, A. da), 85, 240, 247
Cox (David), 91
Crane (Walter), his work, 155, 173, 273
Creswick (Thomas), 161
Critics, 80
Cromwell, 305
Cross-bars, 184
Cross-hatching, 155
Cruelty of science, 290
Cruikshank (George), 157, 160, 166, 167, 260
‘Daily Graphic,’ 170
‘Death of Procris,’ 246
Decoration, 208
Designing, 114
Details, 77;
of foregrounds, 268
Dignity in art, 268, 293
Distortion of vision, 33
Dobson (Austin), 150
DorÉ (Gustave), 82, 89, 95, 160, 168-171, 248
Dove marble, 191, 192
Dow (Gerard), 243
Drawing, 114;
on the wood, 157
Dress, 99, 196;
modesty in, 201;
fashion in, 203-7
Drummond (William), 195
Dumas (A.), fils, 220
DÜrer (Albert), 34-9, 44, 52, 155-7, 242, 274
Dutch Art, 268
Eastern Art, 105
Economy in Ornament, 224
‘Editions de Luxe,’ 175
Egypt, style of, 60
—— ancient, style of, 299-301
Egyptian boats, 136
‘Eight Bells,’ 113
Eliot (George), 220
‘English Illustrated Magazine,’ 165
Etching and Etchers, 41
Ex Libris, 272, 276
Ex Libris Society, 173
Exhibitions, 96, 261
Expression, 23
Eyck (Jan van), 243, 247
Faed (Thomas), 47, 82
Failures, the benefit of, 112
Faith, 312
False art, 107
Fashion in art, 90;
in dress, 203-7
Feeling, 28
Fildes (Luke), 82
Fiorenzo di Lorenzo, 247
First coating, 178
Foreground flowers, 285
Foster (Birket), 173
—— (John), 53
Francesca (Piero della), 238
Frith, his ‘Derby Day,’ 87
Fuligno (Niccolo di), 247
Furniss (Harry), 167
Gainsborough (Thomas), 94
Galleys, Greek, 137
Garvagh ‘Madonna,’ the, 232, 234
George (Henry), 305
Gillray, 260
Glazing, 81
Goethe, 89
Goodwin Sands, 148
Gradation of shadows, 124
Graining, 86, 176, 178
Grammar of Art, the, 292
Grandi (Ercole de Giulio), 247
Granite, 192
‘Graphic’ (Daily), 170;
(Weekly), 165
Greek ideals, 199
—— ships and galleys, 137
Grey, the quality of, 18
—— paper, the value of, 130
Ground for black and gold marble, 189
—— for maplewood, 187
—— for oak, 180
Gum tree, the, 110-2
Hag, the, 46
Half-tones, 19
Hals (Frans), 243
Hamerton, 41
Hannibal, 296
Harmony, 128
‘Harper’s Monthly,’ 165
Harvey (Sir George), 82
Hatching work, 92
Hatherell (William R. I.), 165
Hayden (Dr. G.), 41
‘Henri GrÂce À Dieu,’ 140
Henry the Eighth, 241
Heraldry, 276
Herdman, 82
Herkomer, 41
Hobbema, his work, 248
Hogarth (William), 157, 159, 160, 268
Holbein (Hans), his work, 241, 244
Homer, 218-220, 293
Hunt (Holman), 63
—— (William), 15, 36, 54
Huxley, 214
Illusive Effects, 123
Illustrative art, Turner’s influence on, 163
Image, the, 29
—— of Fame, the, 295
Imagination in art, 254
Imitation of nature, 28
Impressionists, school of, 53
Impressions of pictures, 230
Individualism in art, 160
Insects, 289
Instantaneous effects of nature, 126
—— photography, 29, 164
Instinct of art, 98
Irving (Henry), 222
Israels (Jozef), 64
Italian marbles, 192
—— school of painters, 128
Jackson, 152
Job, 102
Judgment in painting, 270
‘Julius II. (Pope),’ 234
Kingsley (Charles), 216
Knotting, 177
Knowles (Davidson), 145
Knox (Dr.), his work, 234, 239, 240, 243-5
Reni (Guido), 238, 239
Repose, 256
Retouching, 20
Reuwich (Erhard), 155
Reynolds (Sir J.), 15, 19, 83, 236
Riggers, 185
‘Rivers of France’ series, 162
Road, effect of light upon, 127
Roman ships, 137
Romance, age of, 281
Rosa (Salvator), 78, 85, 248
Rubens (Sir Peter Paul), 15, 19, 80, 85, 238, 240, 243
Rules, 79
Ruskin (John), 32, 53, 56-8, 65, 66, 70-2, 83-7, 91, 101, 179, 186, 193, 239, 244, 249
Sacred Art, 250
Sacrifice of art, 252
Sandals, 204
Sarony, his photographs, 27
Sarto (Andrea del), 239, 240
Savage art, 102, 214-7
Science, blunders of, 278; cruelty of, 290
Scott (David), 89
‘Scribner’s Monthly,’ 54
Scumbling, 81;
for oak, 181
Seavey, his backgrounds, 27
Second coating, 178
Shadows, gradation of, 129
Shakespeare, 70, 101, 104, 160
Shelley, 73, 89
Ships, 133, 134, 140, 161;
Greek, THE END

PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
LONDON


FOOTNOTES:

[1] Only, not to the encouragement of lazy habits; at times (for the sake of practice) a painter ought to draw the most minute point-detail with the pencil, as a singer practises his scales; otherwise, for the object, the photo is most to be relied upon for truth in all, except in perspective.

[2] For an example of what I mean, see the effects in ‘Choice Blends’ in ‘The Idler’.

[3] See ‘Specimen Days and Collects,’ by Walt Whitman, page 306 of Collects. Want of room prevents me giving the specimen in full, and I dare not mutilate such a literary masterpiece.

[4] See ‘Mary Queen of Scots,’ by Bell—last scene.

[5] The snow scenes are exquisite, and one exhibited, of a camp fire with figures, a perfect triumph of misty refinement; the faces seen through the smoke particularly to be observed. I would also call the reader’s attention to his cattle studies, and the printing done on rough hand-made paper—flat and like sepia and Indian-ink work, only far more refined than hand-work could be.

[6] Some days before the death of Millet, a stag was chased by hunters and dogs into a neighbour’s garden and butchered before the dying man’s gaze. ‘I take it as an omen,’ he said mournfully, and prepared for the earth-end.

[7] Esther i. 6.

[8] I have seen this picture since writing these remarks, but without changing my opinion concerning it.

[9] As a worker of broad effects, I lay myself open to be charged with bigotry when I condemn the pre-Raphaelites, and accept the risk.

[10] See Life and Nature Studies.

[11] I called attention to the marvellous medicinal virtues of this Eucalyptus-tree long before it was generally accepted by the Faculty. See ‘Picturesque Australasia’ and ‘A Colonial Tramp,’ &c.

[12] See ‘A New Guinea Village,’ p. 125.

[13] See Frontispiece: ‘A New Zealand Fern Gully.’

[14] See also A Treatise on Wood Engraving, by Chatto & Jackson, p. 46.

[15] The same excuse applies to this present work.

[16] The numbers in this chapter are those of February 1892.

[17] George Paul Chalmers, an Edinburgh artist, is the only colourist who really followed Rembrandt in his method. He used sometimes to take sixty sittings to one portrait, and hardly ever finished any of his works, so fastidious was he; yet as far as he perfected he was very perfect as a colourist.

Typographical errors corrected by the etext transcriber:
thum-bhole=> thumb-hole {pg 68}
thes ame=> the same {pg 191}
Niccolo of Fuligno;=> by Niccolo of Fuligno; {pg 247}
No. 35, Titian; ‘Mercury=> No. 35, by Titian; ‘Mercury {pg 247}
Savage art, 102, 214-1=> Savage art, 102, 214-7 {pg index}

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