| EGYPT. |
| PAGE. |
| The Delta. The Oldest Monuments, if not the most Ancient Civilization of the World | 1,2 |
| Changeless Continuity of Life and Art | 2 |
| ARCHITECTURE. |
| The Age, Purpose, and Architectural Significance of the Pyramids | 3-5 |
| The Pyramids of Gizeh | 5-7 |
| Variety of Pyramidal Forms | 8,9 |
| The Pyramids of Saccara, Meydoun, Dashour, Abousere, and Illahoun | 9-12 |
| Table of Dimensions | 12 |
| The Younger Pyramids of Nubia. Truncated Pyramids | 12 |
| Rock-cut Tombs | 13 |
| Development of Column from Pier | 14 |
| The Tombs at Beni-hassan | 14,15 |
| Development of the Lotos-column | 16,17 |
| The Invasion of the Hycsos. Restriction of the Prismatic Shaft. Extended Application of the Floral Columnin the New Theban Empire | 18,19 |
| The Calyx Capital | 20,21 |
| Piers with Figures of Osiris and Typhon. Entablature | 21 |
| Cavern Sepulchres | 22 |
| Temple Plan, Obelisks | 23 |
| Peristyle Court | 25 |
| Hypostyle Hall | 26,27 |
| The Dwellings of Kings and Priests | 28 |
| Peripteral Temples | 29 |
| Rock-cut Temples | 30 |
| The Monuments at Abou-Simbel | 31,32 |
| Palatial and Domestic Architecture | 33 |
| Interiors | 34 |
| The Labyrinth | 35 |
| Unimportant Character of Secular Architecture | 36 |
| SCULPTURE. |
| Fundamental and Changeless Peculiarities | 36 |
| Conventional Types | 37 |
| The Formation of the Head | 38 |
| Head-dresses. Conjunction of Human Trunks and Animal Heads | 39 |
| The Body. Lack of Progressiveness and of History | 40 |
| Animal Forms | 41 |
| Materials | 42 |
| Reliefs | 43 |
| Coilanaglyphics | 44 |
| The Variety and Interest of the Subjects Illustrated | 45 |
| PAINTING. |
| Intimate Relation to Sculpture. Hieroglyphics | 46 |
| Painting as an Architectural Decoration. Retrospect | 47 |
| 163 |
| Malta, the Balearic Isles, Sardinia | 163 |
| Asia Minor. |
| An Independent Art Found only in Lycia, Phrygia, and Lydia | 164 |
| The Rock-cut Tombs of Lycia. The Timbered Dwelling Carved in Stone | 165,166 |
| The Monument of the Harpies at Xanthos | 167 |
| Lycian Sarcophagi | 168 |
| Temple FaÇades Imitated upon Cliffs | 169 |
| The Rock-cut Tombs of Phrygia | 171,172 |
| The Tumuli of Lydia | 173,174 |
| HELLAS. |
| The Ægean Sea the Centre of Greek Civilization | 175 |
| The Dorians and the Ionians | 176 |
| The Development of Poetry Earlier than that of Art | 177 |
| ARCHITECTURE. |
| The Tholos of Atreus | 179-183 |
| The Phoenician Character of its Decoration | 183 |
| The Grave at Menidi | 183 |
| The Treasure-houses of the PelopidÆ | 184 |
| Tumuli | 185 |
| The Common Modes of Burial | 186 |
| Pyramids | 186,187 |
| Primitive Fortifications. Tiryns | 187 |
| MykenÆ | 188 |
| Gateways and Portals | 189-193 |
| The Agora of MykenÆ | 192 |
| Primitive Temple Cellas without Columns | 192,193 |
| The Structure upon Mt. Ocha. Timbered Roofs and Ceilings. The Origin of the Doric Entablature | 195-197 |
| The Decorative Painting of Woodwork | 197 |
| The Doric Column | 197-199 |
| Its Egyptian Prototype | 198 |
| The Development of the Temple-plan | 199-202 |
| The Temple in Antis | 199 |
| Prostylos | 200 |
| Amphiprostylos. Peripteros | 201 |
| Stone Construction | 202 |
| The Entasis | 203 |
| The Capital | 204 |
| The Inclination of the Columns | 205 |
| The Details of the Entablature | 206-209 |
| Polychromy | 210 |
| Curvatures | 211,212 |
| The Pteroma and Ceiling | 213 |
| Illumination | 214 |
| Archaic Doric Temples | 215 |
| The Progress of this Style. Sel
#page_379" class="pginternal">379-382 |
| Protogenes | 383 |
| Antiphilos. Ætion. Asclepiodoros. Theon | 384 |
| Hellenistic Painting. Timomachos | 385 |
| Trivial and Obscene Subjects. Mosaic. Sosos | 386 |
| ETRURIA. |
| Relationship to the Arts of Greece | 387 |
| ARCHITECTURE. |
| The so-called Cyclopean Walls. Arched Gates | 388 |
| Vaulted Canals | 389 |
| Cemeteries. Tumuli. The Tomb of Porsena | 390 |
| Imitations of Dwellings upon Tombs | 391,392 |
| Grotto Sepulchres | 392 |
| Imitations of Temple FaÇades upon Cliffs | 393,394 |
| Norchia | 394,395 |
| The Etruscan Temple | 396,397 |
| The Dwelling-house | 397 |
| Its Court | 398,399 |
| Lack of Progressive Architectural History | 399,400 |
| SCULPTURE. |
| Museums. The Oldest or Decorative Period. Phoenician Importations | 400 |
| The Influence of Western Asia Superseded by that of Greece | 401,402 |
| The Sarcophagus of CÆre | 402 |
| Realism. Sculpture in Marble | 403 |
| The Bronze Chariot from Perugia | 404 |
| The Capitoline Wolf. Engraved Mirrors | 405 |
| Height of Etruscan Art. Hellenistic Influences | 406 |
| Sculptured Sarcophagi | 406,407 |
| Terra-cottas and Bronzes | 408 |
| The Similarity of late Etruscan to Roman Sculpture | 408,409 |
| PAINTING. |
| Its Development Similar to that of Sculpture. The Ornamental and Dependent Period | 409 |
| Realistic Characteristics | 409,410 |
| The Wall-paintings of CÆre and Corneto | 409,410 |
| The Influence of Greece | 411 |
| Artistic Manufactures | 411,412 |
| Sgraffiti. The Importance of Etruscan Art | 412 |
| ROME. |
| The Conditions of Civilization Similar to those of Etruria | 413 |
| ARCHITECTURE. |
| Primitive Walls | 414,415 |
| Gates. Vaulted Canals | 416 |
| Temples: their Tuscan Charac
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