Part 5 / Book 2 — GENERAL INDEX

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, 315 Frescoes, necessarily divided into sections, 69; Reynolds on Raphael's, 303 Funeral scenes in art, 188 G General opinion, standard of judgment in all arts except music, 73, 77 Genius, how produced, 21 et seq.; Reynolds on, 282; Johnson on, 282; Hogarth on, 282 Geology, study of, may be assisted by landscape painting, 315 Gods, Mythological (see Grecian, under their separate headings); Roman, 328 Grace, inferior as a special quality in portraiture, 164; as applied in Greece and Rome, 162; in sixteenth century art, 163; in seventeenth century art, 163; in England in the eighteenth century, 164; in France, 163; kinds of, 338 Grandeur, highest quality of beauty in architecture, 75; practically impossible in landscape, 193; in portraiture, 160; in Van Dyck's works, 160; in Gainsborough's works, 160 Grecian art, cause of its decline, 10; development of, compared with that of the Renaissance, 10 et seq. Grecian sculpture, its high place in art, 106; ideals in, 88, 95; representation of adults with children in, 100; studied by the great masters of the Renaissance, 108; in portraiture, 145 H Hals, Franz, his facility, 155; his limited imagination, 155; his broad manner, 336; the works of pupils attributed to him, 337 Hegel, G. W., his "periods" in art, 277 Hephæstus (see Vulcan) Hera (see Juno) Hercules, his representation as contemplating death, 190 Hermes (see Mercury) Historical painting, its place in art, 83 Hogarth, W., on genius, 282 Holmes, C. J., on the framing of Barbizon pictures, 291 Homer, example of his art, 65 Hood, T., his moods and his work, 17 Horses, representation in action, 255 Human figure, principal sign in the Associated Arts, 53, 73; produces highest form of beauty, 72; general ideal of, 86; Greek ideals, 106 Humboldt, A., on the position of landscape in art, 344 Humorous subjects, their place in the painter's art, 224 Hyperides, example of his art, 300 I Ideal in art, The, only possible in respect of the human form, 57, 87; inapplicable to form without expression, 86; definition of, 86; must be general, 86; general agreement in respect of, 87; can only be applied to excellence, 89; limitation of, 56; ideals of the Greeks, 89, 91, of the early Italians, 94, of the thirteenth century French sculptors, 315, of the Deity, 88, 91, of Christ, 92, 94, of the Madonna, 95, of Zeus, 88, of the other Grecian deities, 89, of Phidias, 10, of Raphael, 97, 137, of Praxiteles, 10, in, of Michelangelo, 320; general ideals, 135; universality of, 138, 315; ideal qualities, 89 Illusion of continuity, in death scenes, 189 Illusion of movement, in landscape, 197; in sea views, 205; in coast views, 206; in sculpture, 249, 351; in figure painting, 250 et seq.; in animal painting, 255 et seq.; may be suggested by title of work, 257 Illusion of opening distance, in distance landscape, 197; in nearground work, 203; in sea views, 205 Illusion of relief, its value in painting, 236; mechanical methods of producing, 240 Illusion of suspension and motion in the air, with the assistance of flowing drapery, 260; of clouds, 263; of cherubs, 265; of Angels, 266; of smoke, 268 Imagination, The, influence of precocious, in the production of genius, 23; must be balanced with skill in execution, 18; of Lionardo, 18; of the Dutch painters, 19; of the Spanish painters, 19; of Shakespeare, 23, 24 Imitation, the province of art, 52; should be generalized, 237; in landscape, 194, in still-life, 214, in decorative art, 218, in architecture, 294, in music, 293; of other arts by the painter, 221 et seq.; Aristotle on, 215; S. Colvin on, in respect of the fine arts, 292 Impressionism, definitions of, 25, 284 et seq.; its origin, 285 et seq.; its influence, 38; its limitations, 35; its defects, 34 et seq.; its effects, 51; its correspondence with Sprezzatura, 32 Industry, the key to success in art, 24, 282 Inspiration in art, not recognized by great artists, 16; actual instances of, unknown, 15; suggested national, 9 et seq.; individual, 14 Interiors, pictures of, their place in art, 84 Invention in art, its relative importance, 54; in poetry, 54; in painting, 312; Lessing on, in poetry and painting, 312; in landscape, 193; the term used in two senses, 311 Irony, works conveying, unsuitable for the painter, 224 Italy, Art of, decline of the Renaissance, 11 et seq.; in the seventeenth and eighteenth centuries, 30 et seq.; Renaissance ideals, 12 J Japanese, their practice in decoration, 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; its relation to painting, 307; cannot depict sensorial beauty by description, 79; descriptive, 309; in relation to human beauty, 79, to natural beauty, 79; basic and structural in character, 81; its range unlimited, 81; ugliness in, 341; standard of judgment in, 73, 76; Watts-Dunton's definition of, 296; translations of, 297 Pompeian Frescoes, 45, 162, 169, 170, 171, 261, 344 Popular appreciation of art, 73 et seq., 306; Tolstoy on, 307 Portraiture, its position in art, 141; variation in work of portraitists, 141; generalization, 143; added qualities in, 148; quality of dignity in, 146; quality of nobility in, 161; action in, 164; use of the smile in, 171; of stage characters, 223; in ancient Greece, 145, 162; in ancient Rome, 145; of women, 158; of Raphael, 151; of Titian, 148; of Moro, 159; of Van Dyck, 150; of Rembrandt, 150; of Velasquez, 149, 152; of Hals, 155; of Reynolds, 160; of Gainsborough, 160; of Romney, 161; effects of fashion in, 159; quality of grace in, 161; limitations in, 141, 143; decoration in, should be subordinated, 156; multiple portraits, 156 Poseidon (see Neptune) Praxiteles, his development of new ideals, 111; his Cnidian Aphrodite, 111 Precocity in art, cause of, 22 Progressive actions, in figure subjects, 254; in sea views, 204; in coast scenes, 206; in landscape, 203; Lessing on, 348; De Quincey on, 349 Psychological influence in art conceptions, alleged, 14 Q Quintilian: on the Sacrifice of Iphigenia, by Timanthes, 340 R Rainbow, its use in landscape, 210 et seq. Raphael, and the sublime, 229; his superiority the cause of the decline of the Renaissance, 11; his achievement in the ideal Madonna, 12 et seq., 140; the composition of his ideal, 97; his range in expression, 167; Lanzi on, 339; his representation of movement, 250; his portraiture, 151; his drapery arrangements, 250; his representation of suspension in the air, 261; his study of ancient art, 108; his fresco work, 69; Michelangelo on, 16; his trees, 345 Recognition, Law of, explanation of, 57; examples of, 65 et seq.; music and architecture excluded from the, 64; division of the arts in applying, 62 Relief (see "Illusion of Relief") Rembrandt, his imagination compared with his execution, 20; cause of variation in his work, 21; his simplicity, 150; his broad work, 289; his use of color, 152; his position in art, 44; his representation of character, 42; suggested as impressionist, 41, 290; compared with the idealists, 43; his palette-knife pictures, 281; classification of his portraits, 281 Renaissance (see Italy, Art of) Repose, in portraiture, 164; in the representation of Venus, 116 Reynolds, Joshua, his high position in portraiture, 160; on color, 350; on the representation of grief, 169; on the cause of excellence in painting, 282; on genius in art, 282; nobility in his portraits, 160; as a painter of women, 161; on the work of Raphael, 303; on Michelangelo, 282; on the early Italian painters, 280; on the Venetian painters, 350; his portraits of actors in character, 224; his use of the smile, 174 Rodin, A., on the suggestion of movement in sculpture, 249, 351; on ugliness in art, 317; his La Vieille Heaulmière, 317; on Greek ideals, 319 Romans, The ancient, had no separate sacred art, 328 "Romantic Art," its various meanings, 278; Hegel's period of, 277 Romney, G., the quality of grace in his portraits, 161 Ruskin, J., on the trees of Raphael, 345; on the ideal of Christ, 319; on the position of landscape in art, 344; on the Italian painters of the fourteenth century, 279 Ruysdael, Jacob, his painting of breaking water, 204, 206; his near-ground work, 203 S Sacred Art, offers highest scope for the artist, 63; in Greece, 91; in Italy, 12 Sadness, as a quality of beauty, 280 Saints, representation of, 104 Sappho, her Ode to Anactoria, and the cause of its beauty, 67; translation of the Ode, 301; her Hymn to Aphrodite, 302 Satan, representation of, 178 Satire, works conveying, unsuited to the painter, 224 Schopenhauer, on music as a non-imitative art, 292 Sculpture, its imitative scope, 52; ideals in, 135; compared with painting, 135; importance of simplicity in, 68; standard of judgment in, 73; illusion of motion in, 249; Rodin on the illusion, 351; in ancient Greece, 106; in Greek and Roman portraiture, 145; thirteenth century French, 315 Sea views, illusion of opening distance in, 204; progressive actions in, 206 Secondary Art, its nature, 85; in historical work, 220; in actions drawn from the novelist, 221; from the written drama, 221; from the acted drama, 222; humorous pictures, 224; in allegorical and symbolical painting, 225 et seq. Shakespeare, his imagination, 23; example of his art, 66; represents characters above experience, 61 Short story, the, its essentials, 70; compared with the novel, 69 (see also Fiction) Signs, of the fine arts, 56; separation of the arts according to character of, 53; the two classes of, in art, 56; must be completely painted, 199; Lewes on, 346; Lessing on, 346; suggestive, belong to the poet and not to the painter, 200 Simonides, on the relation of poetry to painting, 307 Simplicity, necessary in the higher forms of the Associated Arts, 71 Skeleton, as a symbol in art, 186 et seq. Smile, the, transitory, should be avoided in art, 171; in Raphael's work, 173; in Lionardo's, 172, 341; of the Milanese artists generally, 172; in portraiture, 173; in French portraits, 174; in British, 174 Smoke, use of, in illusions of air suspension, 268 Sophocles, example of descriptive poetry from, 310 Spencer, Herbert, on evolution in art, 276 Sporting pictures, their place in art, 85 Sprezzatura, origin of, in the seventeenth century, 30 et seq.; correspondence with impressionism, 32 Stage scenes, pictures of, 222 Still-life, its place in art, 85, 214; beauty in, 214; its varieties, 215; in decoration, 218; custom of the Japanese in, 217 Stories, pictures illustrating, their place in art, 85, 221; painter of, subordinate to the writer, 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)