Part 2 — INDEX

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, 115 Landscape Photography, 42 Lastman (Peter), 35 Lawrence (Sir Thomas), 19 Leech (John), 260 Leighton (Sir F.), 80 Lessons in art, 102 Libraries, arrangement of, 275 Lichens, mosses, &c., 287 Life and nature studies, 116 Light, classification of, 129 —— and shadow, proportions of, 17; the effect of, 127 Lighting, 16; contrivances for, 18 phenomenal laws of, 120 Lippi (Fra Filippo), 240, 247 Lockhart, 82 Lorenzo da San Severino, 247 ‘Lorna Doone’ (Blackmore’s), 164 Lorraine, Claude, 248, 249, 293 Loutherbourg (P. J. de), 146 Love the revealer, 309 Low-toned School, the, 64 Macdonald, 82 Madonna, Ansidei, its value, 231 ‘Magazine of Art,’ 165 Mahogany, to grain, 188, 189 Mahomet, 293 Mannerism, 160 Mantegna (Cav. Andrea), 247 Maple wood, to grain, 187, 188 Marble, black and gold, 189; blemishes in, 195; method of working black and gold, 189-191 Marbles, Italian, 192 Masonry, 276 Matsys (Quintin), 243 Max (Gabriel), 250, 251 Mechanical workers, 126 Memory, 226 Michael Angelo (Buonarroti), 15, 80, 246, 247, 293 Millais (Sir John), 52, 80, 89 Millet (J. F.), 54 Milton, 101 Modern painters, 66 Modesty in dress, 201 Modjeska (Madame), her art, 208 Mora, his photographic work, 27 Moroni, his work, 234, 237, 238, 240 Moses, as Prince Rameses, 299-304; death of (word picture), 311 Murillo (Bartolomeo Esteban), 179, 189, 240, 242, 293 Napoleon, 298, 299 National Gallery, 229 Nature, imitation of, 28; sketching from, 31; how to approach, 73-5; instantaneous effects of, 126; the guide to taste, 189; different methods of seeing, 313, 314 Nature worship, 297, 304 Nimmo (John C.), 236 Notes, shorthand, 83; how to take, 103, 104 Oak graining, the art of, 180; tools required for, 181 Oil painting, 115 Operators, photographic, 6, 7 Orchardson, 47, 48, 49, 50, 80 Original ideas, 101 Ornament, 211-3; comfort in, 224; economy in, 225; consistency in, 225 Outline work, 154 Over-graining, 184 Overwork, danger of, 71 Painters, modern, 66; Italian School of, 128 Painting, books on, 83; water-colour, 92; oil, 115; judgment in, 270 Paper, a scrap of, 284 Parsons (Alfred), 157, 163 Paton (Sir J. Noel), 82, 273 —— (Waller), 82 P. and O. Liners, 144 Perspective, 94 Perugino (P. V.), 36 Pettie (John), 47, 80 Phœnicia, 219 Photographic operators, 6, 7 Photography, instantaneous, 29, 164; landscape, 42 Picture, what to seek in a, 258 Pictures, the buying of, 91; impressions of, 230 Pilkington, 34 Piombo (S. del), 247 Poliphili, the, 155 ‘Pope Julius II.,’ 234 Popularity, 245 ‘Portrait of a Tailor,’ 234 Posing, 12 Poussin (G.), 248 Practical art, 157 Pre-Raphaelitism, 63; mistaken efforts of, 126 Primaries, the, 58 Priming, 177 ‘Procris, Death of,’ 246 Proportions of light and shadow, 17 ‘Proserpina,’ 72 Public opinion, 271 ‘Punch,’ 166 Rameses, Prince (Moses), 299-304 Raphael, 36, 91, 231-5, 251 Rat-tails, 182, 183 Reade (Charles), 176, 177 Realism in art, 34 Reflection, 255, 256 Relief, 128 Rembrandt, 20, 23, 35, 39-42, 45-50, 65, 86, 129, 157, 159, 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, 137; Roman, 137; contrast of, 142-5 Signorelli (Luca), 247 Sketching from nature, 31 Sky pictures, 280, 282-4 Small (William), 157, 165 Social problems, 314-5 Soul in art, 255 Spagnoletto, 242 Spirit of beauty, 289 Stages of painting, 67; of the globe, 279, 280 Stanfield (W. C.), 146 Stanley (H. M.), 29 Stars, 277 Stippling, 92 Stirling-Maxwell (Sir W.), 236 ‘Stones of Venice,’ 71 Studio visiting, 88 Style, 82 Styles, 184 Subject, confidence in, 221 Subtlety, 217 Swinburne, 217 Symbol of art, 291 Teniers (David), 35, 47-9, 243, 268 Third coating, 178 Thomson (D. C.), 150 Thomson (Joseph), 29 Tiepolo, 246 Time for art course, 116 Tintoretto, 80, 85, 247, 263, 264 Titian, 15, 85, 91, 247, 263, 264 Tone, 81 Tones, half, 19 Tools required for oak graining, 181 Torchlight, effect of, 121 Trees, 286, 287 True aims of art, 108, 252 Tunny, 53 Turner (J. M. W.), 32, 65, 70, 86, 157, 161, 173, 244, 248, 249; his influence on illustrative art, 163 Tyndall, 214 Uses of Art, 117, 118 Utilitarianism, 305, 306 Vandyke (Sir A.), 36, 80, 243, 244 Velasquez, 236, 240, 241, 247 Viking craft, 138, 139 Vinci (Leonardo da), 115, 246 Vision, distortion of, 33 Walnut, how to grain, 188, 189 Water-colour painting, 92 Weyden, 243 Whistler (J. McNeill), 20, 86, 91, 236, 245 Whitman (Walt), 44, 45, 217 Wilkie (Sir David), 50, 243 Wohlgemuth (Michael), 35 Wood, drawing on the, 157 Word-painting, 303, 304, 311 Wordsworth, 89 Worth, 99, 100 Wyllie (C. W.), 165 Youth and Age, 313 Zola, 43, 44, 221 Zurbaran (Francisco), 242 Zwanenburg, 35

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FOOTNOTES:

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}