AActors in stage rôles, portraits of,223Aerial perspective, Claude the first master of,47;its importance,198;method of producing,200Æsthetic systems, all of them untenable,3,274;Carritt on,274;of Hegel,277;of Croce,273Ages of man, pictures contrasting the,179Allegorical painting, when secondary art,225Angel of Death in art, instances of,191;symbol of,188Angels, representation of, in aerial suspension and flight,262,266Animal painting, in action,255;ideals in, not possible,56Annunciation, The, indication of surprise in expression,270,354Apelles, his Venus Anadyomene,113,330;epigrams on,331Aphrodite (seeVenus)Apollo, his representation in art,124Architecture, 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,292Ares (seeMars)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,314Art, 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 (seeThe Ideal in Art)Artemis (seeDiana)Artists, training necessary for,25;cause of variation in work of,20;reputations of great,283;as judges of works of art,305Arts (seeFine Arts)Assent, Law of General,72et 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,78et seq.;limitations of,80Athena, her representation in art,123Atmospheric effects, limitations in producing,202;exceptional phases,202BBacchus, his representation in art,131Barbizon School, anticipated by Dutch masters,291;sketches of the, of little importance,290;use of heavy gilt frames for works of the,291Beauty, 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,228et 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,219et seq.;general agreement in respect of,86Bon Dieu d'Amiens, Ruskin on,319;Farrar on,319;corresponds with certain Greek art,319,Plate 2Brevity in expression, highest beauty in poetry, marked by,65Broad style of painting, cause of, with great artists,21;its limitations,39;advocacy of, by impressionists,38;as used by Rembrandt,281;by Hals,336Bronze statuettes of the Renaissance,321et seq.Byron on nature and art in respect of landscape,345CCaricature, its place in art,225Carritt, E. F., on the result of æsthetic systems,275Cave men, their art,5Ceres (seeDemeter)Chaldean Art, Illustration of,Plate 1Character of Artists, influence of, in their work,16Cherubs, use of, in assisting illusion of suspension in the air,265Christ, representation in art,92;the established ideal,92;Ruskin on the best ideal of,319Christian conception of the Deity, its effect in art,88"Classic Art," Hegel's definition,277;varied meanings of the term,278Claude Lorraine, the first great landscape painter,47;the cause of his success,16;Goethe on,49;the model for Turner,49Clausen, G., his definition of Impressionism,284;on Whistler's nocturnes,349Clouds, use of, in relation to air-suspended figures,263Coast views, illusion of motion in,206Color, beauty of,228et 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,34et seq.Colvin, S., claims music and architecture as non-imitative arts,292Comedy, its place in the painter's art,224Contentment, quality of expression in the Madonna,97;in Venus,119Contrast, 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,180Correggio, and the sublime,229Criticism, the new,29Croce, B., his æsthetic system,273;on genius,282DDarwin, C., on the result of nerve exercise,281;on natural music,293Death, representation of,183et 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,188Decorative art, imitation in,218Deformity in art,89Deity, the, representation of,92;ideals of,91Demeter, representation of,121,Plate 7Demosthenes, example of his art,300De Quincey, T., on the representation of progressive actions,348Descriptive poetry, its limits,79;in the seventeenth century,308;example from Sophocles,310,from Cornelius Gallus,309Diana, representation of,126Dignity, in portraiture,146;practice of Titian,148;of Van Dyck,148;of Velasquez,149Dionysus (seeBacchus)Drama, The, pictures from the written,221;from the acted,222;importance of tragedy in painting,221Drapery, 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,260Dutch painters of the seventeenth century, their limited imaginations,19EEaton, D. C., on the origin of impressionism,286Egyptian art, its early high development,7,Plate 1Emotional element in beauty (seeBeauty)Emotions, The, influence of, in the work of artists,16;expression of, in relation to beauty,275Evolution, not applicable to art generally,7;Spencer on,276;Symonds on,276Execution in painting, must be balanced with imagination,18;of Hals,155;of Lionardo,18;of Rembrandt,19;of Velasquez,153Expression, in ideals generally,86;in Christian ideals,91et seq.;in classical ideals,106et seq.;in portraiture,141et 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,65et seq.FFalconet, E., on the representation of grief,169Farrar, Dean, on the ideal of Christ,319;on the early Italian painters,279Fiction, 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 alsoNovel)Fine Arts, imitative in character,52;classified according to their signs,53;their methods of producing beauty,78;standards of judgment in the,77Fireworks, unsuitable for the painter,212Flight, representation of (seeIllusion of suspension and motion in the air)Flowers, their representation in still-life,216;in decorative art,217Foreground in landscape, illusion of opening distance in,202Form, beauty of,273;ideal,86Frames of pictures, their use in Barbizon works,291;exclusion of, in artificial means to secure relief,240French sculptors of the thirteenth century, their forms in the Greek manner,315;their representation of the Virgin and Child,101,315Frescoes, necessarily divided into sections,69;Reynolds on Raphael's,303Funeral scenes in art,188GGeneral opinion, standard of judgment in all arts except music,73,77Genius, how produced,21et seq.;Reynolds on,282;Johnson on,282;Hogarth on,282Geology, study of, may be assisted by landscape painting,315Gods, Mythological (seeGrecian, under their separate headings);Roman,328Grace, 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,338Grandeur, 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,160Grecian art, cause of its decline,10;development of, compared with that of the Renaissance,10et 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,145HHals, Franz, his facility,155;his limited imagination,155;his broad manner,336;the works of pupils attributed to him,337Hegel, G. W., his "periods" in art,277Hephæstus (seeVulcan)Hera (seeJuno)Hercules, his representation as contemplating death,190Hermes (seeMercury)Historical painting, its place in art,83Hogarth, W., on genius,282Holmes, C. J., on the framing of Barbizon pictures,291Homer, example of his art,65Hood, T., his moods and his work,17Horses, representation in action,255Human figure, principal sign in the Associated Arts,53,73;produces highest form of beauty,72;general ideal of,86;Greek ideals,106Humboldt, A., on the position of landscape in art,344Humorous subjects, their place in the painter's art,224Hyperides, example of his art,300IIdeal 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,89Illusion of continuity, in death scenes,189Illusion of movement, in landscape,197;in sea views,205;in coast views,206;in sculpture,249,351;in figure painting,250et seq.;in animal painting,255et seq.;may be suggested by title of work,257Illusion of opening distance, in distance landscape,197;in nearground work,203;in sea views,205Illusion of relief, its value in painting,236;mechanical methods of producing,240Illusion 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,268Imagination, 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,23,24Imitation, 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,221et seq.;Aristotle on,215;S. Colvin on, in respect of the fine arts,292Impressionism, definitions of,25,284et seq.;its origin,285et seq.;its influence,38;its limitations,35;its defects,34et seq.;its effects,51;its correspondence with Sprezzatura,32Industry, the key to success in art,24,282Inspiration in art, not recognized by great artists,16;actual instances of, unknown,15;suggested national,9et seq.;individual,14Interiors, pictures of, their place in art,84Invention 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,311Irony, works conveying, unsuitable for the painter,224Italy, Art of, decline of the Renaissance,11et seq.;in the seventeenth and eighteenth centuries,30et seq.;