Renaissance ideals,12JJapanese, their practice in decoration,217Johnson, Dr., on genius,282Juno, representation of, by the painter,120Jupiter, Greek representation of,88,89;ideal of,89,91;by the painter,109LLandscape painting, its place in art,48,84;produces only sensorial beauty,192;Humboldt on,344;signs in,199;disadvantages of,44;limitations in,192et seq.,348;varieties of,49;relative difficulty of execution in,48;compositions must be invented,194;illusion of motion in,197et 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,48Lanzi, A. L., on the range of Raphael in expression,339La Touche, G., on the origin of impressionism,286Latour, Fantin, and the origin of impressionism,285Laugh, a, when unobjectionable in painting,177Lessing, 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,341Lewes, G. H., on the execution of signs in art,346Lightning, its use in landscape,209;must be subordinated,209;where used in painting by great masters,210Lionardo da Vinci, his imagination compared with his execution,18;his relief,239;on success in painting,16;his representation of Christ,93Literary arts, the painter must take his action from them or from nature direct,81(seePoetry and The Novel).Literary movement in England in the sixteenth century,278Longinus, on the test of the sublime and beautiful,73;on certain examples of beauty in the literary arts,300Luini, A., On an "impressionist" landscape by Titian,288MMacColl, D. S., on the origin of impressionism,284Madonna, 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,98Madonna 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,102et seq.Manner in painting, its limitations,39;the public indifferent to,39;of Rembrandt,21;of Hals,336Manet, E., his connection with the rise of impressionism,287Marine painting (seeSea views)Mars, representation of, in painting,128Mauclair, C., on impressionism,285Mengs, A. R., on Raphael's treatment of drapery,352Mercury, his representation in painting,129Metaphor, with the poet,65,227,296;with the painter,226Michelangelo, 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,350Miller, Marion M., his translation of Sappho's Hymn to Aphrodite,302Minerva (seeAthena)Modesty, quality in expression unsuitable to a goddess,119Mona Lisa, the Louvre example,151,172;the Boston example,172;her reputed age in the picture,240;her smile,341Mood, influence of, in the work of artists,17Moonlight scenes, their place in art,208Morals, pictures illustrating, their place in art,85Moreau-Vautier, C., on the juxtaposition of pure colors,287Music, 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,293Muther, R., on the origin of Impressionism,287Mystery in painting, indicates inferior art,341Mythological subjects, their place in painting,83,133NNature, relation of, to art,57;and landscape, Byron on,345Near-ground painting in landscape,202Neptune, his representation in painting,127Nerves 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,281Night, should be symbolized in painting,350;Whistler attempts to represent beauty of,349Nocturnes, origin of Whistler's,349Norwich school of painting,48Novel, the, compared with the short story,70;limit of,71;of little service to the painter,221(seeFiction)Nude with clothed figures, contrasts of,180OObjectivity of beauty,2Open Mouth, The,174;when not objectionable,177PPainter, the, his requirements,25Painting, imitative character of,52;degrees of beauty in,83;compared with sculpture,135;its relation to poetry,307;general ideals in,86et seq.;classical ideals in,106et seq.;Christian ideals in,91et 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,177et 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,141et seq.;landscape,192et seq.;of moonlight scenes,208;of still-life,214;secondary art of,85,219;metaphor in,226;color in,228et 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,239et 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,141et seq.Pastoral occupations, pictures representing,84Periods of art, not attributable to national æsthetic stimulus,8;Hegel's,277Phidias, his exalted position in art,10;his ideals,91Philips, A., his translation of Sappho's Ode to Anactoria,301Philosophy, art not specially related to,2Pythian, F., on the origin of impressionism,286Poe, Edgar A., on sadness and beauty,280Poetry, 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,297Pompeian Frescoes,45,162,169,170,171,261,344Popular appreciation of art,73et seq.,306;Tolstoy on,307Portraiture, 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,156Poseidon (seeNeptune)Praxiteles, his development of new ideals,111;his Cnidian Aphrodite,111Precocity in art, cause of,22Progressive actions, in figure subjects,254;in sea views,204;in coast scenes,206;in landscape,203;Lessing on,348;De Quincey on,349Psychological influence in art conceptions, alleged,14QQuintilian: on the Sacrifice of Iphigenia, by Timanthes,340RRainbow, its use in landscape,210et seq.Raphael, and the sublime,229;his superiority the cause of the decline of the Renaissance,11;his achievement in the ideal Madonna,12et 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,345Recognition, Law of, explanation of,57;examples of,65et seq.;music and architecture excluded from the,64;division of the arts in applying,62Relief (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,281Renaissance (seeItaly, Art of)Repose, in portraiture,164;in the representation of Venus,116Reynolds, 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,174Rodin, A., on the suggestion of movement in sculpture,249,351;on ugliness in art,317;his La Vieille Heaulmière,317;on Greek ideals,319Romans, The ancient, had no separate sacred art,328"Romantic Art," its various meanings,278;Hegel's period of,277Romney, G., the quality of grace in his portraits,161Ruskin, 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,279Ruysdael, Jacob, his painting of breaking water,204,206;his near-ground work,203SSacred Art, offers highest scope for the artist,63;in Greece,91;in Italy,12Sadness, as a quality of beauty,280Saints, representation of,104Sappho, her Ode to Anactoria, and the cause of its beauty,67;translation of the Ode,301;her Hymn to Aphrodite,302Satan, representation of,178Satire, works conveying, unsuited to the painter,224Schopenhauer, on music as a non-imitative art,292Sculpture, 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,315Sea views, illusion of opening distance in,204;progressive actions in,206Secondary 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,225et seq.Shakespeare, his imagination,23;example of his art,66;represents characters above experience,61Short story, the, its essentials,70;compared with the novel,69(see alsoFiction)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,200Simonides, on the relation of poetry to painting,307Simplicity, necessary in the higher forms of the Associated Arts,71Skeleton, as a symbol in art,186et 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,174Smoke, use of, in illusions of air suspension,268Sophocles, example of descriptive poetry from,310Spencer, Herbert, on evolution in art,276Sporting pictures, their place in art,85Sprezzatura, origin of, in the seventeenth century,30et seq.;