Gardens, Italian,iii. 136.Generalization, abuses of,iii. 176.Geology of Lombardy,ii. 5.Glass, its capacities in architecture,i. 409; manufacture of,ii. 166; true principles of working in,ii. 168,395.Gluttony, how symbolized,ii. 343.Goldsmiths’ work, a high form of art,ii. 166.Gondola, management of,ii. 375.Gothic architecture, analysis of,ii. 151; not derived from vegetable structure,i. 121; convenience of,ii. 178; divisions of,ii. 215; surface and linear,ii. 226; Italian and French,ii. 226; flamboyant,i. 278,ii. 225; perpendicular,i. 192,ii. 223,227; early English,i. 109; how to judge of it,ii. 228; how fitted for domestic purposes,ii. 269,iii. 195; how first corrupted,iii. 3; how to be at present built,iii. 196; early Venetian,ii. 248; ecclesiastical Venetian,i. 21; central Venetian,ii. 231; how adorned by color in Venice,iii. 23.Government of Venice,i. 2,ii. 366.Grammar, results of too great study of it,iii. 55,106.Greek architecture, general character of,i. 240,ii. 215,iii. 159.Grief. See “Sorrow.”Griffins, Lombardic,i. 292,387.Grotesque, analysis of,iii. 132; in changes of form,i. 317; in Venetian painting,iii. 162; symbolical,iii. 155; its character in Renaissance work,iii. 113,121,136,143.Gutters of roofs,i. 151.HHeathenism, typified in ornament,i. 317. See “Paganism.”Heaven and Hell, proofs of their existence in natural phenomena,iii. 138.History, how to be written and read,iii. 224.Hobbima,iii. 184.Honesty, how symbolized,ii. 349.Hope, how symbolized,ii. 341.Horseshoe arches,i. 129,ii. 249,250.Humanity, spiritual nature of,i. 41; divisions of, with respect to art,i. 394.Humility, how symbolized,ii. 339.IIdleness, how symbolized,ii. 345.Idolatry, proper sense of the term,ii. 388; is no encourager of art,ii. 110. See “Popery.”Imagination, its relation to art,iii. 182.Imitation of precious stones, &c., how reprehensible,iii. 26,30.Imposts, continuous,i. 120.Infidelity, how symbolized,ii. 335; an element of the Renaissance spirit,iii. 100.Injustice, how symbolized,ii. 349.Inlaid ornamentation,i. 369; perfection of, in early Renaissance,iii. 26.Inscriptions at Murano,ii. 47,54; use of, in early times,ii. 111.Insects, use of, in ornamentation,i. 230.Inspiration, how opposed to art,iii. 151,171.Instinct, its dignity,iii. 171.Intellect, how variable in dignity,iii. 173.Involution, delightfulness of, in ornament,ii. 136.Iron, its use in architecture,i. 184,410.Italians, modern character of,iii. 209.Italy, how ravaged by recent war,iii. 209.JJambs, Gothic,iii. 137.Jesting, evils of,iii. 129.Jesuits, their restricted power in Venice,i. 366.Jewels, their cutting, a bad employment,ii. 166.Judgments, instinctive,i. 399.Job, book of, its purpose,iii. 53.KKeystones, how mismanaged in Renaissance work. See Venetian Index, under head “Libreria.”Knowledge, its evil consequences,iii. 40; how to be received,iii. 50, &c. See “Education.”LLabor, manual, ornamental value of,i. 407; evils of its division,ii. 165; is not a degradation,ii. 168.Labyrinth, in Venetian streets, its clue,ii. 254.Lagoons, Venetian, nature of,ii. 7,8.Landscape, lower schools of,i. 24; Venetian,ii. 149; modern love of,ii. 175,iii. 123.Laws of right in architecture,i. 32; laws in general, how permissibly violated,i. 255,ii. 210; their position with respect to art,iii. 96; and to religion,iii. 205.Leaves, use of, in ornamentation,i. 232(see “Vegetation”); proportion of,ii. 128.Liberality, how symbolized,ii. 333.Life in Byzantine architecture,ii. 133.Lilies, beautiful proportions of,ii. 128; used for parapet ornaments,ii. 242; lily capitals,ii. 137.Limitation of ornament,i. 254.Lines, abstract use of, in ornament,i. 221.Lintel, its structure,i. 124,126.Lion, on piazzetta shafts,iii. 238.Load, of arches,i. 133.Logic, a contemptible science,iii. 105.Lombardic architecture,i. 17.Lotus leaf, its use in architecture,i. 233.Love, its power over human life,iii. 137.Lusts, their power over human nature, how symbolized by Spenser,ii. 328.Luxury, how symbolized,ii. 342; how traceable in ornament,iii. 4; of Renaissance schools,iii. 61.MMadonna, Byzantine representations of,ii. 53.Magnitude, vulgar admiration of,iii. 64.Malmsey, use of, in Feast of the Maries,iii. 117.Marble, its uses,iii. 27.Maries, Feast of the,iii. 117.Mariolatry, ancient and modern,ii. 55.Marriages of Venetians,iii. 116.Masonry, Mont-Cenisian,i. 132; of walls,i. 61; of arches,i. 133.Materials, invention of new, how injurious to art,iii. 42.Misery, how symbolized,ii. 347.Modesty, how symbolized,ii. 335.Monotony, its place in art,ii. 176.Months, personifications of, in ancient art,ii. 272.Moroseness, its guilt,iii. 130.Mosaics at Torcello,ii. 18,19; at St. Mark’s,ii. 70,112; early character of,ii. 110,iii. 175,178.Music, its relation to color,iii. 186.Mythology of Venetian painters,ii. 150; ancient, how injurious to the Christian mind,iii. 107.NNatural history, how necessary a study,iii. 54.Naturalism, general analysis of it with respect to art,ii. 181,190; its advance in Gothic art,iii. 6; not to be found in the encrusted style,ii. 89; its presence in the noble Grotesque,iii. 144.Nature (in the sense of material universe) not improvable by art,i. 350; its relation to architecture,i. 351.Niches, use of, in Northern Gothic,i. 278; in Venetian,ii. 240; in French and Veronese,ii. 227.Norman hatchet-work,i. 297; zigzag,i. 339.Novelty, its necessity to the human mind,ii. 176.OOak-tree, how represented in symbolical art,iii. 185.Obedience, how symbolized,ii. 334.Oligarchical government, its effect on the Venetians,i. 5.Olive-tree, neglect of, by artists,iii. 175; general expression of,iii. 176,177; representations of, in mosaic,iii. 178.Order, uses and disadvantages of,ii. 172.Orders, Doric and Corinthian,i. 13; ridiculous divisions of,i. 157,370;ii. 173,249;iii. 99.Ornament, material of,i. 211; the best, expresses man’s delight in God’s work,i. 220; not in his own,i. 211; general treatment of,i. 236; is necessarily imperfect,i. 237,240; divided into servile, subordinate, and insubordinate,i. 242,ii. 158; distant effect of,i. 248; arborescent,i. 252; restrained within limits,i. 255; cannot be overcharged if good,i. 406.Oxford, system of education at,i. 391.PPaganism, revival of its power in modern times,iii. 105,107,122.Painters, their power of perception,iii. 37; influence of society on,iii. 41; what they should know,iii. 41; what is their business,iii. 187.Palace, the Crystal, merits of,i. 409.Palaces, Byzantine,ii. 118,391; Gothic,ii. 231.Papacy. See “Popery.”Parapets,i. 162,ii. 240.Parthenon, curves of,ii. 127.Patience, how symbolized,ii. 334.Pavements,ii. 52.Peacocks, sculpture of,i. 240.Pedestals of shafts,i. 82; and see Venetian Index under head “Giorgio Maggiore.”Perception opposed to knowledge,iii. 37.Perfection, inordinate desire of, destructive of art,i. 237;ii. 133,158,169.Perpendicular style,i. 190,253;ii. 223,227.Personification, evils of,ii. 322.Perspective, aerial, ridiculous exaggerations of,iii. 45; ancient pride in,iii. 57; absence of, in many great works, see in Venetian Index the notice of Tintoret’s picture of the Pool of Bethesda, under head “Rocco.”Phariseeism and Liberalism, how opposed,iii. 97.Philology, a base science,iii. 54.Piazzetta at Venice, plan of,ii. 283; shafts of,ii. 233.Pictures, judgment of, how formed,ii. 371; neglect of, in Venice,ii. 372; how far an aid to religion,ii. 104,110.Picturesque, definition of term,iii. 134.Piers, general structure of,i. 71,98,118.Pilgrim’s Progress. See “Bunyan.”Pine of Italy, its effect on architecture,i. 152; of Alps, effect in distance,i. 245. See “Fir.”Pinnacles are of little practical service,i. 170; their effect on common roofs,i. 347.Play, its relation to Grotesque art,iii. 126.Pleasure, its kinds and true uses,iii. 189.Popery, how degraded in contest with Protestantism,i. 34,iii. 103; its influence on art,i. 23,34,35,384,432,ii. 51; typified in ornament,i. 316; power of Pope in Venice,i. 362; arts used in support of Popery,ii. 74.Porches,i. 195.Portraiture, power of, in Venice,iii. 164.Posture-making in Renaissance art,iii. 90.Prayers, ancient and modern, difference between,ii. 315,390.Pre-Raphaelitism,iii. 90; present position of,iii. 168,174,188.Pride, how symbolized,ii. 343,iii. 207; of knowledge,iii. 35; of state,iii. 59; of system,iii. 95.Priests, restricted power of, in Venice,i. 366.Proportions, subtlety of, in early work,ii. 38,121,127.Protestantism, its influence on art,i. 23; typified in ornament,i. 316; influence of, on prosperity of nations,i. 368; expenditure in favor of,i. 434; is incapable of judging of art,ii. 105; how expressed in art,ii. 205; its errors in opposing Romanism,iii, 102,103,104; its shame of religious confession,ii. 278.Prudence, how symbolized,ii. 340.Pulpits, proper structure of,ii. 22,380.Purism in art, its nature and definition,ii. 189.Purity, how symbolized,iii. 20.QQuadrupeds, use of in ornamentation,i. 234.Quantity of ornament, its regulation,i. 23.RRationalism, its influence on art,i. 23.Realization, how far allowable in noble art,iii. 182,186.Recesses, decoration of,i. 278.Recumbent statues,iii. 72.Redundance, an element of Gothic,ii. 206.Religion, its influence on Venetian policy,i. 6; how far aided by pictorial art,ii. 104,109; contempt of, in Renaissance times,iii. 122.
Gardens, Italian,iii. 136.
Generalization, abuses of,iii. 176.
Geology of Lombardy,ii. 5.
Glass, its capacities in architecture,i. 409; manufacture of,ii. 166; true principles of working in,ii. 168,395.
Gluttony, how symbolized,ii. 343.
Goldsmiths’ work, a high form of art,ii. 166.
Gondola, management of,ii. 375.
Gothic architecture, analysis of,ii. 151; not derived from vegetable structure,i. 121; convenience of,ii. 178; divisions of,ii. 215; surface and linear,ii. 226; Italian and French,ii. 226; flamboyant,i. 278,ii. 225; perpendicular,i. 192,ii. 223,227; early English,i. 109; how to judge of it,ii. 228; how fitted for domestic purposes,ii. 269,iii. 195; how first corrupted,iii. 3; how to be at present built,iii. 196; early Venetian,ii. 248; ecclesiastical Venetian,i. 21; central Venetian,ii. 231; how adorned by color in Venice,iii. 23.
Government of Venice,i. 2,ii. 366.
Grammar, results of too great study of it,iii. 55,106.
Greek architecture, general character of,i. 240,ii. 215,iii. 159.
Grief. See “Sorrow.”
Griffins, Lombardic,i. 292,387.
Grotesque, analysis of,iii. 132; in changes of form,i. 317; in Venetian painting,iii. 162; symbolical,iii. 155; its character in Renaissance work,iii. 113,121,136,143.
Gutters of roofs,i. 151.
Heathenism, typified in ornament,i. 317. See “Paganism.”
Heaven and Hell, proofs of their existence in natural phenomena,iii. 138.
History, how to be written and read,iii. 224.
Hobbima,iii. 184.
Honesty, how symbolized,ii. 349.
Hope, how symbolized,ii. 341.
Horseshoe arches,i. 129,ii. 249,250.
Humanity, spiritual nature of,i. 41; divisions of, with respect to art,i. 394.
Humility, how symbolized,ii. 339.
Idleness, how symbolized,ii. 345.
Idolatry, proper sense of the term,ii. 388; is no encourager of art,ii. 110. See “Popery.”
Imagination, its relation to art,iii. 182.
Imitation of precious stones, &c., how reprehensible,iii. 26,30.
Imposts, continuous,i. 120.
Infidelity, how symbolized,ii. 335; an element of the Renaissance spirit,iii. 100.
Injustice, how symbolized,ii. 349.
Inlaid ornamentation,i. 369; perfection of, in early Renaissance,iii. 26.
Inscriptions at Murano,ii. 47,54; use of, in early times,ii. 111.
Insects, use of, in ornamentation,i. 230.
Inspiration, how opposed to art,iii. 151,171.
Instinct, its dignity,iii. 171.
Intellect, how variable in dignity,iii. 173.
Involution, delightfulness of, in ornament,ii. 136.
Iron, its use in architecture,i. 184,410.
Italians, modern character of,iii. 209.
Italy, how ravaged by recent war,iii. 209.
Jambs, Gothic,iii. 137.
Jesting, evils of,iii. 129.
Jesuits, their restricted power in Venice,i. 366.
Jewels, their cutting, a bad employment,ii. 166.
Judgments, instinctive,i. 399.
Job, book of, its purpose,iii. 53.
Keystones, how mismanaged in Renaissance work. See Venetian Index, under head “Libreria.”
Knowledge, its evil consequences,iii. 40; how to be received,iii. 50, &c. See “Education.”
Labor, manual, ornamental value of,i. 407; evils of its division,ii. 165; is not a degradation,ii. 168.
Labyrinth, in Venetian streets, its clue,ii. 254.
Lagoons, Venetian, nature of,ii. 7,8.
Landscape, lower schools of,i. 24; Venetian,ii. 149; modern love of,ii. 175,iii. 123.
Laws of right in architecture,i. 32; laws in general, how permissibly violated,i. 255,ii. 210; their position with respect to art,iii. 96; and to religion,iii. 205.
Leaves, use of, in ornamentation,i. 232(see “Vegetation”); proportion of,ii. 128.
Liberality, how symbolized,ii. 333.
Life in Byzantine architecture,ii. 133.
Lilies, beautiful proportions of,ii. 128; used for parapet ornaments,ii. 242; lily capitals,ii. 137.
Limitation of ornament,i. 254.
Lines, abstract use of, in ornament,i. 221.
Lintel, its structure,i. 124,126.
Lion, on piazzetta shafts,iii. 238.
Load, of arches,i. 133.
Logic, a contemptible science,iii. 105.
Lombardic architecture,i. 17.
Lotus leaf, its use in architecture,i. 233.
Love, its power over human life,iii. 137.
Lusts, their power over human nature, how symbolized by Spenser,ii. 328.
Luxury, how symbolized,ii. 342; how traceable in ornament,iii. 4; of Renaissance schools,iii. 61.
Madonna, Byzantine representations of,ii. 53.
Magnitude, vulgar admiration of,iii. 64.
Malmsey, use of, in Feast of the Maries,iii. 117.
Marble, its uses,iii. 27.
Maries, Feast of the,iii. 117.
Mariolatry, ancient and modern,ii. 55.
Marriages of Venetians,iii. 116.
Masonry, Mont-Cenisian,i. 132; of walls,i. 61; of arches,i. 133.
Materials, invention of new, how injurious to art,iii. 42.
Misery, how symbolized,ii. 347.
Modesty, how symbolized,ii. 335.
Monotony, its place in art,ii. 176.
Months, personifications of, in ancient art,ii. 272.
Moroseness, its guilt,iii. 130.
Mosaics at Torcello,ii. 18,19; at St. Mark’s,ii. 70,112; early character of,ii. 110,iii. 175,178.
Music, its relation to color,iii. 186.
Mythology of Venetian painters,ii. 150; ancient, how injurious to the Christian mind,iii. 107.
Natural history, how necessary a study,iii. 54.
Naturalism, general analysis of it with respect to art,ii. 181,190; its advance in Gothic art,iii. 6; not to be found in the encrusted style,ii. 89; its presence in the noble Grotesque,iii. 144.
Nature (in the sense of material universe) not improvable by art,i. 350; its relation to architecture,i. 351.
Niches, use of, in Northern Gothic,i. 278; in Venetian,ii. 240; in French and Veronese,ii. 227.
Norman hatchet-work,i. 297; zigzag,i. 339.
Novelty, its necessity to the human mind,ii. 176.
Oak-tree, how represented in symbolical art,iii. 185.
Obedience, how symbolized,ii. 334.
Oligarchical government, its effect on the Venetians,i. 5.
Olive-tree, neglect of, by artists,iii. 175; general expression of,iii. 176,177; representations of, in mosaic,iii. 178.
Order, uses and disadvantages of,ii. 172.
Orders, Doric and Corinthian,i. 13; ridiculous divisions of,i. 157,370;ii. 173,249;iii. 99.
Ornament, material of,i. 211; the best, expresses man’s delight in God’s work,i. 220; not in his own,i. 211; general treatment of,i. 236; is necessarily imperfect,i. 237,240; divided into servile, subordinate, and insubordinate,i. 242,ii. 158; distant effect of,i. 248; arborescent,i. 252; restrained within limits,i. 255; cannot be overcharged if good,i. 406.
Oxford, system of education at,i. 391.
Paganism, revival of its power in modern times,iii. 105,107,122.
Painters, their power of perception,iii. 37; influence of society on,iii. 41; what they should know,iii. 41; what is their business,iii. 187.
Palace, the Crystal, merits of,i. 409.
Palaces, Byzantine,ii. 118,391; Gothic,ii. 231.
Papacy. See “Popery.”
Parapets,i. 162,ii. 240.
Parthenon, curves of,ii. 127.
Patience, how symbolized,ii. 334.
Pavements,ii. 52.
Peacocks, sculpture of,i. 240.
Pedestals of shafts,i. 82; and see Venetian Index under head “Giorgio Maggiore.”
Perception opposed to knowledge,iii. 37.
Perfection, inordinate desire of, destructive of art,i. 237;ii. 133,158,169.
Perpendicular style,i. 190,253;ii. 223,227.
Personification, evils of,ii. 322.
Perspective, aerial, ridiculous exaggerations of,iii. 45; ancient pride in,iii. 57; absence of, in many great works, see in Venetian Index the notice of Tintoret’s picture of the Pool of Bethesda, under head “Rocco.”
Phariseeism and Liberalism, how opposed,iii. 97.
Philology, a base science,iii. 54.
Piazzetta at Venice, plan of,ii. 283; shafts of,ii. 233.
Pictures, judgment of, how formed,ii. 371; neglect of, in Venice,ii. 372; how far an aid to religion,ii. 104,110.
Picturesque, definition of term,iii. 134.
Piers, general structure of,i. 71,98,118.
Pilgrim’s Progress. See “Bunyan.”
Pine of Italy, its effect on architecture,i. 152; of Alps, effect in distance,i. 245. See “Fir.”
Pinnacles are of little practical service,i. 170; their effect on common roofs,i. 347.
Play, its relation to Grotesque art,iii. 126.
Pleasure, its kinds and true uses,iii. 189.
Popery, how degraded in contest with Protestantism,i. 34,iii. 103; its influence on art,i. 23,34,35,384,432,ii. 51; typified in ornament,i. 316; power of Pope in Venice,i. 362; arts used in support of Popery,ii. 74.
Porches,i. 195.
Portraiture, power of, in Venice,iii. 164.
Posture-making in Renaissance art,iii. 90.
Prayers, ancient and modern, difference between,ii. 315,390.
Pre-Raphaelitism,iii. 90; present position of,iii. 168,174,188.
Pride, how symbolized,ii. 343,iii. 207; of knowledge,iii. 35; of state,iii. 59; of system,iii. 95.
Priests, restricted power of, in Venice,i. 366.
Proportions, subtlety of, in early work,ii. 38,121,127.
Protestantism, its influence on art,i. 23; typified in ornament,i. 316; influence of, on prosperity of nations,i. 368; expenditure in favor of,i. 434; is incapable of judging of art,ii. 105; how expressed in art,ii. 205; its errors in opposing Romanism,iii, 102,103,104; its shame of religious confession,ii. 278.
Prudence, how symbolized,ii. 340.
Pulpits, proper structure of,ii. 22,380.
Purism in art, its nature and definition,ii. 189.
Purity, how symbolized,iii. 20.
Quadrupeds, use of in ornamentation,i. 234.
Quantity of ornament, its regulation,i. 23.
Rationalism, its influence on art,i. 23.
Realization, how far allowable in noble art,iii. 182,186.
Recesses, decoration of,i. 278.
Recumbent statues,iii. 72.
Redundance, an element of Gothic,ii. 206.
Religion, its influence on Venetian policy,i. 6; how far aided by pictorial art,ii. 104,109; contempt of, in Renaissance times,iii. 122.