Abbey,157A B C of art,115Aberdonian clipper,146Academies,96Actions of nature,28Adoration in art,255Age of romance,281Agnosticism,306-9Aikenhead (Major),97Aissouas, the,107‘Ally Sloper’s Half Holiday,’ 166,167Alma-Tadema, his work,80,193,194,273Almanack, Comic,166Anatomy,95Ancient Egypt, style of,299-301‘Ansidei Madonna,’ its value,231Apocalypse, Albert Dürer’s,156Ark, dimensions of,135Art, 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, 291Art course, time of,116Artist and butterfly,291Artists as readers,273Assyria, styles of,60Astronomy, artistic,276Atheism,307Australian experience,108-12Backgrounds, old style,7Barnard (F.),157Bayeux Tapestry, the,139Beauty,209,257;spirit of,289Bell, his ‘Mary Queen of Scots,’45Bellini (Giovanni),238Bewick,159,160,173Black and gold marble,189‘Black and White,’165Blake (William),35,89Blemishes in marbles,195Blunders of science,278Boats, Egyptian,136Body colour,92Bolton,171Book, an illustrated,152,172-5—— plates,276Books on painting,83Boots and feet,200,201,203Botany, artistic,284Botticelli (Sandro F.),240Bough (Sam),82Breydenbach’s Travels,155Bronzino (Angelo),240Brushes,69Buddha,298Burnett on painting,127,129Burns (Robert),211Byron (Lord),89Cameron (Hugh),47,48Canvas, preparing a,179Carlyle (Thomas),20,87,101Cassell & Co.,155,169Centre line, the,225Chalmers (George Paul),82,239,246,292Champs and champing,183,184Chatto (W. A.),150,152Chatto & Windus,166Chemistry of colour,92Chevreul, his book,115China collecting,273Classification of light,129Coleridge,89,217Colour, body,92;chemistry of,92—— perception,269Colours, blending of,59;the primaries,58Combing,181,182Comfort in ornament,224Comic Almanack,166—— art,260Consistency in ornament,225Constable (John),86,160Contrast of ships,142-5Contrivance for lighting,18Copying, benefit of,35;its use and abuse,81Correggio (Allegri, A. da),85,240,247Cox (David),91Crane (Walter), his work,155,173,273Creswick (Thomas),161Critics,80Cromwell,305Cross-bars,184Cross-hatching,155Cruelty of science,290Cruikshank (George),157,160,166,167,260‘Daily Graphic,’170‘Death of Procris,’246Decoration,208Designing,114Details,77;of foregrounds,268Dignity in art,268,293Distortion of vision,33Dobson (Austin),150Doré (Gustave),82,89,95,160,168-171,248Dove marble,191,192Dow (Gerard),243Drawing,114;on the wood,157Dress,99,196;modesty in,201;fashion in,203-7Drummond (William),195Dumas (A.), fils,220Dürer (Albert),34-9,44,52,155-7,242,274Dutch Art,268Eastern Art,105Economy in Ornament,224‘Editions de Luxe,’175Egypt, style of,60—— ancient, style of,299-301Egyptian boats,136‘Eight Bells,’113Eliot (George),220‘English Illustrated Magazine,’165Etching and Etchers,41Ex Libris,272,276Ex Libris Society,173Exhibitions,96,261Expression,23Eyck (Jan van),243,247Faed (Thomas),47,82Failures, the benefit of,112Faith,312False art,107Fashion in art,90;in dress,203-7Feeling,28Fildes (Luke),82Fiorenzo di Lorenzo,247First coating,178Foreground flowers,285Foster (Birket),173—— (John),53Francesca (Piero della),238Frith, his ‘Derby Day,’87Fuligno (Niccolo di),247Furniss (Harry),167Gainsborough (Thomas),94Galleys, Greek,137Garvagh ‘Madonna,’ the,232,234George (Henry),305Gillray,260Glazing,81Goethe,89Goodwin Sands,148Gradation of shadows,124Graining,86,176,178Grammar of Art, the,292Grandi (Ercole de Giulio),247Granite,192‘Graphic’ (Daily),170;(Weekly),165Greek ideals,199—— ships and galleys,137Grey, the quality of,18—— paper, the value of,130Ground for black and gold marble,189—— for maplewood,187—— for oak,180Gum tree, the,110-2Hag, the,46Half-tones,19Hals (Frans),243Hamerton,41Hannibal,296Harmony,128‘Harper’s Monthly,’165Harvey (Sir George),82Hatching work,92Hatherell (William R. I.),165Hayden (Dr. G.),41‘Henri Grâce à Dieu,’140Henry the Eighth,241Heraldry,276Herdman,82Herkomer,41Hobbema, his work,248Hogarth (William),157,159,160,268Holbein (Hans), his work,241,244Homer,218-220,293Hunt (Holman),63—— (William),15,36,54Huxley,214Illusive Effects,123Illustrative art, Turner’s influence on,163Image, the,29—— of Fame, the,295Imagination in art,254Imitation of nature,28Impressionists, school of,53Impressions of pictures,230Individualism in art,160Insects,289Instantaneous effects of nature,126—— photography,29,164Instinct of art,98Irving (Henry),222Israels (Jozef),64Italian marbles,192—— school of painters,128Jackson,152Job,102Judgment in painting,270‘Julius II. (Pope),’234Kingsley (Charles),216Knotting,177Knowles (Davidson),145Knox (Dr.), his work,115Landscape Photography,42Lastman (Peter),35Lawrence (Sir Thomas),19Leech (John),260Leighton (Sir F.),80Lessons in art,102Libraries, arrangement of,275Lichens, mosses, &c.,287Life and nature studies,116Light, classification of,129—— and shadow, proportions of,17;the effect of,127Lighting,16;contrivances for,18phenomenal laws of,120Lippi (Fra Filippo),240,247Lockhart,82Lorenzo da San Severino,247‘Lorna Doone’ (Blackmore’s),164Lorraine, Claude,248,249,293Loutherbourg (P. J. de),146Love the revealer,309Low-toned School, the,64Macdonald,82Madonna, Ansidei, its value,231‘Magazine of Art,’165Mahogany, to grain,188,189Mahomet,293Mannerism,160Mantegna (Cav. Andrea),247Maple wood, to grain,187,188Marble, black and gold,189;blemishes in,195;method of working black and gold,189-191Marbles, Italian,192Masonry,276Matsys (Quintin),243Max (Gabriel),250,251Mechanical workers,126Memory,226Michael Angelo (Buonarroti),15,80,246,247,293Millais (Sir John),52,80,89Millet (J. F.),54Milton,101Modern painters,66Modesty in dress,201Modjeska (Madame), her art,208Mora, his photographic work,27Moroni, his work,234,237,238,240Moses, as Prince Rameses,299-304;death of (word picture),311Murillo (Bartolomeo Esteban),179,189,240,242,293Napoleon,298,299National Gallery,229Nature, imitation of,28;sketching from,31;how to approach,73-5;instantaneous effects of,126;the guide to taste,189;different methods of seeing,313,314Nature worship,297,304Nimmo (John C.),236Notes, shorthand,83;how to take,103,104Oak graining, the art of,180;tools required for,181Oil painting,115Operators, photographic,6,7Orchardson,47,48,49,50,80Original ideas,101Ornament,211-3;comfort in,224;economy in,225;consistency in,225Outline work,154Over-graining,184Overwork, danger of,71Painters, modern,66;Italian School of,128Painting, books on,83;water-colour,92;oil,115;judgment in,270Paper, a scrap of,284Parsons (Alfred),157,163Paton (Sir J. Noel),82,273—— (Waller),82P. and O. Liners,144Perspective,94Perugino (P. V.),36Pettie (John),47,80Phœnicia,219Photographic operators,6,7Photography, instantaneous,29,164;landscape,42Picture, what to seek in a,258Pictures, the buying of,91;impressions of,230Pilkington,34Piombo (S. del),247Poliphili, the,155‘Pope Julius II.,’234Popularity,245‘Portrait of a Tailor,’234Posing,12Poussin (G.),248Practical art,157Pre-Raphaelitism,63;mistaken efforts of,126Primaries, the,58Priming,177‘Procris, Death of,’246Proportions of light and shadow,17‘Proserpina,’72Public opinion,271‘Punch,’166Rameses, Prince (Moses),299-304Raphael,36,91,231-5,251Rat-tails,182,183Reade (Charles),176,177Realism in art,34Reflection,255,256Relief,128Rembrandt,20,23,35,39-42,45-50,65,86,129,157,159,234,239,240,243-5Reni (Guido),238,239Repose,256Retouching,20Reuwich (Erhard),155Reynolds (Sir J.),15,19,83,236Riggers,185‘Rivers of France’ series,162Road, effect of light upon,127Roman ships,137Romance, age of,281Rosa (Salvator),78,85,248Rubens (Sir Peter Paul),15,19,80,85,238,240,243Rules,79Ruskin (John),32,53,56-8,65,66,70-2,83-7,91,101,179,186,193,239,244,249Sacred Art,250Sacrifice of art,252Sandals,204Sarony, his photographs,27Sarto (Andrea del),239,240Savage art,102,214-7Science, blunders of,278; cruelty of,290Scott (David),89‘Scribner’s Monthly,’54Scumbling,81;for oak,181Seavey, his backgrounds,27Second coating,178Shadows, gradation of,129Shakespeare,70,101,104,160Shelley,73,89Ships,133,134,140,161;Greek,137;Roman,137;contrast of,142-5Signorelli (Luca),247Sketching from nature,31Sky pictures,280,282-4Small (William),157,165Social problems,314-5Soul in art,255Spagnoletto,242Spirit of beauty,289Stages of painting,67;of the globe,279,280Stanfield (W. C.),146Stanley (H. M.),29Stars,277Stippling,92Stirling-Maxwell (Sir W.),236‘Stones of Venice,’71Studio visiting,88Style,82Styles,184Subject, confidence in,221Subtlety,217Swinburne,217Symbol of art,291Teniers (David),35,47-9,243,268Third coating,178Thomson (D. C.),150Thomson (Joseph),29Tiepolo,246Time for art course,116Tintoretto,80,85,247,263,264Titian,15,85,91,247,263,264Tone,81Tones, half,19Tools required for oak graining,181Torchlight, effect of,121Trees,286,287True aims of art,108,252Tunny,53Turner (J. M. W.),32,65,70,86,157,161,173,244,248,249;his influence on illustrative art,163Tyndall,214Uses of Art,117,118Utilitarianism,305,306Vandyke (Sir A.),36,80,243,244Velasquez,236,240,241,247Viking craft,138,139Vinci (Leonardo da),115,246Vision, distortion of,33Walnut, how to grain,188,189Water-colour painting,92Weyden,243Whistler (J. McNeill),20,86,91,236,245Whitman (Walt),44,45,217Wilkie (Sir David),50,243Wohlgemuth (Michael),35Wood, drawing on the,157Word-painting,303,304,311Wordsworth,89Worth,99,100Wyllie (C. W.),165Youth and Age,313Zola,43,44,221Zurbaran (Francisco),242Zwanenburg,35