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| [Frontispiece.]—Detail from Fragonard's ThePursuit (Frick Collection, New York). |
| This work, which is one of the celebrated Grasse series ofpanels, offers a very fine example of the use of an idealhead in a romantic subject. (See [Page 139].) |
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| Plate 1.—The Earliest Great Sculptures | [6] |
| (a). Head from a statue of Chefren, a king of the 4thEgyptian Dynasty, about 3000 B.C. (Cairo Museum.) |
| (b). Head from a fragmentary statuette of Babylonia,dating about 2600 B.C. (Louvre: from Spearing's"Childhood of Art.") |
| The first head is generally regarded as the finest example ofEgyptian art extant, and certainly there was nothingexecuted in Egypt to equal it during the thirty centuriesfollowing the 5th Dynasty. The Babylonian head is thebest work of Chaldean art known to us, though there aresome fine fragments remaining from the period of about athousand years later. It will be observed that the tendencyof the art in both examples is towards the aimsachieved by the Greeks. (See [Page 7].) |
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| Plate 2.—"Le Bon Dieu d'Amiens", in theNorth Porch, Amiens Cathedral | [18] |
| This figure by a French sculptor of the thirteenth century,was considered by Ruskin to be the finest idealof Christ in existence. It is another example of theuniversality of ideals, for the head from the front viewmight well have been modelled from a Grecian work ofthe late fourth or early third century B.C. (See [Page 319].) |
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| Plate 3.—After an Ancient Copy of the CnidianVenus of Praxiteles. (Vatican) | [30] |
| It is commonly agreed that this is the finest model inexistence after the great work of Praxiteles, whichitself has long disappeared. The figure as it nowstands at the Vatican, has the right arm restored, andthe hand is made to hold up some metallic draperywith which the legs are covered, the beauty of the formbeing thus seriously weakened. (See [Pages 111 et seq.]) |
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| Plate 4.—Venus Anadyomene | [42] |
| (a). Ancient Greek sculpture from the design of Venusin the celebrated picture of Apelles. (FormerlyChessa Collection, now in New York.) |
| The immense superiority of the sculpture over the painting(Plate 5), from the point of view of pure art, isvisible at a glance. It is an indication of the far-reachingscope of the sculptor when executing ideals. (See[Page 113].) |
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| Plate 5.—Venus Anadyomene, from the Paintingby Titian. (Bridgewater Collection.) | [42] |
| Compare with the Sculpture on Plate 4.(See [Page 115]) |
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| Plate 6.—Venus Reposing, by Giorgione.(Dresden Gallery) | [54] |
| This is the finest reposing Venus in existence in painting.It was the model for the representation of the goddessin repose used by Titian, and many other artists whocame after him. (See [Page 116].) |
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| Plate 7.—Demeter | [66] |
| (a). Head from the Cnidos marble figure of the fourthcentury B.C., attributed to Scopas. (British Museum.) |
| (b). Small head in bronze of the third century B.C.(Private Collection.) |
| In each of these heads the artist has been successful inmaintaining the ideal, while indicating a suggestion ofthe sorrowful resignation with which Grecian legend hasenveloped the mind picture of Demeter. Nevertheless,even this slight departure from the established rule tendsto lessen the art, though in a very small degree. (See[Page 122].) |
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| Plate 8.—Raphael's Sistine Madonna (DresdenGallery), with the Face of the CentralFigure in Fragonard's The PursuitSubstituted for that of the Virgin | [80] |
| This and the two following plates show very clearly thatin striving for an ideal, artists must necessarily arrive atthe same general type. (See [Pages 138 et seq.]) |
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| Plate 9.—Raphael's Virgin of the Rose(Madrid), with the Face of the FigureRepresenting Profane Love in Titian'sPicture Substituted for that of theVirgin | [92] |
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| Plate 10.—Raphael's Holy Family (Madrid),with the Face of Luini's Salome Substitutedfor that of the Virgin | [102] |
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| Plate 11.—The Pursuit, by Fragonard. (FrickCollection, N. Y.) | [114] |
| A detail from this picture forms the Frontispiece. It willbe observed that in the complete painting the centralfigure apparently wears a startled expression, but thatthis is entirely due to the surroundings and action, isshown by the substitution of the face of the centralfigure for that of the Virgin in the Sistine Madonna,Plate 8. (See [Page 139].) |
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| Plate 12.—Portrait Heads of the Greek Type,Fourth Century, b.c. (See [Page 145]) | [130] |
| (a). Head of Plato. (Copenhagen Museum.) |
| (b). Term of Euripides. (Naples Museum.) |
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| Plate 13.—Portrait Heads of the Time of ImperialRome. (See [Page 145]) | [146] |
| (a). Vespasian. (Naples Museum.) |
| (b). Hadrian. (Athens Museum.) |
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| Plate 14.—Sacrifice of Iphigenia, from aPompeian Fresco. (Roux Ainé's Herculanumet Pompei, Vol. III) | [160] |
| This work is presumed to be a copy of the celebratedpicture of Timanthes, in which the head of Agamemnonwas hidden because the artist could see no other wayof expressing extreme grief without distorting thefeatures. (See Pages [168] and [339].) |
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| Plate 15.—All's Well, by Winslow Homer.(Boston Museum, U. S. A.) | [176] |
| An instance where the permanent beauty of a picture iskilled by an open mouth. After a few moments' inspection,it will be observed that the mouth appears to bekept open by a wedge. (See [Page 176].) |
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| Plate 16.—Hercules Contemplating Death,by A. Pollaiuolo. (Frick Collection,New York.) | [190] |
| The only known design of this nature which appears toexist in any of the arts. (See Pages [190] and [343].) |
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| Plate 17.—Arcadian Landscape, by ClaudeLorraine. (National Gallery, London) | [198] |
| A fine illusion of opening distance created by the preciserendering of the aerial perspective. The illusion is ofcourse unobservable in the reproduction owing to itssmall size and the want of colour. (See [Page 198]). |
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| Plate 18.—Landscape, by Hobbema. (Met.Museum, New York) | [210] |
| A fine example of Hobbema's work. A strong light isthrown in from the back to enable the artist to multiplyhis signs for the purpose of deepening the apparentdistance. (See [Page 202].) |
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| Plate 19.—Landscape, by Jacob Ruysdael,(National Gallery, London) | [220] |
| Example of an illusion of movement in flowing water.(See [Page 204].) |
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| Plate 20.—The Storm, by Jacob Ruysdael.(Berlin Gallery) | [232] |
| Exhibiting an excellent illusion of motion, due to thefaithful representation of a series of consecutive movementsof water as the vessel passes through it. Theillusion is practically lost in the reproduction, but thedetails of design may be observed. (See [Page 206].) |
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| Plate 21.—The Litta Madonna, by Lionardoda Vinci. (Hermitage) | [240] |
| This is perhaps the best example known of an illusion ofrelief secured by shading alone. (See [Page 240].) |
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| Plate 22.—Christ on the Cross, by Van Dyck.(Antwerp Museum) | [252] |
| A superb example of relief obtained by the exclusion ofaccessories. Van Dyck took the idea from Rubens,who borrowed it from Titian, this artist improving onAntonella da Messina. The relief of course is not wellobserved in the reproduction because of its miniatureform. The work is usually regarded as the finest ofits kind in existence. (See [Page 244].) |
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| Plate 23.—Patricia, by Lydia Emmet. (PrivatePossession, N. Y.) | [264] |
| A very excellent example of the plan of securing reliefdescribed in Book II, Chap. I. Here also the reliefis not observed in the reproduction, but the originalis of life size and provides an illusion as nearly perfectas possible. (See [Page 247].) |
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| Plate 24.—The Creation of Adam, by Michelangelo.(Vatican) | [276] |
| Instance of the use of an oval form of drapery to assistin presenting an illusion of suspension in the air.(See [Page 260].) |
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| Plate 25.—The Pleiads, by M. Schwind. (DennerCollection.) | [288] |
| One of the finest examples of illusion of motion in theair. (See [Page 269].) |
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| Plate 26.—St. Margaret, by Raphael. (Louvre) | [302] |
| Perhaps the best example in existence of a painted humanfigure in action. It will be seen that every part of thebody and every fold of the drapery are used to assistin the expression of movement. (See [Page 250].) |
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| Plate 27.—Diana and Nymphs Pursued by Satyrs,by Rubens. (Prado) | [318] |
| A good example of an illusion of motion created by showinga number of persons in different stages of a seriesof consecutive actions. (See [Page 254].) |
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| Plate 28.—Automedon with the Horses ofAchilles, by H. Regnault. (Boston Museum,U. S. A.) | [334] |
| The extraordinary spirit and action of these horses areabove the experience of life, but they do not appear tobe beyond the bounds of possibility. In any case theaction is perfectly appropriate here, as the animals arepresumed to be immortal. (See [Page 256].) |
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| Plate 29.—Marble Figure of Ariadne. (Vatican) | [348] |
| This work, of the Hellenistic period, illustrates the possibilityof largely varying the regular proportions of thehuman figure without injury to the art, by the skilful useof drapery. (See [Page 329].) |