❧ GENERAL INDEX TO VOLUME II ❧

AALST, Hospices civiles of, Burgundian Chest owned by, [358]
Abbasside caliphs, effect on art of their orthodoxy, [135], [140]
Abd ur-Rahmān el Sūfi, famous astronomical treatise of, fine MS. containing, Chinese influence shown in illuminations of, [144]
Absalon, bishop of Lund, Silver Chalice found in his grave at Sorö, Denmark, [357]
Academy of St. Luke, Rome, replica of painting by Isenbrant in, [326]
Academy of Painting, France, [229]
Le Brun’s share in the foundation of, [230]
Acanthus design on plate, [161], [162]
Accademia Carrara, Bergamo, part of a fresco in, said to be the portrait of A. Baldovinetti, [174]
Achæmenian Kings of Persia, commencement of art history of Persia in their period, [136]
Adelaide Museum, drawings on wood for illustrations to Dalziel’s ‘Arabian Nights,’ owned by, [305]
others, [293 note]
Agate ware, evolution of, from Staffordshire marbled ware, [68]
Agni, the Fire God, and the Svastika, [43]
story of, as told in the ‘Veda,’ [44]
Aiyubite sultans, effect on Arab art of their lax orthodoxy, [135]
Albarelli, Three Italian, recently acquired by the Louvre, use, decoration, armorial bearings on, owner of, provenance, [338]
Alcalà fount of type, made in 1514., its uses, origin, and modern type based on, [358]
Alexander the Great, coins of, Wilson’s discovery of the Svastika on, [47]
conquest of Persia by, not the first introduction of Greek art influence, [136]
interest of, in Indian yogins, [255]
supposed introduction by, of the Rose Lotus into Egypt, [350]
Alfonzo II. of Aragon, King of Naples and Sicily, his reign, wives, etc., albarelli once owned by, now in the Louvre, [338]
‘Al Ganâb,’ name inscribed on the Koursi Cover in the Louvre, [344]
Allen, Robert, manager of the Lowestoft Porcelain factory, hard porcelain teapot, Chinese, marked with his name, [277]
maker of the ‘Buckle’ tea service of genuine Lowestoft ware, 1768., (Crisps), [272]
Allnutt, J., second private owner of painting by Sir J. Reynolds, Portrait of Miss Falconer as Contemplation, [257]
Altarpieces:—
by Alesso Baldovinetti, Trinity with two Saints, for S. Trinità, Florence (illustrated), [32].
conventional methods of decoration for, early xv. cent., [131]
by G. David, painted for R. De Visch Van der Capelle, now in the National Gallery, [36]
by unknown artist, Flemish school, painted for the Gild of SS. Mary Magdalene, Katherine and Barbara, compared with one by G. David, [39]
Ambras Castle, Archduke Ferdinand’s famous Museum and Library at, [12]
America, U.S., Oriental china, crested and initialed in, XVIII. cent , [271]
Ampelus, the vine of Bacchus, compared with Soma, and the gogard plant, [354]
Amsterdam, earlier work of Josef Israels to be seen at, [176];
paintings by Jan Vermeer in Six collection at, [55]
Anasuga, wife of Rishi Atri, [354]
Ancient Buildings, Protection of, Clifford’s Inn and the, [3]
Andrea Vanni, F. Mason Perkins, [309]
Angelico, Fra, influence of, on Lorenzo Monaco, [131]
Anna, sister of Casimir, Margrave of Culmbach, [290]
Anne of Austria, Queen of France, patron of Le Brun, [230]
Anne of Denmark, Queen of England, [161]
Ansbach, see [von Knebel of]
Antwerp, visit of J. Prevost to, 1493., [331]
Apadana, the, of Persepolis, composite character of its art, [137]
Apollo, statue of, by Onatas, Furtwängler cited on, [244]
Arabia, Arabic, Arabian Art and Artists of:—
Koursi Cover, copper, gold and silver encrusted, acquired by the Louvre, G. Migeon, [344]
MSS., copies of the Koran, inferiority of the ornamentation of, [136]
date of the first illuminated, character of the decoration, Byzantine and other influence evident in, [135–6]
limit of the ornamentation in, [136]
the most important, Mākamāt of Harīrī, (C. Schefer), and other copies, [136]
Aragon, (see [Alfonzo II.] of), arms of, with those of Jerusalem and of Milan, on Italian Albarelli, (Louvre), [338]
Arani and the Svastika, Vedic story concerning, [44]
Archives of the city of Brussels, matrix of the Seal of the Gild of Butchers in, [190], [192]
of the Confraternity of the Holy Blood cited on the authenticity of a painting attributed to G. David, owned by that body, shown at Bruges, 1902., [39], [40]
Archivio di Stato, Florence, documents relating to Baldovinetti, now and formerly in, [22], [23]
of S. Maria Nuova, the Baldovinetti ‘ricordo’ once in, [22], [27]
Arctic, ss., first folio Shakespeare said to have been lost in, 1854., [336]
Ardabil and Veramin, mosques of the Sefevæan kings at, mosaics on, [139]
Ardeshir Babekan, (see [Artaxerxes]), history of, [47]
Aretino, Pietro, cited on the Portrait of the Empress Isabella by Titian, [281]
Spinello, [125]
Arezzo, painted glass window designed by A. Baldovinetti for the church of S. Agostino at, non-extant, [31]
Armenia, the Arsacidan Kings of, date of their reign, [47]
Armorial Bearings of the city of Brussels, XV. cent., [192]
on Italian Albarelli now on the Louvre, [338]
of the Saint-Vallier family as shown in MS. 616 of Gaston Phoebus, [11]
Arnold, Sir Edwin, cited on the Lotus, [350]
Arsaces Artabanus the Fifth, of Armenia, fate of, [47]
Arsacidan, Parthian Kings of Armenia, history of, [44], [47]
successors of Alexander the Great, Greek influence on Persian art during rule of, [139]
Art, see [Greek Art], etc., Notes on Works of
Notes on Various Works of, [78]
Works of, belonging to Dealers, The Publication of, [5]
Artaxerxes, (synonymous with Ardeshir), overthrow of Parthian dynasty by, [47]
Arte de’ Mercanti, Florence, employers of Baldovinetti to restore mosaics in S. Giovanni, their mode of payment, [23], [170]
Artemis, meaning of Svastika sign on, [43]
Aryans, Svastika probably communicated from Hittites to, [47]
Aryan symbol, Svastika the oldest known, [43]
Ashburnham Library, two copies of Gaston Phoebus formerly in,
one (MS. App. 179 ), interesting owing to addition of a hitherto unknown Treatise on hawking and birds, bought by W. A. Baillie-Grohman at the fourth Ashburnham Sale, 1899., [21]
Assisi, upper church of, Frescoes in, by unknown artist, school of Cimabue, [118]
Assyria, sacred tree of, [353] and [note]
the Svastika in, [44], [47]
Astarte, meaning of the Svastika sign on, [43], [47]
Auckland, N.Z., first folio Shakespeare at, and its donor, [336]
Augsburg, Titian’s stay at, to paint the Emperor Charles V., [281]
Austria, see [Anne of], [Maximilian], [Vienna]
regulations for the protection of ancient buildings in, [4]
Auvilliers, France, Bas-relief from church of, Virgin, Child, Saint, and Angels, now in the Louvre, probably by A. di Duccio, [89]
Azzurro della Magnia, a blue, used by A. Baldovinetti, various writers cited on, [167–8]
BAAL, the Svastika supposed emblem of, [43]
Babar, Emperor, invader of India, his history of his own campaigns, [143]
Babylon, influence of Greek art on its sculpture, etc., [136–7]
Babylonia, the Svastika in, [44], [47]
Bacchus represented on the Labarum by the Cross, [47–8]
Backgrounds; of illuminations of MS. 616 of Gaston Phoebus chiefly diapered in conventional way, [11]
of paintings by Cariani, [78]
by G. David, the Square of St. John at Bruges shown in Judgement of Cambyses, [36]
in portraits by Titian, landscapes, [282],
sign of comparatively late date, [285]
Bakers, Barbers, Butchers and Drapers, see [Gilds of]
Baldovinetti, Alesso, (Luca d’ Alesso), A Newly-Discovered ‘Libro di Ricordi’ of, H. P. Horne, [22]
Appendix giving Documents referred to, [377]
commission from Bongianni Gianfigliazzi to paint the Cappella Maggiore of S. Trinità, [167]
colours used by, [27], [167–9]
his famous pupil, Ghirlandajo, [174]
his methods of fresco-painting, [169]
Altarpiece for S. Trinità, Florence, Trinity with two Saints, now in the Florentine Academy, [32]
Painted glass Windows designed by, existing and otherwise, [31]
work of, in Mosaic, [24]
date of his death, [22], [24]
paintings by, frescoes on walls of Cappella Maggiore, of S. Trinità, Florence, subjects of, and portraits in, Vasari cited on, [170]
his own portrait in his frescoes, Richa cited on, [174]
early decay of these frescoes, ruthless destruction and recent restoration of, [173]
description of, [173–4]
portrait of Francesco di Giovanni di Guido in, [174]
Balfour, views of, regarding origin of name of Tirthakar sect in Thibet, [44]
Ballin, employed by Le Brun, [235]
Banchi and Borghesi, authorities on Vanni as diplomat, etc., [309]
Barbara, sister of Casimir, Margrave of Culmbach, [290]
Barbarelli, once the supposed cognomen of Giorgione, [78]
Barker, Dr. Hugh, Standing Cup and Cover presented by, to Winchester College, [161]
Barna, painting attributed to, (ascribed by Perkins to Vanni), Panel, Virgin and Child, half-length, (Chapel of SS. Chiodi, Siena), [315–6]
Barrett, G., drawing by, for illustration, apparent influence of Turner shown by, [305–6]
Bartolozzi, F., engraver of Portrait of Lady Hamilton as a Bacchante, (Normanton), ascribed to Sir J. Reynolds, [224]
wash-drawing in indian ink by, for an illustration, [305]
Bas-reliefs:—
by (probably) Duccio, Agostino di, Virgin and Child with Saint and Angels, from a rural French church, (Louvre), [89]
Greek, slab from frieze of Parthenon, Head of a Knight and of a Horse, shown at the Burlington Fine Arts Club Exhibition, [244]
Two Italian, in the Louvre, A. Michel, [84]
A Warrior, by Leonardo da Vinci (Malcolm collection), its analogies, [84]
Bastard, Count, resemblance between foliage and scroll reproductions in his work and Foucquet’s illuminations in MS. 616 of Gaston Phoebus, [11]
Bathenians, the, heterodox Mussulmans, their tenets as affecting art, [135]
Battersea and Overstrand, Lord, drawing by Sandys owned by, large version of Amor Mundi, [300]
Bavaria (see [Prince Rupert], and [Susanna of]), Duke Albert III. of, his wife and daughter, [290]
regulations for protection of ancient buildings in, [4]
Bayreuth, George of, reforming tendencies of, [289]
Beauclerk, Elizabeth, afterwards Countess of Pembroke, mother of the second Countess of Normanton, Portrait of, by Sir J. Reynolds, as Una with the Lion, (Normanton), [217],
later portrait, head only, [223]
Topham, his wife and daughter, portraits of the latter by Sir J. Reynolds, [217], [223]
Beaumont and Fletcher, collected works of, published 1647 , size of edition and cost per copy then and in 1680., Lee cited on, [335]
Belgium, (see [Ypres Chest])
Notes from:—Ghent and Nieuport, architectural works in progress at, R. Petrucci, [375]
rarity of seals of Gilds in, reasons for this, [193]
regulations for the protection of ancient monuments in, [4], [5]
Benincasa, Caterina, see [S. Catherine of Siena]
Berchem, painting signed by, but attributed to [Cüyp], (q. v.), Guildhall 1903., Head of a Cow, [59]
Berenson, B., The Authorship of a Madonna by Solario, letter, [114]
paintings by Andrea Vanni owned by, Deposition from the Cross, [321]
Virgin and Child, [316]
paintings by Vanni pointed out by, [321 note]
paintings at Munich, panels, Last Judgement, etc., attributed by, to Giotto, [118]
Bergamo, see [Accademia Carrara]
Berkheyde, Gerrit, painting attributed to, Guildhall, 1903., Rising in a Dutch Town, [60]
Berlin, (see [Raczynski gallery]), fine collection of drawings in, [293]
first folio Shakespeare at, provenance of, and alleged mutilation of, [336]
paintings by Jan Vermeer in gallery at, [35]
Portrait of Strozzi by Titian in gallery at, (small), [285]
Notes from, Pictures acquired by the gallery, [375]
Bewick, T., one of the initiators of illustration as an art in England, [294]
Biadetto, or sbiadata, see [Azzurro della Magnia]
Bibliography and Reviews:—
‘The Ambassadors Unriddled,’ Dickes, [367]
‘Ancient Coffers and Cupboards,’ Roe, [258]
Books and Magazines Received, [266–7]
‘Contribution a l’Étude du Blason en Orient,’ Artin Pasha, [261]
‘Frans Hals,’ Davies, [107]
‘French Engravers and Draughtsmen of the 18th Century,’ Lady Dilke, reviewed by H. Bouchot, [104]
‘Guide to Siena: History and Art,’ W. Heywood and Lucy Olcott, [260]
‘Isabella d’Este, Marchioness of Mantua,’ Julia Cartwright, (Mrs. Ady), [106]
‘The National Portrait Gallery,’ Cust, [105]
‘La Peinture an Pays de Liége et sur les bords de la Meuse,’ Helbig, [262]
‘Pintoricchio: His Life, Work, and Time,’ Ricci, (trs. Florence Simmons), [256]
‘Un des Peintres peu connus de l’Ecole Flamande de Transition, Jean Gossart, sa vie et son œuvre,’ Maurice Gossart, [369]
Periodicals:—
Architectural Review, [113], [266], [372]
Ateneum, (Helsingfors), [112]
Emporium, (Bergamo), [266]
Gazette des Beaux-Arts, [109], [265], [370]
Jahrbuch der Königlich Preussischen Kunstsammlungen, 1903., 2. Heft, [262]
Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhausen, [110]
L’Art, [112]
L’ Arte, Parts I–IV, [263]
Onze Kunst, [112]
Rassegna d’Arte, [111], [265], [370]
Repertorium fur Kunstwissenschaft, [111], [372]
Revue de l’Art Ancien et Moderne, [112], [372]
Zeitschrift für Bücherfreunde, [113]
Bibliothèque Nationale, Paris, several copies of Gaston Phoebus and MS. 616 in, [11], [16]
Bici, Neri di, his mediocre acquirements, [131]
Bièvre river, site of the Gobelins on, [235]
Bilbao, paintings by Isenbrant exported to, [326]
Biographies of Mussulman saints by Sultan Husain ibn Bäikara, a masterpiece of Persian literature, [143]
Birdwood, Sir G., cited on the Tree conventionalized as the Tree of Life, [353]
Birmingham Museum, drawings owned by, how chosen, [293 note]
Bisschop, Christopher, painting by, shown at Guildhall, 1903., Prayer Disturbed, [189]
Black Sisters, Bruges, paintings owned by, artist unknown, panel, S. Nicolas of Tolentino, and Roger de Jonghe, Austin friar, (Bruges, 1902.), [332]
Blake, W., one of the initiators of illustration as an art in England, [294]
Blochet, E., Mussulman Manuscripts and Miniatures as illustrated in the recent Exhibition at Paris, I., [132]
Blount, E. and J. Jaggard, publishers of the 1623. edition of the first folio Shakespeare, [335]
Blue (see [Azzurro]) ultramarine, intensity of, in painting by Jean Malouel, not found in Italian work, [90]
‘Boccaccio,’ illuminated by Foucquet for E. Chevalier, [11]
Boels, L., paintings by, ascribed to Memlinc, various owners, [35]
Bold, Michael, Standing Salt bequeathed by, to Winchester College, [161–2]
Bolney, John, Tankard and cover of rare shape presented by, to Winchester College, [161]
Bologna, associations of, with the Empress Isabella, [282]
Bonington, R. P., as a painter of wet sand, [178]
Bontemps, Pierre, French sculptor, work of, on the Tomb of François I., [95]
Book Illustrations, Later Nineteenth Century, J. Pennell, I., [293]
Books of Hours, illuminated by Foucquet for E. Chevalier, and for the Duchess of Cleves, [11]
‘Books of the Kings,’ Persian MSS., Sefevæan dynasty, repetitive decorations of, [135]
of the subsequent transition period (de Rothschild), [144]
Borgo di S. Sepolcro, Altarpiece at, artists of, and fate of central panel, [321]
Bosboom, Jan, painting by, shown at Guildhall, 1903., Archives at Veere, [189]
Boston and Salem, U.S.A., crested and initialed porcelain imported to, from the East in the XVIII. cent., [271]
Botticelli, S., Medicean cameo in painting by, at Frankfort, (Portrait of Lucretia Tornabuoni), also occurring in painting by G. David, [36]
Bouchot, H., French Engravers and Draughtsmen of the Eighteenth Century, (Lady Dilke), review, [104]
Bourbon, Connétable de, conspiracy of, with Charles V. of Germany, [12]
Bouts, Dirk, [35],
Gerard David possibly a pupil of, at Louvain, [36]
Bow or Chelsea china factories, source of Browne’s skill in porcelain-making at Lowestoft, [272]
Brabant, John, Duke of, privileges accorded to, by the patricians of Brussels, [190]
Brahma, the Svastika supposed emblem of, [43]
Brahmin views and use of the Lotus, [350], [353]
Brandenburg-Ansbach and Bayreuth, Frederick, Margrave of, his daughter Margaret the Lady of the portrait by Dürer, recently acquired by the British Museum, [289]
Brera Gallery, Milan, Portrait of Count Porcia by Titian in, [285]
Brézé, Jacques de, and his wife, indirect connexion of, with Gaston Phoebus, [11]
Brick-casings, many-coloured, at Apadana, prototypes of, [139],
the same at Samarcand, [143]
Brihaspati, his wife Tara and her son, [354]
British Engraving, Exhibition of, at the V. and A. Museum, [194]
British Museum:—
British and Mediaeval Antiquities Department, new acquisitions, [199]
drawings on wood for illustrations to Dalziel’s ‘Arabian Nights,’ etc., owned by, [305]
Early Staffordshire Pottery Ware in, [64] et seq.
Print Room, new acquisitions, [200];
Portrait Drawing of a Lady, by Dürer, [286]
woodcuts, [75]
rule of, against purchasing work of living artists, some effects of, [293]
Bromley Collection, Altarpiece in five parts by B. Daddi, formerly in, (Parry), [126]
Bronze age, the Svastika in use among peoples of, [47]
Bronzes, Greek (shown at the Burlington Fine Arts Club Exhibition):—
Amphora Handle, Aphrodite, (2), various owners, archaic character of, [250]
Head of Apollo, (Devonshire), [243]
Mask of Sea-deity, (Salting), [250]
Mounted Warrior, the ‘Athenæum’ cited on, its probable provenance, [243]
Plaque or pierced mirror-support, with Reclining winged boy, (Wallis), [250]
Repoussé mirror-cover, Eros at a lady’s toilet, [250]
Statuettes, Eros, history of, [250]
seated and emaciated man, (Wyndham Cook)
source of, [255]
Seilenos, [250]
Brouwer, Adriaen, painting ascribed to, Guildhall, 1903., Interior with Figures, possible painter of, [56]
Brown, Ford Madox, drawing by for illustrations to Dalziel’s ‘Bible Gallery,’ [305]
Browne, Robert, head of the Lowestoft porcelain factory till 1771., nine-sided ink-pot bearing his monogram, (Crisps), [272]
how he gained his knowledge of the trade, [ib.]
Bruges (see [Early Painters of the Netherlands]), association of John Prevost, painter, with, [332]
Cathedral of St. Donatian at, paintings by G. David formerly in, now in the National Gallery, [36]
Exhibition of 1902., The Early Painters of the Netherlands as illustrated by, W. H. J. Weale, [35], [326]
façades of houses in, owned by the Municipality, [5]
Gild of St. John at, a gild of miniaturists, connexion of Gerard David with, [40]
great foreign artists of, [35–6]
Museum, paintings by Gerard David, Judgement of Cambyses, two pictures, (one illustrated), [36]
by J. Prevost, Last Judgement, (Bruges, 1902.), [332]
and other Belgian towns in which seals of gilds exist, [193]
Brushwork of Frans Hals, unsurpassed excellence of, [52]
Brussels, association with, of Bernard van Orley, painter, [205]
city of, armorial bearings of, XV. cent., [192]
Gilds of, sketch of their history, lack of juridical powers, question of authenticity of their seals, lack of documents sealed by, probable reasons for existence of seal matrices, [190] et seq.
Museum, paintings in, shown at Bruges, 1902., one attributed to Memlinc, Passion of St. Sebastian, [35]
one now attributed to G. David, formerly ascribed to J. van Eyck, [39]
one by A. Isenbrant, Diptych, Our Lady of Sorrows, [326]
Buckingham, Duchess of, painting by, copy of Portrait of Mrs. Siddons as the Tragic Muse, by Sir J. Reynolds, (Westminster), in the Normanton collection, [224]
‘Buckle’ tea service of genuine Lowestoft porcelain, made by R. Allen, 1768., (Crisps), [272]
Buddha, birth of, the Lotus as associated with, [350]
the Svastika in footprints of, on Indian mountains, [43]
Buddhist sacred flower, the Lotus, [350], [353]
Buigne (or Vigne), Gace de la, parts of Gaston Phoebus borrowed from, [15]
Building(s), see [Ancient Buildings]
Bulletta, Cardinale del, colours bought from, by Baldovinetti, [168]
Bunbury, Henry William, caricaturist, Portrait of his Wife when Miss Horneck, by Sir J. Reynolds, (Normanton), and sketch, (Bunbury), [223]
Bunyan’s ‘Pilgrim’s Progress,’ high price paid for scarce edition of, in 1901., [335]
Buonarroti, Michael Angelo, see [Michael Angelo]
Burgoigne, Phelippes de France, Duc de, original Gaston Phoebus dedicated to, [8]
Burgundian Chest, shown at Bruges, 1902., (Hospices civiles, Aalst), [358]
Burgundy, Mary of, and the trades of Brussels, [192]
Burlington Fine Arts Club:—
The Exhibition of Greek Art at the, C. Smith, [236]
Bas-reliefs, Fragment of the Frieze of the Parthenon, (T. D. Botterell), [236]
Bronzes, Amphora Handle, (Wyndham Cook), Mask of Sea-deity, (G. Salting), Plaque, (H. Wallis), [245]
Bronzes, statuettes, Aphrodite, Nude, (C. Loeser), Aphrodite with Torch, (J. E. Taylor), [250]
Sick Man, (Wyndham Cook), [245]
Seilenos Crouching, (J. E. Taylor), [250]
Ceramics, Krater, (Harrow School), Kylix signed Tleson, and Plate signed Epiktetos, (Marquess of Northampton), [253]
Metal work, Mirror-cover, Repoussé, (J. E. Taylor), [247]
Sculpture, Bust of Aphrodite, probably by Praxiteles (Lord Leconfield), [239]
Head of a Mourning Woman, (C. Ponsonby), Head of a Youth (Sir E. Vincent), [241]
Terra-cottas, Caryatid Figure, (J. E. Taylor), Doll, (Mrs. Mitchell), Woman Leaning on Pedestal, (J. E. Taylor), Woman with Fan, (J. Knowles), The Young Dionysos, (J. E. Taylor), [251]
Plate of Dr. Burton, headmaster of Winchester College, circ. 1740., shown at, 1902., [155]
other plate exhibited, [156]
Burnouf on the derivation of the Suavastika, [44]
Burslem pottery processes, XVII. cent., Plot cited on, [66]
Burton, Dr., headmaster, plate accrued and re-cast by, Winchester College, [155]
Butay, Suzanne, wife of C. Le Brun, [230]
Byzantine art, traces of, in Nativity and Adoration, (Parry), [118]
Christians, art of, [132],
influence of, on Mussulman art, [135], [139]
CAGNOLO, Don Guido, cited on a fresco by Vanni at Orvieto, [321 note]
Cairo, College of the Bathenians at, built by Saladin, [135]
Cairo Museum, famous Koursis at, [343]
Canto de’ Gori, Florence, Baldovinetti’s hired house at, [23]
Cape Town, first folio Shakespeare at, and its donor, [336]
Cariani, paintings by, formerly attributed to Barbarelli (or Giorgione), ex Leuchtenberg collection: Adoration of the Shepherds, and Madonna and Child, [78] et seq.
La Vergine Cucitrice, (Corsini Gallery, Rome), illustrated, [78]
Carpaccio, resemblance to, of some of Gerard David’s work, [36]
Carpets, see [Oriental Carpets]
Carthage, the Svastika introduced into, by travellers to Phoenicia, [47]
Cartoons for frescoes, methods of transferring to the plaster, [167]
Cashel, Dr. Palmer, Dean of, nephew of Sir J. Reynolds, his wife the model for Reynolds’s painting of Prudence, [217]
Casimir III., King of Poland, [289]
Castagno, influence of Donatello on, [131]
Cathay, Grand Khan of, reports of missionaries to, on Mongol sacred drawings, [140]
Catherine de’ Medici, Queen of France, her tomb and its sculptor, [95]
Ceccharelli, features of work by, [89]
Cedar, the, as the Tree of Life, [353]
Cennini, Cennino, cited on XV. cent. methods of the ‘maestri di finestre’ in Florence, [31]
cited on various artists’ colours, [168–9]
Ceramics:—
and glass recently acquired by the British Museum, [199–200]
Early Staffordshire Ware, illustrated by Pieces in the British Museum, R. L. Hobson, [64]
Greek, Burlington Fine Arts Club: Vases, and Plate, Krater (Harrow School), Kylix by Tleson, plate by Epiktetos, [255]
Lowestoft Porcelain Factory, The, and the Chinese Porcelain made for the European Market in the Seventeenth Century, L. Solon, [271]
Samian bowls found during excavations at Rouen, [374]
Three Italian Albarelli, recently acquired by the Louvre, J. J. Marquet de Vasselot, [338]
Cerbini, Ser Pierozzo, engrosser of the patronage deed of the Cappella Maggiore di S. Trinità, Florence, [28]
Chaffers, W., author of ‘Marks and Monograms,’ his erroneous theory regarding Lowestoft porcelain, [271], [277], [278]
Chaldeans, the Svastika in use among the, [47]
Chalices, Mediaeval Silver from Iceland in the Victoria and Albert Museum, H. P. Mitchell, [70]
The Sorö Chalice, (from Denmark), H. P. Mitchell, [357]
Chamberlayne Collection, painting by Sir J. Reynolds in, Lady Hamilton as a Bacchante, copy, Normanton collection, [224]
Chantilly, library of the Duc d’Aumale at, copy. of Gaston Phoebus in, [15]
Charles II., silver plate of his reign owned by Winchester College, [155]
Charles V., Emperor of Germany, and the butchers of Brussels, [193]
coronation festivities of, at Bologna, possible connection of Titian’s portrait of the Empress Isabella with, [282]
landsknechte of, at the battle of Pavia, [8], [12]
portraits of, by Titian referred to, [281]
one at Munich with landscape background, [285]
Portrait of the Empress Isabella, by Titian, commisioned by, [281]
Charles VII. of France and his daughter Charlotte, [11], [12]
Chests:—
Burgundian, shown at Bruges, 1902., (Hospices civiles, Aalst), [368]
Oaken, of Ypres, [357]
Chevalier, Estienne, Treasurer of Charles VII. of France, ‘Book of Hours’ and ‘Boccaccio’ illuminated for, by J. Foucquet, [11]
Chicago, first folio Shakespeare said to have been destroyed at, in the fire of 1871., [336]
Ch’ien Lung, Emperor of China, handwriting of, on roll acquired by the Print Room, British Museum, [205]
Chigi, Count Fabio, Siena, painting by Andrea Vanni, owned by, Annunciation, [316]
China, (see [Manchu, Emperor of]), the rose-lotus used for food in, [350]
use of the Svastika in, [43]
Chinese characters C. h. e., renewal and perpetuity of life signified by, [44]
influence on Persian art, [140], [143–4]
paintings recently acquired by the Print Room, British Museum, [200]
Porcelain made for the European Market during the Eighteenth Century, The Lowestoft Porcelain Factory and, L. Solon, [271]
Chini, Dario, restorer of Baldovinetti’s frescoes, [173]
Christian symbolism, the Tree of Life in, [353]
Christie’s, notable persons present at, during the Thomond sale, 1821., [211]
‘Chrysoloras,’ printed by Guillen, result of use of accents in, [358–60]
‘Cicerone,’ the, cited on a painting by A. Vanni at Siena, [316 note]
Cinelli, Giovanni, cited on the subjects of Baldovinetti’s frescoes and their excellence, [170]
Clarendon Press, facsimile of the first folio Shakespeare, and its original, [335]
Cleves, Duchess Marie of, ‘Book of Hours’ made for, by J. Foucquet, [11]
Clifford’s Inn, and the Protection of Ancient Buildings, editorial, [3]
Cluny, Hôtel de, Paris, Group of Les Trois Parques in, by G. Pilon, [95]
Cnoop, Cornelia, wife of Gerard David, paintings by, Triptych (of miniatures), (Colnaghi), [40]
Cockerell, drawings by, of Greece, shown at Burlington Fine Arts Club Exhibition, [255]
Cockpit Hill, Derby, slipware of, [68]
Codde, Pieter, and other painters, greatly resembling Palamedes in style and subject, [56],
work by Pot, at Hampton Court, formerly attributed to, [ib.]
Coins of the Aiyubite (heterodox) Sultans, mixed devices on, [135]
of the Arsacidae, Greek influence manifest in, [139]
Colbert, minister of Louis XIV. of France, and the Gobelins manufactory, [229–35]
his choice of Le Brun as organiser, [229], [230]
Collection, The, of Pictures of the Earl of Normanton, at Somerley, Hampshire, M. Roldit; I. Pictures by Sir Joshua Reynolds, [206]
Collection, The, of Pictures of Sir Hubert Parry, at Highnam Court, near Gloucester, R. Fry; I. Italian Pictures of the Fourteenth Century, [117]
Colnaghi, Sir D., author of ‘Dictionary of Florentine painters,’ [27]
Colour, intensity of, in XV. cent. Florentine painted windows, [31]
in two pictures, probably French, XIV. cent., (Dowdeswell), [90]
Colouring matter used in Burslem pottery-making, XVII. cent., [66]
Colours employed by Alesso di Baldovinetti, [167–9]
Comparative Exhibition of Greek and Mediaeval art, suggested by C. Smith, [236], [243]
Complutensian Polyglot Bible, type cut for, (the Alcalà fount), [358]
Confraternity of the Holy Cross, Furnes, Altarpiece commissioned by, from Bernard van Orley, [205]
Coningham, Capt. W., his collection of drawings by old masters sold to Colnaghi, 1846., possible inclusion in, of the Dürer portrait, recently acquired by British Museum, [286]
Cook, H., Two Alleged ‘Giorgiones,’ [78]
Copper Koursi Cover, Arabic, gold- and silver-encrusted, acquired by the Louvre, G. Migeon, [344]
Corinthian Art, VI. cent. B.C., characteristics of, [243]
Cornelis, Albert, painting by, the only known work of, Coronation of the Virgin, (Bruges, 1902.), [332]
Correspondence, (see also [Foreign do.]), [113], [267], [376]
Corsini Gallery, Rome, painting by Cariani in La Vergine Cucitrice, [78]
Courajod, Louis. (the late), security assured by, to the Bas-relief probably by Duccio, (Louvre), [89]
and others, views of, on the artist of the P. Scipioni Bas-relief, [84]
Courbould, black-and-white drawing by, for an illustration, [305]
Coventry, Sir W., and the Hon. Henry, first sale by auction of a first folio Shakespeare, at sale of the library of, 1687., price unknown, [335]
Coxon, Thomas, engraver, no work by, shown at V. and A. Museum Exhibition, [194]
Crisps, A., specimens of genuine Lowestoft-made ‘Lowestoft china’ owned by, [272]
Cromwell, Thomas, visit of, to Winchester College, [149]
Cross, the, origin and symbolism of, [47]
Crowe and Cavalcaselle, cited on Bernardo Daddi, [125], [126]
on Titian’s paintings, [281], [282 notes]
on a painting by A. Vanni, usually attributed to Barna, [316]
Ctesiphon, Ivān of, the Palace of, gigantic oval of, tradition concerning, [139]
Culmbach, Casimir, Margrave of, his family, and the Portrait of a Lady, by Dürer, recently acquired by the British Museum, [289]
lost portrait of his wife by the same, [290]
conjectured identity of Portrait of a (Young) Lady, (Heseltine), with this lady, [ib.]
Cunningham, views of, regarding origin of name of Tirthakar sect in Thibet, [44]
Cups, see [Silver Plate]
Curmer’s edition of ‘Paul et Virginie,’ and its illustrators, [299], [306]
Cust, R. H. H., Professor Langton Douglas and Documentary Evidence, letter, [113]
Cüyp, A., characteristics of his work, [59]
painting attributed to, Guildhall, 1903., signed Berchem, Head of a Cow, [59]
painting by, Guildhall, 1903., Herdsman and Woman tending Cattle, [59]
Cyprus, the Svastika introduced into, by travellers to Phoenicia, [47]
DADDI, Bernardo, birth and death dates of, [126]
painting by, Altarpiece in five parts (Parry), [125]
provenance of, [126]
Daksha, the twenty-seven daughters of, their symbolism, [354]
Dallaway, James, cited on England as ‘the seat and refuge of the arts,’ [236]
d’Alviella, Count Goblet, see [Goblet d’Alviella]
Dalziel’s ‘Arabian Nights’ and ‘Goldsmith,’ 1865., preservation and present ownership of original drawings on the wood for, [305]
‘Bible Gallery,’ drawings on wood for, by Watts, Poynter, etc. (V. and A. M.), [305]
d’Andrea, Giovanni, glazier of Florence, [168]
Daria, wife of Baldovinetti, [23]
Date-palm, hom, or Soma-tree, sometimes supposed to be the Tree of Life, [350], [353]
Daubigny, C.-F., as a painter of the Spring, [177]
painting by, On the Seine (Balli), [360]
Daucher, Hans, Medal by, with portrait of Susanna of Bavaria (Vienna Gallery), [290]
d’Aumont, Marshal, house of, decorated by Le Brun, [230]
Davenport in ‘Aphrodisiaco’ supporting Higgins’ view on origin of official name for Governor of Thibet, [44]
David, Gerard, painter of Bruges, notes on his history and works, [36]
paintings by, Adoration of the Magi, formerly attributed to J. van Eyck, owned by Brussels Museum, shown at Bruges, 1902., [39];
Altarpiece in the National Gallery, and (part of a) Triptych, [36];
Triptych, Baptism of Christ, shown at Bruges, 1902., [36];
B.V.M. with Child, Virgin Saints, and Angels, Rouen Museum, shown at Bruges, 1902., (illustrated), [36], [39];
Judgement of Cambyses, two pictures, in Bruges Museum (one illustrated), [36];
miniatures, and by his wife C. Cnoop, where preserved (some illustrated), [40];
parts of a Triptych, (J. Simon of Berlin), shown at Bruges, 1902., [39]
panels, part of an Altarpiece, (Lady Wantage), [39]
Triptych, St. Anne, the B. V. M . and Child with Saints, (M. de Somzée), shown at Bruges, 1902., [39]
Transfiguration, (Church of Our Lady, Bruges), shown at Bruges, 1902., [40]
paintings possibly attributable to, variously owned, some shown at Bruges, 1902., [39–40]
period of his painting in Bruges, [326]
dates, limiting known period of production of, [39]
Davis, Mrs. C. E., drawings on wood owned by, [305]
Dealers, The Publication of Works of Art belonging to, editorial, [5]
de Bock, Théophile, characteristics of his work, [189]
painting by, shown at Guildhall, 1903., An Avenue in Holland, [189]
de Brézé, Jacques, see [Brézé, Jacques de]
de Brocar, Arnaldo Guillen, printer of the Complutensian Bible and other books, [358]
de Calonne, M., former owner of a painting attributed (erroneously) to Rembrandt, Portrait of the Artist (Guildhall, 1903.), [52]
de Carpin, Jean du Plan, missionary to the Grand Khan, cited on Mongol sacred pictures, [140]
de Charenton, Enguerrand, painter, influence of Italian ideas on, [90]
de Comano, Marc, and François de la Planche, Flemish upholsterers, brought to Paris by Henri IV., [235]
de Foix, see [Foix]
de Iode, plate by, of the picture from which Titian painted his Portrait of the Empress Isabella, [282 note]
de Keyser, Thomas, painting by, Portrait of a Gentleman (Guildhall, 1903.), and characteristics of his art, [55]
de Koninck, Philips, characteristics of his painting, [59]
painting, now ascribed to, (Guildhall, 1903.), his masterpiece, attributed to Rembrandt, Commencement d’Orage, (Lady Wantage), [60] et seq.
de Koninck, S., painting probably by, Head of a Man, usually attributed to Rembrandt, (Guildhall, 1903.), [52]
de la Bazinière, Bertrand, house of, decorated by Le Brun, [230]
de la Planche, F., see [de Comano and]
Delft, see [Van der Neer]
Delft-faïence, trade of Holland in English clays for, [277]
and in the manufactured article, with Lowestoft, [272]
Delhi, the Grand Moguls of, their love for art, [143]
de Limbourg, Pol, miniature by, a copy of a fresco by T. Gaddi at Florence, [90]
della Robbia, Andrea, ornaments of the loggia of the Spedale di S. Paolo, Florence, by, [23]
de Marsy, Gaspard and Balthazar, employed under Le Brun, [235]
de’ Medici, Giuliano, in Baldovinetti’s frescoes, [170]
Lorenzo, the Magnificent, in Baldovinetti’s frescoes, [170]
Demeter, meaning of the Svastika sign on, [43]
de’ Migliorelli, Giovanni di Jacopo, notary of Florence, [170]
Denmark (see [Anne of]), regulations for the protection of ancient buildings in, [4], [5]
Sorö Chalice (found in grave of Bishop Absalon), H. P. Mitchell, [357]
‘Denunzie’ of Baldovinetti, details of his affairs given by, [23]
De Passe, Crispin, engraver, portrait of Queen Elizabeth by, V. and A. Museum Exhibition (H.M. the King), [194]
family, prints by, V. and A. Museum Exhibition (H.M. the King), [194]
de Pellegrini, G., Mr. Julius Wernher’s Titian (Portrait of Giacomo Doria), (letter), [267]
De Poitiers, see [Poitiers], Diane, Jean, and Marie de
de Quaroube, Joan, widow of Simon Marmion, first wife of John Prevost, painter, [332]
Derby, Countess of, see [Hamilton, Lady Betty]
twelfth Earl of, his two wives, [218]
de Richelieu, Cardinal, works done for, by Le Brun, his resultant appointment, [229–30]
de Roias, Francis, Dominican Breviary owned by,—its artist, [39]
de Rorthays, Vicomte G., Notes from France, Exhibition of French Primitives, to be held 1904., [373]
de Rothschild, Baron Edouard, Persian MS. late XV. cent. owned by, [144]
de Ruffo Bonneval, Viscount, painting by J. Prevost owned by, Last Judgement (Bruges, 1902.), [332]
de Ruysbroeck, Guillaume, missionary to the Grand Khan, cited on Mongol sacred pictures, [140]
Des Marez, G., keeper of the records of Brussels, and the Gilds’ Seals discovered by him, [190] et seq.
de Somzée Collection, painting by Gerard David in, Triptych, St. Anne, the B.V.M. and Child with Saints, (Bruges, 1902.), [39]
painting by Isenbrant ex, S. Mary Magdalene in the Desert (Bruges, 1902.), [331]
de Thorigny, Lambert, decorations in house of, by Le Brun, results to the painter, [230]
de Vasselot, J. J. Marquet, Three Italian Albarelli, recently acquired by the Louvre, [338]
Devonshire, Duke of, disappearance of copy of Gaston Phoebus from his library, [21]
owner of a first folio Shakespeare, original of the Clarendon Press facsimile, [335]
de Vos, Cornelis, painting by, Guildhall, 1903., Portrait of Ambrogio Marchese di Spinola, [55]
Dharma and Prabhakara, parents of Rishi Atri according to some legends, [354]
Dibdin’s Decameron, description of lost copy of Gaston Phoebus in, [21]
Dickinson, W., engraver of lost Portrait of the Countess of Derby by Sir J. Reynolds, [218]
Digby, Sir Kenelm, prices realized for the works of Ben Jonson and Beaumont and Fletcher at the sale of his library, 1680., [335]
Dodgson, Campbell, A Newly Discovered Portrait-drawing by Dürer, [286]
Dogs, excellence of Gainsborough and Velasquez as painters of, [218]
Domenico, gold-beater of Florence, [169]
Donatello and his followers, [131]
Dordrecht, associations of, with Cüyp, [59]
Dormer-Hunter first folio Shakespeare, price paid for, 1901., (C. Scribner, New York), [335]
Douglas, Professor Langton, and Documentary Evidence, letter, R. H. H. Cust, [113]
Drawings:—
by Cockerell, Greek Landscapes, shown at the Burlington Fine Arts Club Exhibition, [255]
by Dürer, A., on green paper, Portraits, of a Lady, of his Wife, of Lord Morley (B.M.), of a Young Lady (Heseltine), [287]
one in the Vienna Hof Museum, deductions from as to authenticity of Portrait recently acquired by the British Museum, [289]
Drawing, A Newly Discovered Portrait—, by Dürer, C. Dodson, [286]
for illustrations. see [Later Nineteenth-century Illustrations] and under artists’ names
Dresden Gallery, tine collection of drawings at, [293]
paintings by Jan Vermeer in, [55]
Druggists’ jars, or Albarelli and similar ware, principal pieces of, and their source, [338]
Dubosc, Georges, Notes from Rouen, [374]
Duccio, Agostino di, sculptor, Bas-relief (probably) by Virgin and Child with Saint and Angels, (Louvre), [89]
other works of, [ib.]
Du Celier, John, Diptych painted for, by Memlinc, (Louvre), prototype of one by Isenbrant, [326]
picture painted for, by Memlinc, Sacra Conversazione, now in the Louvre, [39]
Dudley and Ward, Lady, portrait of, by Sir J. Reynolds, as Fortitude, clad as Britannia (Normanton), [211], [217]
Dulwich College gallery, painting by Sir J. Reynolds in, replica of Portrait of Mrs. Siddons as the Tragic Muse, [224]
Dumontier, views of, on the Svastika as development of Chinese characters C. h. e., [44]
Dunford, Clark, London agent of the Lowestoft Porcelain Factory, 1770., [277]
Dürer, Agnes, wife of Albrecht, Portrait of, by her husband (B.M.), [289]
Dürer, Albrecht. A Newly Discovered Portrait-Drawing by, C. Dodgson, [286]
drawings by, on green paper, Portrait of a Lady, Portrait of his Wife, and Portrait of Lord Morley (B.M.), [286–9]
Portrait of a Young Lady (Heseltine), [287]
provenance and authenticity of the first drawing, [286–9]
one, with notes on a dream (Vienna Hof Museum), deductions from, as to authenticity of Portrait recently acquired by the British Museum, [289]
painting by, lost votive picture, with portraits of the Margrave of Culmbach and his wife, [290]
Dur-Sarkayan, glazed-brick Bas-reliefs of, [139]
Dutch Exhibition, The, at the Guildhall; I. The Old Masters, [51]
II. The Modern Painters, [177]
painters, modern, representative collection of, at Glasgow Exhibition, [177]
painters to whom the picture by Hendrik Pot, at Hampton Court, has been successively attributed, [56]
Duyster, Willem Cornelisz, and other painters greatly resembling Palamedes in method and subject, [56]
EARLY French Printers of Gaston Phoebus, [8]
Early Painters, The, of the Netherlands, as illustrated by the Bruges Exhibition of 1902., W. H. J. Weale, [35], [326]
Early Staffordshire Ware, illustrated by pieces in the British Museum, R. L. Hobson, [64]
Editorial Articles:—
Clifford’s Inn and the Protection of Ancient Buildings, [3]
The Publication of Works of Art belonging to Dealers, [5]
Edward IV., visit of and loan of live lion by, to Winchester College, [149]
Edward VI., sequestration of Winchester College plate in the reign of, [150]
Egypt, (see [Cairo]), and the Lotus, [350]
Egyptian influence on Arab Illuminations, [136]
and Nubian houses, dreariness of, [349]
Elstracke, Renold, Flemish engraver, prints by, shown at V. and A. Museum Exhibition; Prince Charles, etc. (H.M. the King), [194]
Ely cathedral, paintings on roof of nave of, by T. G. Parry, [117]
Empress Isabella, the, Titian’s Portrait of, G. Gronau, [281]
England (see [British]), pre-eminence of, in private collections of Greek antiquities, [236]
English engravers employed on Curmer’s ‘Paul et Virginie,’ [306]
potters, copyists of Chinese decoration, [278]
Engraving, see [British Engraving]
Engraving(s), shown at the V. and A. Museum Exhibition, by de Passe, Crispin, Portrait of Queen Elizabeth (H.M. the King), [194]
others by members of the same family, [ib.]
by Elstracke, R., Prince Charles, etc. (H.M. the King), [194]
by Gemini, Thomas, [194]
Landseer, school of, (Sheepshanks collection), [199]
by Rogers, William, the first important British engraver, Portraits, Alphonso, King of Castile, Godfrey Aldelmar, Queen Elizabeth, (H.M. the King), and Sir T. Docwra, [194]
by Woollett, W., and his school of Engravers, plate by and by his pupil, Roman Edifices in Ruins, after Claude, and other plates, [194–9]
Epiktetos, plate signed by, shown at the Burlington Fine Arts Club Exhibition, [255]
Escurial, Spain, loss of the original of Gaston Phoebus from, 1809., [8]
Esther, Queen, the Apadana of, and its art, [139]
Etching(s):—
by Rembrandt, The Three Trees, compared with the painting, Le Commencement d’Orage, [63]
at the V. and A. Museum Exhibition of British Engraving, [199]
Europe, (see [Northern Europe]), the Tree of Life in the Symbolism of, [353]
Everat, printer of Curmer’s edition of ‘Paul et Virginie,’ etc., [306]
Exhibition(s), see [British Engraving], [Bruges], [Glasgow], [Guildhall], [Hague], [Mussulman Art], etc.
of French Primitives, to be held 1904., G. de Rorthays, [373]
The, of Greek Art, at the Burlington Fine Arts Club, C. Smith, [236]
FABRITIUS, Karel, possibly the painter of Ruth and Naomi, attributed to Rembrandt, Guildhall, 1903., [52]
Faenza, Ceramic ware of, [338], [343]
Fa-hiau, (a doctor of reason), cited on the Tao-sse of China, [47]
Faithorne and other Engravers, latter XVII. cent., fine work by, shown at the V. and A. Museum Exhibition, [194]
Falconer, Miss, (Hon. Mrs. Stanhope), Portrait of, by Sir J. Reynolds, as Contemplation, (Normanton), [217]
Family names of painters, importance of writing them correctly, [332 note]
Farnese family, patrons of Titian, [281]
once owners of the painting from which he painted his Portrait of the Empress Isabella, [282]
Farren, Miss, actress, afterwards Countess of Derby, [218]
Fei, Paolo di Giovanni, a pupil of Andrea Vanni, painting by, Madonna del Rosario, (S. Domenico), other paintings and their locations, [325]
Ferdinand, Archduke, Duke of Tyrol, Codex MS. 616 of Gaston Phoebus presented to, by Bishop Bernard of Trent, [12]
Lord Morley’s visit to, with the order of the Garter, 1523., and Dürer’s portrait of the latter, [289]
Ferrukh Siyyar, books owned by, [143]
Fiesole Cathedral, painting by unknown artist, Florentine school, early XV. cent., in, [131]
Finest Hunting MS. Extant, the, W. A. Baillie-Grohman, [8]
First Folio Shakespeare, the, The Geographical Distribution of, F. Rinder, [335]
Flanders, see [Early Flemish Painters], and [Elstracke]
Flemish School, artist unknown, painting by, shown at Bruges, 1902., Panel, S. Nicolas of Tolentino, and Roger do Jonghe, Austin Friar, (Black Sisters, Bruges), [332]
Flemish upholsterers brought to Paris by Henri IV., [235]
Florence, see [Baldovinetti], [Opera di Duomo], [S. Croce], [S. Trinità], [Spedale di S. Paolo], etc.
Ceramic wares of, [343]
Florentine Academy, painting by A. Baldovinetti in, Altarpiece, (formerly in S. Trinita), Trinity with two Saints, [32]
Florentine painters, works of, in the Parry collection, [117] et seq.
Flötner, P., Medal by, with portrait of Susanna of Bavaria, (Munich), [290]
Foix, Agnes de, daughter of Philip III. of Navarre, wife of Gaston de Foix, [11]
Gaston de, (Gaston III. of Béarn and Foix, surnamed Phoebus), patron of Froissart, author of the ‘Livre de Chasse’ known as Gaston Phoebus, [8]
characteristics of, as shown by his book, [16]
made Lieutenant de Roi in Languedoc and Saxony, [8]
marriage of, with Agnes daughter of Philip III of Navarre, [11]
his nicknames for his secretaries, [8]
his remorse for the murder of his son, [15]
Fonthill, Mrs. Alfred Morrison’s collection of Lace at, [95]
Foreign Correspondence, [373]
Notes from Belgium, Ghent and Nieuport, architectural works in progress at, R. Petrucci, [375]
from Berlin, Pictures acquired by the Gallery, [375]
from France, Exhibition of French Primitives, (to be held 1904.), G. de Rorthays, [373]
repairs to the cathedral etc., and Samian bowls, coins, etc., found during excavations at Rouen, G. Dubose, [374]
from Vienna, Pictures in the new Modern Gallery, [375]
Foucquet, Jean, valet-painter to Charles VII. of France, [11]
Boccaccio and Book of Hours executed by, for E. Chevalier, and Book of Hours for the Duchess of Cleves, [ib.]
illuminations in MS. 616 of Gaston Phoebus attributed to and other illuminated MSS. executed by, [ib.]
influence of Italian ideas on, [90]
Fouquet, Superintendent to Louis XIV., patron of Le Brun, [230]
his fêtes of 1659., organized by Le Brun, [ib.]
France, (see [Louvre], [St. Denis], [Paris], etc.)
Drawings in, storage and exhibition of, [293]
French and English illustrators of the early XIX. cent., different aims of, [306]
German and English engravers employed on Curmer’s ‘Paul et Virginie,’ [306]
illustrators working in, 1836. et seq., [299]
Notes from:—
Exhibition of French Primitives (to be held 1904)., G. de Rorthays, [373]
Rouen, repairs to the Cathedral, etc., and Samian bowls, coins, etc., found during other excavations at, G. Dubosc, [374]
regulations for the protection of ancient buildings in, [4], [5]
tendency to centralization in, temp. Louis XIV., [229]
Francesci, Piero dei, painting by, central panel of Altarpiece, Borgo S. Sepolcro, Baptism of Christ, (London), [321]
Francis I. of France and Diane de Poitiers, [12]
Tomb of, designed by P. Delorme, executed by Bontemps, Perret, and Pilon, [95]
Franciscan administration of the Spedale di S. Paolo, Florence, [23–4]
Frankfort, Städel Institute at, painting by Botticelli in, details identical with those in a painting by G. David, in Bruges Museum, [36]
Fraschetti, and Stettiner, studies of, on Albarelli, see [Albarelli]
Fredi, Bartolo di, a pupil or partner of Vanni, [321]
influence shown in paintings by, [309]
French Art of the XIV. cent., Italian influence discernible in, [90]
Furniture of the Seventeenth and Eighteenth Centuries; E. Molinier; II. The Louis XIV. style: The Gobelins, [229]
paintings probably XIV. cent., artists unknown, Adoration of the Magi and Dormition of the B.V.M. (Dowdeswell), [89]
Primitive painters, Exhibition of, to be held 1904., G. de Rorthays, [373]
Revolution, suppression of the trade corporations under, [229]
Frescoes by A. Baldovinetti in the Cappella Maggiore, S. Trinità, Florence, subjects of, and portraits amongst, Vasari cited on, [170]
early decay, ruthless destruction and recent restoration of, [173]
methods of transferring cartoons for, to plaster, [167]
at Pisa, attributed by Milanesi to Daddi, Triumph of Death, [126]
Fresco-painting(s) by Sir F. Leighton, (V. and A. M.), [117]
Parry’s researches into and practice of the art of, [117]
Friedländer, Dr., cited on the Annunciation attributed to Memlinc, (Prince Radziwill), Bruges, 1902., [35]
views of, on the Adoration of the Magi attributed to G. David, shown at Bruges, 1902., [39]
and on a Holy Family so attributed, [40]
Fry, R., Pictures in the Collection of Sir Hubert Parry, at Highnam Court, near Gloucester; I. Italian Pictures of the Fourteenth Century, [117]
Furniture, French, of the Seventeenth and Eighteenth centuries, E. Molinier; II. The Louis XIV. Style: The Gobelins, [229]
Furtwängler, Professor, cited on Apollo as the Βούπαις, [244]
cited on the sculptor of the Leconfield Head of Aphrodite, [249]
and Mrs. Strong, views of, on the modeller of the Head of Zeus, shown at the Burlington Fine Arts Club Exhibition, [249]
GADDI, Agnolo, painting by, Coronation of the Virgin, (Parry), [126]
Taddeo, follower of Giotto, [125]
painting by, Coronation of the Virgin, (S. Croce), [126]
fresco by, in S. Croce, Florence, copied in miniature by Pol de Limbourg, [90]
Gainsborough, T., excellence of, as a painter of dogs, [218]
Galerie d’Apollon, Louvre, work of Le Brun, [230], [235]
d’Hercule, painted by Le Brun in the de Thorigny mansion, his consequent call to Vaux, [230]
Gambart sale, drawings by Millais for illustrations to Dream of Fair Women purchased at, by V. and A. Museum, [294 note]
Gandhi’s views on the origin of the name of the Tirthakar sect of Thibet, [44]
Gaston Phoebus, see [Foix, Gaston de]
Gaston Phoebus, familiar title of the Livre de Chasse, written by Gaston III. of Béarn and Foix, [11]
Codex MS. 616 of, now with others in Bibliothèque Nationale, Paris, [15]
contents summarized, [16]
difference between it and other mediaeval hunting-books, [15]
illuminations in, [15];
locale and losses of existing copies of, [16], [21]
portions of, borrowed from other writers, [15]
prologue of, a reflection of the spirit of the age, [15–16]
Gaucheraud, researches of, on Codex MS. 616 of Gaston Phoebus, [8]
Gemini, Thomas, title-page to ‘Anatomy’ of, early instance of British engraving, (V. and A M.), [194]
Genoese war with Florence, B. Gianfigliazzi the ‘Commessario’ of Florence in, [28]
Geographical Distribution, The, of the First Folio Shakespeare, F. Rinder, [335]
its publishers, a facsimile of, and its original, Lee’s notes on, first authentic sale of a copy by auction, [335]
first priced records, classification of copies extant, [336]
table showing present ownership of said copies, [337]
Germany (see [Bavaria], [Berlin], [Charles V.], [Dresden], [Dürer], [Munich], etc.), (La Magnia), source of ‘Azzurro della Magnia,’ [168]
’Ghazels,’ the, of Hāfiz. [143]
Ghent, Crypt staircase, etc., at S. Bavo’s, [375]
Ghirlandajo, Domenico, pupil of Baldovinetti, works of, in Florence, [174]
Gianfigliazzi, Bongiani, patron of the Capella Maggiore of S. Trinità, Florence, his agreement with Baldovinetti, [27], [167]
his family history, high official rank, and connexion with the Chapel, [28] et seq.
death of, [170]
portrait of, with Jacopo and Giovanni in Baldovinetti’s frescoes, [170]
Gherardo, high rank attained by, [28]
sepulchral slab of, [ib.]
Jacopo, son of Bongiani, and continuer of his work, [170]
Gigoux, Jean, as an engraver, [306]
illustration by, to ‘Gil Blas,’ [299]
Gild of Bakers, Brussels, matrix of seal of, (Lefébure), [190]
described, [192]
privileges owned by, [193]
Gild of Barbers, Brussels, matrix of seal of, (Museées Royaux du Cinquantenaire), [190]
described, [191–2]
Gild of Butchers, Brussels, matrix of seal of, (City archives), [190]
described, [192]
their privileges, etc, [193]
Gild of Drapers, Brussels, its lack of judicial powers, [190]
its seal, [190]
described, reason for existence of the seal, [191]
Gild of Painters, dispute of, with the king’s painters, France, result of, to Le Brun, [230]
Gild of St. John, (miniaturists), Gerard David a member of, [40]
Gild of St. Luke, [326], [332]
some members of, [36], [343]
‘Giorgione,’ Two Alleged Paintings by, H. Cook, [78]
once called Barbarelli, two paintings attributed to, but by Cariani, Adoration of the Shepherds, ex Leuchtenberg Gallery, [78]
Madonna and Child, (Salting), [ib.]
Giotto, characteristic of his styles, [125]
influence of, on painter of Nativity and Adoration, (Parry), [118]
paintings attributed to, by Berenson, Panels, Last Judgement, etc., (Munich Gallery), [118]
Giovanni d’Andrea, glazier, Florence, work of, in the Cappella Maggiore, [31], [168]
Giovanni di Jacopo de’ Migliorelli, notary of Florence, [170]
Giovanni di Paolo, see [Paolo, G. di]
Giovanni, Il Rosso, gold-beater of Florence, [169]
Giovanni, Matteo di, paintings by, part of Altarpiece, (Borgo S. Sepolcro), [321]
probably by, Panels, SS. Peter and Paul, (S. Pietro Ovile, Siena), [321]
Girardon, François, employed by Le Brun, [235]
Girolamo dai Libri, see [Libri]
Glasgow Exhibition, representative collection of modern Dutch painters at, [177]
Glass, see [Ceramics and Glass]
Glaze, as used at Burslem, XVII. cent., [66]
Gobelin, Jean, dyer, from Rheims, his house annexed by Colbert, whence the name of ‘Gobelins,’ [235]
Gobelins Manufactory, The, E. Molinier, [229]
foundation of, preliminary to the suppression of corporations under the Revolution, [229]
letters patent of Louis XIV. instituting, [235]
origin of the name, [ib.]
Goblet d’Alviella, Count, cited on absence of Svastika in Babylonia and Assyria, [44]
on meaning of Chinese characters C. h. e., [ib.]
on the Tree of Life, its origin and diffusion, [353]
Goldsmith (Oliver), his names for the Misses Horneck, [223]
Gonzaga, Ludovico, Mecal of, with helmeted knight, Greek character of, [243]
‘Good Words,’ some illustrators of, [300]
Goodall, see [Turner and Goodall]
Goodyear, Professor, cited on the Lotus as a keynote of decoration rather than the Svastika, [48]
on the same as associated with Sun-worship, etc., [350] et seq.
and with the Svastika, [354]
Gordon, Major-General, cited on a Svastika on breech of gun captured in Taku Fort in 1861., and on its thoroughly Chinese character, [47]
Gossart, J., painting attributed to, Virgin and Child ascribed by Hulin to Prevost, (Carlsruhe), [332]
Gothic style, intrusion of, into Eastern art, [139]
Graffiato ware, Staffordshire, [68]
Grafton, Duchess of, see [Liddell, Miss Anne]
Grand Moguls of Delhi, their love for art, [143]
Granvella, Titian’s letter to, on his portraits of Charles V. and his wife, (see [note]), [281]
Great Britain, lack of legislation in, for protection of ancient buildings, [3]
Greece, drawings of, by Cockerell, shown at the Burlington Fine Arts Club Exhibition, [255]
regulations in, for the protection of ancient buildings, [5]
Greek Art, evolution of, from idealism to realism, [243]
value and limitations of, [236]
Exhibition of, The, at the Burlington Fine Arts Club; C. Smith, [236]
fret, the, and the Svastika, [48]
influence on Persia and Persian art, early prevalence of, [136–9]
Type, A New Fount of, (Proctor’s Otter), [358]
Green, W. T., remarkable engravings by, illustrations to ‘Solace of Song,’ etc., [306]
Grey, Sir George, donor of a first folio Shakespeare to Auckland, New Zealand, and Cape Town, [336]
Grohman, W. A. Baillie-, The Finest Hunting Manuscript Extant, [8]
Gronau, Georg, Titian’s Portrait of the Empress Isabella, [281]
Grumentum, probable source of the Greek bronze, A Mounted Warrior, shown at the Burlington Fine Arts Club Exhibition, [243]
Guicciardini, Luigi, the elder, portrait of, in Baldovinetti’s frescoes, [170]
Guildhall, the, The Dutch Exhibition (of paintings) at, 1903.
I. The Old Masters, [51]
II. The Modern Painters, [177]
Guillen, see [de Brocar]
‘Gulistan,’ Persian MS., non-illuminated, [143]
Gwatkin, Mrs., see [Palmer, ‘Offy’]
Gwyn, Mrs., (Mary Horneck), Goldsmith’s ‘Jessamy Bride,’ portrait of, see [Horneck, the Misses]
Portrait of, by Sir J. Reynolds, in Persian dress, original owned by W. W. Astor, copy in Normanton collection, [224]
HAARLEM, [36]
Hāfiz, delight of Timur Bey in his writings, [143]
Halifax, first Earl of, portrait of his daughter, Lady Charlotte Johnstone, by Sir J. Reynolds (Normanton), [223]
Hals, Dirk, and other painters greatly resembling Palamedes in style and subject, [56]
Hals, F., paintings attributed to, conjointly with Judith Lyster, see [Lyster], Guildhall, 1903., probably by Molenaer, Group of Three, [52]
part probably by Van Goyen, Van Goyen and his wife, [52]
painting by, same exhibition, so-called Admiral de Ruyter, high excellence of, [52]
Hamilton, Lady Betty, afterwards Countess of Derby, Portrait of, as a child, by Sir J. Reynolds, (Normanton), her history, [218]
later Portrait of by Reynolds, lost, [ib.]
Hanap, see [Silver Plate]
Handles a feature of Staffordshire ware, [66], [68]
Hapsburg family, Codex MS. 616 of Gaston Phoebus possessed by, for 130 years, [12]
Harrow School, Greek Krater owned by, decoration, Kaineus overcome by Centaurs, shown at the Burlington Fine Arts Club Exhibition, [255]
Harvey, William, as an illustrator and wood-engraver, [294], [306]
illustrations by, to Lane’s ‘Arabian Nights,’ [299]
to ‘Northcote’s Fables,’ [299]
to the ‘Solace of Song,’ features of, [306]
and Jackson, designers and engravers, illustration by, [306]
Hearne, Thomas, water-colour artist, pupil of W. Woollett, engraver, engraving said to be by him, [194–9]
Heath Collection, Liphook, painting attributed to Memlinc once in, Triptych, Deposition with Saints, shown at Bruges, 1902., [35]
Heilsbronn, burial-place of the Margraves of Culmbach, Altarpiece at, with group of the daughters of the Margravine Sophia of Brandenburg-Ansbach, [289]
Henri II. of France and Catherine de’ Medici, Tomb of, at St. Denis, executed by G. Pilon, [95]
and Diane de Poitiers, [12]
Henri IV. of France, Flemish upholsterers brought to Paris by, [235]
Henry IV. (of England), [21]
Henry VI., gift of plate by, to Winchester College, [149]
visits of to the school, [ib.]
Henry VIII., gift of Winchester College to, [149]
Henslowe, Radolphus, Parcel-gilt Rose-water dish presented by, to Winchester College, [155]
Hera, meaning of Svastika sign on, [43]
Herat, celebrated Persian writers of, [143]
fine library of Sultan Husain Mirza at, [ib.]
Persian illuminated MS. executed at, ‘Ascension of Mohammed to Heaven,’ beauty of, [143]
question of Chinese influence on, [144]
‘Hero and Leander’ printed by Guillen, effect of use of accents in, [358–60]
Herringham, Mrs., cited on various artists’ colours, [168]
Higgins, cited on the origin of official name for Governor of Thibet, [44]
Highnam Church, frescoes in, by T. G. Parry, [117]
Court, Sir H. Parry’s collection of pictures at, R. Fry, [117]
Hindu gods, the Svastika supposed emblem of, [43]
use of the Lotus as an emblem, [350]
Hipponax, bust of, shown at the Burlington Fine Arts Club Exhibition, [250]
Hissarlik, the leaden goddess from, meaning of Svastika sign on, [43]
Hittite origin of the Svastika suggested by Sayce, [47]
Hiuantusang, (a Doctor of Reason), cited on the Tao-sse of China, [47]
Hobbema, characteristics of his work, its singular evenness of quality, [59]
paintings by, Guildhall, 1903., Landscape and Woody Landscape, [39]
‘Hobby Horse, The,’ a drawing by Sandys produced in, [300]
Hobson, R. L., Early Staffordshire Ware, illustrated by pieces in the British Museum, [64]
Holland and China, Rotterdam the centre of the XVIII. cent. commerce between, [277]
trade of, with Lowestoft in Delft-faïence, [272]
and in English clays for its manufacture, [277]
Hom, see [Date-palm] and [Soma tree]
Honiton lace, revival of, by the late Mrs. Treadwin, [95]
Horne, H. P., A Newly-discovered ‘Libro di Ricordi’ of Alesso Baldovinetti, [22]
Appendix giving documents referred to, [377]
frescoes by unknown artist, school of Cimabue, discovered by, near Florence, [118]
Horneck, the Misses, afterwards Mrs. Bunbury and Mrs. Gwyn, Portraits of, by Sir J. Reynolds, (Normanton), [223]
sketch of, (Bunbury), [ib.]
sobriquets given to them by Goldsmith, [ib.]
House-Irons, Svastika on, [48]
Hulagu, the Mongolian, sent to conquer Persia by Manchu, Emperor of China, [139]
his Christian wife, [140]
Hulin, G., cited on the Annunciation attributed to Memlinc, (Prince Radziwill), shown at Bruges, 1902., [35]
cited on the portraits of Philip Wielant and Joan van Halewyn on a Triptych by Isenbrant, [331]
paintings attributed to J. Prevost by, and their locations, [332] and [note]
Hungary, King Matthias Corvinus of, works executed for, by Verrochio, [84]
Hunt, W. Holman, illustrations by, to Moxon’s edition of Tennyson, [299]
Hunting Manuscript, The Finest Extant, W. A. Baillie-Grohman, [8]
Husain ibn Bäikara, Sultan, ruler of Persia, famous writings of and famous writers of his day, [143]
Husain Mirza, Sultan, Timurid ruler of Persia, fine library collected by, at Herat, [143], [144]
‘Life of the Sufis of,’ repetitive decorations in MSS. of, [135]
IBN ARABSHAH, misrepresentation of Timur Bey by, [143]
Iceland, Mediaeval Silver Chalice from, in the Victoria and Albert Museum, H. P. Mitchell, [70]
Illuminated MSS., The Reid Gift of, Victoria and Albert Museum, II., [74]
Inchbald, Mrs., Portrait of, ascribed to Sir J. Reynolds, (Normanton), [224]
India, (see [Buddha] and other divinities, [Hindu], etc.), home of the rose lotus, [350]
symbolism of the Svastika in, [43]
Indra, the rain god, the Svastika supposed to be an emblem of, [43]
Innsbruck, Castle Ambras near, [12]
Inselin, house of, decorated by Le Brun, [230]
Isabella, Empress, Titian’s Portrait of, G. Gronau, [281]
Isabey, G., and other French artists, illustrations by, in Curmer’s ‘Paul et Virginie,’ [306]
Isenbrant, Adrian, assistant to Gerard David, notes on his work at Bruges, and its characteristics, etc., [326]
paintings by, shown at Bruges, 1902., Diptych, Our Lady of the Seven Dolours, (part in church of Our Lady at Bruges, part in Brussels Museum), [326]
B. V. M. in landscape with female saints, (Count Arco-Valley), [326]
its prototype, replica and variants, [ib.]
B. V. M. and Child on throne with rams’ heads, (Northbrook), [331]
Panels, B.V. M. and Child enthroned in garden with donor, peacocks, etc., (Northbrook), [ib.]
St. Luke with portrait of B. V. M. and Child, (Colnaghi), [ib.]
SS. Andrew, Michael and Francis, with Crucifixion in upper part. (Sedelmeyer), [ib.]
St. Mary Magdalene in the Desert, (De Somzée), [ib.]
Triptychs, B. V. M. and Child with angels with musical instruments (Lotman), [326]
Presentation in the Temple, with portraits, probable source of, (Bruges Cathedral), [331]
part of, Donor and family protected by St. John and a female saint, (von Kaufmann), [ib.]
Vision of S. Ildephonsus, (Northbrook), [ib.]
paintings attributed to, B. V. M. and Child with a Carthusian, ascribed by Hulin to Prevost, [332]
B. V. M. and Child, (Carlsruhe), ascribed to Gossart, [ib.]
Israels, Josef, a leader of modern Dutch painting, characteristics and inequality of his work, [177]
paintings by, shown at Guildhall, 1903., The Cottage Madonna, special excellence of, [177]
A Jewish Wedding, last picture painted by, [ib.]
The New Flower, A Ray of Sunshine, The Shipwrecked Fisherman, [ib.]
Italian Albarelli, Three, (Louvre), [338]
art, evolution of, from the early Christian style, works of art illustrating, [118]
influence of, evident in paintings by Gerard David, [36]
Bas-reliefs, Two, in the Louvre, A. Michel, [84]
Painters, see [Baldovinetti], [Cariani], [Giorgione], [Titian], [Vanni]
Pictures of the Fourteenth Century, at Highnam Court, in the Collection of Sir Hubert Parry, R. Fry, [117]
Italy and the North, (specially France), XIV. cent., interchange of artistic ideas between, instances of, [90]
regulations in, for the preservation of ancient buildings, [5]
Itoga, chief divinity of the Mongols, [140]
Ivory carvings recently acquired by the British Museum, [200]
JACKSON, see [Harvey, W., and Jackson]
Jains, see [Tirthankara]
Jāmī, illustrious Sūfi poet of Herat, [143]
Japan, symbolism of the Svastika in, [43]
Jarvis, glass-painter, executor of the Reynolds designs for New College window, [211]
Jenghis Khan, [132]
Jerusalem, arms of, with others, on Italian Albarelli, (Louvre), [338]
Johnson, J., printer of ‘Northcote’s Fables,’ excellent work of, [306]
Johnstone, Lady Charlotte, daughter of first Earl of Halifax, Portrait of, (Normanton), by Sir J. Reynolds, [223]
Jonson, Ben, collected works of, published 1616. and 1640., size of edition and cost per copy then and in 1680., Lee on, [335]
Joseph, Mrs., painting by Jan Vermeer, owned by, [55]
Jourdain, M., Lace in the Collection of Mrs. Alfred Morrison at Fonthill, [95]
Jupiter Pluvius and Jupiter Tonans, Svastika supposed to be an emblem of, [43]
KALAOUN, Sultan, Koursi inscribed with his name, (Cairo Museum), [344]
Kaufmann, R. von, owner of painting attributed to Memlinc, Triptych, Deposition with Saints, (Bruges, 1902.), [35]
Khorassan, Chinese influence on the Timurid art of, [143]
Khwand-Amir, historian, of Herat, [143]
Knight, Payne, cited on the sculptor of the Leconfield Head of Aphrodite, [249]
Knutchmar, German engraver of Menzel’s illustrations, [306]
‘Koran,’ Arab illuminated MSS. of, inferiority of, [136]
Koursi cover, Arabic, copper, gold and silver encrusted, acquired by the Louvre, G. Migeon, [344]
names inscribed on, [ib.]
Ku K’ai-chih, Chinese artist of the T’ang dynasty, roll believed to be his work acquired by the Print Room, British Museum, [200–5]
Kunigunda of Austria, sister of the Emperor Maximilian, her husband and daughter, [290]
LABARUM standard and the Tau Cross, [47], see [note]
Lace in the Collection of Mrs. Alfred Morrison at Fonthill, M. Jourdain, [95]
‘La Chace dou Serf,’ poetical work of XIII. cent., parts of Gaston Phoebus borrowed from, [15]
Lanchals, Peter, picture by Gerard David commemorating the execution of, [36]
Landscape backgrounds in Titian‚s portraits, [282]
a sign of comparatively late date, instances of, [285]
Landseer school of engraving, (Sheepshanks collection), shown at the V. and A. Museum Exhibition, [199]
Landsknechte of Charles V. of Germany, [8]
the first trained infantry, [52]
Langue d’Oc, spelling peculiar to, XIV. cent., found in MS. 616 of Gaston Phoebus, [11]
Lastra, Il, (Bartolommeo di Giovanni), glazier, work of, from designs by Baldovinetti, in the Cappella Maggiore of S. Trinità, Florence, [31]
other work there, [168]
Later Nineteenth-Century Book Illustrations, J. Pennell, I., [293]
artists and collections of drawings, [293], and see [note]
collectors, hesitancy of, and its causes, [293]
fate of early originals till 1865., [300]
intervention of photography to save, [305]
methods of workers, [300], [305]
Notes on the illustrations, [305]
publisher and illustrator, past and present relations between, [300]
Latin gods represented by the Svastika, [43]
Lavallée, Joseph, researches of, on Codex MS. 616 of Gaston Phoebus, [8], [11], [21]
Lawrence, Sir T., mark of, on the Dürer Portrait-Drawing newly acquired by the British Museum, [286]
Layard cited on the Palm as an Assyrian symbol, [353]
Le Brun, Charles, ‘first painter to the King’ (Louis XIV.), sketch of his life and association with the Gobelins, [229–35]
designs for Tapestry by, Chasses de Méléagre, History of Constantinople, Jupiter allaité par le chèvre Amalthée, Mars et Venus, Les Muses, [230]
painting by, Alexandre pénétrant dans le tente de Darius, ordered by Louis XIV., [230]
paintings by or designed by, executed at Vaux, L’Apothéose d’Hercule, L’Aurore, Le Palais du Soleil, Le Sommeil, Le Triomphe de la Fidélité, [230]
sculptors and decorators employed by, [235]
Nicholas, sculptor, father of Charles Le Brun, [229]
Leconfield, Lord, Head of Aphrodite ascribed to Praxiteles, owned by, shown at the Burlington Fine Arts Club Exhibition, [249]
Lee, Sidney, introduction by, etc., to Clarendon Press facsimile first folio Shakespeare, [335] et seq.
Lefébure, C., matrix of the seal of the Gild of Bakers of Brussels, owned by, [190], [192]
M., exertions of, in reviving lace-making, [95]
Le Gros family, Augustinian nun of, portrait of, on triptych by Isenbrant, [331]
Leighton, Lord, drawings by, for Dalziel’s ‘Bible Gallery,’ [305]
fresco paintings by, (V. and A. M.), [117]
Le Maire, Barbara, wife of George Van de Velde, donor of painting by Isenbrant to church of Our Lady, Bruges, [326]
Lemoyne, employed by Le Brun, [235]
Le Noir, Philippe, Gaston Phoebus hand-printed by, [8]
Leonardo da Vinci, his father the notary of Florence who engrossed the ‘ricordo’ referring to Baldovinetti, [22]
is the Bust in Bas-relief inscribed ‘P. Scipioni’ his work? [84] et seq.
Le Roi, Martin, painting by unknown Flemish artist attributed to G. David, owned by, Holy Family, [40]
Leuchtenberg Gallery, St. Petersburg, painting by Cariani, attributed to Giorgione, from, Adoration of the Shepherds, illustrated, [78]
Lévy, MM., et ses Fils, Paris, [315 note]
Lhermitte, Leon, painting by, Pastel, Le Pêcheur, (Balli), [360]
‘Liber Studiorum.’ mezzotints of, (Rawlinson), shown at the V. and A. Museum Exhibition, [199]
Libri, Girolamo dai, backgrounds of his paintings, [78]
‘Libro de la Monteria,’ by Argote de Molina, containing description of lost original of Gaston Phoebus, [8]
Liddell, Miss Anne, afterwards Duchess of Grafton and Countess of Upper Ossory, Portrait of, by Sir J. Reynolds, (Normanton), [223]
Light, god of, and of Lightning, Svastika supposed to be the emblem of, [43]
Lilly, Joseph, vendor of the Berlin first folio Shakespeare, [336]
Line engraving, late development of, in Great Britain, [194]
Linnell, John, as a wood-engraver and illustrator, [294]
Lippi, Filippo, influence of, on Lorenzo Monaco, [131]
Lippmann, Dr., suggestion of, as to the identity of the person in the newly acquired Portrait-Drawing by Dürer, (B. M.), [290]
Lockyer, Dr., cited on the Svastika as a Chinese symbol, [47]
London, see [Clifford’s Inn] and [Guildhall]
County Council, and its work in preserving ancient buildings, [3]
and district. slipware of, XVII. cent. et seq., [68]
Lorenzo the Magnificent (de’ Medici), in Baldovinetti’s frescoes, [170]
Lorenzotti, the brothers, influence of, shown in paintings by Fredi and Vanni, [309], [310]
Ambrogio, [310]
painting attributed to (ascribed by Perkins to Vanni), Fresco, Seated Virgin, and Child, (S. Francesco, Siena), [315]
Pietro, painting attributed to, (ascribed by Perkins to Vanni), Madonna degli Infermi, (S. Francesco, Siena), [310–15]
Lotto, Lorenzo, influence of, on Cariani, [78]
Lotus, the accepted Tree of Life, Goodyear on, [48]
connexion of the Svastika with, [43]
evolution of, from ornament to symbol, [349]
as a development of sun-worship, etc., Goodyear cited on the three forms of, and identity with the Tree of Life, [350]
evolution of the Svastika from, according to Goodyear, [354]
and Tree of Life, The, in Oriental Carpets, [349]
Louis XIV. Style, The, in French Furniture, see [Molinier]
Louvain, visit of Dirk Bouts, painter, to, [36]
Louvre, the:—
commission of Le Brun to restore the gallery destroyed by fire in 1661., [230]
afterwards called the Galerie d’Apollon, [235]
paintings by Jean Malouel in, intense ultramarine in and in some other pictures there, [90]
by Memlinc in, Sacra Conversazione, done for John Du Celier, [39]
by Jacob Ruysdael in, [343]
by Jan Vermeer in, [55]
Recent Acquisitions by:—Italian Albarelli, Three, J. J. Marquet de Vasselot, [338]
Koursi Cover, Arabic, G. Migeon, [344]
Pictures, Landscapes (2) by S. Ruysdael, Portrait of Dame Danger, by L. Tocqué, P. Vitry, [343]
sculpture in, group, Les Trois Grâces, by G. Pilon, [95]
Two Italian Bas-reliefs in, artists unknown, Bust in Profile wearing helmet and armour inscribed ‘P. Scipioni,’ [84]
Virgin and Child with Saints and Angels, from a country church, (probably) by A. di Duccio, [89]
Two Italian Bas-reliefs in, artists unknown, A. Michel, [84]
Lowestoft Porcelain Factory, The, and the Chinese Porcelain made for the European market during the XVIII. cent., L. Solon, [271]
Allen, Robert, manager of, maker of the ‘Buckle’ teaservice, (Crisps), [272]
hard porcelain teapot, Chinese, marked with his name, [277]
Browne, Robert, head of factory, how he gained his knowledge of the trade, [272]
crested or initialed porcelain found at Lowestoft, Chaffers’ erroneous theory re, its true provenance, [271], [277], [278]
Crisps, A., genuine ‘Lowestoft’ Porcelain owned by, [272]
dates of some of the pieces extant, [272]
distinctive features of genuine Lowestoft ware, [271], [272]
absence of any mark, [278]
distinctive features of so-called Lowestoft ware, [278]
hard porcelain never made at, but imported and sold from, [271], [272–7]
history of the works, [272–8]
London warehouse of, its manager and methods, [277]
ruin of, how caused, [ib.]
specimens of, ‘Buckle’ tea-service, by R. Allen, inkpots (one marked ‘Allen’), teapot, etc., (Crisps), [272]
teapot in hard porcelain, Chinese in decoration, marked ‘Allen, Lowestoft,’ (V. and A. M.), [277]
Lucca, painted glass window in the Cathedral at, designed by A. Baldovinetti, Annunciation, non-extant, [31]
Lund, Bishop Absalon of, see [Sorö]
Lung’ arno Corsini, Florence, palace of the Gianfigliazzi on, [28]
Lysippus, Head of Mourning Woman, (Ponsonby), attributed to by Reinach, shown at Burlington Fine Arts Club Exhibition, [249]
Michaelis cited on, [250]
Lyster, Judith, wife of J. M. Molenaer, paintings by, attributed to her and F. Hals, Guildhall, 1903., The Jovial Companions, and The Health of the Troop, [55]
MACARTNEY, Lord, embassy of, to China, [205]
Mackowsky, historian of Verrochio, views of, on the artist of the P. Scipioni Bas-relief, [84]
Macquoid, P., The Plate of Winchester College, [149]
Maghreb and Yemen, no illuminated MSS. from, [135]
Maincy, manufactory of high-warp tapestry at, established by Fouquet, [230]
Malcolm Collection, Bas-relief in, Warrior, by Leonardo da Vinci, analogies of, [84]
Malik al Nasir, name on Koursi cover, (Louvre), [344]
Malouel, Jean, painter, intense ultramarine employed by, [90]
Manchu, Emperor of China, Hulagu the Mongol sent by, to conquer Persia, [139]
Manni, Domenico Maria, cited on Baldovinetti’s portraits of himself and Guido Baldovinetti in his frescoes, [174]
Manuscripts, see [Mussulman MSS].
illuminated, (see [Reid Gift]), The Finest Hunting MS. Extant, W. A. Baillie-Grohman, [8]
Marble Statue, A, by Germain Pilon, Charité, [90]
Marbled Staffordshire Slipware, [68]
Margaret of Anjou, Queen, gift of plate made by, to Winchester College, [149]
daughter of Frederick, Margrave of Brandenburg-Anspach, probably the subject of the newly-acquired Portrait-Drawing by Dürer, (B. M.), [289]
Maria Theresa, wife of Louis XIV., [230]
Maris, the brothers, J., M., and W., leaders of modern Dutch painting, [177–8]
Jacob, characteristics of his work, [51], [177–8]
his methods and their evolution, [177–8]
paintings by, shown at Guildhall, 1903., The Bridge, [178]
A Dutch Town, [ib.]
The Ferry Boat, influences traceable in, [ib.]
Gathering Seaweed, notable brushwork of, [ib.]
River and Windmill, The Storm Cloud; The Weary Watchers, in his early highly finished style; A Windmill, Moonlight, his last work, [ib.]
Matthew, characteristics of his work, [178], [189]
paintings by, shown at Guildhall, 1903., The Butterflies, [189]
L’Enfant Couchée, [ib.]
Lady and Goats, [ib.]
Montmartre, [ib.]
Outskirts of a Town, [178]
A Study, [189]
Willem, characteristics of his work, [178]
painting by, shown at Guildhall, 1903., Springtime, [178]
‘Marks and Monograms,’ by W. Chaffers, erroneous theories in, as to Lowestoft China, [271], [277], [278]
Marlborough, George, third Duke of, Portrait of, by Sir J. Reynolds, (Normanton), [218]
and replica, (Pembroke), [223]
Marmion, Simon, miniaturist of Valenciennes, [332]
Marquet de Vasselot, J. J., see [de Vasselot]
Marshall, John, State of a Sculptured Head of a Girl, from Chios, shown at Burlington Fine Arts Exhibition, Smith’s views traversed by those of Rodin, letter, [376]
Martin Folkes copy, first folio Shakespeare, price paid for, by Steevens, 1756., (Rylands Library), [336]
Martini, Simone, influence of, shown in paintings by Fredi and Vanni, [309], [310]
paintings by, Annunciation, (Uffizi), free copy by Vanni, (S. Pietro Ovile), [321]
fresco of the Majestas (Palazzo della Signoria), [310]
St. John Baptist, (2), (Pisa and Altenburg), [310]
type of Madonna painted by, [89]
Mary I., Queen of England, visit and gifts of, to Winchester College, on her marriage, [150]
Masaccio, influence of Donatello on, [131]
the young, type of head painted by, [131]
Masolino, type of head painted by, [131]
‘Master of Game, The,’ by Edward, Duke of York, oldest English hunting-book, its indebtedness to Gaston Phoebus, [21]
Mas’ūdī, cited on ‘The Sum of Histories,’ Persian MS., [140]
Matteo di Giovanni, see [Giovanni, Matteo di]
Matthias Corvinus, King of Hungary, works executed for, by Verrochio, [84]
Mauritshuis, Hague, painting by J. Ruysdael in, View of Haarlem, its excellence, [59]
Mauve, Anton, characteristics and inequality of his work, [177], [189]
paintings by, shown at Guildhall, 1903., Driving in the Dunes, [189]
The Hay Cart, [ib.]
Watering Horses, [ib.]
Maximilian I., Emperor of Austria, [36]
his sister and niece and patronage of Dürer, [290]
and the trades of Brussels, [192]
Mazarin, Cardinal, patron of Le Brun, [230]
Mazdean Persians, art of, [132]
Mea, servant of Baldovinetti, his provision for, [22], [23]
Medals by Flötner and Daucher, with portraits of Susanna of Bavaria, [290]
Medici, Lorenzo de’ (vecchio), works of Verrochio executed for, [84]
Medicean cameos, in painting by G. David, deductions from, [36]
Meissonier, J. L. E., as an illustrator, [294], [299]
illustrations by, to the ‘Contes Rémois,’ [299], [306]
Melbourne Museum, drawings on wood for illustrations to Dalziel’s Arabian Nights, etc., owned by, [305]
Melik Adel, brother of Saladin, marriage projected between him and Cœur de Lion’s sister, [135]
Memlinc, Hans, paintings attributed to, shown at Bruges, 1903., various owners, [35]
paintings by, Diptych (Louvre), prototype of one by Isenbrant, [326]
Sacra Conversazione, done for John Du Celier, now in the Louvre, [39]
Memmi, Lippo, a follower of Simone Martini, [310]
painting attributed to, copy of Simone Martini’s Annunciation, (S. Pietro Ovile, Siena), ascribed by Perkins and Berenson to Vanni, [321]
Triptych, St. Michael between St. Anthony the abbot and the Baptist, (Siena Gallery), ascribed by Perkins to Vanni, [325]
Vanni a pupil of the school of, [325]
‘Memoirs’ of Timur Bey, his undisputed authorship of, [143]
Menander, busts of, shown at the Burlington Fine Arts Club Exhibition, [250]
Mendoza, Don Diego, and Titian’s Portrait of the Empress Isabella, [281]
Menzel, A., as an illustrator, [294]
his work the source of modern illustration in England, [306]
illustrations by, to ‘Geschichte Friedrichs des Grossen,’ [294]
excellence of, [299], [306]
Mesdag, characteristics of his work, its defects, [189]
paintings by, shown at Guildhall, 1903., A Stormy Sunset, [189]
A Threatening Sky, [ib.]
Mesopotamia and the Tree of Life, [353]
Metals and Metal Work, see [Copper] and [Silver]
Metsys, Quentin, influence of, on paintings attributed to G. David, [39], [40]
Metzu, Gabriel, painting by, or attributed to, Guildhall, 1903., Woman Dressing Fish, [56]
Meux, Miss, Portrait of, by Sir J. Reynolds, [223]
earlier erroneous identification of, (Normanton) [224]
Mexican and Maga codices, the Tree of Life in, [353]
Meyer, Dr. Julius, cited on a lost votive picture by Dürer, with portraits of the Margrave of Culmbach and his wife, [290]
Mezzotint(s):—A New, Portrait of Mrs. Home Drummond, after Raeburn, executed by H. Scott Bridgwater for P. and D. Colnaghi, [267]
shown at V. and A. Museum Exhibition, Prince Rupert’s Great Executioner, after Spagnoletto, (H.M. the King), and others, [199]
C. Turner’s Watermill, after Callcott, fine qualities of, [199]
Michael Angelo (di Buonarroti), the ‘bar’ of, [249]
his intellectual rendering of constructed form, as in The Last Judgement, foreshadowed by Baldovinetti’s Altarpiece, [32]
position of, in Italian sculpture, [243]
Michaelis, cited on the Head of a Mourning Woman, (Ponsonby), shown at the Burlington Fine Arts Club Exhibition, [250]
Michel, A., Two Italian Bas-reliefs in the Louvre, [84]
Migeon, Gaston, Koursi Cover, Arabic, copper, encrusted with gold and silver, recently acquired by the Louvre, [344]
Milan, arms of, with others, on the Italian Albarelli now in the Louvre, [338]
Duke of, see [Sforza, Francesco I.]
Milanesi, commentator of Vasari, his bequest to the Communal Library, Siena, and extracts from the ‘Ricordi’ of Baldovinetti amongst, [24], [27]
error of, as to locale of the Baldovinetti ‘ricordo,’ [22]
and as to name of Baldovinetti’s wife, [23]
source of all information on Bernardo Daddi, [125–6]
cited on Vanni as diplomat, and on his death, [309], [325]
Millais, Sir J. E., illustrations by, to Moxon’s edition of Tennyson, [299]
study by, for illustrations to ‘The Parables,’ (B.M.), [300]
Miniatures, see [Mussulman Miniatures]
Miniaturists, see [Gerard David], and [Marmion]
Mir Alī Shir Navā’ī, Vizir of the Timurid Sultan Husain ibn Bäikara, a famous writer, [143]
splendid MS. dated 1527. from divān of, [144]
Mr Julius Wernher’s Titian, (letter), G. de Pellegrini, [267]
Mitchell, H. P., The Sorö Chalice, (from Bishop Absalon’s grave, Denmark), [357]
Modern Dutch Painters, The; works of, Dutch Exhibition, Guildhall, [177]
Mohammed, effect on art of his prohibition of the art of painting, [132]
Persian tradition connected with his birth, [139]
Mohammed el Nasser, Koursi inscribed with his name, (Cairo Museum), [344]
Mohammed Shah, books owned by, [143]
Mohammedan Art, distribution of and commonplace character of, [132]
various schools of, [135]
foreign influences on, [139] et seq.
Molenaer, Jan Miense, painting probably by, attributed to Frans Hals, Guildhall, 1903., Group of Three, [52]
painting by, The Spinet-players, (Rycks Museum, Amsterdam), compared with above, [ib.]
Molina, Argote de, his ‘Libro de la Monteria’ containing description of lost original of Gaston Phoebus, [8]
Molinier, E., French Furniture of the XVII. and XVIII. Centuries; II. The Louis XIV. Style: The Gobelins, [229]
Monaco, Lorenzo, features of his work and influence traceable in, [126], [131]
paintings by, Predella pieces, Adoration of the Magi and Visitation, (Parry), [126]
Adoration, (Raczynski Gallery, Berlin) compared with the foregoing, [131]
Monaldi, Piero, cited on the Gianfigliazzi family of Florence, [28]
Mongolian dynasty in Persia, [139]
attitude of, towards Christianity, [140]
Persian Art during this period, [ib.]
Mons, Hainault, birthplace of John Prevost, painter, [331], [332 note]
Moon, the connexion of, with Soma, [354]
Moor, Major, cited on the Lotus, [350]
More, Warden, ‘Election Cup’ presented by, to Winchester College, [155]
Morelli, painting bequeathed by, to the Accademia Carrara, Bergamo, part of a fresco said to be the portrait of A. Baldovinetti, [174]
Morley, Lord, (Henry Parker), Portrait drawing of, by Dürer, (B.M.), [289], [290]
Morrison, Mrs. Alfred, Lace in her Collection at Fonthill, M. Jourdain, [95]
Mosaic(s) on the mosques of the Sefevæan kings of Persia, [139]
Treatise on, by A. Baldovinetti, lost, [22], [24]
his work in, [169–70]
Moses of Chorene cited on the Arsacidean Kings of Armenia, [47]
Mostaert, painting attributed to, B. V. M. and Child, ascribed by Hulin to Prevost (N.G.), [332]
Moxon’s edition of Tennyson, and its illustrators, [299]
Müller, Ludwig, his discovery of Svastikas on Persian coins of the Arsacide and Sassanide dynasties, [44]
Müller, Professor Max, cited on alleged absence of Svastika in Babylonia and Assyria, [44]
on the Suavastika, [44]
Muller-Walde, and others, views of, on the artist of the P. Scipioni bas-relief, [84]
Munich Gallery, Portrait of Charles V. by Titian in, [285]
Royal Library ‘Boccaccio’ illuminated by J. Fouquet for Chevalier, now in, [11]
Munro, H. A. J., of Novar, first owner of the Portrait of Miss Anne Liddell, by Sir J. Reynolds, (Normanton), [223]
and of the Portrait of Miss Meux, wrongly called Portrait of Fanny Reynolds, (Normanton), [224]
Murghab, monuments of, influence shown by, [136]
Murray, Fairfax, drawings on wood owned by, [305]
Miss, of Kirkcudbright, Portrait of, when a child, by Sir J. Reynolds, (Normanton), [218]
Musées Royaux du Cinquantenaire. Brussels, Matrix of seal of Gild of Barbers, Brussels, in, [190], [191]
Museums, see [British Museum], [Louvre], [V. and A.], and others, under their names
Mussulman Art, Exhibition of, in Paris, May to June, 1903., [132]
Manuscripts and Miniatures as illustrated in the recent Exhibition at Paris, E. Blochet, I., [132]
painting, XV. cent., locale of its masterpieces, [143]
Mytens, painting by H. Pot, at Hampton Court, Souldier making a Strange Posture to a Dutch Lady, formerly attributed to, [56]
NANA of Chaldea, meaning of Svastika sign on, [43]
Naples and Sicily. Alfonzo II. of Aragon, King of, [338]
Nardo, elder brother of Orcagna, not identical with Bernardo Daddi, [125]
National Gallery, attitude of, towards picture-buying, [7]
paintings in, by Cariani, Madonna and Child, ex Leuchtenberg collection, lent to, by G. Salting, [78]
by G. David, from the Cathedral at Bruges, Altarpiece, and (part of) a Triptych, [36]
by P. de Koninck, compared with Commencement d’Orage, [60]
by J. Ruysdael, View over an extensive flat wooded Country, an excellent example, [59]
National Museums, see [New Acquisitions at], and under names of museums
Nature gods, Svastika supposed to be the emblem of, [43]
Navarre, Philip III. of, father of Agnes, wife of Gaston Phoebus de Foix, [11]
Nelthorpe, Sutton, painting attributed to J. Prevost, owned by, S. Francis renouncing the world, [332]
Neroni, Diotisalvi, portrait of, in Baldovinetti’s frescoes, [170]
Netherlands, the, The Early Painters of, as illustrated by the Bruges Exhibition of 1902., W. H. J. Weale, [35], [326]
Netherlands, Turenne’s Campaign in, [12]
Neuburg, Otto Heinrich Count Palatine of, second husband of Susanna of Bavaria, Margravine of Culmbach, medal portraits of, [290]
Neuhuys, Albert, painting by, shown at Guildhall, 1903., Near the Cradle, [189]
New Acquisitions at the National Museums:—
British Museum, Department of Mediaeval Antiquities, [199]
Print Room, [75]
rare Chinese roll, [199]
Victoria and Albert Museum, Mediaeval Silver Chalice from Iceland, H. P. Mitchell, [70]
The Reid Gift, (MSS.), [74]
New College, Oxford, window at, original designs for, by Sir J. Reynolds, subjects of, and models for, [211] et seq.
his intentions stated by himself, [212]
English character of painting, [ib.]
Newton, Lord, of Lyme, Rose-water dish and ewer owned by, compared with those of Winchester College, [136]
Niccolini, Don Averardo, collector of notices of S. Trinità, Florence, XVII. cent., [32]
Nicolas, Dr., Warden, gift of plate by, to Winchester College, [155]
Nieuport, Belgium, restoration of the church of, [375]
Nineteenth-Century Book Illustrations, Later, J. Pennell, I., [293]
Nizāmī, delight of Timur Beg in his writings, [143]
Normanton, Diana, second Countess of, [206]
Portrait of Her Mother, by Sir J. Reynolds, [217]
the present Earl of, The Collection of Pictures of, at Somerley, Hampshire, M. Roldit I. Pictures by Sir Joshua Reynolds, [206]
Welbore Ellis, second Earl of, Normanton picture gallery formed by, chief works in, [206]
predominance of Sir J. Reynolds’ paintings in, [206], [211], [224]
prices paid by this Earl, passim, the pictures described, [212] et seq.
North Africa, Svastika introduced into, by travellers to Phoenicia, [47]
North American Indians, use of and name for the Svastika, [43–4]
Northbrook, Earl of, paintings by A. Isenbrant owned by, shown at Bruges, 1902., panel, B. V. M. and Child, enthroned in garden, donor, peacocks, etc., [335]
B. V. M. and Child, on stone throne with rams’ heads, [ib.]
Vision of S. Ildephonsus, [ib.]
Northern Europe, plain plate with granulated or matted surface made in, [161]
Nuremberg, visit of Lord Morley to, 1523., its object, and the portrait made by Dürer, [289]
OAKEN Chest, The, of Ypres, [357]
Old Dutch Masters, at the Guildhall Exhibition, 1903., [51]
Onatas, statue of Apollo by, and epigram on, [244]
‘Once a Week,’ and its illustrators, [299]
On Oriental Carpets:—
III. The Svastika, [43]
IV. The Lotus and the Tree of Life in, [349]
Opera di Duomo, Florence, Madonna of, by A. di Duccio, [89]
Orcagna, (Italian painter), [125], [126]
‘Oresteia’ of Aeschylus, the first book to be printed from ‘Otter type,’ [360]
Oriental Carpets:—
III. The Svastika, [43]
IV. The Lotus and the Tree of Life, [349]
Oriental China in Europe and America, XVIII. cent., Chaffers’ erroneous theory regarding, [271], [277], [278]
Orthéz, splendour of Gaston de Foix’s court at, [8]
Osiris, the Lotus as an attribute of, [350]
‘Otter’ Type, Proctor’s, [358]
Oudenarde, birthplace of Gerard David, painter, of Bruges, [36]
PAINTED glass windows, designed by A. Baldovinetti, [31]
methods of executing, Florence, XV. cent., [31]
Painters, Dutch, Exhibition of the works of, Guildhall, 1903., [51], [177]
Early, of the Netherlands, as illustrated by the Bruges Exhibition of 1902., W. H. J. Weale, [35], [326]
having marked similarity in style and subject to Palamedes, [56]
Painting(s) in Oils, Frescoes, etc., see also [Pictures]:—
by Baldovinetti, A., Altarpiece for S. Trinità, Florence, Trinity with two Saints, now in the Florentine Academy, [32]
Frescoes, in the Cappella Maggiore, S. Trinità, Florence, the only ones preserved, [167]
found in 1890–7., and described, [173–4]
attributed to Barna, panel, Virgin and Child, half-length, (Chapel of SS. Chiodi, Siena), ascribed by Perkins to Vanni, [315–6]
attributed to Berkheyde, Gerrit, Guildhall, 1903., Rising in a Dutch Town, [60]
by Bisschop, Christopher, shown at Guildhall, 1903., Prayer Disturbed, [189]
by Bosboom, Jan, shown at Guildhall, 1903., Archives at Veere, [189]
by Botticelli, S. Portrait of Lucretia Tornabuoni, (Städel Institute, Frankfort), Medicean medallion in, also painted by G. David, [36]
attributed to Brouwer, Adriaen, Guildhall, 1903., Interior with Figures, possible painters of, [56]
by Cariani, ascribed to Giorgione, ex Leuchtenberg collection, Adoration of the Shepherds, (Wertheimer), and Madonna and Child, (Salting), [78]
La Vergine Cucitrice, (Corsini Gallery, Rome), [78]
by Cornelis, Albert, the only known work of, Coronation of the B. Virgin, (Bruges, 1902.), [332]
attributed to Cüyp, Adrian, Guildhall, 1903., signed Berchem, Head of a Cow, [59]
by Daddi, Bernardo, Altarpiece in five parts, (Parry), [125]
attributed to David, G., Triptych, Deposition of Christ, views of Mr. Weale on its authenticity, [39], [40]
Holy Family, (M. Le Roi), shown at Bruges, 1902., [40]
Annunciation, shown at Bruges, 1902., [39], [40]
paintings by him: dates limiting period of production of, [39]
Adoration of the Magi, formerly attributed to J. van Eyck, (Brussels Museum), shown at Bruges, 1902., [39]
Altarpiece, and (part of a) Triptych, (N. G.), [36]
Triptych, Baptism of Christ, shown at Bruges, 1902., [36]
B. V. M. with Child, Virgin Saints, and Angels, (Rouen Museum), [36], [39]
Judgement of Cambyses, two pictures in Bruges Museum, (one illustrated), [36];
panels, part of an Altarpiece, (Lady Wantage), [39]
parts of a Triptych, (J. Simon, of Berlin), shown at Bruges, 1902., [39]
Triptych, St. Anne and the B. V. M. and Child, SS Nicholas and Anthony of Padua, (de Somzee), shown at Bruges, 1902., [39]
Transfiguration, (Church of Our Lady, Bruges), shown at Bruges, 1902., [40]
by de Bock, Théophile, shown at Guildhall, 1903., An Avenue in Holland, [189]
by de Keyser, T., Guildhall, 1903., Portrait of a Gentleman, [55]
by or ascribed to de Koninck, P., (his masterpiece), attributed to Rembrandt, Commencement d’Orage, (Wantage), Guildhall, 1903., [60] et seq.
probably by de Koninck, S., Head of a Man, usually ascribed to Rembrandt, Guildhall, 1903., [52]
by de Limbourg, P.. a (miniature) copy of a Florentine fresco by T. Gaddi, [90]
by de Vos, Cornelis, Guildhall, 1903., Portrait of Ambrogio, Marchese di Spinola, [55]
Flemish School, artist unknown, Altarpiece by, for the Gild of SS. Mary Magdalene, Katherine, and Barbara, compared with one by Gerard David, [39]
by unknown artist, shown at Bruges, 1902., panel, S. Nicolas of Tolentino, and Roger de Jonghe, Austin friar, (Black Sisters, Bruges), [332]
by unknown artist, Portrait of the Empress Isabella from which Titian painted his Portrait, [281], [282], [285]
Florentine School, early XV. cent., artist unknown, Madonna and Child with Angels, (Parry), and Triptych, Madonna and Child with Angels and Saints, (Uffizi), [131]
Francesco, Piero dei, central panel, Altarpiece, Borgo S. Sepolcro, Baptism of Christ, (in London), [321]
probably French, XIV. cent., artists unknown, Adoration of the Magi, and Dormition of the B. V. M., (Dowdeswell), [89]
by Gaddi, Agnolo, Coronation of the Virgin, (Parry), [126]
by Gaddi, Taddeo, Coronation of the Virgin, (S. Croce), [126]
Fresco copied as a miniature by Pol de Limbourg, [90]
probably by Giovanni di Paola, panel, Crucifixion, (S. Pietro Ovile, Siena), [321]
probably by Giovanni, Matteo di, panels, SS. Peter and Paul, (S. Pietro Ovile, Siena), [321]
attributed to Gossart, Jean, ascribed by Hulin to Prevost, Virgin and Child, (Carlsruhe), [332]
by Hals, Frans, Guildhall, 1903., so-called Admiral de Ruyter, excellence of, [52]
paintings attributed to, probably by Jan Miense Molenaer, Group of Three, [52]
part probably by Van Goyen, Van Goyen and his Wife, [52]
conjointly with Judith Lyster, see [Lyster]
by Hobbema, Guildhall, 1903., Landscape, and Woody Landscape, [59]
by Isenbrant, Adrian, shown at Bruges, 1902., Diptych, Our Lady of the Seven Dolours, (part in church of Our Lady at Bruges, part in Brussels Museum), [326]
B. V. M. and Child, in landscape with female Saints, (Count Arco-Valley), [326]
its prototype, replica, and variants, [ib.]
B. V. M. and Child on throne with rams’ heads, (Northbrook), [331]
panel, B. V. M. and Child enthroned in a garden, donor, peacocks, etc., (Northbrook), [ib.]
S. Luke with portrait of B. V. 111 and Child, (Colnaghi), [ib.]
SS. Andrew, Michael, and Francis, with Crucifixion in upper part, (Sedelmeyer), [331]
St. Mary Magdalene in the desert, (De Somzée), [331]
Triptych, B. V. M., Child, and angels with harp and mandoline, (Lotman), [326]
Presentation in the Temple, with portraits, probable source of, (Bruges Cathedral), [331]
Triptych, part of, Donor and family protected by St. John and a female Saint, (von Kaufmann), [331]
Vision of S. Ildephonsus, (Northbrook), [330]
attributed to, ascribed by Hulin to Prevost, B. V. M. and Child with a Carthusian, [332]
by Israels, Josef, Guildhall, 1903., The Cottage Madonna, [177]
A Jewish Wedding, [ib.]
The New Flower, [ib.]
A Ray of Sunshine, [ib.]
The Shipwrecked Fisherman, [ib.]
by Le Brun, C., Alexandre pénétrant dans le tente de Darius, ordered by Louis XIV., [230]
paintings or designs by, at Vaux, L’Apothéose d’Hercule, L’Aurore, Le Palais du Soleil, Le Sommeil, Le Triomphe de la Fidélité, [230]
attributed to Lorenzotto, Ambrogio, fresco, Seated Virgin and Child, (S. Francesco, Siena), ascribed by Perkins to Vanni, [315]
attributed to Lorenzotto, Pietro, Madonna degli Infermi, (S. Francesco, Siena), ascribed by Perkins to Vanni, [310–15]
by Lyster, Judith, wife of J. M. Molenaer, (attributed to her and Hals), Guildhall, 1903., The Jovial Companions, and The Health of the Troop, [55]
by Maris, Jacob, Guildhall, 1903., The Bridge, [178]
A Dutch Town, [ib.]
The Ferry Boat, [ib.]
Gathering Seaweed, [ib.]
River and Windmill, [ib.]
The Storm Cloud [ib.]
The Weary Watchers, [ib.]
A Windmill, Moonlight, (his last work), [ib.]
Matthew, Guildhall, 1903., The Butterflies, [189]
L’Enfant Couchée, ib; Lady and Goats, [ib.]
Montmartre, [ib.]
Outskirts of a Town, [178]
A Study, [189]
Willem, Guildhall, 1903., Springtime, [178]
by Martini, Simone, Annunciation, (Uffizi), [321]
copy of the same, variously attributed, [ib.]
fresco of the Majestas, (Signoria), [310]
St. John Baptist, (2), (Pisa and Altenburg), [310]
by Mauve, Anton, shown at Guildhall, 1903., Driving in the Dunes, [189]
The Hay Cart, [ib.]
Watering Horses, [ib.]
by Memlinc, Hans, Sacra Conversazione, done for John Du Celier, now in the Louvre, [39]
attributed to him, Bruges, 1903., (various owners), amongst others, Passion of St. Sebastian, (Brussels Museum), Triptych, Deposition of Christ. SS. James and Christopher, (von Kaufmann), Blessed Virgin and Child, donor, and St. Anthony, (Thiem), Annunciation (Prince Radziwill); views of Waagen, Huten, and Friedländer controverted, [35]
attributed to Memmi, Lippo, copy of Simone Martini’s Annunciation, (S. Pietro Ovile, Siena), ascribed by Perkins and Berenson to Vanni, [321]
Triptych, St. Michael between St. Anthony the abbot and the Baptist, (Siena Gallery), ascribed by Perkins to Vanni, [325]
by Mesdag, shown at Guildhall, 1903., A Stormy Sunset, [189]
A Threatening Sky, [ib.]
attributed to Metzu, G., Guildhall, 1903., Woman Dressing Fish, [56]
by Molenaer, Jan Miense, The Spinet-players, (Rycks Museum, Amsterdam), compared with the Group of Three, attributed to Hals, Guildhall, 1903., [52]
by Monaco, Lorenzo, Predella pieces, Adoration of the Magi, and Visitation, (Parry), [126]
Adoration, (Raczynski Gallery, Berlin), compared with the foregoing, [131]
attributed to Mostaert, B. V. M. and Child, ascribed by Hulin to Prevost, (N. G.), [332]
by Neuhuys, Albert, shown at Guildhall, 1903., Near the Cradle, [189]
attributed to Palamedes, Guildhall, 1903., Lady at Harpsichord, probably by Pot, [56]
by Pourbus, P., shutters of Altarpiece by Gerard David, [40]
by Prevost, J., shown at Bruges, 1902., Last Judgement, only authentic work of, (Bruges Museum), earlier version, (Viscount de Ruffo Bonneval), and another, (Weber), [332]
paintings attributed to, by Hulin, and their locations, [332] and [note]
by Rembrandt, Portrait of a Lady, (Hage), [359]
paintings by or attributed to, Guildhall, 1903., Commencement d’Orage, (Lady Wantage), [51]
now ascribed to P. de Koninck (pros and cons), [60] et seq.
Portrait of the Artist, previous owners of, unauthentic, [52]
Portrait of the Painter’s Son Titus, compared with a similar picture in the Wallace collection, [51]
Ruth and Naomi, possibly by K. Fabritius, [52]
by Reynolds, Sir J., Nativity, original design for centre of New College window, Oxford, and its fate, [212]
in the Normanton collection, Boy Reading, (said to be his own portrait), [223]
Faith, Hope, Charity, Temperance, Prudence, Justice, and Fortitude, original designs for New College window, [211]
Felina, [217]
The Little Gardener, a child’s portrait, [218]
Portraits: Elizabeth Beauclerk, (afterwards Countess of Pembroke), as Una and the Lion, [257]
George, third Duke of Marlborough, [218], [223]
Himself as President of the Royal Academy, [217]
Lady Betty Hamilton [218]
Lady Charlotte Johnstone, [223]
Study of a Little Girl, octagonal in shape, [224]
of Miss Anne Liddell, [223]
(on panel), Miss Falconer as Contemplation, [217]
Miss Meux, [224]
Miss Murray of Kirkcudbright, as a child, [218]
The two Misses Horneck, [223]
Mrs. Quarrington, (actress), as St. Agnes, [224]
Mrs. Russell, [223]
in the same collection, The Little Archer, [224]
paintings ascribed to, in the same collection: Portraits; Admiral Barrington, [224]
Lady Hamilton as a Bacchante, [ib.]
Mrs. Inchbald, [ib.]
copies of, in the same collection, Portraits, Mrs. Gwyn in Persian dress, [224]
Mrs. Siddons as the Tragic Muse, painted by the Duchess of Buckingham, [224]
by Ruysdael, Jacob, Guildhall, 1903., Forest Scene, Sea-piece, and View on the Brill, [59]
View of Haarlem, (Mauritshuis, Hague), [59]
View over an extensive flat wooded country, (N. G.), [59]
by Solario, Madonna, [114]
by Steen, Jan, Guildhall, 1903., Portrait of Himself, (Northbrook), [56]
by Terborch, Guildhall, 1903., Portrait of a Lady, and Portrait of a Young Woman, [56]
by Titian, Portraits: Empress Isabella, [281]
Giacomo Doria, [267]
by Tocqué, J. L., at the Louvre, chiefly official portraits, [344]
Portrait of Dame Danger, recently acquired, [343–4]
by Unknown Artists, Richard II., Diptych, (Wilton), perfection of, [89]
School of Cimabue: Nativity and Adoration, (Parry), [117–8]
Altarpiece of St. Cecilia, (Uffizi), other Altarpieces by, recently found near Florence by Horne, [118]
frescoes by same hand, (Upper Church, Assisi), [118]
by van Aelst, Willem, Guildhall, 1903., Still-life Subject, [56]
by van de Capelle, Jan, Guildhall, 1903., both masterpieces, Off Scheveningen, and Sea-piece, [60]
River Scene, (N. G.), [60]
by van de Velde, Adriaen, Guildhall, 1903., Landscape with Cattle, small and excellent, [59]
by van der Heyden, Jan, Guildhall, 1903., Landscape, small, very highly finished, [59]
attributed to van der Neer, Aart, Moonlight River Scene, [59]
by van Eecke or van Eeckele, John, shown at Bruges, 1902., Mater Dolorosa, (Bruges Cathedral), formerly ascribed to John van Eyck, locale of copies of the same, [332]
Vision of S. Bernard, (Tournay Museum), [332]
by van Huysum, Guildhall, 1903., Still-life Subjects, [56]
by Vanni, Andrea; Annunciation, (Count Fabio Chigi, Siena), [316]
Annunciation after Simone Martini, (S. Pietro Ovile, Siena), various attributions of, [321]
Crucifixion, (fragmentary), formerly in the church of the Alborino, (Istituto delle Belle Arte, Siena), [309], [321]
Deposition from the Cross, (Berenson), [321]
Frescoes, one in bad condition, (S. Giovenale, Orvieto), [321 note]
Seated Virgin and Child (S. Francesco, Siena), usually attributed to Ambrogio Lorenzotti, [315]
Madonna (church on Monte Nero, near Leghorn), [321 note]
Madonna degli Infermi, (S. Francesco, Siena), attributed to Pietro Lorenzotti, [310–15]
panels, Madonna and Child, (S. Giovannino della Staffa, Siena), [316]
Virgin and Child, full length, (S. Spirito, Siena), [316]
Virgin and Child, half-length, (Chapel of SS. Chiodi, Siena), usually attributed to Barna, [315–6]
Virgin and Child, (priest’s house next S. Pietro Ovile, Siena), [325]
Polyptych, Altarpiece, (S. Stefano, Siena), [309]
Portrait of St. Catherine of Siena, (S. Domenico, Siena), [309], [321]
Triptych, St. Michael between St. Anthony the Abbot and the Baptist, (Siena Gallery), attributed to Memmi, [325]
Virgin and Child, (Berenson), [316]
by van Os, Jan, Guildhall, 1903., Still-life Subjects, [56]
by van Ruysdael, Saloman, recently acquired by the Louvre, Landscapes, (2), [343]
by Veneziano, Domenico, frescoes, now lost, once in Cappella Maggiore of S. Egidio, [168]
by Vermeer, Jan, Guildhall, 1903., The Cook Asleep, [55]
by and probably by Verspronck, Jan, Guildhall, 1903., Portrait of a Dutch Lady, (Mrs. Stephenson Clarke), [55]
Portrait of a Lady, (at Antwerp), [55]
Paintings in Water-colour, see [Drawings]
Palamedes, painting ascribed to, Guildhall, 1903., Lady at a Harpsichord, probably by Pot, [56]
painting formerly ascribed to, at Hampton Court, Souldier making a Strange Posture to a Dutch Lady, now attributed to H. Pot, [56]
Palma Vecchio, influence of, on Cariani, [78]
Palmer, Mary, see [Thomond, Marchioness of]
Mrs. Elizabeth, model of Sir J. Reynolds for painting of Prudence, (Normanton), [217]
‘Offy,’ (Mrs. Gwatkin), niece and frequent model of Sir J. Reynolds, [211]
as Felina, [217]
Samuel, illustration by, to Adams’s ‘Distant Hills,’ perfection of, [306]
Palmetta, the, as the Tree of Life, [350], [353]
Paolo, Giovanni di, painting probably by; panel, Crucifixion, (S. Pietro Ovile, Siena), [321]
Papillon, Bewick’s possible indebtedness to, [294]
Papyrus, the, as the Tree of Life, [350]
Parfilage, fashionable work in the XVIII. cent., [344]
Paris, see [Bibliothèque Nationale], [Louvre], and [Cluny]
decorative paintings by Le Brun in mansions of, [230], [235]
recent Exhibition (of Mussulman Art) at, Mussulman Manuscripts and Miniatures, E. Blochet, I., [132]
Parker, Henry, see [Morley, Lord]
Parry, Sir Hubert, Pictures in the collection of, at Highnam Court, near Gloucester, R. Fry; I. Italian Pictures of the Fourteenth Century, [117]
Altarpiece, in five parts, by Bernardo Daddi, [125]
Madonna and Child with Angels, Florentine School of the early XV. cent., [129]
Coronation of the Virgin, by Agnolo Gaddi, [126]
Predella pieces, Adoration of the Magi and Visitation, by Lorenzo Monaco, [126]
Nativity and Adoration, by unknown artist, School of Cimabue, [117–8]
Thomas Gambier, of Highnam, father of Sir Hubert Parry, his researches into fresco-painting and paintings in fresco by, his collection of pictures at Highnam, [117] et seq.
Parthenon, the, Persepolitan building recalling, [139]
slab from north frieze of, bas-relief, Head of a Knight and of a horse, various owners and homes of, shown at the Burlington Fine Arts Club Exhibition, [244]
Passavant, his use of ‘Barbarelli’ as cognomen of Giorgione, [78]
Pau, castle of, a stronghold of Gaston de Foix, [8]
Paul III., Pope, patron of Titian, meeting of, with Charles V. at Busseto, 1543., [281]
Pavia, battle of, ‘Gaston Phoebus’ MS. 616 part of the loot after, [8], [11], [12]
Pavillon de Marsan, Paris, Exhibition of Mussulman Art at, 1903., [132]
Pazzi Chapel, S. Croce, Florence, painted window in, designed by A. Baldovinetti, [31]
Pella, birthplace of Alexander the Great, bronze statuette of emaciated man, possibly a Yogi, found at, [255]
Pembroke, Countess of, see [Beauclerk, Elizabeth]
Earl of, Portrait of George, third Duke of Marlborough, owned by, replica of that by Sir J. Reynolds in the Normanton collection, [222]
Earl and Countess of, Heads of, by Sir J. Reynolds, (Normanton), [223]
earlier portrait of the Countess by him as Una, [217]
Pennell, Joseph, Later Nineteenth-Century Book Illustrations, I., [293]
Pepoli family of Bologna, original owners of the painting from which Titian painted his Portrait of the Empress Isabella, [282]
Pergamene stage, the, of Greek art, [243]
Perkins, F. Mason, Andrea Vanni, [309]
Persepolis, illustrated book seen at, by Mas’ūdī, ‘Sum of Histories,’ [140]
monuments of, influences shown by, [136]
Persia, beginning of the art-history of, early and continuous Greek influence in, [136–7]
Sassanian kings of, [47]
Sassanid art in, [140]
the three great schools of painting in, [139]
the Mongolian, [140]
the Timurid, [143]
the Sefevæan, [140], [144]
Persian coins of the Arsacide and Sassanide dynasties, the Svastika on, [44]
Persian skill in miniature painting, [132]
monotonous character of the work, [135]
Greek influences on, [139]
Perrett, Ambrose, French sculptor, work of, on the Tomb of François I., [95]
Perrier, first master of Charles Le Brun, [229]
Perugia, front of S. Bernardino at, by A. di Duccio, [89]
Peschiera, meeting of Aretino with Charles V. at, [281]
Petrucci, R., Notes from Ghent and Nieuport, [375]
Seals of the Brussels Gilds, [190]
Phallus associated with the Svastika in Egypt, [43], [47]
Pheidias, fragments of his work shown at the Burlington Fine Arts Club Exhibition, [244]
Phelippes de France, Duc de Bourgoigne, original of Gaston Phoebus dedicated to, [8]
Philip the Good, privilege granted by, to the butchers of Brussels, [193]
Philip II. of Spain, marriage of, to Queen Mary of England, at Winchester, [150]
Philip III. of Navarre, father of Agnes wife of Gaston Phoebus de Foix, [11]
Phoebus, Gaston, or Le Roi Phoebus, sobriquet of Gaston de Foix, and familiar title of his book, [11]
Phoenicia, no trace of Svastika found in, [47]
Piazza di San Giovanni, Florence, houses in, assigned to Baldovinetti in payment for his mosaic work, [170]
Pictures, see [Collection of the Earl of Normanton], [Dutch], etc.
exhibitions of, see [Bruges], and [Guildhall] in the Collection of Sir Hubert Parry, at [Highnam Court], near Gloucester, [R. Fry]; I. Italian Pictures of the Fourteenth Century, [117]
recently acquired by the Louvre, Landscapes, (2.), by S. Ruysdael, Portrait of Dame Danger, by L. Tocqué, P. Vitry, [343]
Piero, Lorenzo di, painter and colour seller, [167], and [note]
Pierrotti, Dr., preface of, and notes by, to the ‘Ricordi di Alesso Baldovinetti,’ [24]
sources of his information, [27]
Pilon, Germain, French Sculptor XVI. cent., marble statue by, _La Charité_, (Lowengard), [90]
other works by, groups, Les Trois Grâces, (Louvre), Les Trois Parques, (Hôtel de Cluny), [95]
Tomb of François I., (with other sculptors), Tomb of Henri II. and Catherine de Médicis, [95]
Pinwell, G., forgeries of his own drawings by, [305]
Pinzocheri, the Frati, of the Spedale di S. Pedro, Florence, [22], [24]
records of, [27]
women attached to the Hospital, [24]
Piot, M., his use of Greek coins ‘to correct the eye,’ [236]
Pisa, frescoes, the, in campo-santo at, attributed by Milanesi to Daddi, Triumph of Death, [126]
Pisano, Giovanni, influence of, on the painter of the Nativity and Adoration, (Parry), [118]
leading features of his work, [125]
Pitti, Lucca, portrait of, in Baldovinetti’s frescoes, [170]
Place Dauphine, Paris, triumphal arch to welcome Louis XIV. and his queen, erected on, by Le Brun, [230]
Plassenburg Castle, prison of Frederick Margrave of Brandenburg-Anspach, [289]
Plate, (see [Silver Plate]) The, of Winchester College; P. Macquoid, [149]
Plot’s ‘Natural History of Staffordshire’ cited on Burslem pottery and processes, XVII. cent., [66]
Poelenburg, painting by H. Pot at Hampton Court, Souldier making a Strange Posture to a Dutch Lady, formerly ascribed to, [50]
Poitiers, Diane de, daughter of the Sieur de Saint-Vallier and of Marie of France, her probable connexion with Codex MS. 616 of Gaston Phoebus, [12]
Jean de, Sieur de Saint-Vallier, probable owner of Codex MS. 616 of Gaston Phoebus till 1523., [12]
his pardon obtained by his daughter from Francis I., [12]
Poland, see [Casimir III.], King of
Polykleitos, sculptor, leader, of Argive School, earliest recorded work of, and variants thereof, statue; Boy-boxer crowning himself, Head (Vincent), shown at the Burlington Fine Arts Club Exhibition, [244]
Pomegranate, as the Tree of Life, on Yarkand rugs, [353]
Ponsonby, Claude, Head of a Mourning Woman, owned by, shown at the Burlington Fine Arts Club Exhibition, [249]
Porcelain, see [Ceramics]
Porcia, Count, Portrait of, by Titian, with landscape background, (Brera Gallery, Milan), [285]
Portata al Catasto, Florence, 1470., details given in, as to Baldovinetti, [23]
evidence of, as to his handwriting, [27]
Portrait(s), (see also [Paintings] and [Pictures]), of the Empress Isabella, Titian’s, G. Gronau, [281]
Portrait of a Lady, by Rembrandt, on view at the Hague, (Hage), [359]
by Titian, of Giacomo Doria, (J. Wernher), letter on, from G. de Pellegrini, [267]
Portrait-Drawing, A Newly-Discovered, by Dürer, C. Dodgson, [286]
Pot, Hendrik, and other painters greatly resembling Palamedes in style and subject, [56]
painting by, at Hampton Court, Souldier making a Strange Posture to a Dutch Lady, various attributions of, [56]
Pott, Miss C. M., joint-author, see [Short]
Pottery Ware, Early Staffordshire, illustrated by pieces in the British Museum, [64]
Pourbus, Peter, shutters of Altarpiece, by G. David, painted by, [40]
Poussin, Nicolas, companion of C. Le Brun in his journey to Rome, [230]
Poynter, Sir E., drawings by, on wood for illustrations to Dalziel’s ‘Bible Gallery,’ V. and A. Museum, [305]
Praxiteles, Head of Aphrodite ascribed to, (Leconfield), shown at the Burlington Fine Arts Club Exhibition, [249]
other statues by, compared with the foregoing, [ib.]
Previtali, influence of, on Cariani, [78]
Prevost, John, notes on his history, [331–2]
paintings by and attributed to, shown at Bruges, 1902., Last Judgement, the only authentic work by him, (Bruges Museum), [332]
also an earlier version, (Viscount de Ruffo-Bonneval), and another, (Weber), [ib.]
paintings attributed to, by Hulin, and their location, [332] and [note]
Print Room, British Museum, new acquisitions, [75], [200]
Printers, early French, of Gaston Phoebus, [8]
Proctor’s new fount of Greek Type, (the ‘Otter’ type), [358]
Protection of Ancient Buildings, Clifford’s Inn and the, editorial, [3]
Puzzle cups, jugs, etc , see [Early Staffordshire Ware]
QUARITCH, the late Bernard, cited on the value of early editions of Shakespeare, [335]
Quarrington, Mrs., actress, Portrait of, by Sir J. Reynolds, (Normanton), [224]
Queen Street, Cheapside, workhouse of the Lowestoft Porcelain Factory in 1770., [277]
RACZYNSKI Gallery, Berlin, painting by Lorenzo Monaco in, Adoration, compared with that in the Parry collection, [131]
Raphael, Bernard van Orley said to have been a pupil of, [205]
Rattier, P., of Paris, Bas-relief bequeathed by, to the Louvre, Bust in Profile, wearing armour, artist unknown, suggestive of Leonardo. [84]
Ravensworth, Lord, father of Miss Anne Liddell, painted by Sir J. Reynolds, [223]
Rawlinson, Mr., British engravings and mezzotints owned by, shown at the V. and A. Museum Exhibition, [199]
Recent Acquisitions at the Louvre, Koursi cover, Arabic, G. Migeon, [344]
Pictures, Landscapes, (2), by S. Ruysdael, Portrait of Dame Danger, by L. Tocqué, Paul Vitry, [343]
Three Italian Albarelli, J. J. Marquet de Vasselot, [338]
Regnauldin, Thomas, employed by Le Brun, [235]
Reid Gift, The, to the V. and A. Museum, II., [74]
Reinach, S., cited on the sculpture of the Head of a Mourning Woman, (Ponsonby), [249]
Rembrandt, (van Rijn), etching by, The Three Trees, compared with Le Commencement d’Orage, [63]
paintings by and attributed to, Guildhall, 1903., Commencement d’Orage, (Lady Wantage), [51]
now attributed to P. de Koninck, [60] et seq.
Head of a Man, probably by Solomon de Koninck, [52]
Painter’s Son Titus, [55]
Portrait of the Artist, unauthentic, its previous owners, [52]
Ruth and Naomi, possibly by K. Fabritius, [52]
shown at the Hague, 1903., Portrait of a Lady, (Hage), [360]
Landscape with Tobias and the Angel, (N.G.), [63]
Wallace collection, His Son Titus, compared with similar portrait, Guildhall, 1903., [51]
Rendall, M. J., [155]
‘Restoration’ too often synonymous with destruction, [3]
Resurrection and creation, the Lotus as emblem of, [350]
Reynolds, Fanny, sister of Sir Joshua, Portrait of Miss Meux by him, formerly supposed to represent, (Normanton), [224]
Reynolds, Sir Joshua, Pictures by, in the Collection of the Earl of Normanton, M. Roldit, [206]
methods of, in portrait painting, [217]
Nativity, original design for central space, New College window, and its fate, [212]
paintings by, in the Normanton collection, their sources, prices, and other comments upon them, [211] et seq.
Boy Reading, said to be a portrait of himself, his own satisfaction with the picture, [223]
Faith, Hope, and Charity, Temperance, Prudence, Justice, and Fortitude, the original designs for New College window, Oxford, executed on glass by Jarvis, [211]
Girl embracing Kitten, known as Felina, [217]
Portraits: child, The Little Gardener, [218]
Elizabeth Beauclerk, afterwards Countess of Pembroke, as Una with the Lion, [217]
George, third Duke of Marlborough, [218], [223]
replica of (Pembroke), [ib.]
Himself as President of the Royal Academy, [217]
Lady Betty Hamilton, afterwards Countess of Derby, [218]
Lady Charlotte Johnstone, daughter of first Earl of Halifax, [223]
Study of A Little Girl, octagonal, [224]
Miss Anne Liddell, [223]
(on panel), Miss Falconer, afterwards Hon. Mrs. Stanhope, as Contemplation, earlier owners of, [217]
Miss Meux, [223]
earlier erroneous identification of, [224]
Miss Murray of Kirkcudbright as a child, [258]
the Misses Horneck, [223]
Mrs. Quarrington, actress, as St. Agnes, [224]
Mrs. Russell, daughter of F. Vassall, [223]
paintings ascribed to, same collection, The Little Archer, [224]
Portraits: Admiral Barrington. [224]
Lady Hamilton as a Bacchante, engraved by Bartolozzi, [224]
(probably by his pupils) at Normanton, Mrs. Inchbald, [224]
copies of paintings by, in Normanton collection, Portrait of Mrs. Gwyn in Persian dress, original owned by W. W. Astor, [224]
Portrait of Mrs. Siddons as the Tragic Muse, from that at Grosvenor House, painted by the Duchess of Buckingham, [224]
Rheims, birthplace of Jean Gobelin, [235]
Richa, Giuseppe, cited on Baldovinetti’s portrait of himself in his frescoes. [174]
cited on the condition of Baldovinetti’s frescoes, 1755., [173]
cited on the Gianfigliazzi family, of Florence, [28]
Richard I. (Cœur de Lion), marriage projected between his sister and Saladin’s brother, Melik Adel, [135]
Richard II., licence granted by, for the founding of Winchester College, [149]
Richter on the absence of the Svastika in Phoenicia, and its westward transmission, [47]
Rimini, interior decoration of the temple of, by A. di Duccio, [89]
Rinder, Frank, The Geographical Distribution of the First Folio Shakespeare, [335]
Rishi Atri and his son, Soma, [354]
Rishis of Kashmir, use of Soma by, [354]
Rives, Dr. George, Rose-water dish presented by, to Winchester College, [161]
Rogers’ ‘Poems,’ Turner’s illustrations to, (N. G.), [300]
Rogers, William, first British engraver of importance, plates by, shown at V. and A. Museum Exhibition; Portraits: Alphonso, King of Castile, Godfrey Adelmar, Queen Elizabeth (H.M. the King), and Sir T. Docwra, [194]
Roldit, M., The Collection of Pictures of the Earl of Normanton, at Somerley, Hampshire; I. Pictures by Sir Joshua Reynolds, [206]
‘Romance of Alexander,’ by Nizāmī, [143]
Rome, see [Academy of St. Luke], [Corsini Gallery], and [Vatican Library]
alleged visit to, of Bernard van Orley, [205]
chief source of Albarelli or druggists’ jars and similar wares, [338–43]
visit of C. Le Brun to, [230]
Rose Lotus, the, Indian origin of, Chinese use of, etc. [350]
Rose-water Dishes, see [Silver Plate]
Rosselli, Cosimo, and other painters, estimate by, of the cost Baldovinetti’s paintings in the Cappella Maggiore of S. Trinità, Florence, [169]
Stefano, cited on the Altarpiece by A. Baldovinetti, and its inscription, [170]
and Richa, cited on the Pinzochere of S. Paolo, Florence, [24]
Rossetti, D. G., illustration by, to Allingham’s ‘Music Master,’ The Maids of Elfen Mere, [299]
influence of Menzel on, [306]
other illustrations by, to Moxon’s edition of Tennyson, [299]
Rotterdam, centre of the trade between Holland and China, [277]
Rouen Museum, painting by G. David in, B. V. M. with Child, Virgin Saints, and Angels, [36], [39]
Archaeological discoveries during excavations at, [374]
Roy Modus, parts of Gaston Phoebus borrowed from, [15]
Rubens, Peter Paul, influence of Titian on, [285]
Rupert, Prince, (of Bavaria), Mezzotint by, The Great Executioner, after Spagnoletto, (H.M. the King), shown at the V. and A. Museum Exhibition, [199]
Russell, Mrs. (née Vassall), Portrait of, by Sir J. Reynolds, (Normanton), [223]
Russia, lack of legislative protection for ancient buildings in, [3]
Rutland, Duke of, painting by Sir J. Reynolds once owned by, Nativity, original design for centre of New College window, Oxford, burnt in 1816., [212]
Ruysdael, Jacob, characteristics of his best work, [56], [59]
paintings by, Guildhall, 1903., Forest Scene, Sea-piece, and View on the Brill, [59]
View of Haarlem, (Mauritshuis, Hague), [59]
View over an extensive flat wooded Country, (N. G.), [59]
Solomon, paintings by, landscapes, (2), (Louvre), [343]
traces of his influence in painting by Jacob Maris, [178]
Rylands Library, first folio Shakespeare in, price paid for, by Steevens, 1756., [336]
Saccostemma viminale, said by some to be the Soma of the Vedas, etc., [353–4]
S. Andrew’s Chapel, Gloucester Cathedral, paintings in, by T. G. Parry, [117]
S. Aubert, Bishop of Cambrai, patron of Brussels Bakers, [192]
S. Catherine of Siena, a friend of Andrea Vanni, [309]
her portrait by him, [309], [321]
S. Cosmas and S. Damian, patrons of Barber Surgeons, [191]
S. Croce, Florence, painted window in the Pazzi chapel of, designed by A. Baldovinetti, [31]
painting in, Fresco by T. Gaddi, copied as a miniature by Pol de Limbourg, [90]
S. Denis, Abbey of, Tomb of Henri II. and Catherine de’ Medici at, executed by G. Pilon, [95]
S. Francesco, church of, Siena, fire at, 1655., [315]
painting by Vanni, Madonna degli Infermi, in, usually ascribed to P. Lorenzotti, [ib.]
other work by Vanni in, usually ascribed to other hands, [ib.]
S. Francis. traditional residence of, at the Spedale di S. Paolo, Florence, [23]
S. George, church of, at Ruballa, first home of the Altarpiece in five parts by B. Daddi, (Parry), [126]
S. George, the Dragon and Cleodolinde, on the Ypres chest, [357]
S. Giovanni, Florence, baptistery of, Baldovinetti employed to restore, [23]
his emoluments, [170]
S. Lorenzo, Florence, tomb of Baldovinetti in, [22], [24]
district of, Florence, hired dwelling of Baldovinetti in, [23]
S. Luke. (see [Academy of]), Gild of, [326], [332]
S. Maria a Quinto, Florence, land in, owned by Baldovinetti, [23]
S. Maria Novella, marble frontal of the High Altar of S. Trinità found in, [32]
Piazza of, remains of the Spedale di S. Paolo on, [23]
work of D. Ghirlandajo in, [174]
S. Maria Nuova, Florence, Archivio di, ‘Ricordi’ of Baldovinetti once in, [24]
S. Martino a Sesto, Florence, land in, owned by Baldovinetti, [23]
S. Michael (Archangel), patron of the Brussels gild of Butchers, [191]
and of Drapers, [190]
S. Miniato a Monte, Florence, mosaic façade of, restored by Baldovinetti, [169]
S. John Gualbert’s Crucfix removed from, to S. Trinità, [32]
S. Trinità, Florence, Altarpiece for, painted by A. Baldovinetti, Trinity, with two Saints, now in the Florentine Academy, [32]
decoration of, by Baldovinetti, notes of accounts kept by him, [27]
work of D. Ghirlandajo in, [174]
Saint-Vallier family, arms of, as shown in MS. 616 of Gaston Phoebus, [11], [12]
Saladin, heterodoxy of, evidences of, [135]
Salting, G., present owner of painting attributed to Giorgione now ascribed to Cariani, ex Leuchtenberg collection, Madonna and Child, [78]
Salviati, Bernardine, Canon of Bruges Cathedral, Triptych painted for, by G. David, (N. G.), [36]
Samarcand, edifice of Chinese porcelain set up at, by a Timurid Sultan, [144]
MS. from, containing astronomical treatise of ‘Abd ur-Rahmān el Sufi, strong Chino-Japanese style of, [ib.]
Timurid mosques of, ogival doorways of, [139], [143]
Samian bowls found during excavations at Rouen, [374]
Sandys, drawings by, for illustrations, never engraved, Spirit of the Storm, and another, vicissitudes of, [300]
his method of preparing illustrations, and large version of his drawing, Amor Mundi, (Battersea), [300]
Sargon, Palace of, Persepolitan building recalling, [139]
Sarzana, capture of, by Florence, [28]
Sassanides, Kings of Persia, history of, [44], [47]
influence of, on Mussulman architects, art and methods of their period, [139], [140]
Savoy, Beatrice, Duchess of, sister of the Empress Isabella, at Bologna, possibilities of the visit as to the portrait of the latter, [282]
Sayce, Professor A. H., cited on the cedar and the palm as the Tree of Life, [353]
cited on Hittite origin of the Svastika, [47]
Scandinavia, Art and Artists of, (see [Denmark] and [Iceland]), Svastika said to represent Thor of, [43]
Schefer, C., Arab illuminated MS. owned by, the ‘Makāmāt of Harīrī,’ [136]
Scheibler, Dr., attribution by, to G. David of the Adoration of the Magi previously ascribed to J. van Eyck, [39]
Schliemann, Dr., letter to, from Major-General Gordon on Svastika as Chinese symbol, [47]
Sculpture, see [Bas-reliefs]
Bust of St. John Baptist ex Gigli Campana collection (S. K.), is it the work of Leonardo da Vinci? [84]
Greek, Burlington Fine Arts Club Exhibition:—
Busts: Hipponax and Menander, [250]
Heads: Aphrodite, ascribed to Praxiteles, (Leconfield), [249]
Girl from Chios, [249] and [note]
letter on, by J. Marshall, [376]
Mourning Woman, (Ponsonby), ascribed to Lysippos, [249]
of Statue by Polykleitos, (Vincent), [244]
of a Youth, (Vincent), [241]
by Pilon, G., Groups: Les Trois Grâces. (Louvre), [95]
Les Trois Parques, (Hôtel de Cluny), [ib.]
Statue, Marble, La Charité, (Lowengard), [95]
Tomb of François I. (with other sculptors), and Tomb of Henri II. and Catherine de’ Medici, [95]
by Verrochio, David, Statue, resemblance of its mouth to that of the P. Scipioni Bas-relief, [84]
Seals of the Brussels Gilds, R. Petrucci, [190]
Sefevæan Kings of Persia, MSS. of their period, [135], [144]
mosaics adorning Mosques of, [139]
Segher, Hercules, etcher, influence of, on Rembrandt, [63]
Séguier, Chancellor, patron of Charles Le Brun, [229], [230]
Settignano, Desiderio da, carver of the Gianfigliazzi arms, on their Florentine palace, [28]
Seuter and Townley, engravers, [52]
Seventeenth and Eighteenth Century British Engravers, and their work, V. and A. Museum Exhibition, [194]
Sforza, Francesco, first Duke of Milan, his daughter and her husband, [338]
Shah Abbas, Persian art during period of, large survival of MSS. of, [144]
Shah-Alem II., and his library, [143]
Shah-Jehan, Emperor of Hindustan, and his love for literature, [143]
Shah-Rokh, son of Timur Bey, art in Persia during his reign, [143]
Shakespeare, the First Folio, The Geographical Distribution of, F. Rinder, [335]
Sheepshanks Collection of proofs of the Landseer school of engraving, (N. Art Library), shown at the V. and A. Museum Exhibition, [199]
Sheridan, Mrs., model of Sir J. Reynolds for painting of Charity and the Virgin in the Nativity, (Normanton), [212]
Short, Frank, fine work of, in mezzotint, shown at the V. and A. Museum Exhibition, [199]
and Miss C. M. Pott, catalogue and exhibition of Engraving and Etching processes, arranged by, V. and A. Museum Exhibition, [199]
Siddons, Mrs., portrait of, as Tragic Muse, by Sir J. Reynolds, (Westminster), copy, by the Duchess of Buckingham, (Normanton), replica by Reynolds, (Dulwich), [224]
Siena, Communal Library of, extracts from the ‘Ricordi’ of Baldovinetti found in, [24]
paintings by A. Vanni still extant in, see [Vanni], passim
Silver:—
Chalice, Mediaeval, from Iceland, in the V. and A. Museum, H. P. Mitchell, [70]
from Sorö, Denmark, H. P. Mitchell, [357]
The Plate of Winchester College, P. Macquoid, [149]
Cup with cover, gilt, presented by a Marquis of Winchester, [156]
Ecclesiastical; Two Chalices and an Alms Dish, etc., [162]
‘Election Cup’ presented by Warden More, [150], [155]
Hanap, or Tall Standing Cup, [162]
Rose-water Dish and Ewer, parcel-gilt, presented by Radolphus Henslowe [155]
parallels owned by Lord Newton of Lyme, [156]
Rose-water Dish, presented by Dr. George Rives, [161]
Standing Cup and cover, presented by Hugh Barker, [16],
Standing Salt, bequeathed by Michael Bold, [161–2]
Standing Salt, gilt, [156]
Steeple Cup and cover, gilt, [162]
Sweetmeat Dish of tazza form, [156]
Tankard and cover, presented by John Bolney, rare shape of, [161]
Tankard with lid, parcel-gilt, Commonwealth period, [162]
Simon, J., of Berlin, paintings by Gerard David owned by, parts of a Triptych, [39]
Simone, see [Martini, Simone]
Sisamnes, the unjust judge, in painting by Gerard David, Judgement of Cambyses, [36]
Siva, Svastika the supposed emblem of, [43]
Six Collection, Amsterdam, paintings by Jan Vermeer in, [55]
Sixtus IV., Pope, Bongianni Gianfigliazzi one of the Florentine orators sent to, on his election, [28]
Sky and Sky God, Svastika the supposed emblem of, [43]
Slip ornament, Staffordshire pottery, [68], [69]
‘Slip’ in pottery making, a definition of, [66]
Smith, Portrait of the Artist, ascribed (erroneously) to Rembrandt, [52]
Smith, C., The Exhibition of Greek Art at the Burlington Fine Arts Club, [236]
‘Solace of Song,’ remarkable illustrations to, by Harvey, engraved by W. T. Green and others, [299], [306]
Solario, The Authorship of a Madonna by, letter, B. Berenson, [114]
Solon, L., The Lowestoft Porcelain Factory, and the Chinese Porcelain made for the European Market in the Eighteenth Century, [271]
Soma, son of Rishi Atri, legend of, and connexion of with a Buddha, [354]
Soma tree (date palm or hom,) as the Tree of Life, [350], [353]
other theories concerning identity of, [353]
juice of, how prepared, its uses, and allusions to it in the Rigveda, [354]
Somerley, Hampshire, The Collection of Pictures of the Earl of Normanton at, M. Roldit; I. Pictures by Sir Joshua Reynolds, [206]
Soorgh, Hendrik, possibly the painter of the picture attributed to Adriaen Brouwer, Guildhall, 1903., Interior with Figures, [56]
Sophia, daughter of Casimir III. King of Poland, her daughter’s portrait by Dürer, [289]
sister of Casimir, Margrave of Culmbach, [290]
Sorö Chalice, The, (from Denmark), H. P. Mitchell, [357]
Soung-Young, (a Doctor of reason), cited on the Tao-sse of China, [47]
Spain, paintings by Adrian Isenbrant sent to, [326]
Spedale di S. Paolo, Florence, ‘ricordo’ in, relating to Baldovinetti, [22]
locale, ornaments, and original use of, [23]
the Pinzochere of, [24]
Spedale di S. Maria Nuova, that of S. Paolo united with, [22]
Spiral Scroll, The, and the Svastika, [48]
Städel Institute, Frankfort, painting by Botticelli in, resemblance of details in, to those in painting by G. David, (Bruges Museum), [36]
Staffordshire Pottery Ware, Early, illustrated by pieces in the British Museum, R. L. Hobson, [64]
Stanhope, Hon. Mrs., see [Falconer, Miss]
State, the, of a sculptured Head of a Girl from Chios, recently shown at the Burlington Fine Arts Club, Rodin cited on, letter, J. Marshall, [376]
Statue, Marble, by Pilon, La Charité, [90]
Steen, Jan, painting by, Guildhall, 1903., Portrait of Himself, (Northbrook), [56]
Steevens, George, price paid by, for first folio Shakespeare, Martin Folkes copy, 1756., (Rylands Library), [336]
Stothard, T., illustrations by, to the ‘Voyage of Columbus,’ [299]
sepia drawing by. for an illustration, [305]
Strange, E. F., British Engraving (Exhibition of), at the V. and A. Museum, [194]
Sir Robert, engraver, work by, in V. and A. Museum Exhibition, [194]
Strassburg Museum, paintings attributed to Memlinc owned by, shown at Bruges, 1903., ascription controverted, [35]
Strong, Mrs., Exhibition of Greek Art organized by, [236–55]
comment on the exhibits by, [ib.]
Strozzi, Filippo, portrait of, in Baldovinetti’s frescoes, [170]
portrait by Titian with landscape background, (Berlin Gallery), [285]
Suavastika supposed symbol of the Autumnal Sun, [44]
Sufis of Sultan Husein Mirza, MSS. of the Life of, repetitive decorations of, [135]
Sultan Husein Mirza, the Sufis of, MSS. of the Life of, repetitive decorations of, [135]
Sultan Mirza Ulugh Beg, see [Ulugh Beg]
Sun, Autumnal, the Suavastika supposed emblem of, [44]
Sun God, Sun and Sun Chariot, the Svastika supposed emblem of, [43]
Sun-worship, association of the Lotus with, Goodyear cited on, [350]
Sung period of Chinese art, rarity of relics of, [205]
Sunnà of Mohammed, laws of, as to art, [132], [135]
Susanna of Bavaria, wife of Casimir, Margrave of Culmbach, patroness of Dürer, in a lost picture by him, [290]
possibly the Lady of Portrait by him owned by Mr. Heseltine, [ib.]
other (medal) portraits of and of her second husband, [ib.]
Svastika, The, [43]
absence of, from Phoenicia, [47]
absence of, alleged, in Babylonia and Assyria, [47]
as an auspicious sign, and always ornamental, [43]
on breach of gun taken at Taku Fort, [47]
in the Bronze Age, [47]
as the emblem of Agni, [43]
fecundity, [43]
the female, [43]
Hindu gods, [43]
Jupiter Tonans and Jupiter Pluvius, [43]
Thor of the Scandinavians, [43]
evolution of, from the Lotus, according to Goodyear, [354]
in footprints of Buddha on Indian mountains, [43]
Hittite origin or, Sayce on, [47]
introduction of, into Cyprus, Carthage and North Africa, Richter’s views as to, [47]
in relation to the Lotus, [43], [48]
in relation to the Nature gods. [43]
oldest known Aryan symbol. [43]
origin and symbolism of, theories concerning, [43]
on Persian coins of Arsacide and Sassanide dynasties, [44]
Phallic meaning attributed to, [43]
probably a development of the Chinese characters C. h. e, [44]
in Thibet. [44]
traceable in household appointments, house-irons, etc., [48]
universality of, the basis of all decorative design, [43]
use and name of, among North American Indians, [43–4]
Wilson on, [43]
his discovery of, on Assyrian coins and those of Alexander the Great, [47]
Sydney, N.S.W., first folio Shakespeare at, and its donor, [336]
Sykes, Colonel, on Tao-sse of China, [47]
TAKU Fort, the Svastika, obviously Chinese, found on breech of gun taken at, [47]
Tamerlane, see [Timur Bey]
T’ang dynasty of Chinese rulers, rarity of art relics of, [205]
Tangye, Sir R., donor of first folio Shakespeare to Sydney, N.S.W., [336]
Tankards, etc., see [Silver Plate]
Tao-sse sect of China, (see also [Tirthakar]), [47]
Tapestry, designs for, by C. Le Brun, Chasses de Méléagre, History of Constantinople, Jupiter allaité par le chèvre Amalthée, Mars et Venus, Les Muses, [230]
high warp, manufactory of, established by Fouquet at Maincy, [230]
Tara, wife of Brihaspati, mother of a Buddha, by Soma, [354]
Tattooing, the Swastika used in, in Thibet, [44]
Tau Cross, ivory, found at Alcester, (B.M.,) [200]
Teapot, hard porcelain, Chinese in decoration, marked ‘Allen, Lowestoft,’ (V. and A. M.), [277]
Temperament in native Dutch art, [51]
Terborch, G., paintings by, Guildhall, 1903., Portrait of a Lady and Portrait of a Young Woman, [56]
Terra-cottas, see [Ceramics]
Tewkesbury Abbey, frescoes on roof of, by T G. Parry, [117]
Textile Arts, see [Lace], [Oriental Carpets], [Tapestry], [Weaving], etc.
Thibet, connection of the Svastika with, [44]
Tirthakar sect in, derivation of name, [44]
Thiem, A., owner of painting attributed to Memlinc, B. V. M. and Child, (Bruges, 1902.), [35]
Thomas, Mr., on the Svastika and the Jain Tirthankara, [44]
Thomond, Marchioness of, niece of Sir J. Reynolds, sale of her pictures, 1821., the foundation of the Normanton collection, [211]
Thor of Scandinavia, the Svastika supposed emblem of, [43]
Thunder-gods, the Svastika probably emblem of, [43]
Times, The, view of, as to correct attribution of Le Commencement d’Orage, Guildhall, 1903., (Lady Wantage), [60]
Timur Bey, (Tamerlane), [132]
as art patron and author, [143]
and his successors, art in Persia during reigns of, [143]
Timurid art in Persia, [143]
of Khorassan, Chinese influence on, [143]
Mosques of Samarcand, ogival doorways of, and art associations of, [139]
Tirthakar sect of Thibet synonymous with Tao-sse of China, [44]
Tirthankara, the Jain, the Svastika one of their devices, Max Müller and Thomas on, [44], see [note]
Titian, (Tiziano Vecellio), Portrait of the Empress Isabella by, G. Gronau, [281]
his commission from Charles V. at Busseto, Aretino cited on, [281]
his inferior model, [281–5]
his success, [ib.]
visit of, to, Augsburg, confusion caused by his references to his work there, [281]
his adoption of landscape backgrounds, [285]
his influence on subsequent portrait painters, [ib.]
portrait by, of Giacomo Doria, owned by J. Wernher, letter on, from G. de Pellegrini, [267]
Tizio, cited on the Altarpiece by Vanni in S Stefano, Siena, [310]
and on his work for the friars minor of S. Francesco, [315]
Tleson, Kylix signed by, shown at the Burlington Fine Arts Club Exhibition, [255]
Tocqué, Jean-Louis, paintings by at the Louvre, chiefly official portraits, [344]
Portrait of Dame Danger, recently acquired, [343–4]
Tod, Colonel, on the date of introduction of Buddhism into Thibet, [47]
Toft ware, a name for slipware, its origin, [69]
Tomb of Francis I. of France, designed by Delorme, work of Pilon and other sculptors on, [95]
Henri II. of France and Catherine de’ Medici, executed by G. Pilon, [95]
Tommé, Lucca di, painter, [310]
Tone in Dutch painters ancient and modern, [51]
Toscanelli, Paolo da Pozzo, astrologer, portrait of, in Baldovinetti’s frescoes, [169]
Tournay Museum, painting by John van Eecke owned by, Vision of S. Bernard, (Bruges, 1902.), [332]
Treadwin, Mrs., the late, Honiton lace revival by, [95]
Tree of Life identified with the Lotus by Goodyear, [350]
types and distribution of, [353]
and Lotus, in Oriental Carpets, [349]
Trees and Plants identified with the Tree of Life, [350], [353]
Trepperel, Gaston Phoebus hand-printed by, [8]
Turenne, Marshal, campaign of, in the Netherlands, [12]
Turkestan, Timurid MSS. in, better executed than similar MSS. in Persia, [144]
Turkey, lack of legislative protection for ancient buildings in, [3]
Turkish skill in miniature painting, [132]
Turner, Charles, Mezzotint by, shown at the V. and A. Museum Exhibition, The Water Mill, after Callcott, [199]
Turner, J. M. W., as an illustrator, [306]
illustrations by, to Rogers’ ‘Poems,’ (N. G.), [300]
struggles of, with his steel-engravings, [294]
and Barrett, resemblances of their work as illustrators, [306]
and Goodall, illustrations by, to ‘Datur Hora Quieti,’ [300]
Tuscany, Pietro Leopoldo, Grand Duke of, union of the Spedale of S. Maria Nuova and S. Paolo effected by, [22]
Two Alleged Giorgiones, H. Cook, [78]
Italian Bas-reliefs in the Louvre, A. Michel, [84]
Pictures in the possession of Messrs. Dowdeswell, Adoration of the Magi and Dormition of the B. V. M., probably French XIV. cent., [89]
Type, Greek, A New Fount of, (Proctor’s ‘Otter’), [358]
Types of the Tree of Life, [353]
Typography, see [Greek Type]
Tyrol, Archduke Ferdinand, Duke of, Codex MS. 616 of Gaston Phoebus presented to, by Bishop Bernard of Trent, [12]
Landsknechte of Charles V. of Germany recruited from, [12]
UFFIZI GALLERY, painting by unknown artist, Florentine School, early XV. cent. in, Triptych, Madonna and Child, with Angels and Saints, [131]
painting by unknown artist, School of Cimabue, in Altarpiece of St. Cecilia, [118]
Ulugh Beg, grandson of Timur Bey, astronomical tables drawn up by, [143]
astronomical MS. copied for, at Samarcand, strongly marked Chinese influence in, [144]
United States of America, general provision of legislative protection for ancient buildings in, [3]
Upper Ossory, Earl of, his second wife, Miss Anne Liddell, painted by Sir J. Reynolds, (Normanton), [223]
Urbino, Duchess of, Portrait of, by Titian, believed to be the first in which he employed landscape background, [285]
Guidobaldo, Duke of, meeting of, with Charles V. at Peschiera, [281]
VAN AELST, Willem, painting by, Guildhall, 1903., Still-life Subject, [56]
van Craesbeeck, Joost, possibly the painter of the picture attributed to Adriaen Brouwer, Guildhall, 1903., Interior with Figures, [56]
Van de Capelle, Jan, beauties and characteristics of his work, [60]
paintings by, Guildhall, 1903., Off Scheveningen and Sea Piece, both masterpieces, [60]
painting by, River Scene, (N.G.), beauties of, [60]
Van der Heyden, Jan, painting by, Guildhall, 1903., Landscape, (very highly finished), [59]
Van der Neer, Aart, painting attributed to, Guildhall, 1903., Moonlight River Scene, doubtful authenticity of, [59]
Van de Velde, Adriaen, painting by, Guildhall, 1903., Landscape with Cattle, small and excellent, [59]
George and his son John, portraits of, on Diptych, by Isenbrant, [326]
Willem, paintings of, surpassed by some of van de Capelle’s shown at Guildhall, 1903., [60]
van Dyck, Sir A., (or Vandyke), influence of, traceable in painting by Sir J. Reynolds, [223]
influence of Titian on, [285]
van Eecke or van Eeckele, John, paintings by, shown at Bruges, 1902., formerly ascribed to John van Eyck, Mater Dolorosa, (Bruges Cathedral), locale of copies of the same, [332]
Vision of S. Bernard, (Tournay Museum), [332]
van Eyck, John, paintings formerly attributed to, one now ascribed to Gerard David, Adoration of the Magi, (Brussels Museum), Bruges, 1902., [39]
another, now ascribed to van Eecke or van Eeckele, Bruges, 1902., Mater Dolorosa, (Bruges Cathedral), locale of copies of the same, [332]
van Goyen, Jan, favourite subjects in paintings of, [343]
part of painting attributed to Frans Hals, possibly by, Van Goyen and his Wife, Guildhall, 1903., [52]
traces of his influence in paintings by Jacob Maris, [178]
van Halewyn, Joan, and her husband, portraits of, on triptych, by Isenbrant, [331]
van Huerne, M., paintings by Isenbrant and others, presented by, to Bruges Cathedral, [331]
van Huysum, Jan, paintings by, Guildhall, 1903., Still-life Subjects, [56]
Vanni, Andrea, F. Mason Perkins, [309]
of Siena, painter, diplomat, and devotee, friend of S. Catherine of Siena, date of his birth, share in revolution of 1368, etc., [309]
characteristics of his style, [89], [309], [322]
date of his death, [325]
paintings by; Annunciation, (Count F. Chigi, Siena), [316];
Annunciation, after Simone Martini, (S. Pietro Ovile, Siena), various attributions of, [321]
Crucifixion, (fragmentary), formerly in the church of the Alborino, (Istituto delle Belle Arte, Siena), [309], [321]
Deposition from the Cross, (Berenson), [321]
Frescoes, in bad condition, (S. Giovenale, Orvieto), 321, [note]
Seated Virgin and Child, (S. Francesco, Siena), usually attributed to A. Lorenzotti, [315]
Madonna, (church on Monte Nero, near Leghorn), 321, [note]
Madonna degli Infermi, (S. Francesco, Siena), attributed to Pietro Lorenzotti, [310–15]
Panels, Madonna and Child, (S. Giovanni della Staffa, Siena), [316]
Virgin and Child, full-length, (S. Spirito, Siena), [316]
Virgin and Child, half-length, (Chapel of SS. Chiodi, Siena), usually attributed to Barna, [315–6]
Virgin and Child, (priest’s house, next S. Pietro Ovile), [325]
Polyptych, Altarpiece, (S. Stefano, Siena), [309]
Portrait of St. Catherine of Siena, (S. Domenico, Siena), [309], [321]
Triptych, St. Michael between St. Anthony the Abbot and the Baptist, (Siena Gallery), usually ascribed to Lippo Memmi, [325]
Virgin and Child, (Berenson), [316]
presumptions as to his later and earlier artistic life, [325]
one of his pupils referred to, [ib.]
van Orley, Bernard, Notes on the Life of, W. H. J. Weale, [205]
Valentine, reputed father of Bernard, [205]
van Os, Jan, paintings by, Guildhall, 1903., Still-life Subjects, [56]
van Pynbroek, Margaret, alleged mother of Bernard van Orley, [205]
van Rijn, Rembrandt, see [Rembrandt]
van Ruysdael, see [Ruysdael]
Vasari cited on Baldovinetti, [22], [24]
his methods of fresco painting, [169]
his frescoes in the Cappella Maggiore of S. Trinita, Florence, and their subjects, [170]
on their early decay, [173]
cited on the metal heads made by Verrochio, [84]
cited on the preparation of frescoes, [167]
‘Life of Stefano Fiorentino and Ugolino Sanese,’ by, [126]
and others, error of, as to Bernardo Daddi, [125]
Vassall, F., portrait of his daughter, Mrs. Russell, by Sir J. Reynolds, (Normanton), [223]
Vaux, Château de, works of C. Le Brun at, [230]
Vecellio, Tiziano, see [Titian]
Vedas, the, story of Agni the fire God, and the origin of the Svastika in, [44]
note concerning these books, [353]
Velasquez, as a painter of dogs, [218]
one of the few painters whose brushwork equals that of Frans Hals, [52]
Veneziano, Domenico, use of oil by, in his frescoes, [169]
Ventura, Bernardino di, pencil-maker, of Florence, [167]
Veramin, see [Ardabil and Veramin]
Verard, Antoine, Gaston Phoebus hand-printed by, [8]
Verino, Ugolino, reference to the Gianfigliazzi family in a poem by, [28]
Vermeer, Jan, of Delft, a rare master, painting by, Guildhall, 1903., The Cook Asleep, [55]
other and finer works by elsewhere, [ib.]
Verrochio, possibly the artist of the P. Scipioni Bas-relief, views of Bode and others cited, [84]
statue by, David, resemblance between its mouth and that of the above, [84]
Versailles, works at, directed by C. Le Brun, [235]
Verspronck, J., paintings by, Guildhall, 1903., Portrait of a Dutch Lady, (Mrs. Stephenson Clarke), resemblance of his technique to that of Hals, [55]
painting probably by, Portrait of a Lady, (at Antwerp), [ib.]
Via dell’ Ariento, Florence, Baldovinetti’s hired house in, [23]
Vianizzi, Giovanni di Ser Antonio, writer of the records of the Pinzochere of S. Paolo, Florence, [27]
Victoria and Albert Museum:—
drawings on the wood for illustration to Dalziel’s ‘Arabian Nights,’ etc., in, [305]
Exhibition of British Engraving at, E. F. Strange, [194]
frescoes in, by Sir F. Leighton, [117]
New Acquisitions at:—
Mediaeval Silver Chalice from Iceland, H. P. Mitchell, [70]
The Reid Gift, (MSS.), [74]
Vienna Museum, paintings by Boels in, ascribed to Memlinc, [35]
Modern Gallery, Pictures in the new, [375]
Vierge, Daniel, and his style, [306]
Vigne, Gace de la, see [Buigne]
Vincent, Sir E., Head of a statue by Polykleitos owned by, shown at the Burlington Fine Arts Club Exhibition, [244]
Vinci, Leonardo da, see [Leonardo da Vinci]
Ser Piero di Leonardo da, notary of Florence, engrosser of the ‘ricordo’ concerning Baldovinetti, [22], [23]
Visconti, Bianca-Maria, second wife of Alfonzo II. of Aragon, [338]
Vishnu, the Svastika probably an emblem of, [43]
Vitry, Paul, Pictures recently acquired by the Louvre, Landscapes, (2), by S. Ruysdael; Portrait of Dame Danger, by L. Tocqué, [343]
Volpaia, Lorenzo dalla, astrologer, portrait of, in Baldovinetti’s frescoes, [170]
von Kaufmann, R , painting by A. Isenbrant owned by, A Donor and his Family, with Protecting Saints, (Bruges, 1902.), [331]
von Knebel, Hofrath Christian Friedrich, of Ansbach, lost votive picture by Dürer once owned by, with portraits of the Margrave of Culmbach and his Wife, [290]
Vouet, Simon, early master of Charles Le Brun, [229]
WAAGEN, DR., [60]
cited as to the Annunciation attributed to Memlinc, (Prince Radziwill), (Bruges, 1902.), [35]
Walde, Muller-, see [Muller-Walde]
Wantage, Lady, painting formerly attributed to Rembrandt, owned by, Le Commencement d’Orage, Guildhall, 1903., [60]
panels by Gerard David owned by, [39]
Waring cited on alleged absence of the Svastika in Babylonia and Assyria, [44]
Water-gods, Greek, and Hindu, Svastika the supposed emblem of, [43]
Water-colour Paintings, see [Drawings]
Watts, G. W., drawings on wood by, for illustrations to Dalziel’s ‘Bible Gallery,’ (V. and A. M.), [305]
Wauters, A., cited on Bernard van Orley, [205]
Weale, W. H. J., The Early Painters of the Netherlands as illustrated by the Bruges Exhibition of 1902., [35], [326]
Note on the Life of Bernard van Orley, [205]
Weaving, evolution of the art of, [349]
Weber, E., painting by J. Prevost owned by, Last Judgement, (Bruges, 1902.), [332]
Werth, researches of, on Codex MS. 616 of Gaston Phoebus, [8], [12]
Wertheimer, A., painting attributed to Giorgione, but to be ascribed to Cariani, acquired by, ex Leuchtenberg collection, Adoration of the Shepherds, [78]
Westall, W., wash-and-pen drawing by, for illustration, [305]
Westminister, Duke of, owner of painting by Sir J. Reynolds, Mrs. Siddons as the Tragic Muse, [224]
paintings attributed to Memlinc owned by, probably by L. Boels, [35]
Wielant, Philip, and his wife, portrait of, on Triptych by Isenbrant, [331]
Willett, Henry, armorial plate in Indo-European style, marked ‘Canton, 1791.,’ owned by, [277]
William I., German Emperor, Berlin copy of first folio Shakespeare bought by, 1858., [336]
William III., deterioration of the acanthus design on plate in the reign of, [161]
William of Wykeham, founder of Winchester College, his arms and outlay. [149]
Wilson, Professor, cited on the Svastika as primarily an ornament, [43]
on the Svastika on Assyrian coins and those of Alexander the Great, [47]
Sir Matthew, former owner of painting by Rembrandt, Portrait eta Lady, (Hage), [360]
Winchester Cathedral, marriage of Queen Mary to Philip of Spain in, [150]
City, importance of, as one time capital of England, [149]
College, The Plate of; P. Macquoid. [149]
its founder, [149]
visitors to, and their gifts of plate, [149–50];
inventory of plate of, temp. Henry VIII., [150]
sequestration of the plate, temp. Edward VI., [ib.]
subsequent gifts of new plate to, [155]
description of principal existing pieces, [155] et seq.
Marquis of. circ. 1682., Silver-gilt cup with cover presented by, to Winchester College, [156]
Windows, see [Glass], [Painted Windows], etc.
Woertz Museum, painting attributed to Memlinc owned by, (Bruges, 1903.), condition of, [35]
Wolvesey Castle, visit to, of Henry VIII., [149]
Woodburn, Samuel, marks affixed by, to Lawrence drawings, [286]
Wood-carving, Burgundian Chest, (Bruges, 1902.), (Hospices civiles, Aalst), [358]
Oaken Chest of Ypres, [357]
Woodcuts, newly acquired by the Print Room of the British Museum, [75]
Woollett, William, and his school of engravers, work by, shown at the V. and A. Museum Exhibition, [194]
plate by, and by his pupils, Roman Edifices in Ruins, after Claude, [194–9]
Works of Art belonging to Dealers, The Publication of, editorial, [5]
Wrotham, Kent, slipware of, XVII. and XVIII. cent., [68]
Wykeham, see [William of Wykeham]
XERXES, the Apadana of, and its art, [139]
Ximenes, Cardinal, type cut by order of, the Alcalà fount, [358]
YARKAND Rugs, the pomegranate as the Tree of Life on, [353]
Yez-de-jird the Third, last of the Sassanian kings overthrown by the Mahomedans, [47]
Ypres, The Oaken Chest of, [357]
ZENDAVESTA, [note] concerning, [354]
Zeus, the Svastika supposed to be an emblem of, [43]
Zmigrodski on the derivation of the Suavastika, [44]