INDEX

Abydos, Temple of Seti, [89].
Academic method of art teaching, the, [58–65].
Action, representation of, [52], [54].
Advertisements, the curse of modern, [77], [78], [84].
Allegory in art, [278].
Anagni, chasuble from the Cathedral of, [206].
Animal forms in decoration, [203–224].
Architecture, importance of, in art training, [44], [50].
Art, influence of economic questions in, [23];
value of sound traditions in, [29];
social function of, [32];
the teaching of, [35–56];
sympathetic atmosphere a necessity for, [36–40];
connection between architecture and, [44];
essential unity of, [44], [48];
the imitative and imaginative sides of, [48];
advantage of architectural over pictorial training in, [50];
methods of art teaching, [58–68];
academic methods of teaching, [58–65];
dominated by the sculptor’s art and aims, [64];
modern possibilities of teaching, [66–68];
Tolstoi’s views on, [69–75];
the social and ethical bearings of, [88–101];
influence of, in the church, [93];
not the monopoly of the rich, [95–97];
refining influence of, [97], [98];
change in the conditions of the practice of, [99], [100].
“Art Nouveau, L’,” [128], [129].
Art Workers’ Guild, the, [18], [31];
device for, [251], [253].
Arts and Crafts Exhibition Society, the: formation of, [20];
first exhibition of, [21];
objects and principles of, [22].
Assyrian reliefs, object and value of, [90].
Bacchus, visit of, to Icarius, Romano-Greek relief, [106].
Bamberg, Royal mantle from the Treasury of, [205].
Barron, O., [200].
Bell, R. A., [159].
Bellamy’s “Looking Backward,” quoted, [83].
Berthelet, Thomas, bindings by, [227], [229].
Birmingham, scheme for frescoes illustrating local history at, [120].
Blake, William, [5], [6].
Bland, J. P., specimen of calligraphy by, [65].
Blickling, ceiling at, [158].
Book-covers, designing of, [225–236].
Borgia apartments, decoration of the, [238], [239], [240], [248];
model of, at South Kensington, [240], [248].
Bournville, [121], [148];
views in, [123].
Brown, Ford Madox, [12];
frescoes in the Manchester Town Hall by, [118], [119], [120].
Building Acts, the, [126];
local bye-laws, [152].
Burges, William, [17].
Burne-Jones, Sir E., [20], [162], [175], [240].
Butterfield, William, [17].
Calvert, Edward, [7], [8], [9].
Carpaccio’s “Dream of St. Ursula,” [144], [147].
Crane, Lancelot, figure composition by, [37].
Crane, Lionel F., design for a collective dwelling by, [116];
cottage at Letchworth designed by, [148–151].
Central School of Arts and Crafts, the, [28], [29].
Chesterton, G. K., his “G. F. Watts” criticised, [273–281].
Cleobury, W. T., [133–139], [141], [143].
Cobden-Sanderson, T. J., [230].
Collective dwellings, [115–117].
Commercialism, evil effects of, [84], [85], [94].
Cretonne, printed, [160–162].
Crivelli’s “Annunciation,” [142].
Crouchback, Edmund, Earl of Lancaster, figure from the tomb of, [223].
Dalpeyrat, M. Louis, [27].
Day, Lewis F., [18], [203].
“Decorative,” meaning of the word, [267].
Decorative art, development of, in the nineteenth century, [2] et seq.;
modern revival of, [15] et seq.;
relation of the easel picture to, [265].
“Denoline,” [252].
Dress, absence of beauty in modern, [81–83];
progress of taste in, [171–191];
influence of the pre-Raphaelites on, [175];
types of artistic, [177];
types of children’s, [179];
types of working, [181];
modern and mediaeval, [185], [187].
Dunkley, Miss L. M., designs for embroidery by, [45], [46].
Eastlake, C. L., his “Hints on Household Taste,” [17].
Egyptian hieroglyphics, [89], [90], [103];
decorative art, [112].
Enamelling, modern revival of, [26], [27].
Exhibition of 1851, the, [3].
“Fifteen, the,” [18].
Fisher, Alexander, [27].
Flats, effects of living in, [114], [115].
Flaxman, John, [9].
Fylfot, the, [104].
Garden City Association, the, [121], [148].
Genoa, Doria Palace, gesso decorations in, [248].
Gesso, origin of, [247];
fine examples of, [248];
methods of working in, [249];
Gesso Duro, [249];
“Denoline,” [252];
system of modelling in, [257].
Gilding, use of, in decoration, [237–246].
Gimson, Ernest W., cottage designed by, [152], [153], [155].
Graining, [130].
Greece, the artistic sense of, [90], [91].
Greek, ornament, [104–107], [215];
drapery, [173].
Harvey, Alex. W., cottages designed by, [123], [148].
Heraldic lions, [220–222].
Hill, Vincent, panel by, [67].
Holland Park, 1a, interior of, [131];
gesso decorations in, [258–261].
Home Arts and Industries Association, the, [19].
House-decoration, Thoughts on, [110–170].
Howard, Ebenezer, [121].
Hungarian peasant costumes, [182], [183].
Hunt, Holman, [9], [12].
Kidd, A., stained glass panel by, [62].
Knole, ceiling at, [158].
Kruger, G. E., [195].
Lacey, Miss C. M., Heraldic studies by, [47].
Lanteri, Prof., [194].
Letchworth, Garden City, cottage at, [148–151].
Line, meaning of, in ornament, [107], [108].
London, some aspects of, [76–83].
Lucas van Leyden’s “Annunciation,” [144], [145].
Mackim, Meade, and White, Messrs., [242].
Manchester, frescoes in the Town Hall in, [120].
Mantua, model of the room of Isabella d’Este at, [240].
Martin, A. E., architectural design by, [42].
Millais, Sir J. E., [11].
Moira, Gerald, [159], [194].
Moore, Sturge, [9].
Morris, William, [15], [20], [24], [156], [162], [175], [272].
“Municipal Journal,” the (New York), [81].
“Mural feeling,” [265], [267].
Muybridge, Mr., [52].
National Association for the Advancement of Art in Relation to Industry, the, [19].
New York, movement in favour of public beauty in, [81].
Ornament and its meaning, [102–109];
analogy of to music, [102];
origins of, [103];
two sources of meaning in, [106].
Palermo, Cappella Reale, decoration of, [241], [242], [243].
Palmer, Samuel, [9].
Paris Exhibition, the English House at the, [162].
Parr, H., studies by, [38], [39].
Peleus and Thetis, Greek cylix, [105].
Pictures, background for, [142], [144];
relation of, to decorative art, [265–272].
Pinturicchio’s decoration of the Appartamenti Borgia, [238], [239], [240], [248].
Plaster, treatment of, [158], [159].
Pomeroy, Mr., [159].
Pompeian decoration, [113].
Pre-Raphaelite movement, the, [12], [14], [15], [175].
Pugin, A. W. N., [17].
Ranworth rood-screen, [133–139], [141], [143].
Reynes, John, binding by, [233].
Richard II, figure of, in the Wilton picture, [219].
Rigby, H. A., pen-drawings by, [55], [57].
Rome, St. Peter’s, use of gilding in, [246].
Rossetti, D. G., [10], [12], [15], [175].
Royal College of Art, specimens of students’ work, [37–67].
Ruskin, John, [14].
Sandys, Frederick, [12], [13].
Scott, Sir Walter, [10].
Sevenoaks, Combe Bank, decorations at, [159].
Shaw, Henry, [16].
Shaw, Norman, [18].
Shea, J. R., cabinet designed by, [59];
wood carving by, [61].
Sicilian Silk Patterns, [207–214], [218].
South Kensington Museum, formation and influence of, [16].
Southwold, rood-screen at, [247].
Spooner, W. G., studies by, [49], [51], [53].
Stencilling, development of, [136].
Stevens, Alfred, [4].
Stevenson, James A., frieze by, [63].
Stothard, Thomas, [10].
Street decorations, temporary, [192–202].
Sykes, Godfrey, [4].
Temple Bar, suggestion for temporary gatehouse at, [197].
Tennyson, the Moxon edition of, [9–12].
Thoreau’s “Walden,” [111].
Tintoretto, [270].
Tolstoi, Count, his “What is Art?” [69–75].
Tristram, E. W., design for Tapestry by, [43].
Van der Meer, [142].
Van Dyck’s “Jan Arnolfini and his wife,” [142].
Venice, St. Mark’s, mosaics in, [244];
Ducal Palace, [271].
Voysey, C. F. A., [147].
Wall-paper designs, [163–169].
Walton, George, [158].
Watts, G. F., [240];
Mr. Chesterton’s book on, [273–281].
Webb, Philip, [15], [16], [131], [258], [259].
Weeks, Harold, [250].
Weeks, Osmund, [251].
Westminster Bridge, decoration of, by students of the R.C.A., [194], [195].
Whistler, J. McNeill, [242].
Whitechapel, Wentworth Street, [79].
Wilton House, the Vandyke room at, [243], [244], [245].
Windsor, Lord, [200].
Wotton Binder, binding by the, [235].

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