Art Principles with Special Reference to Painting / Together with Notes on the Illusions Produced by the Painter

by Ernest Govett

GENERAL INDEX

A
Actors in stage rôles, portraits of, [223]
Aerial perspective, Claude the first master of, [47];
its importance, [198];
method of producing, [200]
Æsthetic systems, all of them untenable, [3], [274];
Carritt on, [274];
of Hegel, [277];
of Croce, [273]
Ages of man, pictures contrasting the, [179]
Allegorical painting, when secondary art, [225]
Angel of Death in art, instances of, [191];
symbol of, [188]
Angels, representation of, in aerial suspension and flight, [262], [266]
Animal painting, in action, [255];
ideals in, not possible, [56]
Annunciation, The, indication of surprise in expression, [270], [354]
Apelles, his Venus Anadyomene, [113], [330];
epigrams on, [331]
Aphrodite (see Venus)
Apollo, his representation in art, [124]
Architecture, its position in the Fine Arts, [53];
imitative character of, [53], [294];
unconcerned with ideals, [58];
produces sensorial beauty only, [64];
simplicity its keynote, [75];
standard of judgment in, [75];
S. Colvin on, [292]
Ares (see Mars)
Aristotle, on imitation in art, [215], [292];
on metrical form in poetry, [54], [296];
his division of the painter's art, [62];
his connection of morals with art, [314]
Art, definition of, [1];
its mimetic character, [52];
sensorial beauty, first aim of, [72];
must deal chiefly with types, [55];
independent of social and political conditions, [4];
of psychological impulses, [8], [14];
great periods of, [8];
suggested evolution in, [7];
"Classic" and "Romantic," [278];
relation of, to nature, [55];
popular appreciation of, [74];
Grecian, cause of its decline, [10];
Italian Renaissance of, cause of its decline, [11];
limitation of sculpture and painting in, [81];
Tolstoy's definition of, [275];
ideals in (see The Ideal in Art)
Artemis (see Diana)
Artists, training necessary for, [25];
cause of variation in work of, [20];
reputations of great, [283];
as judges of works of art, [305]
Arts (see Fine Arts)
Assent, Law of General, [72 et seq.]
Associated Arts, the arts associated, [53];
first law of the, [60];
highest art in, recognized by general opinion, [77];
ideals in, [58];
cannot properly be used for moral or social purposes, [82];
their method of producing beauty, [78 et seq.];
limitations of, [80]

Athena, her representation in art, [123]
Atmospheric effects, limitations in producing, [202];
exceptional phases, [202]
B
Bacchus, his representation in art, [131]
Barbizon School, anticipated by Dutch masters, [291];
sketches of the, of little importance, [290];
use of heavy gilt frames for works of the, [291]
Beauty, definitions of, unsatisfactory, [2], [59];
alleged objectivity of, [2];
highest form of, [72];
unconnected with philosophy, [2];
first law of, in the Associated Arts, [60];
ideal, [86];
kinds of, in the arts, [4], [60], [273];
degrees of, in the arts generally, [60],
in painting, [83];
sensorial (or emotional), [60], [72];
intellectual (or beauty of expression), [2], [273];
of form, [273];
of color, [228 et seq.];
methods of producing, [78];
as the "expression of emotion," [275];
Longinus on the highest, [73];
standard of judgment of, in poetry, [77],
in sculpture, [77],
in painting, [77],
in architecture, [75],
in fiction, [77],
in landscape, [194],
in still-life, [214],
in secondary art, [219 et seq.];
general agreement in respect of, [86]
Bon Dieu d'Amiens, Ruskin on, [319];
Farrar on, [319];
corresponds with certain Greek art, [319], [Plate 2]
Brevity in expression, highest beauty in poetry, marked by, [65]
Broad style of painting, cause of, with great artists, [21];
its limitations, [39];
advocacy of, by impressionists, [38];
as used by Rembrandt, [281];
by Hals, [336]
Bronze statuettes of the Renaissance, [321 et seq.]
Byron on nature and art in respect of landscape, [345]
C
Caricature, its place in art, [225]
Carritt, E. F., on the result of æsthetic systems, [275]
Cave men, their art, [5]
Ceres (see Demeter)
Chaldean Art, Illustration of, [Plate 1]
Character of Artists, influence of, in their work, [16]
Cherubs, use of, in assisting illusion of suspension in the air, [265]
Christ, representation in art, [92];
the established ideal, [92];
Ruskin on the best ideal of, [319]
Christian conception of the Deity, its effect in art, [88]
"Classic Art," Hegel's definition, [277];
varied meanings of the term, [278]
Claude Lorraine, the first great landscape painter, [47];
the cause of his success, [16];
Goethe on, [49];
the model for Turner, [49]
Clausen, G., his definition of Impressionism, [284];
on Whistler's nocturnes, [349]
Clouds, use of, in relation to air-suspended figures, [263]
Coast views, illusion of motion in, [206]
Color, beauty of, [228 et seq.];
its relative importance, [228];
in landscape, [194];
juxtaposition of pure colors, [35], [287];
by Venetian artists, [231], [350];
exceptional color effects, [234];
its use by impressionists, [34 et seq.]
Colvin, S., claims music and architecture as non-imitative arts, [292]
Comedy, its place in the painter's art, [224]

Contentment, quality of expression in the Madonna, [97];
in Venus, [119]
Contrast, its use in composition, [177];
of forms, [177];
of ages, [179];
of beauty and strength, [177];
of Good and Evil, [178];
of Poverty and Wealth, [178];
of Vice and Virtue, [178];
of nude and clothed figures, [180]
Correggio, and the sublime, [229]
Criticism, the new, [29]
Croce, B., his æsthetic system, [273];
on genius, [282]
D
Darwin, C., on the result of nerve exercise, [281];
on natural music, [293]
Death, representation of, [183 et seq.];
in the Crucifixion, [184];
typified by a skeleton, [186];
in massacres and executions, [184];
in interior scenes, [190];
funeral scenes, [188];
scenes of approaching, [190];
Angel of, [188]
Decorative art, imitation in, [218]
Deformity in art, [89]
Deity, the, representation of, [92];
ideals of, [91]
Demeter, representation of, [121], [Plate 7]
Demosthenes, example of his art, [300]
De Quincey, T., on the representation of progressive actions, [348]
Descriptive poetry, its limits, [79];
in the seventeenth century, [308];
example from Sophocles, [310],
from Cornelius Gallus, [309]
Diana, representation of, [126]
Dignity, in portraiture, [146];
practice of Titian, [148];
of Van Dyck, [148];
of Velasquez, [149]
Dionysus (see Bacchus)
Drama, The, pictures from the written, [221];
from the acted, [222];
importance of tragedy in painting, [221]
Drapery, with use of in sculpture, proportions possible which are not feasible in nude figures, [328];
use of, in painting by Raphael, [251], [352];
for assisting illusions, [260]
Dutch painters of the seventeenth century, their limited imaginations, [19]
E
Eaton, D. C., on the origin of impressionism, [286]
Egyptian art, its early high development, [7], [Plate 1]
Emotional element in beauty (see Beauty)
Emotions, The, influence of, in the work of artists, [16];
expression of, in relation to beauty, [275]
Evolution, not applicable to art generally, [7];
Spencer on, [276];
Symonds on, [276]
Execution in painting, must be balanced with imagination, [18];
of Hals, [155];
of Lionardo, [18];
of Rembrandt, [19];
of Velasquez, [153]
Expression, in ideals generally, [86];
in Christian ideals, [91 et seq.];
in classical ideals, [106 et seq.];
in portraiture, [141 et seq.];
in the representation of grief, [168];
with the smile, [171];
the open mouth, [174];
in the exhibition of deformity, [89];
in scenes of death, [183];
of Raphael, [339];
of Rembrandt, [42];
of the fourteenth century Italian painters, [279];
of the thirteenth century French sculptors, [315];
in the literary arts, [65 et seq.]
F
Falconet, E., on the representation of grief, [169]

Farrar, Dean, on the ideal of Christ, [319];
on the early Italian painters, [279]
Fiction, as a fine art, [4], [52];
one of the Associated Arts, [53];
imitation in, [52];
forms of, [69];
basic and structural in character, [81];
standard of judgment in, [73];
in relation to sensorial beauty, [79];
unconcerned with ideals, [58]
(see also Novel)
Fine Arts, imitative in character, [52];
classified according to their signs, [53];
their methods of producing beauty, [78];
standards of judgment in the, [77]
Fireworks, unsuitable for the painter, [212]
Flight, representation of (see Illusion of suspension and motion in the air)
Flowers, their representation in still-life, [216];
in decorative art, [217]
Foreground in landscape, illusion of opening distance in, [202]
Form, beauty of, [273];
ideal, [86]
Frames of pictures, their use in Barbizon works, [291];
exclusion of, in artificial means to secure relief, [240]
French sculptors of the thirteenth century, their forms in the Greek manner, [315];
their representation of the Virgin and Child, [101], [315]
Frescoes, necessarily divided into sections, [69];
Reynolds on Raphael's, [303]
Funeral scenes in art, [188]
G
General opinion, standard of judgment in all arts except music, [73], [77]
Genius, how produced, [21 et seq.];
Reynolds on, [282];
Johnson on, [282];
Hogarth on, [282]
Geology, study of, may be assisted by landscape painting, [315]
Gods, Mythological (see Grecian, under their separate headings);
Roman, [328]
Grace, inferior as a special quality in portraiture, [164];
as applied in Greece and Rome, [162];
in sixteenth century art, [163];
in seventeenth century art, [163];
in England in the eighteenth century, [164];
in France, [163];
kinds of, [338]
Grandeur, highest quality of beauty in architecture, [75];
practically impossible in landscape, [193];
in portraiture, [160];
in Van Dyck's works, [160];
in Gainsborough's works, [160]
Grecian art, cause of its decline, [10];
development of, compared with that of the Renaissance, [10 et seq.]
Grecian sculpture, its high place in art, [106];
ideals in, [88], [95];
representation of adults with children in, [100];
studied by the great masters of the Renaissance, [108];
in portraiture, [145]
H
Hals, Franz, his facility, [155];
his limited imagination, [155];
his broad manner, [336];
the works of pupils attributed to him, [337]
Hegel, G. W., his "periods" in art, [277]
Hephæstus (see Vulcan)
Hera (see Juno)
Hercules, his representation as contemplating death, [190]
Hermes (see Mercury)
Historical painting, its place in art, [83]
Hogarth, W., on genius, [282]
Holmes, C. J., on the framing of Barbizon pictures, [291]
Homer, example of his art, [65]
Hood, T., his moods and his work, [17]
Horses, representation in action, [255]

Human figure, principal sign in the Associated Arts, [53], [73];
produces highest form of beauty, [72];
general ideal of, [86];
Greek ideals, [106]
Humboldt, A., on the position of landscape in art, [344]
Humorous subjects, their place in the painter's art, [224]
Hyperides, example of his art, [300]
I
Ideal in art, The, only possible in respect of the human form, [57], [87];
inapplicable to form without expression, [86];
definition of, [86];
must be general, [86];
general agreement in respect of, [87];
can only be applied to excellence, [89];
limitation of, [56];
ideals of the Greeks, [89], [91],
of the early Italians, [94],
of the thirteenth century French sculptors, [315],
of the Deity, [88], [91],
of Christ, [92], [94],
of the Madonna, [95],
of Zeus, [88],
of the other Grecian deities, [89],
of Phidias, [10],
of Raphael, [97], [137],
of Praxiteles, [10],
in, of Michelangelo, [320];
general ideals, [135];
universality of, [138], [315];
ideal qualities, [89]
Illusion of continuity, in death scenes, [189]
Illusion of movement, in landscape, [197];
in sea views, [205];
in coast views, [206];
in sculpture, [249], [351];
in figure painting, [250 et seq.];
in animal painting, [255 et seq.];
may be suggested by title of work, [257]
Illusion of opening distance, in distance landscape, [197];
in nearground work, [203];
in sea views, [205]
Illusion of relief, its value in painting, [236];
mechanical methods of producing, [240]
Illusion of suspension and motion in the air, with the assistance of flowing drapery, [260];
of clouds, [263];
of cherubs, [265];
of Angels, [266];
of smoke, [268]
Imagination, The, influence of precocious, in the production of genius, [23];
must be balanced with skill in execution, [18];
of Lionardo, [18];
of the Dutch painters, [19];
of the Spanish painters, [19];
of Shakespeare, [23], [24]
Imitation, the province of art, [52];
should be generalized, [237];
in landscape, [194],
in still-life, [214],
in decorative art, [218],
in architecture, [294],
in music, [293];
of other arts by the painter, [221 et seq.];
Aristotle on, [215];
S. Colvin on, in respect of the fine arts, [292]
Impressionism, definitions of, [25], [284 et seq.];
its origin, [285 et seq.];
its influence, [38];
its limitations, [35];
its defects, [34 et seq.];
its effects, [51];
its correspondence with Sprezzatura, [32]
Industry, the key to success in art, [24], [282]
Inspiration in art, not recognized by great artists, [16];
actual instances of, unknown, [15];
suggested national, [9 et seq.];
individual, [14]
Interiors, pictures of, their place in art, [84]
Invention in art, its relative importance, [54];
in poetry, [54];
in painting, [312];
Lessing on, in poetry and painting, [312];
in landscape, [193];
the term used in two senses, [311]
Irony, works conveying, unsuitable for the painter, [224]
Italy, Art of, decline of the Renaissance, [11 et seq.];
in the seventeenth and eighteenth centuries, [30 et seq.];

Renaissance ideals, [12]

J
Japanese, their practice in decoration, [217]
Johnson, Dr., on genius, [282]
Juno, representation of, by the painter, [120]
Jupiter, Greek representation of, [88], [89];
ideal of, [89], [91];
by the painter, [109]
L
Landscape painting, its place in art, [48], [84];
produces only sensorial beauty, [192];
Humboldt on, [344];
signs in, [199];
disadvantages of, [44];
limitations in, [192 et seq.], [348];
varieties of, [49];
relative difficulty of execution in, [48];
compositions must be invented, [194];
illusion of motion in, [197 et seq.];
precise imitation necessary in, [194];
as a useful art, [314];
early development of, [46],
in ancient Rome, [45],
in Italy, [47],
in Holland, [46],
in England and France, [48]
Lanzi, A. L., on the range of Raphael in expression, [339]
La Touche, G., on the origin of impressionism, [286]
Latour, Fantin, and the origin of impressionism, [285]
Laugh, a, when unobjectionable in painting, [177]
Lessing, G., on progressive actions, [348];
on the relative importance of invention and execution, [312];
on the representation of grief, [169];
on descriptive poetry, [309];
on signs in art, [346];
on Homer and the beauty of Helen, [298];
on the Laocoon design, [311];
on the dictum of Simonides, [307];
on ugliness in poetry and painting, [341]
Lewes, G. H., on the execution of signs in art, [346]
Lightning, its use in landscape, [209];
must be subordinated, [209];
where used in painting by great masters, [210]
Lionardo da Vinci, his imagination compared with his execution, [18];
his relief, [239];
on success in painting, [16];
his representation of Christ, [93]
Literary arts, the painter must take his action from them or from nature direct, [81] (see Poetry and The Novel).
Literary movement in England in the sixteenth century, [278]
Longinus, on the test of the sublime and beautiful, [73];
on certain examples of beauty in the literary arts, [300]
Luini, A., On an "impressionist" landscape by Titian, [288]
M
MacColl, D. S., on the origin of impressionism, [284]
Madonna, The, her representation, the test of art during the Renaissance, [12],
by Cimabue and Giotto, [95],
in Crucifixion scenes, [99];
her surroundings in art, [99],
her representation at different ages, [98],
Michelangelo on her presumed age, [320];
her presumed social condition, [100];
the ideal of the early Italian, [12], [95],
of Raphael, [97],
Michelangelo's portrayals of, [320];
limitations in the ideal of, [98]
Madonna and Child, representation of, by thirteenth century French sculptors, [101], [315];
in Italy, [101];
changes in grouping of, in the fifteenth century, [101];
practice of later artists, [102 et seq.]
Manner in painting, its limitations, [39];
the public indifferent to, [39];
of Rembrandt, [21];
of Hals, [336]
Manet, E., his connection with the rise of impressionism, [287]

Marine painting (see Sea views)
Mars, representation of, in painting, [128]
Mauclair, C., on impressionism, [285]
Mengs, A. R., on Raphael's treatment of drapery, [352]
Mercury, his representation in painting, [129]
Metaphor, with the poet, [65], [227], [296];
with the painter, [226]
Michelangelo, and the sublime, [229];
his studies in Greek art, [108];
Reynolds on, [282];
his ideals of the Madonna, [320];
on her presumed age at the Crucifixion, [320];
on the cause of Raphael's success, [16];
on the public judgment of works of art, [304];
on the Venetian painters, [350]
Miller, Marion M., his translation of Sappho's Hymn to Aphrodite, [302]
Minerva (see Athena)
Modesty, quality in expression unsuitable to a goddess, [119]
Mona Lisa, the Louvre example, [151], [172];
the Boston example, [172];
her reputed age in the picture, [240];
her smile, [341]
Mood, influence of, in the work of artists, [17]
Moonlight scenes, their place in art, [208]
Morals, pictures illustrating, their place in art, [85]
Moreau-Vautier, C., on the juxtaposition of pure colors, [287]
Music, highest beauty in, produced by complex combinations of signs, [73];
greatest works in, the least popular, [75];
ideals not possible in, [58];
cannot present intellectual beauty, [64];
standard of judgment in, [305];
cannot be connected with painting, [285];
its connection with poetry, [54], [76];
imitative character of, [53], [293];
claimed by Colvin as non-imitative, [292];
Darwin on natural, [293]
Muther, R., on the origin of Impressionism, [287]
Mystery in painting, indicates inferior art, [341]
Mythological subjects, their place in painting, [83], [133]
N
Nature, relation of, to art, [57];
and landscape, Byron on, [345]
Near-ground painting in landscape, [202]
Neptune, his representation in painting, [127]
Nerves of the senses, their advanced condition at birth cause of precocity in art, [21];
alike in all people, [86];
connection of genius with development of, [22];
physiological changes in, [22], [72];
Darwin on the, [281]
Night, should be symbolized in painting, [350];
Whistler attempts to represent beauty of, [349]
Nocturnes, origin of Whistler's, [349]
Norwich school of painting, [48]
Novel, the, compared with the short story, [70];
limit of, [71];
of little service to the painter, [221] (see Fiction)
Nude with clothed figures, contrasts of, [180]
O
Objectivity of beauty, [2]
Open Mouth, The, [174];
when not objectionable, [177]
P
Painter, the, his requirements, [25]
Painting, imitative character of, [52];
degrees of beauty in, [83];
compared with sculpture, [135];
its relation to poetry, [307];
general ideals in, [86 et seq.];
classical ideals in, [106 et seq.];
Christian ideals in, [91 et seq.];
action cannot be originated in, [81];
great, marked by simplicity, [69];
standard of judgment in, [73];
general expression in, [167];
relation of invention to execution in, [312];
broad manner of, [39];
of divinities, [109];
of classical scenes, [133];
of humorous subjects, [224];
of contrasts, [177 et seq.];
of scenes from fiction, [221],
from the written drama, [221],
from the acted drama, [222];
of portraits in character, [222];
of ugliness, [341];
deformity in, [178];
representation of death in, [183];
portrait, [141 et seq.];
landscape, [192 et seq.];
of moonlight scenes, [208];
of still-life, [214];
secondary art of, [85], [219];
metaphor in, [226];
color in, [228 et seq.];
impressionist, [25];
of events in time, [219];
symbolical, [227];
Barbizon school of, [290];
quality of grace in, [161],
of contentment, [97],
of modesty in respect of goddesses, [119];
illusion of relief in, [239 et seq.];
illusion of movement in, [249],
in animal action, [255],
of opening distance, [197],
of suspension in the air, [259],
in representation of progressive actions, [204],
of continuity, [189],
assisted by title, [257];
portraiture, [141 et seq.]
Pastoral occupations, pictures representing, [84]
Periods of art, not attributable to national æsthetic stimulus, [8];
Hegel's, [277]
Phidias, his exalted position in art, [10];
his ideals, [91]
Philips, A., his translation of Sappho's Ode to Anactoria, [301]
Philosophy, art not specially related to, [2]
Pythian, F., on the origin of impressionism, [286]
Poe, Edgar A., on sadness and beauty, [280]
Poetry, the highest art, [81];
its imitative scope, [52];
not primarily a combined art, [55];
value of metrical form in, [54];
its association with music, [76];
its relation to painting, [307];
cannot depict sensorial beauty by description, [79];
descriptive, [309];
in relation to human beauty, [79],
to natural beauty, [79];
basic and structural in character, [81];
its range unlimited, [81];
ugliness in, [341];
standard of judgment in, [73], [76];
Watts-Dunton's definition of, [296];
translations of, [297]
Pompeian Frescoes, [45], [162], [169], [170], [171], [261], [344]
Popular appreciation of art, [73 et seq.], [306];
Tolstoy on, [307]
Portraiture, its position in art, [141];
variation in work of portraitists, [141];
generalization, [143];
added qualities in, [148];
quality of dignity in, [146];
quality of nobility in, [161];
action in, [164];
use of the smile in, [171];
of stage characters, [223];
in ancient Greece, [145], [162];
in ancient Rome, [145];
of women, [158];
of Raphael, [151];
of Titian, [148];
of Moro, [159];
of Van Dyck, [150];
of Rembrandt, [150];
of Velasquez, [149], [152];
of Hals, [155];
of Reynolds, [160];
of Gainsborough, [160];
of Romney, [161];
effects of fashion in, [159];
quality of grace in, [161];
limitations in, [141], [143];
decoration in, should be subordinated, [156];
multiple portraits, [156]
Poseidon (see Neptune)
Praxiteles, his development of new ideals, [111];
his Cnidian Aphrodite, [111]
Precocity in art, cause of, [22]

Progressive actions, in figure subjects, [254];
in sea views, [204];
in coast scenes, [206];
in landscape, [203];
Lessing on, [348];
De Quincey on, [349]
Psychological influence in art conceptions, alleged, [14]
Q
Quintilian: on the Sacrifice of Iphigenia, by Timanthes, [340]
R
Rainbow, its use in landscape, [210 et seq.]
Raphael, and the sublime, [229];
his superiority the cause of the decline of the Renaissance, [11];
his achievement in the ideal Madonna, [12 et seq.], [140];
the composition of his ideal, [97];
his range in expression, [167];
Lanzi on, [339];
his representation of movement, [250];
his portraiture, [151];
his drapery arrangements, [250];
his representation of suspension in the air, [261];
his study of ancient art, [108];
his fresco work, [69];
Michelangelo on, [16];
his trees, [345]
Recognition, Law of, explanation of, [57];
examples of, [65 et seq.];
music and architecture excluded from the, [64];
division of the arts in applying, [62]
Relief (see "Illusion of Relief")
Rembrandt, his imagination compared with his execution, [20];
cause of variation in his work, [21];
his simplicity, [150];
his broad work, [289];
his use of color, [152];
his position in art, [44];
his representation of character, [42];
suggested as impressionist, [41], [290];
compared with the idealists, [43];
his palette-knife pictures, [281];
classification of his portraits, [281]
Renaissance (see Italy, Art of)
Repose, in portraiture, [164];
in the representation of Venus, [116]
Reynolds, Joshua, his high position in portraiture, [160];
on color, [350];
on the representation of grief, [169];
on the cause of excellence in painting, [282];
on genius in art, [282];
nobility in his portraits, [160];
as a painter of women, [161];
on the work of Raphael, [303];
on Michelangelo, [282];
on the early Italian painters, [280];
on the Venetian painters, [350];
his portraits of actors in character, [224];
his use of the smile, [174]
Rodin, A., on the suggestion of movement in sculpture, [249], [351];
on ugliness in art, [317];
his La Vieille Heaulmière, [317];
on Greek ideals, [319]
Romans, The ancient, had no separate sacred art, [328]
"Romantic Art," its various meanings, [278];
Hegel's period of, [277]
Romney, G., the quality of grace in his portraits, [161]
Ruskin, J., on the trees of Raphael, [345];
on the ideal of Christ, [319];
on the position of landscape in art, [344];
on the Italian painters of the fourteenth century, [279]
Ruysdael, Jacob, his painting of breaking water, [204], [206];
his near-ground work, [203]
S
Sacred Art, offers highest scope for the artist, [63];
in Greece, [91];
in Italy, [12]
Sadness, as a quality of beauty, [280]
Saints, representation of, [104]
Sappho, her Ode to Anactoria, and the cause of its beauty, [67];
translation of the Ode, [301];
her Hymn to Aphrodite, [302]

Satan, representation of, [178]
Satire, works conveying, unsuited to the painter, [224]
Schopenhauer, on music as a non-imitative art, [292]
Sculpture, its imitative scope, [52];
ideals in, [135];
compared with painting, [135];
importance of simplicity in, [68];
standard of judgment in, [73];
illusion of motion in, [249];
Rodin on the illusion, [351];
in ancient Greece, [106];
in Greek and Roman portraiture, [145];
thirteenth century French, [315]
Sea views, illusion of opening distance in, [204];
progressive actions in, [206]
Secondary Art, its nature, [85];
in historical work, [220];
in actions drawn from the novelist, [221];
from the written drama, [221];
from the acted drama, [222];
humorous pictures, [224];
in allegorical and symbolical painting, [225 et seq.]
Shakespeare, his imagination, [23];
example of his art, [66];
represents characters above experience, [61]
Short story, the, its essentials, [70];
compared with the novel, [69] (see also Fiction)
Signs, of the fine arts, [56];
separation of the arts according to character of, [53];
the two classes of, in art, [56];
must be completely painted, [199];
Lewes on, [346];
Lessing on, [346];
suggestive, belong to the poet and not to the painter, [200]
Simonides, on the relation of poetry to painting, [307]
Simplicity, necessary in the higher forms of the Associated Arts, [71]
Skeleton, as a symbol in art, [186 et seq.]
Smile, the, transitory, should be avoided in art, [171];
in Raphael's work, [173];
in Lionardo's, [172], [341];
of the Milanese artists generally, [172];
in portraiture, [173];
in French portraits, [174];
in British, [174]
Smoke, use of, in illusions of air suspension, [268]
Sophocles, example of descriptive poetry from, [310]
Spencer, Herbert, on evolution in art, [276]
Sporting pictures, their place in art, [85]
Sprezzatura, origin of, in the seventeenth century, [30 et seq.];

correspondence with impressionism, [32]
Stage scenes, pictures of, [222]
Still-life, its place in art, [85], [214];
beauty in, [214];
its varieties, [215];
in decoration, [218];
custom of the Japanese in, [217]
Stories, pictures illustrating, their place in art, [85], [221];
painter of, subordinate to the writer, [221]
Sublime, The, Longinus on, [73];
painters who have achieved, [229]
Supreme Being, final ideal of human form can only apply to, [88]
"Symbolic" period of painting, Hegel's, [277]
Symbolical painting, when secondary art, [227]
Symonds, J. A., on evolution in art, [271];
on the Venetian artists, [350]
T
Taine, H., on music as a non-imitative art, [294]
Tanagra figures, quality of grace in, [162]
Temperament, influence of, on the work of artists, [16]
Titian, as a portrait painter, [144];
the dignified pose in his figures, [148];
the pose a test of his portraiture, [335];
his impressionist landscape, [288];
his coloring, [231];
some doubtful attributions to, [336]

Titles of pictures, may assist in providing illusion of motion, [257];
may add interest to a work, [352]
Tolstoy, Leo, on the meaning of "art," [275];
on popular appreciation of art, [307]
Tragedy, only section of drama which the painter may properly use, [221]
Translations of poetry, varying values of, [297]
Trees in art, the slender trees of Raphael, [345];
of other artists, [345]
Turner, J. M. W., secret of his success, [16]
Twilight scenes, their place in art, [208]
Types, importance of, in nature and art, [55]
U
Ugliness in art, may be used in poetry, but not in painting, [342];
Rodin on, [317];
Lessing on, [341];
Waldstein on, [318]
Uncivilized races, their understanding of beauty, [333]
V
Van Dyck, A., [30];
his portraiture, [150]
Velasquez, his place in art, [44];
his simplicity in design, [152];
his limited imagination, [155];
his execution, [153];
compared with the idealists, [43];
his perfect balance, [43];
claimed as an impressionist, [41], [290]
Venus, her representation in art, [110];
Anadyomene, [114 et seq.];
reposing, [116];
at her toilet, [118];
of Phidias, [111];
of Praxiteles, [111 et seq.];
of Apelles, [113];
of Raphael, [114];
of Michelangelo, [117];
de' Medici, [119];
of Titian, [115];
of other artists, [115 et seq.]
Verestchagin, V., his war pictures, [184]
Vinci, Lionardo da (see Lionardo)
Virgin, The (see Madonna, The)
Virtue and Vice, pictures representing, [178]
Vulcan, representation in painting, [132]
W
Waldstein, C., on ugliness in sculpture, [318]
Watts-Dunton, T., his definition of poetry, [296]
Whistler, J. McN., his nocturnes, [349]
Wings, use of, in suspended figures, [262]
Women in portraiture, during the Renaissance, [159];
by Moro, [159];
by Van Dyck, [159];
by the eighteenth century British artists, [161];
Reynolds preeminent in painting of, [160]
Z
Zeus (see Jupiter)

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