Where Art Begins

by Hume Nisbet

A good land, where we can cast aside the trammels of cities and get out to see it; where we can forget our brothers in iniquity, our brothers in sorrow and starvation, depths which charity cannot cure, or investigation eradicate, which rise up like black waves against our stemming and threaten in the future to engulf us all.

A good land, where we can abnegate desire, learn to be poor as Christ was poor in order to correct poverty; where we can conquer ourselves, lay down the most clinging habit, for the sake of mankind, and by example teach others at the lower level to be content with God’s air, and God’s light, and go out to get them; where we can live with less comfort, fewer tastes, and greater simplicity.

A good land, where the great social problem is solved and self-abolished for cause, and men, proud of being poor, as now they grow arrogant in wealth, join hands as little children, forgetting that bat-ghoul philosophy, taking the gifts which God has given to them as the foretaste of better things in store.

A good land here; but what is there to come, where Art begins?

INDEX

[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [R], [S], [T], [U], [V], [W], [Y], [Z]

Abbey, [157]
A B C of art, [115]
Aberdonian clipper, [146]
Academies, [96]
Actions of nature, [28]
Adoration in art, [255]
Age of romance, [281]
Agnosticism, [306-9]
Aikenhead (Major), [97]
Aissouas, the, [107]
‘Ally Sloper’s Half Holiday,’ 1[66], [167]
Alma-Tadema, his work, [80], [193], [194], [273]
Almanack, Comic, [166]
Anatomy, [95]
Ancient Egypt, style of, [299-301]
‘Ansidei Madonna,’ its value, [231]
Apocalypse, Albert Dürer’s, [156]
Ark, dimensions of, [135]
Art, realism in, [34];
fashion in, [90];
instinct of, [98];
lessons in, [102];
savage, [102], [214-16];
Eastern, [105];
false, [107];
true aim of, [108], [252];
A B C of, [115];
uses of, [117-18];
practical, [157];
individualism in, [160];
influence of Turner on illustrative, [163];
sacred, [250];
sacrifices of, [252];
imagination in, [254];
adoration in, [255];
soul in, [255];
comic, [260];
Dutch, [268];
dignity in, [268], [293];
symbol of, 2[91]
Art course, time of, [116]
Artist and butterfly, [291]
Artists as readers, [273]
Assyria, styles of, [60]
Astronomy, artistic, [276]
Atheism, [307]
Australian experience, [108-12]
Backgrounds, old style, [7]
Barnard (F.), [157]
Bayeux Tapestry, the, [139]
Beauty, [209], [257];
spirit of, [289]
Bell, his ‘Mary Queen of Scots,’ [45]
Bellini (Giovanni), [238]
Bewick, [159], [160], [173]
Black and gold marble, [189]
‘Black and White,’ [165]
Blake (William), [35], [89]
Blemishes in marbles, [195]
Blunders of science, [278]
Boats, Egyptian, [136]
Body colour, [92]
Bolton, [171]
Book, an illustrated, [152], [172-5]
—— plates, [276]
Books on painting, [83]
Boots and feet, [200], [201], [203]
Botany, artistic, [284]
Botticelli (Sandro F.), [240]
Bough (Sam), [82]
Breydenbach’s Travels, [155]
Bronzino (Angelo), [240]
Brushes, [69]
Buddha, [298]
Burnett on painting, [127], [129]
Burns (Robert), [211]
Byron (Lord), [89]
Cameron (Hugh), [47], [48]
Canvas, preparing a, [179]
Carlyle (Thomas), [20], [87], [101]
Cassell & Co., [155], [169]
Centre line, the, [225]
Chalmers (George Paul), [82], [239], [246], [292]
Champs and champing, [183], [184]
Chatto (W. A.), [150], [152]
Chatto & Windus, [166]
Chemistry of colour, [92]
Chevreul, his book, [115]
China collecting, [273]
Classification of light, [129]
Coleridge, [89], [217]
Colour, body, [92];
chemistry of, [92]
—— perception, [269]
Colours, blending of, [59];
the primaries, [58]
Combing, [181], [182]
Comfort in ornament, [224]
Comic Almanack, [166]
—— art, [260]
Consistency in ornament, [225]
Constable (John), [86], [160]
Contrast of ships, [142-5]
Contrivance for lighting, [18]
Copying, benefit of, [35];
its use and abuse, [81]
Correggio (Allegri, A. da), [85], [240], [247]
Cox (David), [91]
Crane (Walter), his work, [155], [173], [273]
Creswick (Thomas), [161]
Critics, [80]
Cromwell, [305]
Cross-bars, [184]
Cross-hatching, [155]
Cruelty of science, [290]
Cruikshank (George), [157], [160], [166], [167], [260]
‘Daily Graphic,’ [170]
‘Death of Procris,’ [246]
Decoration, [208]
Designing, [114]
Details, [77];
of foregrounds, [268]
Dignity in art, [268], [293]
Distortion of vision, [33]
Dobson (Austin), [150]
Doré (Gustave), [82], [89], [95], [160], [168-171], [248]
Dove marble, [191], [192]
Dow (Gerard), [243]
Drawing, [114];
on the wood, [157]
Dress, [99], [196];
modesty in, [201];
fashion in, [203-7]
Drummond (William), [195]
Dumas (A.), fils, [220]
Dürer (Albert), [34-9], [44], [52], [155-7], [242], [274]
Dutch Art, [268]
Eastern Art, [105]
Economy in Ornament, [224]
‘Editions de Luxe,’ [175]
Egypt, style of, [60]
—— ancient, style of, [299-301]
Egyptian boats, [136]
‘Eight Bells,’ [113]
Eliot (George), [220]
‘English Illustrated Magazine,’ [165]
Etching and Etchers, [41]
Ex Libris, [272], [276]
Ex Libris Society, [173]
Exhibitions, [96], [261]
Expression, [23]
Eyck (Jan van), [243], [247]
Faed (Thomas), [47], [82]
Failures, the benefit of, [112]
Faith, [312]
False art, [107]
Fashion in art, [90];
in dress, [203-7]
Feeling, [28]
Fildes (Luke), [82]
Fiorenzo di Lorenzo, [247]
First coating, [178]
Foreground flowers, [285]
Foster (Birket), [173]
—— (John), [53]
Francesca (Piero della), [238]
Frith, his ‘Derby Day,’ [87]
Fuligno (Niccolo di), [247]
Furniss (Harry), [167]
Gainsborough (Thomas), [94]
Galleys, Greek, [137]
Garvagh ‘Madonna,’ the, [232], [234]
George (Henry), [305]
Gillray, [260]
Glazing, [81]
Goethe, [89]
Goodwin Sands, [148]
Gradation of shadows, [124]
Graining, [86], [176], [178]
Grammar of Art, the, [292]
Grandi (Ercole de Giulio), [247]
Granite, [192]
‘Graphic’ (Daily), [170];
(Weekly), [165]
Greek ideals, [199]
—— ships and galleys, [137]
Grey, the quality of, [18]
—— paper, the value of, [130]
Ground for black and gold marble, [189]
—— for maplewood, [187]
—— for oak, [180]
Gum tree, the, [110-2]
Hag, the, [46]
Half-tones, [19]
Hals (Frans), [243]
Hamerton, [41]
Hannibal, [296]
Harmony, [128]
‘Harper’s Monthly,’ [165]
Harvey (Sir George), [82]
Hatching work, [92]
Hatherell (William R. I.), [165]
Hayden (Dr. G.), [41]
‘Henri Grâce à Dieu,’ [140]
Henry the Eighth, [241]
Heraldry, [276]
Herdman, [82]
Herkomer, [41]
Hobbema, his work, [248]
Hogarth (William), [157], [159], [160], [268]
Holbein (Hans), his work, [241], [244]
Homer, [218-220], [293]
Hunt (Holman), [63]
—— (William), [15], [36], [54]
Huxley, [214]
Illusive Effects, [123]
Illustrative art, Turner’s influence on, [163]
Image, the, [29]
—— of Fame, the, [295]
Imagination in art, [254]
Imitation of nature, [28]
Impressionists, school of, [53]
Impressions of pictures, [230]
Individualism in art, [160]
Insects, [289]
Instantaneous effects of nature, [126]
—— photography, [29], [164]
Instinct of art, [98]
Irving (Henry), [222]
Israels (Jozef), [64]
Italian marbles, [192]
—— school of painters, [128]
Jackson, [152]
Job, [102]
Judgment in painting, [270]
‘Julius II. (Pope),’ [234]
Kingsley (Charles), [216]
Knotting, [177]
Knowles (Davidson), [145]
Knox (Dr.), his work, [115]
Landscape Photography, [42]
Lastman (Peter), [35]
Lawrence (Sir Thomas), [19]
Leech (John), [260]
Leighton (Sir F.), [80]
Lessons in art, [102]
Libraries, arrangement of, [275]
Lichens, mosses, &c., [287]
Life and nature studies, [116]
Light, classification of, [129]
—— and shadow, proportions of, [17];
the effect of, [127]
Lighting, [16];
contrivances for, [18]
phenomenal laws of, [120]
Lippi (Fra Filippo), [240], [247]
Lockhart, [82]
Lorenzo da San Severino, [247]
‘Lorna Doone’ (Blackmore’s), [164]
Lorraine, Claude, [248], [249], [293]
Loutherbourg (P. J. de), [146]
Love the revealer, [309]
Low-toned School, the, [64]
Macdonald, [82]
Madonna, Ansidei, its value, [231]
‘Magazine of Art,’ [165]
Mahogany, to grain, [188], [189]
Mahomet, [293]
Mannerism, [160]
Mantegna (Cav. Andrea), [247]
Maple wood, to grain, [187], [188]
Marble, black and gold, [189];
blemishes in, [195];
method of working black and gold, [189-191]
Marbles, Italian, [192]
Masonry, [276]
Matsys (Quintin), [243]
Max (Gabriel), [250], [251]
Mechanical workers, [126]
Memory, [226]
Michael Angelo (Buonarroti), [15], [80], [246], [247], [293]
Millais (Sir John), [52], [80], [89]
Millet (J. F.), [54]
Milton, [101]
Modern painters, [66]
Modesty in dress, [201]
Modjeska (Madame), her art, [208]
Mora, his photographic work, [27]
Moroni, his work, [234], [237], [238], [240]
Moses, as Prince Rameses, [299-304];
death of (word picture), [311]
Murillo (Bartolomeo Esteban), [179], [189], [240], [242], [293]
Napoleon, [298], [299]
National Gallery, [229]
Nature, imitation of, [28];
sketching from, [31];
how to approach, [73-5];
instantaneous effects of, [126];
the guide to taste, [189];
different methods of seeing, [313], [314]
Nature worship, [297], [304]
Nimmo (John C.), [236]
Notes, shorthand, [83];
how to take, [103], [104]
Oak graining, the art of, [180];
tools required for, [181]
Oil painting, [115]
Operators, photographic, [6], [7]
Orchardson, [47], [48], [49], [50], [80]
Original ideas, [101]
Ornament, [211-3];
comfort in, [224];
economy in, [225];
consistency in, [225]
Outline work, [154]
Over-graining, [184]
Overwork, danger of, [71]
Painters, modern, [66];
Italian School of, [128]
Painting, books on, [83];
water-colour, [92];
oil, [115];
judgment in, [270]
Paper, a scrap of, [284]
Parsons (Alfred), [157], [163]
Paton (Sir J. Noel), [82], [273]
—— (Waller), [82]
P. and O. Liners, [144]
Perspective, [94]
Perugino (P. V.), [36]
Pettie (John), [47], [80]
Phœnicia, [219]
Photographic operators, [6], [7]
Photography, instantaneous, [29], [164];
landscape, [42]
Picture, what to seek in a, [258]
Pictures, the buying of, [91];
impressions of, [230]
Pilkington, [34]
Piombo (S. del), [247]
Poliphili, the, [155]
‘Pope Julius II.,’ [234]
Popularity, [245]
‘Portrait of a Tailor,’ [234]
Posing, [12]
Poussin (G.), [248]
Practical art, [157]
Pre-Raphaelitism, [63];
mistaken efforts of, [126]
Primaries, the, [58]
Priming, [177]
‘Procris, Death of,’ [246]
Proportions of light and shadow, [17]
‘Proserpina,’ [72]
Public opinion, [271]
‘Punch,’ [166]
Rameses, Prince (Moses), [299-304]
Raphael, [36], [91], [231-5], [251]
Rat-tails, [182], [183]
Reade (Charles), [176], [177]
Realism in art, [34]
Reflection, [255], [256]
Relief, [128]
Rembrandt, [20], [23], [35], [39-42], [45-50], [65], [86], [129], [157], [159], [234], [239], [240], [243-5]
Reni (Guido), [238], [239]
Repose, [256]
Retouching, [20]
Reuwich (Erhard), [155]
Reynolds (Sir J.), [15], [19], [83], [236]
Riggers, [185]
‘Rivers of France’ series, [162]
Road, effect of light upon, [127]
Roman ships, [137]
Romance, age of, [281]
Rosa (Salvator), [78], [85], [248]
Rubens (Sir Peter Paul), [15], [19], [80], [85], [238], [240], [243]
Rules, [79]
Ruskin (John), [32], [53], [56-8], [65], [66], [70-2], [83-7], [91], [101], [179], [186], [193], [239], [244], [249]
Sacred Art, [250]
Sacrifice of art, [252]
Sandals, [204]
Sarony, his photographs, [27]
Sarto (Andrea del), [239], [240]
Savage art, [102], [214-7]
Science, blunders of, [278]; cruelty of, [290]
Scott (David), [89]
‘Scribner’s Monthly,’ [54]
Scumbling, [81];
for oak, [181]
Seavey, his backgrounds, [27]
Second coating, [178]
Shadows, gradation of, [129]
Shakespeare, [70], [101], [104], [160]
Shelley, [73], [89]
Ships, [133], [134], [140], [161];
Greek, [137];
Roman, [137];
contrast of, [142-5]
Signorelli (Luca), [247]
Sketching from nature, [31]
Sky pictures, [280], [282-4]
Small (William), [157], [165]
Social problems, [314-5]
Soul in art, [255]
Spagnoletto, [242]
Spirit of beauty, [289]
Stages of painting, [67];
of the globe, [279], [280]
Stanfield (W. C.), [146]
Stanley (H. M.), [29]
Stars, [277]
Stippling, [92]
Stirling-Maxwell (Sir W.), [236]
‘Stones of Venice,’ [71]
Studio visiting, [88]
Style, [82]
Styles, [184]
Subject, confidence in, [221]
Subtlety, [217]
Swinburne, [217]
Symbol of art, [291]
Teniers (David), [35], [47-9], [243], [268]
Third coating, [178]
Thomson (D. C.), [150]
Thomson (Joseph), [29]
Tiepolo, [246]
Time for art course, [116]
Tintoretto, [80], [85], [247], [263], [264]
Titian, [15], [85], [91], [247], [263], [264]
Tone, [81]
Tones, half, [19]
Tools required for oak graining, [181]
Torchlight, effect of, [121]
Trees, [286], [287]
True aims of art, [108], [252]
Tunny, [53]
Turner (J. M. W.), [32], [65], [70], [86], [157], [161], [173], [244], [248], [249];
his influence on illustrative art, [163]
Tyndall, [214]
Uses of Art, [117], [118]
Utilitarianism, [305], [306]
Vandyke (Sir A.), [36], [80], [243], [244]
Velasquez, [236], [240], [241], [247]
Viking craft, [138], [139]
Vinci (Leonardo da), [115], [246]
Vision, distortion of, [33]
Walnut, how to grain, [188], [189]
Water-colour painting, [92]
Weyden, [243]
Whistler (J. McNeill), [20], [86], [91], [236], [245]
Whitman (Walt), [44], [45], [217]
Wilkie (Sir David), [50], [243]
Wohlgemuth (Michael), [35]
Wood, drawing on the, [157]
Word-painting, [303], [304], [311]
Wordsworth, [89]
Worth, [99], [100]
Wyllie (C. W.), [165]
Youth and Age, [313]
Zola, [43], [44], [221]
Zurbaran (Francisco), [242]
Zwanenburg, [35]

THE END

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