[81], [211], [221], [247], [250], [251], [282]-[285], [287], [288], [308], [359], [378], [399], [411], [420], [430].
Théâtre des Italiens (Paris), [104], [223], [285], [288].
Theatre Royal (Manchester), [303].
Theiner, Pater, [91].
Thiers, [104].
Thode, Professor Henry, [280].
Thomas, Theodore, [132], [133].
Thorwaldsen, [78], [80].
Tilgner, [417].
Tintoretto, [28].
Tisza, [200].
Titian, [28], [84].
Tolstoy, Countess, [98].
Torhilon-Buell, Marie, [436].
Trémont, Baron, [201].
Tristan and Isolde (Wagner), [6], [7], [25], [55], [143], [280], [363].
Triumph of Death (fresco), [175].
Tschaikowsky, [27], [145], [146], [367], [419], [422].
Turgenev, [388].
Uhland, [165].
Ungarische Tänze (Brahms'), [190].
Unger-Sabatier, Caroline, [42].
Urspruch, Anton (pupil), [24].
Vaczek, Carl, [198], [199].
Valle dell' Inferno, [100].
Vallet, Michael, [390], [391].
Valse-impromptu (Chopin), [186].
Van der Stucken (pupil), [24], [358].
Vasari, [347].
Vatican, The, [49], [79], [83], [92], [93], [94], [342], [352].
Veit, [83].
Velde, Professor van de, [332].
Verdi, [96], [180], [300], [412].
Verlaine, Paul, [10], [62], [63], [375].
Vernet, Horace, [124].
Veronese, [28].
Vesque, [226].
Viardot-Garcia, Pauline, [42].
Victoria, Queen, [24], [312].
Viennese pianos, [62], [182].
Villa d'Este, [9], [96], [341].
Villa Medici, [83].
Vimercati, [302].
Vivier, [227].
Vogrich, Max, [332], [425];
Opera Buddha, [332].
Voltaire, [124].
Volterra, Daniele da, [347].
Wagner, Richard, [1], [2], [5]-[10], [18]-[21], [23], [27], [29]-[32], [38], [43], [45], [47], [53]-[55], [57], [58], [63], [65], [67], [96], [101], [103], [108], [119], [140]-[144], [146], [147], [150], [151], [157], [158], [167], [171], [180], [186], [188], [189], [191], [280], [300], [333], [362], [363], [382], [411], [412], [419], [420], [422];
Madame Richard (see [Cosima von Bülow Wagner]);
Siegfried, [26].
"Wagnerfrage" (Raff), [260].
Wales, Prince and Princess of, [312].
Walker, Bettina, [383];
"My Musical Experiences," [383].
Ward, Andrew, [304], [317], [319].
Wartburg festival, [96], [272].
Watteau, [120].
Weber, [6], [105], [205]-[207], [215], [282], [283], [300], [368].
Wehrstaedt, [206], [207].
Weimar, Duchess of, (see [Pavlovna]);
Ernst, Grand Duke, [330];
Grand Duke Carl Alexander of, [3], [42], [44], [46].
Weingartner, Felix (pupil), [153], [400], [401];
on Liszt's symphonic works, [153]-[156].
Wesendonck, Mathilde, [20], [43].
Wesley, Samuel Sebastian, [301].
Wieland, [328].
Wiertz, [28].
Wild, Jonathan, [79].
Wildenbruch, Ernst von, [331].
William Tell, Overture to, [82], [298].
Winckelmann, [78], [275].
Winding, [314].
Windsor Express (London), [304].
Winterberger, Alex. (pupil), [359].
Wiseman, Cardinal, [79].
Wittgenstein, Princess, (see [Sayn-Wittgenstein]);
Prince Nikolaus, [46], [47], [50].
Wohl, Janka, (pupil), [56], [417].
Wolff, Dr., [226], [227].
Wolffenbüttel, [172].
Wolkenstein, Countess, [42].
Wolkof, [417].
Wolzogen, Von, [57].
Worcester festival, [191].
Woronice (estate of Princess Sayn-Wittgenstein), [45]-[47].
Wortley, Stuart, [252].
Wurtemburg, King of, [252], [254], [255].
Yeats, [327].
Zampa, Overture to, [181].
Zeisler, Fannie Bloomfield, [431], [436], [437].
Zichy, Geza (pupil), [24];
Michael, [338].
Zingarelli, [381].
Zoellner, [196].
Zucchari, [347].
BOOKS BY JAMES HUNEKER
Published by CHARLES SCRIBNER'S SONS
| Franz Liszt. Illustrated. 12mo. (Postage extra) | net, $2.00 |
| Promenades of an Impressionist. 12mo. | net, $1.50 |
| Egoists: A Book of Supermen. 12mo, | net, $1.50 |
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| Overtones: A Book of Temperaments. 12mo, | net, $1.50 |
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| Visionaries. 12mo, | $1.50 |
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PROMENADES
of an
IMPRESSIONIST
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Contents: Paul Cézanne—Rops the Etcher—Monticelli—Rodin—Eugene Carrière—Degas—Botticelli—Six Spaniards—Chardin—Black and White—Impressionism—A New Study of Watteau—Gauguin and Toulouse-Lautrec—Literature and Art—Museum Promenades.
"The vivacity of Mr. Huneker's style sometimes tends to conceal the judiciousness of his matter. His justly great reputation as a journalist critic most people would attribute to his salient phrase. To the present writer, the phrase goes for what it is worth—generally it is eloquent and interpretative, again merely decorative—what really counts is an experienced and unbiassed mind at ease with its material. The criticism that can pass from Goya, the tempestuous, that endless fount of facile enthusiasms, and do justice to the serene talent of Fortuny is certainly catholic. In fact, Mr. Huneker is an impressionist only in his aversion to the literary approach, and in a somewhat wilful lack of system. This, too, often seems less temperamental than a result of journalistic conditions, and of the dire need of being entertaining.