Claude, summary of his qualities, v. [244]; painting of sunlight by, iii. 318, v. [315]; feeling of the beauty of form, i. 76, iii. 318, v. [244]; narrowness of, contrasted with vastness of nature, i. 77; aërial effects of, iii. 318, v. [244]; sincerity of purpose of, iii. 317, v. [244]; never forgot himself, i. 77, v. [244]; true painting of afternoon sunshine, iii. 321, v. [245], [315]; effeminate softness of, v. 244; landscape of, iii. 318, i. xxxviii. preface, v. [244]; seas of, i. 77, 345, v. [244], [245]; skies of, i. 208, 227; tenderness of perception in, iii. 318; transition from Ghirlandajo to, iv. 1; absence of imagination in, ii. 158; waterfalls of, i. 300; treatment of rocks by, iv. 253, 308, iii. 322; tree drawing of, iii. 118, 333; absurdities of conception, iii. 321; deficiency in foreground, i. 179, 399; distances of, i. 278; perspective of, i. 409. Pictures referred to—Morning, in National Gallery (Cephalus and Procris), i. 317; Enchanted Castle, i. 208; Campagna at Rome, i. xl. preface; Il Mulino, i. xxxix. preface, v. [245], ii. 149; Landscape, No. 241, Dulwich Gallery, i. 208; Landscape, No. 244, Dulwich Gallery, i. 284; Landscape in Uffizii Gallery, i. 339; Seaport, St. Ursula, No. 30, National Gallery, i. 208; Queen of Sheba, No. 14, National Gallery, i. 409; Italian Seaport, No. 5, National Gallery, i. 230; Seaport, No. 14, National Gallery, i. 22; Marriage of Isaac and Rebecca, i. 176, 194, 208, 278, 388; Moses at the Burning Bush, iii. 320; Narcissus, i. 388; Pisa, iv. 1; St. George and the Dragon, v. [246]; Worship of the Golden Calf, v. [246]; Sinon before Priam, i. 169, 279; Liber Veritatis, No. 5, iv. 308; Liber V., No. 86, iv. 220; L. V., No. 91, iv. 253, 254; L. V., No. 140, iii. 117; L. V., No. 145, iii. 321; L. V., No. 180, iii. 321.
Conegilano, Cima da, entire realization of foreground painting, iii. 128; painting in church of the Madonna dell’ Orto, i. 82.
Constable, landscape of, iii. 126; simplicity and earnestness of, i. 94; aspen drawing of, iv. 78; Helmingham Park, Suffolk, iii. 119; Lock on the Stour, iii. 118; foliage of, i. 406, iii. 119; landscape of, iv. 38.
Correggio, choice of background, iii. 316; painting of flesh by, iii. 97; leaf drawing of, v. [35]; power of, to paint rain-clouds, v. [136] (note); love of physical beauty, iii. 33; morbid gradation, ii. 47; morbid sentimentalism, ii. 174; mystery of, iv. 62; sensuality of, ii. 125, 136; sidelong grace of, iii. 28; tenderness of, iii. 42. Pictures referred to—Antiope, iii. 63, v. [36], [90], [136]; Charioted Diana, ii. 126; Madonna of the Incoronazione, ii. 125; St. Catherine of the Giorno, ii. 126.
Cox, David, drawings of, i. xliii. preface, i. 96; foliage of, i. 406; rain-clouds of, i. 248; skies of, in water-color, i. 257; sunset on distant hills, i. 96.
Creswick, tree-painting of, i. 397. Pictures referred to—Nut-brown Maid, i. 397; Weald of Kent, i. 407.
Cruikshank, G., iv., 387; Noah Claypole (“Oliver Twist”), v. [266].
Cuyp, principal master of pastoral landscape, v. [194]; tone of, i. 150; no sense of beauty, i. 76; sky of, i. 215, 225, 209; cattle painting of, v. [259]; sunlight of, v. [254], [315]; water of, i. 346; foliage of, v. [35], [37]; and Rubens, v, 249, 260. Pictures referred to—Hilly Landscape, in Dulwich Gallery, No. 169, i. 150, 209; Landscape, in National Gallery, No. 53, i. 150, v. [37]; Waterloo etchings, i. 92; Landscape, Dulwich Gallery, No, 83, i. 340, No. 163, v. [37].
Dannaeker, Ariadne, iii. 65.