Apse, forms of, in southern and northern churches compared, [i. 170].
Arabesques of Raffaelle, their baseness, [iii. 136].
Arabian architecture, [i. 18], [234], [235], [429]; [ii. 135].
Arches, general structure of, [i. 122]; moral characters of, [i. 126]; lancet, round, and depressed, [i. 129]; four-centred, [i. 130]; ogee, [i. 131]; non-concentric, [i. 133], [341]; masonry of, [i. 133], [ii. 218]; load of, [i. 144]; are not derived from vegetation, [ii. 201].
Architects, modern, their unfortunate position, [i. 404], [407].
Architecture, general view of its divisions, [i. 47-51]; how to judge of it, [ii. 173]; adaptation of, to requirements of human mind, [iii. 192]; richness of early domestic, [ii. 100], [iii. 2]; manner of its debasement in general, [iii. 3].
Archivolts, decoration of, [i. 334]; general families of, [i. 335]; of Murano, [ii. 49]; of St. Mark’s, [ii. 95]; in London, [ii. 97]; Byzantine, [ii. 138]; profiles of, [iii. 244].
Arts, relative dignity of, [i. 395]; how represented in Venetian sculpture, [ii. 355]; what relation exists between them and their materials, [ii. 394]; art divided into the art of facts, of design, and of both, [ii. 183]; into purist, naturalist, and sensualist, [ii. 187]; art opposed to inspiration, [iii. 151]; defined, [iii. 170]; distinguished from science, [iii. 35]; how to enjoy that of the ancients, [iii. 188].
Aspiration, not the primal motive of Gothic work, [i. 151].