INDEX
ABOUT, EDMOND, 232
Accessories in portraiture, 243
Acquired method of vision, 193 et
seq.
Acting and actors, 59
" Admiral Pnlido-PaTeja " (Velasquez),
241, 265
Adventurers in Art, 298, 299
Aerial perspective, 163
.^Esthetic motives, 37, 296
•Esthetic qualities, 26, 30, 36, 39
" Age of Brass " (Rodin), 131
" Alchymist " (Ost&de), 233
Allegory, 215 et seq.; in portraiture,
239
" Ambassadors " (Holbein), 243, 244
" Amint&s and Sylvia " (Boucher),
93
Anderson, Hans, 150
Anecdote, 25
Angelico, Fra Giovanni, 227
" Angelus " (Millet), 14 t
Apollo (Reinach), 279
" Apollo hilling the f>ython "
(Turner), 118
" Arcadian Shepherds " (Linnell),
162
Archaisms, 80, 221, 284 et seq.
Art for art's sake, 26, 36, 294
Artists' mothers in portraiture, 243,
264
Assyrian reliefs, 90, 212
Autochrome transparencies, 41, 17?
" Avenue, Middelharnis " (Hob-bema),
92, 93
Backgrounds in portraiture, 258 et
seq.
Balance in composition, 112
" Banker and his Wife " (Massys),
230
Barbizon artists, 296
Baughan, E, A., 299, 300
Beaumont, Sir George, 9, 94
Beauty in sitters, 247
Belgium, 6
" Bittern Hunter " (Rembrandt),
249
" Blind Girl " (Millais), 119
Boecklin, Arnold, 140 et seq., 152,
217, 226, 238
Bonvin, François Saint, 55
Boucher, François, 93
" Boy Singing " (Rembrandt), 249
"Bride, The" (Rossetti), 34
Brueghel, Bieter, 230, 231
Brueghel," Hell," 296
Byzantine mosaics, 212
Calvocoressi, M. D., 299, 300
Caravaggrio, Michelangelo, 51, 55, 57
" Carlyle " (Whistler), 264, 265
Caricature, 133
" Cenotaph " (Constable), 94, 95
Central mass in composition, 102 et
seq.
Character in sitters, 247 et seq.
Charcoal, 202
Chardin, Jean Baptiste Simeon, 233,
235
Chavanness, Puvis de, 47, 219, 220
Chiaroscuro, 57, 68
" Christ and the Two Disciples "
(Caravaggio), 54
Church, the, 158
Classicism, 144, 215 et seq.
Claude, Gellée, 8, 143, 131
Clausen, George, 236
Close point of view, 45, 46
Coleridge, Samuel Taylor, 293
Colour: appreciation, 82, 83; cool
and warm, 73 et seq., 209; decorative,
78 et seq„ 226, 227; disin-tegratioB
of, 175 et seq.; as a
factor, 19, 70 et seq. ; gradation,
78; landscape a school for, 81;
light primaries, 177; modern
development of, 166, 173,174,184
et seq.; of the Orient, 210; pigment
primaries, 1771 primitive,
76; quality in, 204; -sense, 22,
j85 ; of 3ate works of Turner, 183
THE APPEAL OF THE PICTURE
Composition, 85 et seq. ; balance,
112; central mass, 102 et seq.;
decorative, 105; even distribution,
106; Japanese, 88; primitive
ideas of, 86 et seq. ; radiation,
109; value of space, 105; symmetry,
87 et seq. ; unity, 106 et seq.
Constable, John, 9, 94, 95, 160, 173
Contours, 200
Corot, Jean Baptiste Camille, 9, 42,
45, 160, 172, 201
Costume, 217
'* Cradle, The " (Rembrandt), 139
Criticism: cone of, 17; types of, 22;
professional, 298
" Cupid and Psyche" (Rodin), 131
Daguerreotypes, 267
Dante, 150
" Dark" painters, 51, 54, 56
Davies, Dr. H. Walford, 14
Da Vinci, Leonardo, 193, 260
" Death's-head Moth, The " (Hol-man
Hunt), 119
Decomposition of Light, 23, 175 et
seq.
Decorative art, 47, 78 et seq., 80, 91,
105, 127, 212 et seq., 226, 227, 286
et seq.
Defregger, Franz de, 232
De Hoogh, Pieter, 25
Demoralisation in art, 291 et seq.
" Derby, The " (Géricault), 275
" Derby Day " (Frith), 29, 42
Design, 86
Details, 16
Diffusion of interest, 47
" Dignity and Impudence " (Land-seer),
35
Donatello, 115
Dou, Gerard, 243
Dramatic effect, 49
Drawing, 23, 182, 183, 195, 291 et
seq.
Drawings by old masters, 203
Dürer, Albrecht, 23, 106, 238, 240,
242, 250
Dutch houses, 44
Dutch painting, 25,45,123> 156, 169,
193, 231, 233 et seq.
Dyce, William, 269
Dyck, Anthony van, 11, 241, 252
Early Church, pictures of, 34
Edridge-Green, Dr. F. W., 196, 198
Effect: tonal, 19, 61 et seq.; pictorial,
67, 68
Egyptian reliefs, 90, 2x2
Elizabeth, Queen, 21
" Eliza Farren " (Lawrence), 262
" Embarking for Cythera " (Watteau),
29, 108.
Emotionalism, 25, 50, 51
Empirical painting, 2, 3, 6, 14, 15, 21
English schools, 156
" Entombment " (Caravaggio), 57
Etching, 202
Even distribution in composition,
106
Everdingen, Allart van, 159
Experimental painting, 2, 3, 6, 14,
15, 21
Exploiters, 297
Eyck, Jan van, 133, 205, 206
Eye-to-eye gaze in portraits, 254
et seq.
Facial expression in portraiture, 246
et seq.
Falsification of tones, 55 et seq.
Feeling, 135 et seq., 202, 292
" Fighting Téméraire " (Turner), 31
Figures to invoke a mood, 138 et seq.
Fire as used on the stage, 74
" Fisherman's Hut " (Corot), 201
Flat treatment in decoration, 221
et seq.
Flaxman, John, 285
Flemish painters, 230
" Flood, A " (Corot), 201
" Flora " (Titian), 239
Foreground objects, 45 et seq.
Form, 82, 183 et seq.
" Fountain, The " (Sims), 35, 36
Fra Angelico, Giovanni, 227
" Franciscan Monk " (Zurbaran), 56
Frith, William Powell, 27 et seq.,
42, 96, 233, 234
Future of art, 305
Fuzziness, 170, 194, 199, 200
Gainsborough, Thomas, 160, 241,
246
Gamut of tones, 51 et seq.
Genre, 18, 229 et seq.
Géricault, Jean Louis André Théodore,
275 et seq.
German colour, 83
German painting, 233
German school (early), 37, 238
Gesture in portraiture, 248
INDEX 311
Gilbert, Sir John, 138
Glare of sunlight, 53, 55
Goethe, 130
" Gold-changers, The " (Marinus),
230
" Gold-weighers, The " (Massys),
230
Good, Thomas Sword, 235
" Governors of St. Elizabeth's Hospital
" (Hals), 251
Goyen, Jan van, 159
Gradation, 16, 67; of colour, 78, 207
" Grand Style," 122, 214, 221, 239
Greeks, ancient, 214, 217, 224, 247
Guardi, Francesco, 195
Hals, Franz, 125, 205, 207, 242, 251,
252
Hampton Court Palace, 214
" Handling," 204 et seq.
High key, 48 et seq.
" High Life and Low Life " (Land-seer),
35
Hill, David Octavius, 268
" Hireling Shepherd, The " (Hol-man
Hunt), 119
Historical painting, 212 et seq.
Hobbema, Meindert, 92, 93
Hogarth, William, 27, 28, 116, 123,
234
Holbein, Hans, 23, 242 et seq., 249
Hoogh, Pieter de, 25
" Hope " (Watts), 33, 34, 36
Horizon, 97, 225, 226; in portraiture,
261
Hugo, Victor, 143
Humanism, 17
Hunt, William Henry, 235, 236
Hunt, William Holman, 117, 119
Idealism, 113 et seq., 190
Impressionism, 116 et seq., 191 et
seq., 284; in portraiture, 240
et seq.
Impressions, 51, 53, 58
" Industrial Arts of War " (Leigh-ton),
219
" Inside of a Stable " (Morland), 49
Instantaneous photography, 274 et
seq.
Instinctive method of vision, 193
et seq.
Intellectual painting, 50
Interior backgrounds, 263 et seq.
Iphigenia (Goethe), 130
Iris, human, 48, 52 et seq.
" Jean Arnolfini and his Wife "
(Van Eyck), 205
Julius II., Pope, 213
Keene, Charles, 35
Key of colour, 71
Key of tone, 48 et seq.
" King of Poland " (Rembrandt),
253, 254, 259. 261
Knaus, Louis, 232, 234
Kuhla Khan (Coleridge), 293
" La Fontaine " (Chardin), 235
" La Gioconda " (Leonardo da
Vinci), 125
Landscape, 37; as school for colour,
81, 158 et seq. ; backgrounds, 263;
scenic character in, 152
Landseer, Sir Edwin Henry, 34,
35
" Laughing Cavalier " (Hals), 125
Lawrence, Sir Thomas, 262
Lawson, Cecil, 46
Layman, 23 et seq.
Leigh ton, Sir Frederick, 81, 219
Lely, Sir Peter, 239
Lenbach, Franz yon, 246
Leonardo da Vinci, 193, 260
Leyden, Lucas van, 230
Liber Studiorum (Turner), nr
Light: concentration and diflusion
of, 56; decomposition of, 23, 175
et seq. ; transmitted and reflected,
177 et seq., 209
Light and shade in portraiture, 249,
250
Likeness in portraiture, 240
Limelight of stage, 57
Linnell, John, 161
Literalism, 117, 133
Literary motive and interest, 26,
30, 3L 237
' Loading,' 205, 206
" Lord Heathfield " (Reynolds), 248,
263
" Losing and finding " in portraiture,
254, 259
" Love and Life " (Watts), 216
Low key, 48 et seq.
" Low Life " (Landseer), 35
Lucas van Leyden, 230
Mabuse, Jan Gossart de, 10
Maeterlinck, Maurice, 130
Makart, Hans, 226
Malory, Sir Thomas, 150
THE APPEAL OF THE PICTURE
Manet, Edouard, 6, 166, 173, 188,
192, 296
Marinus van Romerswaelen, 230
Masaccio, Guidi Tommaso, 10
Massed efiects, 64
Massys, Quinten, 230, 234
Mathematical proportions, 97
" Mediaeval Castle " (Hugo), 143
Mediaeval work, 224
Medical faculty, analogy of, 3
Mediums, 42
Medusa, 296
Meissonier, Jean Louis Ernest, 16,
43,44,115,119
Menzel, Adolf, 3
Metsu, Gabriel, 234, 236
Michelangelo, 94, 122 et seq., 126,
214
Millais, Sir John Everett, 117, 119
Millet, Jean François, 25, 36, 125,
140, 141, 233, 236, 238
" Miraculous Draught of Fishes "
(Raphael), 126
" Misers, The " (Massys), 230
" Miss A. M. Alexander " (Whistler),
265, 266
Mist as a qualifier of colour, 208 et seq.
Modelling in portraiture, 250
Modern life as subject-matter, 219
Monet, Claude, 3, 6, 192, 296
Mood, 65 ei seq., 135 et seq.
Morality in subject-matter, 25, 33
Morland, George, 49, 59
Moroni, Giambattista, 245
Morot, Aimé, 279
Mothers of painters in portraiture,
243, 264
Motive in art, 1, 2, 13, 14, 37, 116
" Mrs. Siddons " (Reynolds and
Gainsborough), 248
Mucha, A., 285
Mummery, H. A., 169
Mural painting, 212 et seq.
Music, progress of, 4, 5, 299 et seq.
" Music Lesson, The " (Metsu), 234
Muther, Richard, 6, 230 et seq.
Muybridge, Eadweard, 275 et seq.
Naïveté, 80, 225, 288
" Narcissus and Echo " (Claude), 151
Narrative in painting, 22, 25
Naturalism, 50, 58, 88 et seq., 114
et seq., 121 et seq., 221, 296
Near objects, 45, 46
Netherlands, 6, 25, 231, 235
" Night Watch " (Rembrandt), 59
" Norham Castle " (Turner), 92
Nude, 215 et seq.
" Officers of the Archers of St.
George" (Hals), 251
Old masters: their colour, 10; their
decorative work, 222
" Old Woman " (Rembrandt), 242
Orient, colour of, 210
Originality, 7, 8
Ostade, Adriaen Jansz van, 28, 235
Outline, 24; abuse of, 285
Painters' mothers in portraiture,
243, 264
Painting with a purpose, 116
Parallelism, in
Parthenon frieze, 277, 278
Paton, Sir Noel, 269
Pattern, 19, 104: in portraiture, 253
Pauline Chapel, 123
Peasants in painting, 36, 37
Peppercorn, Arthur Douglas, 9
Percy, Bishop, 144
Personality in portraits, 239
Perspective violated, 225
Phidias, 115, 277, 278
Philip IV. (head) (Velasquez), 242
Photographs, 41, 52, 128, 129, 267
et seq.
Photographs, instantaneous, 274
et seq.
Physiological and psychological
realism, 55
Pictorial effect, 67, 68
Picturesque, the, 143 et seq.
Pigment primaries, 177
Pillar and curtain backgrounds, 263,
264
Piranesi, Giovanni Battista, 46, 155
Placing the head in portraiture, 11,
252, 253
Planes, horizontal and vertical, 164
Pleinairisme, 166, 169, 184, 284; in
portraits, 240 et seq.
Poetry, art of, 292, 293
Pointillisme, 174 et seq.
Popularity of the finest art, 123 et seq.
Portraits, 168 ; portraiture, 239 et seq.
Post-impressionism, 167
Pre-Raphaelites, 123, 163, 269
Primitive ideas: of colour, 76; of
composition, 86 et seq.
Primitive man's vision, 197, 198
Psychological painting, 55
Public, the, 1 et seq., 12 et seq., 128
INDEX 313
Puvis de Chavannes, Pierre Cécile,
47, 219, 220
Quality, 202 et seq.
Radiation, 109
Raeburn, Sir Henry, 241, 246
" Railway Station, The " (Frith), 29
" Rain, Steam and Speed " (Turner),
168, 170
Raphael, 3, 30, 94, 126, 255
Realism, 9, 55, 80, 113 et seq.; of
Frith, 29
Recession of planes, 163
Reconstruction of episodes, 215
Reduced reproductions, 41
Reinach, Salomon, 278, 280
Rejlander, O., 268
Relation of tones, 49, 52, 53
Rembrandt, 3, 23, 51, S3. 54. 56, 59,
139, 233. 238, 241 et seq., 249, 251,
253, 254, 259 et seq., 265
Reputations of pictures, 121
Reynolds, Sir Joshua, 3, 4, 94, 239,
248, 263, 293
Richter, Adrian Ludwig, 231
" Rock of Ages," 30
Rococo, 155
Rodin, Auguste, 131
Romantic, the, 143 et seq.
Romerswaelen, Marinus van, 230
Rossetti, Dante Gabriel, 33, 117,
138, 204
Rousseau, Pierre Etienne Theodore,
10, 160
Royal Academy, 78, 184
Rubens, Peter Paul, 3, 122, 214, 221,
222
"Rübezahl" (Schwind), 153
Ruskin, John, 17, 227
" Saint Francis in Glory " (Sassetta),
89
" Saint Paul preaching at Athens "
(Raphael), 255 et seq.
Sargent, John Singer, 242
Sassetta, Stefano di Giovanni, 89
Scale, 41 et seq., 162
" Scapegoat, The " (Holman Hunt),
119
Scenic character in landscape, 152
Schoenberg, 299 et seq.
Schwind, Moritz, 152, 238
Scriabin, 299 et seq.
" Sensations " in art, 5
Sentiment, 22, 25
" Shipbuilder and his Wife " (Rembrandt),
265
" Shrimp Girl " (Hogarth), 26
' Similarity with a difference,' 91, 97
Sims, Charles, 35
Sistine Chapel, 213
Sistine " Madonna " (Raphael), 125
Size as a factor, 19, 39 et seq.
" Sleeping Bloodhound " (Land-seer),
35
Sketch, the, 190, 191, 207
Skill, 292 et seq.
Smooth painting, 205, 206
South Kensington Museum, 6
Space in design, 105
Spectrum, 177 et seq.
Spenser, Edmund, 150
Stage fire, 74
Stage limelight, 57
Stags on engraved antler, 278
Stevenson, Robert Louis, 137
Still-life, 168, 230
Storey, George Adolphus, 243
" Street in a Town " (Van der Heyden),
194
Students, 7
Style, 122
Styles of composition, 100
Subject-matter, 19, 26 et seq., 34;
of Turner, 32
Supremacy of an object, 87, 89, 90
Symmetry, 87 et seq.
" Syndics of the Cloth Merchants "
(Rembrandt), 251
" Tailor, Portrait of " (Moroni), 245
Taine, Hippolyte Adolphe, 123, 129,
130
Taste, 14
" Téméraire, The Fighting " (Turner),
31, 34, 36
Teniers, David, 28
Terborch, Gerard, 234
The Two Paths (Ruskin), 227
' Three-colour work,' 78
Titian, 71, 185, 226, 227, 239
Tonal effect, 19, 61 et seq.
Tone, 48 et seq.; falsification of, S 5 et seq.
Tradition, 8, 51
Transitory effects, 190
Truth, 15, 16, 24, 59
Turner, Joseph Mallord William, 3,
31, 32, si, S4. 73. 81, 84, 92. 102,
110, in, 114, us, "8. 133. 134.
166, 167, 170 et seq., 183, 184, 191,
270, 285
THE APPEAL OF THE PICTURE
" Two Usurers " (Marinus), 230
Typical spectators and critics, 19 et
seq.
Ugliness, 37, 38, 294 et seq.
" Ulysses deriding Polyphemus "
(Turner), 84
Unities in old work, 9
Unity: of effect, 106 et seq. ; of
interest in portraiture, 251
Van der Heyden, Jan, 44, 133, 194,
I9S
Van Dyck, Anthony, xi, 241, 252
Van Eyck, Jan, 133, 205, 206
Van Goyen, Jan, 159
" Vanity " (Titian), 239
Van Ostade, Adriaen Jansz, 28,
235
Vautier, Marc Louis Benjamin, 231
Velasquez, 3, 51, 54, 55, 56, 169,
191, 207, 241, 242, 249, 265
Venetian painters, 122, 222, 226
Verestchagin, Vasili Vasilievich, 116
Veronese, Caliari, Paolo, 226
" View of a Lake " (Turner), 112
" Village Green " (Bonvin), 55
Vision, methods of, 24, 199
Water-colour, 42, 43
Watteau, Jean Antoine, 29, 108
Watts, George Frederick, 32, 33, 43,
115, 204, 216, 220
' Way out,' 161, 162, 264
" Wedding Journey " (Schwind), 153
Whistler, James McNeill, 3, 264 et
seq.
Whitman, Walt, 293
Wilkie, Sir David, 25, 27 et seq., 234
Wilson, Richard, 170
Winckelmann, Johann Joachim, 17
Yellow, characteristics of, 72, 73
Zurbaran, Francisco, 55, 56, 57
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