MINUTENESS, element of, i. 284, 296.
MIRACLE PLAYS, revival of, ii. 272.
'MIRACULOUS DRAUGHT OF FISHES,'
Raphael's cartoon of the, ii. 100.
MIRTH, i. 315.

MISSALS, ANGLO-SAXON, ii. 193, 194,
212; illuminations in early, ii. 193,
194, 212, 216.

'MRS. SIDDONS AS THE TRAGIC MUSE,'
portrait of, by Reynolds, ii. 198.
MIXED CHARACTER, exhibition of, ii. 86.
MODELS, ARTISTIC, the true use of, i.
141; ii. 279; supplied by nature, i.
260; nature the only true artistical
model, i. 246; nature the only fault-
less, i. 254, 257; use of, i. 8, 220.
MODERATION a cause of beauty, i. 284.
MODERN ART, aim and character of, ii.
73, 91, 218, 219, 220, 221, 225, 226,
229, 230, 234, 235, 238, 262.
MOMENTARY ATTITUDES, ii. 31.
MONUMENTS, i. 18, 161.

MONUMENTS, artistic, adornment of, i.

18.

MONUMENTS, heathenish, in churches, i.

26.

MONUMENTS, NATIONAL, i. 18.

MONUMENTS, PUBLIC, influence of, i. 18.
MONT BLANC, the prospect of, i. 268,
273.

MOONLIGHT SCENES, ii. 156, 157.
MORAL ATTRIBUTES, exhibition of, ii.
73.

MORAL CAUSES, artistical influence of,
i. 182.

MORAL CHARACTER, style adapted for
representation of, i. 181.

MORAL FEELINGS, influence of, in art,
i. 39, 53.

MORAL INFLUENCES, i. 15.

MORALITY, high tone of, in artistic
representation, ii. 83.

'MORDECAI, THE TRIUMPH OF,' by
Rembrandt, ii. 93.

MOSES STRIKING THE ROCK,' Poussin's
painting of, ii. 52.

MOTION, element of, i. 268, 275; ii.
33; representation of, ii. 30; not
always perceivable, ibid.; represen-
tation of by painting, ii. 30, 31; by
sculpture, ii. 30, 61; description of,
by poetry, ii. 31, 32; the main ele-
ment in acting, ii. 33; not directly
described in architecture, costume,
and gardening, ii. 33.

MOUNTAINS, i. 65; supposed architec-
tural types. i. 84; distant, effect of,
ii. 158.

MOUNTAIN SCENERY, i. 326; grandeur
of, 272.

MULTITUDE, element of, i. 268, 271.

299

'MURDER OF THE INNOCENTS,' by
Raphael, i. 309.

MUSIC, invention of, i. 76; early, i.

127, 131; early and modern, British,
ii. 210, 211; Anglo-Saxon, ii. 211;
early warlike, ii. 211; patronized by
the Church, ii. 211; indebted to fo-
reigners for, ii. 211, 212; peculiar
adaptation of, for description and nar-
ration, ii. 64; the ridiculous in, i.
324; alliterative ornament in, i. 245;
beauty in, i. 302; grandeur in, i.
282; composition in, ii. 22; exhibi-
tion of character by, ii. 114; to
what extent ideal, i. 99; not pro-
perly illustrative, i. 99; to what ex-
tent imitative, i. 99; inventive ef-
forts in, ii. 187; its mode of opera-
tion, i. 170; national influence of, i.
17; patronage of, ii. 241; province
of, i. 169; refinement by, i. 14; re-
presentation of vital action by, ii.
36; owes much to suggestion, ii. 27.

N.

NAKED FIGURE, the, ii. 73.
NAKED FORM, study of the, i. 113, 142;
ii. 223, 267.

NARRATION, artistical, application of
term, ii. 28; in artistical represen-
tation, ii. 25.

NATIONAL CHARACTER, i. 181, 185; art,

reflective of, i. 152; costume, reflec-
tive of, i. 153; language, indicative
of, ii. 83.

NATIONAL EVENTS, records of, by art,
i. 16.

NATIONAL GALLERY OF COPIES, pro-

NATIONAL INFLUENCE of art, i. 15.
NATIONAL PATRONAGE, ii. 244.
NATIONAL PORTRAITS, i. 20.
NATIONAL TASTE, ii. 251.
NATURE. See HUMAN NATURE.
NATURE, admiration of, i. 65; ad-
miration of, through art, i. 11; ad-
vantages from the study of, i. 7,
8, 11, 14; adoption of copies of,
instead of nature, i. 141; advantage
of, over art, i. 65; correction of, by
art, i. 197, 249, 253, 255; ii. 49;
should correct even the supernatural,
ii, 154; defensible deviations from,
i. 249, 251; the best guide in com-

position, ii. 2, 10; a guide in exer-
cise of imagination, ii. 125, 130, 131;
imitation of, i. 72, 92, 94, 106, 253,
257; imitation of, common to each
art, i. 195; improvement upon by
art, i. 248; interpretation of, by art,
i. 245, 247, 250; opposite merits in,
i. 88; the only faultless model, i.
246, 254, 257; object of art not to
distort, but to develope, ii. 21;
omissions in, may be supplied; i.
259; opportunities for the study of,
by ancients, i. 113; perfection of,
i. 254; works of, perfection in, i.
9, 11; principles of design, dedu-
cible from, i. 214; animated repre-
sentation of, ii. 35; improvement
upon, i. 106; when to be improved
upon, i. 173; rules of art derived
from, i. 217; phases of, typified by
different arts, i. 194; truth in repre-
senting, i. 246, 250; typified by art,
i. 194; variety exhibited by, i. 288;
resemblance of works of art to, i.
59; want of, in art, i. 250; varia-
tions from, when allowable, i. 250;
works of, i. 9, 62, 63; works of art
should follow, i. 85; mannerism in,
i. 222.

NATURE, DEAD, representation of, i.
179.

NATURE, INANIMATE, representation of,
ii. 45; what arts best adapted for,
ii. 46.
NATURE and ART mutually interpre-
tative, i. 245, 247, 250.

NAVAL ENGAGEMENT, grandeur of a, ii.
272.

NEW STYLES, invention of, ii. 231, 233;
tasteless character of, ii. 232.
NEWTON, BISHOP, i. 27.

NIGHT SCENE, by Homer, ii. 134.
NINEVEH, Sculptures of, i. 17.
NORTHCOTE, J., R.A., ii. 200; life of
Titian, by, ii. 244, 260.
NOVEL WRITING, not an independent
art, i. 86.

NOVELTY, i. 318, 320; element of, ii.

139, 144; whence agreeable, i. 284.
NOXIOUSNESS, element of, ii. 139, 146.
'NUN, THE,' description of, by Chaucer,
ii. 77.

0.

OBJECTS of art, i. 53, 155; common to
each art, i. 193; artistically exciting
to mind, i. 46; inanimate, representa-
tion of, i. 179.

OBJECTIONS to art, religious, i. 21.

OBSCURITY, element of, ii. 137.
OLD AGE, in art, i. 107.
OMISSIONS in nature, may be supplied,
i. 259.

OPERATION of art, mode of, i. 196, 200.
OPERATIONS of the mind, originative,
ii. 129.

OPIE, R.A., ii. 200.

OPPORTUNITIES, artistical, from paint-
ing on glass, ii. 218.

OPPOSITE EXCELLENCES in same work,
i. 185.

OPPOSITE QUALITIES in the same compo-
sition, union of, ii. 86.
OPPOSITION, i. 318.

OPPRESSION, element of, i. 307, 308.
'ORATION ON THE CROWN,' by De-
mosthenes, i. 282.
ORATORIOS, i. 195.

ORATORY, English, ii. 208. And see
ELOQUENCE.

ORGAN, music of the, i. 259.
ORIGIN of art, i. 37, 45, 53; of the arts
in this country, ii. 191; distinction
between, and invention, i. 102; each
art has one common, i. 190, 191.
ORIGINALITY, in early artistical efforts,
i. 139; essence of, ii. 126.
ORIGINATION, 48, 53, 59, 68, 180; ii.
122, 123, 128; exercise of, ii. 128,
129.

ORIGINATIVE AUXILIARIES, ii. 162.
ORIGINATIVE ELEMENTS, ii. 129, 139.
ORIGINATIVE POWERS, nature and ex-
tent of the, ii. 122, 128, 129; cultiva-
tion of the, ii. 164.
ORNAMENT, definition of an, ii. 15;
resort to, i. 122, 123; use of, ii. 15;
requisites to, ii. 17; excessive, evil of,
ii. 17; alliterative, in artistical compo-
sition, i. 241.

ORNAMENTAL ARTICLES, use of art in, i.
4.

ORNAMENTAL, THE, should be rendered
useful, i. 4.
OPIUM, i. 166.

P.

PAGANISM, influence of, upon art, ii.
226; preferred to Popery, i. 26.
PAIN, how far gratifying, i. 268.
PAINTED STATUES, i. 159, 160.
PAINTER, qualifications for a, i. 52, 56.
PAINTING, alliterative ornament in, i.
245; application of, to record na-
tional events, i. 17; early, i. 123,
130; early British, ii. 193; the ele-
ments of, i. 158; analogy between
painting and gardening, i. 305; on

glass, ii. 268; to what extent an
imitative art, i. 48; imaginative ef-
forts in, ii. 131, 140, 167; invention
of, i. 69; province of, i. 157; reli-
gious application of, i. 20; mode of
representation by, ii. 29; representa-
tion of motion by, ii. 30, 31; repre-
sentation of character by, ii. 93;
scriptural, excluded from churches,
i. 26; scope of, i. 56.

PALATE, gratification of, not allied to
art, i. 42, 43.
PANORAMA, i. 98.

PANTHEON, Conversion of church into,
i. 27.

'PARADISE LOST,' quotations from Mil-
ton's, i. 235, 243, 280, 281, 301, 310;
ii. 22, 132, 145, 174, 175, 176.
PARTIAL ARTISTIC PATRONAGE, ii. 241.
PASSION, animals afford striking exhi-
bition of, ii. 80; artistical exercise
of, i. 41, 45, 53, 57; artistical re-
presentation of, ii. 67, 70, 78, 80;
counterfeit of, in acting, i. 86; effect
of, 78, 79; eloquence the offspring
of, i. 75; expression of, by poetry, ii.
80, 102; infection in, ii. 70; imagina-
tive, operations of, ii. 138; poetry
originated in, i. 73, 127; province of,
in imaginative efforts, ii. 137; style
adapted for representation of, i. 181.
PASSION, ANIMAL, exhibition of, ii. 77.
PASSIONS, inflamed by art, i. 21; sub-

dued by art, i. 14, 15.

PASSIVE POWERS of the mind, i. 37, 40,
PAST ACTION, representation of, ii. 38.
PAST, THE, the true region of art, ii.
231.

PATHOS, definition of, i. 306; elements
of, i. 306; examples of, i. 309.
PATROCLUS, ii. 75, 133; the death of,
ii. 81.

PATRONAGE, deficiency in, for works of
art, ii. 237, 240; partial nature of,
ii. 241; national, ii. 244; spurious,
ii. 243.

PATTERNS in costume, mode of inven-
tion of new, i. 89.
'PAUL AND BARNABAS AT LYSTRA,'
Raphael's cartoon of, ii. 100.
'PAUL PREACHING AT ATHENS,' Ra-
phael's cartoon of, i. 278; ii. 21, 53,
84, 95.

PECUNIARY PROFIT, cultivation of mind
conducive to, i. 2; derivable from
art, i. 4, 5, 6.

PEEL, SIR ROBERT, the late, anecdote
of, i. 152.

PELIDES, the grief of, ii. 81.
PEOPLE, character of, influence upon
art, i. 108, 113.

301

PERCY'S RELIQUES OF ANCIENT POETRY
i. 126, 244.

PERFECTION IN ART, what constitutes, i.
254; how far attainable, i. 142; artis-
tical, period of highest, i. 137; not a
cause of beauty, 284; the ideal of,
i. 218, 221, 248; perfection in na-
ture, what constitutes, i. 254.

PERIOD of artistical perfection, i. 137.
PERSPECTIVE, in colour and light and

shade, i. 261; effect and value of, ii.
10, 33; conducive to fitness, i. 231;
sculpture, unfitted for, i. 161.
PERSPICUITY, ii. 2; element of, i. 226,
228.

'PICTORIAL HISTORY OF ENGLAND,'
The, ii. 193, 196, 206, 213, 214, 215,
216, 217.

PICTURES, representative character of,
ii. 26.
PICTURESQUE, principles of the, i. 1,
212, 220, 255; deduction of the
principles of the, i. 265; relation of
principles of, to styles in art, i. 266;
relation of, to mental powers, i. 265;
union of opposite elements of the, i.
325.
PILGRIMAGES TO ROME, artistic influ-
ence of, i. 128.
PISANDER, ii. 51.

PLACIDITY, element of, i. 284. 293.
PLAN OF PRESENT WORK, Preface VI.-

VIII.

PLANTS, exhibition of character in,
ii. 119.

See GARDENING.

PLATE, application of art to, i. 4.
PLATO, i. 16, 33, 54, 113.
PLEASURE-GROUNDS.
PLINY, i. 133.
POETRY, argumentative, i. 66; de-
scription by, ii. 28; early, i. 125;
early efforts in, i. 73; early British,
ii. 206; Anglo-Saxon, ibid.; noble
efforts in English, ii. 234; elements
of, i. 162; description of passion by,
ii. 80, 102; imaginative descriptions
in, ii. 173; imaginative efforts in, ii.
131, 140; to what extent imita-
tive, i. 98; invention of, i. 73; na
tional influence of, i. 17; modern, ii.
207; alliance to eloquence, i. 74;

description of motion by, ii. 31;
progress of, in this country, ii. 206;
province of, ii. 51, 162; representa-
tion of repose by, ii. 43; Saxon, i.
125; character of different styles in,
i. 273; utility of, i. 11; wit in, i.
322.

POETRY and ELOQUENCE, distinction
tion between, i. 75, 166.
POMPEII, paintings of, i. 17.
POPE, ALEXANDER, 52; ii. 208, 230;
quotations from, i. 243, 300, 301;
translation of the Iliad by, ii. 59,

60.

POPERY, refuge from, in Paganism, i.

26.

POPULARITY, nature of, ii. 280.
POPULARITY OF ART, promotion of, ii.

250.

PORCELAIN. See CHINA.

PORTRAITS, early, ii. 194; national, i.

20; should be representative, ii. 26.
PORTRAIT PAINTING, ii. 219; patronage
of, ii. 237, 240, 262; value of, ii.
198.

POSITION, variety of, from which fixed
objects viewed, ii. 33, 34; compen-
sates for want of motion, ii. 33.
POUSSIN, NICOLAS, ii. 27, 53.
POVERTY, national, i. 210; ii. 239.
POWER, element of, ii. 139, 141.
POWERS, artistical, i. 37, 40, 41; ima-
ginative, ii. 122; originative, culti-
vation of the, ii. 162; extent of the,
ii. 122.

PRACTICAL PURSUITS, application of art
to, Preface VIII., i. 3.
PRAXITELES, i. 322.

PREJUDICE, influence of, i. 145, 148.
PRE-RAPHAELITES, the, i. 187.
PRESENT CONDITION OF BRITISH ART,
ii. 218.

PRIAM, Virgil's description of the death
of, ii. 52.

PRINCIPAL FIGURE, disposition of the,
ii. 9, 10, 13, 21, 53.
PRINCIPLES for architectural regulation,

i. 212; of delineation, i. 212; of the
picturesque, i. 212, 265; the same
regulate each art, i. 200.

PROCESS, each art pursues the same, i.
195.

PROFESSORSHIPS of art, proposal for, i.

279.

PROFILE, representations in, ii. 29.
PROGRESS of ARTS, i. 105, 107; on
what dependent, i. 128; ii. 192; il-
lustrations of, i. 150; not necessarily
simultaneous, i. 119; on what de-
pendent, i. 108.

PROPORTION, element of, i. 284, 290.

PROPOSAL for professorships of art, ii.
279; for National Gallery of copies,
ii. 253; for art revivals, ii. 271; for
"Graphopneumata' designs, ii. 257.
PROPRIETORS, landed, should cultivate
landscape gardening, i. 176.
PROSPECTIVE ACTION, representation of,
ii. 38.

PROSPECTS, distant, opening of, in land-
scape gardening, ii. 24; prospects of
British art, ii. 233.

PROTESTANTISM, how far unfavourable
to art, ii. 225.

PROTESTANTISM, ULTRA, i. 26.

PROVINCE of art, the, i. 154; of archi-
tecture, i. 170; of dramatic acting, i.
172; of costume, i. 174; of eloquence,
i. 165; of gardening, i. 176; of ima-
gination and invention, ii. 128; of
music, i. 169; of painting, i. 157;
of passion in imaginative efforts, ii.
137; of poetry, i. 162; of reason in
imaginative efforts, ii. 135, 136, 137;
of sculpture, i. 158.

PSALMS, the, i. 166; quotations from
the, ii. 142, 143.

PUBLIC, knowledge of art by, i. 6, 8,

16.

PULSATIONS of human body, relation of
music to, i. 77.

PURGATORIO. See DANTE.

PURITANS, aversion of to the drama,
ii. 215.

PURITANISM, inimical to art, i. 26, 28.
PURSUITS, comparative utility of
various, i. 1.

PYRENEES, mannerism of, i. 223.

Q.

QUALIFICATIONS for an artist, i. 52, 56.
QUALITIES, exhibition of personal, ii.
73.

R.

'RAISING OF LAZARUS,' the, picture
of, by Rembrandt, ii. 52.
RANK, value of knowledge of art to
persons of, i. 34.
RAPHAEL, D'URBINO, i. 13, 20, 26, 29,
52, 66, 140, 178, 180, 187, 246, 257,
263, 278, 309, 325; ii. 12, 14, 22,
27, 37, 38, 47, 49, 50, 53, 68, 69, 72,
91, 94, 95, 155, 170, 171, 219, 224,
226, 230, 231, 234, 237, 245, 246,
253, 266, 271, 280.

RAPHAEL, cartoons of. See CARTOONS.
REASON, aid of, in art, ii. 37; applica-

INDEX.

tion of to art, i. 118; differences in
matters of, i. 52; exercise of in art, i.
227, 230; influence of in art, i. 50, 51,
64; province of in inventive efforts,
ii. 128; in imaginative efforts, ii. 135,
164.

RECAPITULATION, ii. 284.

RECORDS of national events, artistical,
i. 16.

REFINEMENT, excessive, unfavourable
to grandeur and beauty, i. 140, 143;
produced by art, i. 195; promotion
of, by art, i. 6, 12, 15, 16.
REGULARITY, element of, i. 284, 292.
REGULATION, artistical, principles for,
i. 212.

REITERATION, effect of, ii. 7.
RELATION of constituents, ii. 11.
RELIGION, effect of a change in, upon
art, i. 112, 114; employment of art
in service of, i. 20; influence of,
upon art, i. 110, 111; services of art
to, i. 23, 29, 30.

RELIGION AND ART, blending of, ii. 223,
225, 246, 247.

RELIGIOUS FEELING, artistic influence
of, ii. 247.

RELIGIOUS OBJECTIONS to art, i. 21.
'RELIQUES OF ANCIENT POETRY,' Percy's,
i. 245.

REMBRANDT, i. 263; ii. 51, 69, 93, 224,

225, 245, 271; humour of, i. 322.
REPETITION, where to be avoided, ii. 7.
REPOSE, representation of, ii. 41; effect

of, by contrast, ii. 42; what arts best
adapted for, ii. 43.
REPRESENTATION, artistical, description
narration and action in, ii. 25; by
art, i. 58; of death, ii. 46; of motion,
ii. 30; of inanimate nature, ii. 45;
of repose, ii. 41; of still life, ii. 43;
symbolical and emblematical, ii. 65.
REPRESENTATIVE character of pictures,
ii. 26.

REPTILES, excited by sounds, i. 44.
RESTORATION, the province of present
age, ii. 262.

RETURNING TO LIFE, representation of,
ii. 50.

REVE, THE,' description of, by Chaucer,
ii. 61.

REVELATIONS, Book of. See APOCALYPSE.
REVIVALS, art, ii. 283; proposals for,
ii. 271.

REVOLTING SUBJECTS, not fitted for art,
ii. 48, 49, 51; violations of this rule,
51, 52.

REVOLUTIONS, artistic, i. 116.
REYNOLDS, SIR JOSHUA, P.R.A., i. 101,
185, 186; ii. 86, 102, 197, 198, 199,
200, 202, 204, 240, 254.

303

RHETORIC, Aristotle's, i. 167.
RHETORIC AND ELOQUENCE, distinction
between, i. 75.

RHYME, i. 273; origin of, i. 73.
RIDICULE, definition of, i. 315; different
kinds of, ib.; man alone affected by,
317; elements of, i. 318; examples
of, i. 321.

RIDICULOUS, representation of the, by
sculpture, i. 322.

RISE OF ARTs, i. 105; should be simul-
taneous, i. 198; illustration of, i. 150;
Hume on the, ii. 229.

Rock, expression in, ii. 118; pictu-
resque effect of, i. 305.

Rocks, grandeur of, i. 272.

ROMAN CATHOLICS, works of art by, i.

22.

ROMAN COSTUME, i. 175.

ROMAN GARDENS, i. 132, 133.
ROMAN GARDENING, i. 128.

ROMANS, taste of, in domestic articles,
i. 5.

ROME, influence of intercourse with, i.

107; pilgrimages to, artistic influence
of, i. 128; progress of art in, i. 112.
ROMEO AND JULIET,' ii. 88; quotation
from, ii. 150.

ROSA, SALVATOR, i. 178; ii. 4, 45, 202.
ROSCOE'S LEO X.,' i. 27.

ROTA MARTIN, his engraving of Michael
Angelo's 'Last Judgment,' ii. 169.
ROUBILLAC, ii. 205.

RUBENS, Sir, P.P. i. 27; ii. 47, 197,
236, 246, 271.

RULES OF ART, utility and scope of, i.
212, 213; examples of breach of, i.
216; derived from nature, i. 217.
RUSKIN, JOHN, i. 8.

S.

'SACRIFICE AT LYSTRA,' Raphael's car-
toon of the, ii. 37.

ST. PAUL, quotation from, i. 235.
ST. PAUL'S, CATHEDRAL OF, ii. 213.
ST. PETER'S at Rome, cathedral of, ii.
213.

SATAN, Milton's description of, i. 279,

280, 281; ii. 124, 132, 144, 146, 147,
164, 173, 174.

SATIRE, i. 50, 315, 316, 317; in Scrip-
tures, instances of, i. 323.
SAXON POETRY, i. 125.
SCENERY, CELESTIAL, ii. 156; change of
taste of regarding, i. 46; influence
of, i. 118, 119; landscape, changes
in, ii. 34; relation of, to buildings, i.
171; exhibition of character in, ii.
74, 117, 118, 119; grandeur of moun-