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INDEX.

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, i. 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.

PHEDRUS, i. 54.

PHENOMENA, imaginative application
of natural, ii. 165.

PHIDIAS, i. 113; ii. 247, 262, 266, 271.
PHILOSOPHY, scholastic, influence of,
upon art, i. 129.

PHOTOGRAPHY, i. 70; ii. 203; utility
of, to art, i. 35.
PHYSIOGNOMY, study of, by artists, ii.

92.

'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.

PLATE, application of art to, i. 4.
PLATO, i. 16, 33, 54, 113.
PLEASURE-GROUNDS. See GARDENING.
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, 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, i. 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'URRINO, 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-

tain, i, 272, 326; natural, affords a
guide to composition, ii. 2; sublime,
study of, by artists, ii. 246; land-
scape, the supernatural in, ii. 156,

157.

SCENERY, Swiss, ii. 189, 222, 246.
SCIENCE, aid to art from, ii. 257; should
be corrected by art, i. 13, 34, 35, 36;
influence of, upon art, i. 110; inju-
rious to beauties of nature, i. 91;
in what respect prejudicial to art, i.
129; utility of, to art, i. 35.
SCIENCE AND ART should be cultivated
together, i. 34, 35, 36.
SCHOLASTIC PHILOSOPHY, influence of,
i. 129.

SCRIPTURAL PAINTINGS excluded from
churches, i. 26.

SCRIPTURES, sublimity of the, ii. 29,
246; study of the, ii. 246; instances of
satire in, i. 323.

SCULPTURE, early, i. 124, 131; early
British, ii. 195; efforts in early Bri-
tish, ii. 195, 196, 204, 205; Anglo-
Saxon, ii. 204; elements of, i. 159;
Grecian, ii. 69; imaginative repre-
sentations in, ii. 171; invention of, i.
69; province of, i. 158; mode of
representation by, ii. 29; represen-
tation of character by, ii. 101; re-
presentation of motion by, i. 62;
adapted to represent repose, ii. 42;
use of, in religion, i. 28; representa-
tion of the ridiculous by, i. 322; re-
presentation of vital action by, ii. 38.
SEEING, sense of, i. 41.

SELECTING FROM NATURE, i. 257.
SENSES, ARTISTICAL exercise of the, i.

41, 44, 51, 53, 57; classification of
the, i. 42.

SENTIMENT, exhibition of character by,
ii. 113; characteristic, ii. 70; ex-
pression of, ii. 82.

'SENTIMENTAL JOURNEY, THE,' by
Sterne, ii. 52, 63, 64.
SEPULCHRAL MONUMENTS, i. 18.
SERVICES OF ART to religion, i. 23, 24,
25, 29, 30.

SERVILE IMITATION, avoidance of, i.

209.

SEVRES, paintings on glass at, ii. 269.
SHADOWS, tracing, i. 70; reflection of,
i. 70.

SHAKSPEARE, W., i. 29, 52, 97, 107,
116, 178, 180, 209. 216, 220, 222, 228,
246, 263, 323, 325; ii. 4, 9, 19, 27,
68, 79, 88, 102, 103, 105, 106, 127,
132, 135, 149, 150, 164, 173, 200,
207, 214, 230, 231, 234, 237, 240,
253, 259, 271, 280; passages of elo-
quence in, i. 166.

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SIDDONS, Mrs. ii. 221; as 'The Tragic
Muse,' ii. 198.

SIMILE, use of, ii. 27, 132; by Dante,
i. 216.

SIMPLICITY, element of, i. 268, 275;
in description, ii. 29.

'SIR CAULINE,' ballad of, i. 126.
SKETCHES, ROUGH, Preface Ix., ii. 149.
SKILL, MECHANICAL, i. 56, 64.
STAINS, use of, in costume, i. 88.
SLATE ROCK, artistic character of, i.
272.

SLOW GROWTH of certain arts, i. 133.
SMELLING, sense of, i. 42, 43.
SNEYDERS, i. 179; ii. 80, 201.
SNOW SCENES, ii. 156, 157.
SOCRATES, i. 33; ii. 71.
SOLITUDE, not an element of grandeur,
i. 271.

SOLOMON, book of wisdom of, i. 160.
SOUNDS, correspondence of, with colours
and forms, i. 201.

SPEAKING TRUMPETS, use of in acting,
i. 87.

'SPECTATOR, THE,' i. 33; quotation from,
i. 235.

SPENSER, EDMUND, ii. 27, 61, 63, 163,
207, 259.
SPENSER'S 'FAERIE QUEENE,' quotations

from, i. 240, 241, 245; ii. 61, 230.
SPIRE, the probable type of, i. 82.
SPIRIT, description of a, in Book of
Job, ii. 141.

SPIRITS, ii. 147; imaginative descrip-
tion of, by Dante, ii. 135.
SPIRITUAL BEINGS, portrayal of, i. 155.
STAGE. See acting, dramatic.
STATE PATRONAGE, ii. 244.
STATUES, painted, i. 159, 160.
STATUES, PAINTING OF, i. 72, 96.
STATUES, GRECIAN, simplicity of, i. 275.
STERNE, descriptions by, ii. 52, 63, 261.
STILL LIFE, representation of, ii. 43;
arts adapted to represent, ii. 44.
STODHART, LIFE OF, by Mrs. Bray, i.
261; ii. 260.

STONES, used for early statues, i. 72.
STORM AT SEA, description of, by Vir-
gil, ii. 56.

STORMS, representation of, ii. 4.
STRABO, i. 132.

STREETS, care in laying out, i. 171.
STRENGTH, element of, i. 268, 271.
STULTITIÆ LAUS,' by Erasmus, i. 322.
STYLE, the beautiful, i. 178, 180; the

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grand, i. 180; the tragic, i. 178;
the humorous, i. 179.
STYLES IN ART, classification of, i. 181;
relation of, to principles of pictu-
resque, i. 266; development of, i.
178; analogy between natural and
artificial, i. 199; division of, i. 178;
invention of new artistic, ii. 231,
232; prototypes of the mental powers,
i. 199; similar in each art, i. 199.
SUBJECT, unity of, ii. 13.

SUBURBAN VILLAS, beauty of grounds
of, ii. 21.

SUFFERING, element of, i. 306, 307.
SUGGESTION, in art, i. 93, 95; resort to,
ii. 26, 27, 32, 33, 65, 86; for 'Grapho-
pneumata' designs, ii. 257.
SUGGESTION, INFINITE, ii. 148.
SUGGESTIONS, ARTISTICAL, from animal
action, ii. 74.

SUMMARY of present work. Preface
IX. X., ii. 284-286.
SUNSETS, ii. 156.

SUPERNATURAL, the, in colour, ii. 157;
Dante's success in the, ii. 160; in
landscape scenery, ii. 156; represen-
tation of, i. 251; representation of,
upon the stage, ii. 162; use of the,
ii. 153, 180, 183; should be corrected
by nature, 154.
SUPERNATURAL
painting, ii. 171.
SUPERNATURALITY, element of, ii. 139,

145.

REPRESENTATIONS in

SUPERSTITION, encouragement of by
art, i. 21, 22.

SUSTAINING MEDIUM in art, i. 69, 72,
73, 78, 87, 88, 120, 121.
Swiss, artistic qualities of the, i. 118.
SWITZERLAND, scenery of, i. 147; ii. 189,
246.

SYMBOLICAL REPRESENTATIONS, ii. 65.
SYMPATHY, the connecting link be-
tween nature and art, i. 246; ex-
citement of, ii. 131, 138.

T.

TAPESTRY, Works in, ii. 194, 196.
TASKS, failure of, to produce efforts of
genius, ii. 237.

TASTE, i. 266; accordance with, only

test of merit of a new style, ii. 276;
not confined to any one age, i. 124;
aid of, to the imagination, ii. 136;
for art, diffusion of, ii. 251; of arti-
sans, necessity for cultivating, i. 6;
breaches of, ii. 7; capacity of, i. 38,
39, 45, 47, 49, 53, 180; causes of
difference in, i. 45, 50, 51; change
VOL. II.

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of, regarding scenery, ii. 147; culti-
vation of, by public, i. 6; degenera-
tion of, i. 148; desirableness of cul-
tivating, ii. 250; fluctuation of, ii.
282; immutability of, i. 146; na-
tional, correction of, i. 145; national,
ii. 251; pleasures of, i. 14; superi-
ority of moderns to ancients in, ii.
223; theory of, i. 49, 54; use of, in
art, i. 118; variety of, i. 146.

TASTE, FOUNDATION OF TRIBUNAL OF
TRUE, ii. 277; constitution of, ii.

278.

TASTING, Sense of, i. 42, 43, 53.
TEMPLE, Sculptural adornment of the,
i. 28.

TENT, the, an architectural type, i. 81.
TEST of excellence, 1. 65.

TESTIMONY to influence of art, i. 33.
THEORIES enunciated in present work,
Preface v.

THOMPSON, JAMES, i. 179.

THORNHILL, SIR JAMES, ii. 197.
THORWALDSEN, ii. 230; statue by, ii. 49.
THUNDERSTORMS, ii. 158.

TINSEL, resort to, i. 122, 123, 144.
TITIAN, life of, by Northcote, ii. 245,
260.

TOMBS, types of, i. 8.4
TORSO, the, i. 237.

TOUCHING, sense of, i. 42, 43.
TOWERS, the types of, i. 82.
TRAGEDY, i. 173, 174.

TRAGEDY, SACRED, field for, ii. 272.
TRAGIC REPRESENTATIONS, i. 318.
TRAGIC STYLE, the, i. 178; knowledge
of human nature by followers of, i.
180.

TRANSACTIONS, crisis of, ii. 26.
"TRANSFIGURATION, THE,' by Raphael,
ii. 155, 171.

TRANSLATION, theory of, i. 202; whence
differs from copying, ibid.; a shadow
of the original work, i. 203; adapta-
tion of particular arts for, i. 204;
effect of, ibid.; what styles adapted
for, i. 205; leading ideas translat-
able, i. 806; humorous pieces, i. 807;
capacity for, evinces connection be-
tween arts, i. 202.

TRANSPLANTING ART, effect of, i. 119.
TREES, architectural types from, i. 79,
83; grouping of, ii. 24.

TRIBUNAL OF TASTE, foundation of a,
ii. 277; constitution of, ii. 278.
TRIUMPH OF MORDECAI, by Rembrandt,
ii. 93.

TURNER, J. W. M., R.A., i. 179; the
skies of, ii. 118, 202, 236.
TYPES, architectural, i. 83; in natural
forms, ii. 275.

X

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