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.
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.
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.
'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.-
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.
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.
POPULARITY, nature of, ii. 280.
POPULARITY OF ART, promotion of, ii.
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.
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,
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.
QUALIFICATIONS for an artist, i. 52, 56. QUALITIES, exhibition of personal, ii. 73.
'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-
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.
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.
'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,
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.
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.
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
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,
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.
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.
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.
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.
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