v. 334;

Chartreuse, i. 127, 394, iii. 317; Chepstow, v. 333; Domestic subjects of L. S., i. 127; Dunstan borough, v. 333; Foliage of L. S., i. 128; Garden of Hesperides, iii. 310, v. 310; Gate of Winchelsea Wall, v. 330; Raglan, v. 333; Rape of Europa, v. 334; Via Mala, v. 336 (note), iv. 259; Isis, v. 171, 172; Hedging and Ditching, i. 127, 394, v. 333; Jason, i. 130, ii. 171, 199, iii. 317; Juvenile Tricks, i. 394; Lauffenbourg, i. 128, iii. 327, v. 170; Little Devil's Bridge, i. 127, iv. 27; Lianberis, i. 258; Mer de Glace, i. 126, 287, iv. 191; Mill near Grande Chartreuse, iv. 259, v. 333; Morpeth Tower, v. 333; Mont St. Gothard, i. 127, 311 (note); Peat Bog, iii. 317, v. 333; Rivaulx choir, v. 333; Rizpah, i. 130, iii. 317, iv. 14, v. 295, 334; Solway Moss, iii. 317; Source of Avernon, iv. 308, v. 80; Study of the Lock, iv. 7, v. 332; Young Anglers, v. 333; Water Mill, v. 333. Rivers of France, i. 129; Amboise, i. 184, 269; Amboise (the Château), i. 184; Beaugency, i. 184; Blois, i. 183; Blois (Château de), i. 183, 202, 269; Caudebec, i. 269, 302, 366; Château Gaillard, i. 183; Clairmont, i. 269, 303; Confluence of the Seine and Marne, i. 364; Drawings of, i. 130; Havre, i. 224; Honfleur, i. 304; Jumièges, i. 250, 364; La Chaise de Gargantua, i. 364; Loire, i. 363; Mantes, i. 269; Mauves, i. 303; Montjan, i. 269; Orleans, i. 183; Quilleboeuf, i. 377, 170; Reitz, near Saumur, v. 164, 165; Rouen, i. 410, v. 118; Rouen, from St. Catherine's Hill, i. 240, 366; St. Denis, i. 264, 269; St. Julien, i. 184, 269; The Lantern of St. Cloud, i. 268; Troyes, i. 269; Tours, i. 184, 269; Vernon, i. 364. Yorkshire Series:-- Aske Hall, i. 394, v. 70; Brignall Church, i. 394; Hardraw Fall, iv. 309; Ingleborough, iv. 249; Greta, iv. 14, 248; Junction of the Greta and Tees, i. 322, 372, iv. 309; Kirkby Lonsdale, i. 267, 394, iv. 14, 313; Richmond, i. 261, iv. 14, v. 38; Richmond Castle, iii. 230; Tees (Upper Fall of), i. 319, 323, 367, iv. 309; Zurich, i. 367.

Uccello, Paul, Battle of Sant' Egidio, National Gallery, v. 5, 281.

Uwin's Vineyard Scene in the South of France, ii. 229.

Vandevelde, reflection of, i. 359; waves of, iii. 324; Vessels Becalmed, No. 113, Dulwich Gallery, i. 340.

Vandyke, flowers of, v. 90; delicacy of, v. 275 (note). Pictures-- Portrait of King Charles' Children, v. 90; the Knight, v. 273 (note).

Veronese, Paul, chiaroscuro of, iii. 35, iv. 41, 47; color in the shadows of, iv. 47; delicacy of, iii. 38; influence of hills upon, iv. 350; love of physical beauty, iii. 33; mystery about the pencilling of, iv. 61; no sympathy with the tragedy and horror of the world, iv. 14; sincerity of manner, iii. 41; symbolism of, iii. 96; treatment of the open sky, ii. 44; tree drawing of, v. 67; foreground of, v. 90; religion of, (love casting out fear), v. 222; animal painting, compared with Landseer's, ii. 202; Pictures-- Entombment, ii. 44; Magdalen washing the feet of Christ, iii. 19, 30; Marriage in Cana, iii. 122, iv. 66, v. 196, 220, 221; two fresco figures at Venice, i. 110; Supper at Emmaus, iii. 30, 60; Queen of Sheba, v. preface, vii. 224; Family of Veronese, v. 222, 224; Holy Family v. 225; Veronica, v. 226; Europa, v. 90, 170; Triumph of Venice, v. 170; Family of Darius, National Gallery, v. 189.

Vinci, Leonardo da, chiaroscuro of, iv. 47 (and note); completion of detail by, iii. 122; drapery of, iv. 48; finish of, ii. 84, iii. 261; hatred of fog, iv. 56; introduction of portraiture in pictures, ii. 120; influence of hills upon, iv. 356; landscape of, i. 88; love of beauty, iii. 41; rocks of, iii. 239; system of contrast of masses, iv. 42. Pictures-- Angel, ii. 176; Cenacolo, ii. 215; Holy Family (Louvre), i. 88; Last Supper, iii. 26, 341; St. Anne, iv. 302, iii. 122.

Wallis, snow scenes of, i. 286 (note).

Wouvermans, leaves of, v. 33; landscape of, v. 195; vulgarity of, v. 278, 281; contrast between, and Angelico, v. 283. Pictures referred to-- Landscape, with hunting party, v. 278; Battle piece, with bridge, v. 280.

Zeuxis, picture of Centaur, v. 258.

TOPICAL INDEX.

Abstraction necessary, when realization is impossible, ii. 206.

Æsthetic faculty, defined, ii. 12, 16.

Age, the present, mechanical impulse of, iii. 301, 302; spirit of, iii. 302, 303; our greatest men nearly all unbelievers, iii. 253, 264; levity of, ii. 170. See Modern.

Aiguilles, structure of, iv. 174; contours of, iv. 178, 190; curved cleavage of, iv. 186, 192, 193, 210-214; angular forms of, iv. 179, 191; how influencing the earth, iv. 193; Dez Charmoz, sharp horn of, iv. 177; Blaitière, curves of, iv. 185-188; of Chamouni, sculpture of, 160, 182. See Local Index.

Alps, Tyrolese, v. 216; aërialness of, at great distances, i. 277; gentians on, v. 89; roses on, v. 99; pines on, iv. 290, v. 86; ancient glaciers of, iv. 169; color of, iii. 233; influence of, on Swiss character, iv. 356, v. 83; general structure of, iv. 164; higher, impossible to paint snow mountains, iv. 240; precipices of, iv. 260, 261; suggestive of Paradise, iv. 346; sunrise in, i. 264. See Mountains.

Anatomy, development of, admissible only in subordination to laws of beauty, ii. 221; not to be substituted for apparent aspect, iv. 187.

Animals, proportion in, ii. 58 (note), 64; moral functions of, ii. 94, 95, 97; lower ideal form of, ii. 104; noble qualities of, v. 203.

Animal Painting, of the Dutch school, v. 254, 258; of the Venetian, 255, 258; of the moderns, v. 257, 273.

Architecture, influence of bad, on artists, iii. 311; value of signs of age in, i. 104, 106; importance of chiaroscuro in rendering of, i. 106, 107; early painting of, how deficient, i. 103; how regarded by the author, v. 197; Renaissance chiefly expressive of pride, iii. 63; lower than sculpture or painting, the idea of utility being dominant,