ti 1 i owtoLook t Pictures II lillli Cornell IHntversit^ Xibrar^ OF THE IRew IPorFi State College of Hariculture ■A-v^-S-^-l (••^■i?^- 4_ tesT The date shows when this volume was taken. To renew this book copy the call No. and give to tha librarian <c fmichetlwcfter press flew Uoth TO M. H. W. PREFACE TO THE AMERICAN EDITION THE warm welcome extended to these pages by art-lovers in the United States is respon- sible for the present edition addressed especially to American readers. For not only is America becoming ever more and more keenly attracted by the theory and practice of Art- criticism, but she is also successfully laying all Europe under contribution for those works of art which seem to Americans to appeal most strongly to their interests and instincts. These works of art, many of them master- pieces, are finding their long home in the Mu- seums and Galleries with which public spirit is so generously endowing the great cities, or are enriching the homes of men and ^omen to \yhom the constant presence of beautiful things is no longer a luxury, but one of the necessities of a full and complete life. Yet for all this Europe still remains a vast store-house of beauty and delight, and it is hoped that both to those who have opportunities of visiting its treasures, as well as to those who enjoy at home the spoils which American enter- prise and art-knowledge have secured for them, this book may often be useful. R. C. W. London, January, 1906. PREFACE THIS little book makes no attempt to be original. It is intended for those who have no special knowledge of pictures and paint- ing, but are interested in them, and find them- selves from time to time in public and private galleries and exhibitions. It will, therefore, make no appeal to the artist, the expert or the profes- sional critic. Much art-criticism at the present day is so deeply erudite, or so special and scien- tific, that its influence is necessarily limited to those among the initiated who, after years of study and probation, can enter fully into its mysteries, and are therefore in no need of such simple sug- gestions as are offered here. In case it should be objected by readers of more exquisite sensibilities that in these pages the emotions excited by the beauty of pictorial art are ignored, or treated in too homely and matter- of-fact a manner, I would suggest that these more subtle and fleeting impressions of beauty, these aromas from another world, do not require to be called forth by words, but come unbidden in the fulness of time to every lover of pictures. More- over, recognising their pure essence and perfect delicacy, I have feared to mar by description that which no words can adequately render. hbvbr, Kent, 1902. ' V * i k ^^^^gT* » V * * ' CONTENTS CHAPTBK PAGE Introduction xi I. Thb Pbrsonai, Point OF ViBw . . . i II. Considerations of Date . . . . io III. The Infi,ubncs of Race and Country . 21 IV. ScHoow OF Painting 31 V. The Artist 37 VI. The Subject 47 VII. HiSTORiCAi, Painting 55 VIII. The Portrait 62 IX. Landscape 74 X. GENRE 90 XI. Drawing 99 XII. COWUR "o XIII. Light and Shade 123 XIV. Composition i34 XV. Treatment i45 XVI. Methods and Materia^ . . • .156 INDEX 171 ILIvUSTRATIONS PAGK Frans Hai^. Officers of thb Guild op Ar- QDEBUSIBRS. Haari,b;m . Frontispiece VeI/ASquez. The Surrender of Breda. Ma- drid 56 Paul Veronese. The Family of Darius. The National Gallery 58 FiLiPMNO LiPPi. Vision OF St. Bernard. Badia, Florence 62 Reynolds. Portrait of Mrs. Siddons. Dul- wicH Gallery .64 Gainsborough. Portrait of Mrs. Siddons. National Gallery . . ... 64 Van Dyck. Portrait of Lord Wharton. St. Petersburg .... 66 Jan Van Eyck. Portrait of a Man with a Pink. Berlin . 66 DtJRER. Portrait of Holzschuher. Berlin . 70 Ghirlandaio. Portrait of an Old Man. Louvre . 70 VELASQUEZ. Portrait of Philip IV. on Horse- back. Madrid . . ... 72 Whistler. Portrait of His Mother. Luxem- bourg 72 xiii xiv Illustrations PAGE Hoi,BEiN. Portrait of Georg Gisze. Berwn 72 Giotto. Joachim among the Sheepcotes Arena Chapei<, Padua .... Claude. The Queen of Sheba. National Gallery .... . . Turner. Childe Harold's Pilgrimage. Na- tional Gallery 78 Jacob Ruysdael. The Windmill. Amsterdam 80 COROT. Landscape. IvOUvre Bouts. St. Christopher. Munich Constable. The Hay-Wain. National Gal- lery .... ... VERROCCHio (?) Portrait of a Lady. Poldi- PEzzoli, Milan Tintoretto. Bacchus and Ariadne. Ducal Palace, Venice Tintoretto. The Marriage of Cana Salute, Venice . . .... REMBRANDT. WOMAN TAKEN IN ADULTERY. NA TioNAL Gallery DE HooGH. Interior. National Gallery Terburg. The Peace of Monster. National Gallery Orcagna (?). Coronation of the Virgin. Na TioNAL Gallery Michelangelo. The Temptation, Fall, and Expulsion. Sistine Chapel . Raphael. Parnassus. Vatican Rubens. The Lion Hunt. Munich . 74 76 82 84 86 126 128 130 132 132 134 136 138 Illustrations xv PASS Jan Steen. Famii,y op the Painter. The Hague 140 MttUAS. The Carpenter's Shop. Private Possession 142 Titian. Assumption oe the Virgin. Academy, Venice 142 Sargent. Carmencita. Ivuxembourg . 154 BB1.1.1N1. Ai,TAR-piECE. Frari, Venice . 166 INTRODUCTION AMONG the most pathetic figures in the world must be counted the men add women who may be seen in any picture-gallery slowly circumambulating the four walls with eyes fixed upon catalogue or guide-book, only looking up at intervals to insure that they are standing before the rig:ht picture. All unknowing they falter on, achieving only fatigue of body and mind, with a certain mournful satisfaction in a toilsome task Hearing accomplishment. Again and again they find themselves looking at famous pictures, with- out seeing them. They are conscious that some wonderful power lies hidden there, but they do not know the charmed word to release it. They feel sure they should be interested; at the same time they know they are bored. Whatever ap- preciation they have is too capricious, too purely personal to claim their confidence in its justice or intelligence. Its principles cannot bear analysis, and are rudely shaken under cross-examination. They do indeed deeply honour the names of the great masters upon the picture-frames; some slight acquaintance with them inspires reverence and respect, but where it goes beyond this it is for the most part undiscriminating and unreasoning hero- worship. The catalogue is of little use from this point of view. It merely gives the name and date of the artist and possibly his school, or, if more ambitious in its construction, some account xviii Introduction of his life, with a bald, prosaic description of the picture, a description which only emphasises the absence of what the weary seeker after enjoyment hopes to find ready to his hand. We long to feel at home in a collection of pic- tures, instead of lost in a strange world and out of touch with its inhabitants. Not a city of im- portance in Europe but has acquired or is acquir- ing its picture-gallery. Not a house or -cottage but contains some form of pictorial art. Yet there is little or no literature dealing with pictures from the point of view of how to look at them. Elabo- rate monographs of artists, philosophies of art, treatises on aesthetics, exhaustive disquisitions on the various schools of painting — all these exist in overwhelming abundance. But they demand years of patient study. And indeed there is no book written, or ever to be written, which will suddenly transform the industrious and well- intentioned reader into the just and experienced critic. The art of seeing pictures is not contained in rules or formulae. Books alone can no more teach how to see pictures than how to paint them. And another and most powerful deterrent to the careful consideration of pictures is undoubtedly their vast multitude. The number of works of the first order alone is indeed almost discouraging. A great gallery contains, perhaps, some thousands of pictures, of which many hundreds are of real merit. The difficulty of concentrating the atten- tion on any particular picture is one which even experienced critics feel keenly, especially in a gallery where all is new and strange. The eye wanders from the picture on which it should be fixed to that which hangs close by, above or be- low. Unfortunately exigencies of space and ex- pense render the proper hanging of pictures almost Introduction ^'^ impossible. There are few collections so well hung as that in Trafalgar Square, and yet even there the frames jostle one another so closely that the eye tends to pass on, leaving the mind, as it were, a picture or two behind. There is no doubt that the enjoyment of even an inferior picture hanging alone or in scant company in the house of a friend is relatively greater than that of a col- lection of masterpieces crowded together in a great gallery. There are other difficulties arising from the actual arrangement of pictures, especially in the great public collections. The plan favoured in the more conservative galleries of hanging to- gether in one central room a number of the most celebrated pictures without consideration of the schools to which they belong, a plan adopted in the Salon Carr6 of the Louvre, the Tribuna in the Uffizi and the'Sala de la Reina Isabel in the Prado, has many obj ections. In such a ' ' Holy of Holies ' ' the opportunity of comparison with lesser works by the same artists, or with the best works of lesser artists, is lost, and the masterpieces tend to suffer from their very uniformity of excellence. Again, the pictures are thus, as it were, taken out of their context. An excellent example of the practical working of this system with its obvious drawbacks may be seen in the Louvre. Formerly Van Eyck's small, gem-like Madonna with the Chancellor Rollin used to hang inconspicuous and lost among the larger masterpieces of other schools in the Salon Carr6. It has lately been removed to a small cabinet devoted to works of the early Flemish School, where this marvellous example of minute and delicate painting asserts its undoubted supremacy among its compatriots, hanging as the centre of attraction and in the place of honour. XX Introduction On the other hand, we have lost the opportunity of comparing one of the finest masterpieces of early Flemish painting with works occupying a like position in other schools. The more modem system, followed in the galleries of London and Berlin, and most of the great European collec- tions, of arranging the pictures according to their schools, and as far as possible in some chronologi- cal order, offers obvious advantages to the student. The rise and fall of schools, the gradual evolution of individual genius, the connection between master and pupil, may thus be easily traced. It must also be remembered that a spacious well-lighted gallery is not always the best setting for every picture. Old pictures were not painted with an eye to the uniform requirements of the modern picture-gallery, where individual wants cannot possibly be considered. Many were in- tended to serve as altar-pieces in the dim religious light of church or cathedral, often indeed designed to fit into the architectural framework of the altar. In some cases where the painter has consciously adapted his picture to such a position, much of its effect is lost in the cruel glare of a picture- gallery. Even so magnificent a work as Titian's Assumption appears comparatively hard and crude in colour in its new home in the Academy at Venice, though over the high altar of the Frari Church, for which it was painted, the bright blues, reds and yellows would have been mel- lowed and subdued. Again, until but the other day how lost and purposeless appeared the vast series of canvases designed by Rubens for Marie de Medicis for the decoration of the Luxembourg, skied and scattered as they were about the long corridor in the Louvre, failing to dominate yet contriving to kill the surrounding crowd of smaller Introduction xxi pictures. Now, however, framed into the very walls of the spacious Salle Rubens, specially de- signed for their sole reception, they may be appre- ciated at their true value as one magnificent and consistent scheme of pictorial decoration rather than as a number of isolated units. Many pictures, notably those of the Dutch School, on the other hand, were painted to hang in the limited space and moderate light of a dwelling-room. These are lost on the large wall expanse of a high gallery lighted from the top. To them the system now being introduced wher- ever possible of small cabinets lighted by side windows instead of from the ceiling is admirably suited, care being taken that the light on the picture is adequate and falls from the side in- tended by the painter. These are among the more obvious and practical difficulties which meet us at the outset, and bear only indirectly on the study of pictures. There are many other points of view to consider in look- ing at pictures, which need only to be suggested to appeal at once to the spectator. They in their turn suggest others. The standpoint widens, and the spirit of criticism is awakened. Pictures which before we have passed Perhaps a hundred times, nor cared to see, acquire an interest, a fascination for us that is in the nature of a revelation. Our purely intellectual pleasure in the puzzles and problems of pictorial art, its historical and archaeological sides, grows to be of the keenest. Wholly distinct from these our aesthetic delight in the beauties of form and colour increases with each new discovery. En- j oy ment follows hard upon understanding. Every xxii Introduction branch of the graphic arts gains a special and peculiar interest. A collection becomes the meet- ing-place of familiar friends and faces. With ex- perience and knowledge, each picture falls into its place in the mind, is associated with others, sug- gests comparisons and parallels and a sense of the essential unity of pictorial art. A feeling of mastery over a whole world of beautiful forms and colours takes the place of impotent and vexa- tious uncertainty. True, there are many pretty quarrels to be picked. The critic who could say , ' ' I bite my thumb at no man ' ' is not easy to find, and when discovered he would no doubt prove to be unworthy the title. But the controversial side of art-criticism, though it has a peculiar fascina- tion of its own, would be out of place in these pages, which are intended to offer suggestions rather tha^n to make converts. There is no last word in art-criticism, or if there be it remains unspoken. It is impossible to work out any complete theory which will answer all questions and solve all difficulties. Many of the problems that inevitably arise must rest unsolved, the questions admitting of too many different answers. It is merely proposed here to set down some of the points of view which naturally occur to the spectator who stands before a picture. No attempt will be made to decide for the reader what pictures should or should not be especially ad- mired, but rather to enable him to see pictures in the fullest sense of the word, to understand and appreciate them, and to decide for himself what are the worthiest objects of his admiration. For it is the whole-hearted enjoyment which comes with growing powers of appreciation that gives painting, and indeed all art, its fascination for most of us. Sympathy and whatever of the artist Introduction xxiii there may be in each of us enables us to read something of our own into the most perfect picture ever painted, something of which even the painter never dreamed. Painting is no dry-as-dust sub- ject, a thing of museums, of value only when carefully catalogued and classified, and to be studied by the industrious apprentice with an eye to prospective advancement. Art is no substitute for science, but rather the adornment of life, com- pleting what without it were but imperfect. HOW TO LOOK AT PICTURES CHAPTER I The personal point op view THE personal point of view is naturally the first to be touched upon. Criticism is as personal and as various as the art of paint- ing itself. In looking at a picture the spectator's own temperament and ideals, his education and experience will more than any other factors in- fluence his attitude towards it. And as these vary indefinitely with every individual, it is vain to attempt to analyse them at length. There are, however, some general considerations of interest. The spectator may be either an artist by train- ing and profession, or a layman with no special knowledge of the art of painting. Their points of view will almost necessarily differ. Artist and layman see with other eyes. They look for other things. The artist, in the full consciousness of his greater experience in matters artistic, is con- vinced of the essential superiority of the spirit and letter of his criticism over the superficial reasoning 2 How to Look at Pictures of the amateur. The layman quotes the ancient proverb that onlookers see most of the game, and thanks God that he at least is not prejudiced in fevour of any one narrow school or clique even as this artist. The antagonism is as old as art itself. Speaking generally, the layman is in the right. Disraeli's witticism that the critics are those who have failed in literature or art contains but a grain of truth. The best art-critics certainly have not been artists. Ruskin, indeed, might have been either, but his case is somewhat exceptional. Onlookers do indeed see most of the game; but only if they know the rules. The great art-critic is as sadly to seek as the great artist, and is al- most as complex a being. He is bom, not made. Even his birthright, however, will not suflBce without wide and careful study. He must com- bine keen powers of observation, judgment and discrimination with something of the sacred flame and inspired enthusiasm of the artist. But, short of this, there is a sense in which we are all critics, in that we deliberately take upon ourselves to pass in judgment the pictures which hang before us. The point of view which gen- erally first finds expression is that of personal like or dislike, love or hate. It is indeed the most rudimentary form of criticism, and yet it contains something of the stuff of which criticism is made. Representing as it usually does an unreasoned and unintelligent personal prejudice in favour of any particular picture or school, it is valueless. Based on the other hand on experience, observa- tion, careful comparison and study, it becomes the last word of art-criticism. Praise or blame should, therefore, be not the first but the last point of view from which to regard pictures. The desire to understand should precede the wish to extol or The Personal Point of View 3 condemn. Full understanding should in its atti- tude be appreciative rather than condemnatory. Tout comprendre est tout pardonner applies in art as in morals, and although this habit of mind can be exaggerated, may even lead to that "indiflFerent and tepid appreciation of all and sundry, especially if consecrated by age," which in the end is de- structive of the best interests of art, the general tendency, at least among beginners, is to err on the side of extreme severity and wholesale con- demnation. It is far easier to observe faults than to recognise excellences. It is not always easy to remember that even if the picture as a whole fails to please, it may contain charming passages of colour or subtleties of drawing which render it worthy of attention. On the other hand, the first impression of a seemingly attractive ensemble may prove unable to bear closer analysis. We do not, indeed, feel in sympathy with every picture or even with every school of painting. The personal equation is too strong for that. But we can at least appreciate admirable qualities, whether in technique or style, wherever they exist. Some pictures there are to which, like certain books, we feel always drawn, in whose presence we enjoy a peculiar sense of intimacy and well-being. With these we like to live. Such inclinations are purely individual. Other pictures again, less intimate friends, are reserved for occasional intercourse, being less well adapted for our daily wants. But no such personal considerations can affect the question of the real value of a picture, though the test is too often applied. There are many to be found, especially among those whose want of knowledge and experience is their sole qualification to the title of unprejudiced critics, who profess to have so high a standard 4 How to Look at Pictures that they will only look at the few great master- pieces in each collection, and entirely refuse to consider any picture falling short of these. ' ' No- thing is so painful to me," said Sainte-Beuve, "as to see the disdain with which people often treat commendable and distinguished writers of the second order as if there were no room save for those of the first." And the protest is equally applicable to art. But if an attitude of undue severity is narrowing, the blind and bigoted ad- miration of any one master or school is equally fatal. The great artist is indeed often a man of one idea, and that very fact the secret of his great- ness. But this is a peculiarity of the creative mind, and where admiration is exaggerated and unbalanced in the critic and excludes all other aspects of art, it can only stultify, not strengthen. The critic of but one idea is indeed poorly endowed for his vocation. Excellence in painting as in all else is comparative. A moderate picture hanging in a collection of vastly inferior works often sur- prises and delights the eye, while if placed among first-rate pictures it finds its true level. Yet even a fifth-rate picture has always some one or more redeeming quality to the trained and practised eye. There is scarcely a painting in any great collection, especially in one so carefully chosen as our National Gallery, which will not amply repay careful study. Granting, then, that criticism must from its very nature be personal, the question arises as to its value. The much abused " It is a matter of Taste" expresses the difficulty in its most popular form. This is not the place to discuss the vexed question of authority in matters of art. But a real difficulty undoubtedly exists in the minds of many who have discussed and disputed the merits The Personal Point of View 5 of this or that work of art. Is A's opinion as valuable as B's? By what right does C profess to judge between them ? And to whom does the ultimate appeal lie ? The difficulty is one which must be faced. If my personal opinion as to the merits of any given picture is as valuable as that of my neighbour, independently of whether either has studied painting in all or any of its branches, then indeed there is no disputing about matters of taste. The absurdity of this position is self- evident. Again, it may happen that we have each of us devoted a long lifetime to the consideration and observation of pictures and yet differ widely in our estimate. Time alone can decide. " The greatest art," says Symonds, "communicates the greatest amount of satisfaction to the greatest number of normal human beings throughout the greatest length of time." And as a rough work- ing hypothesis this may serve our purpose, though it is far from proving a principle of uniform and universal application. The period of probation can indeed be no short one, for the disturbing and strange vagaries of fashion are overpoweringly strong. One genera- tion applauds what its successor despises. The heroes of the present are disregarded when their vogue is past. Our verdict upon our contempo- raries may be reversed by those who come after us. Our grandfathers admired the Italian painters of the seventeenth century, Guido and the Car- racci, and cared nothing for the Primitives. We have reversed this estimate, and the auction-room is the barometer which records these changes of fashion. Phases and vogues of this kind there must always be in which even the leaders of opin- ion will seem unanimous for the moment. All these come to the test of time. Slowly but surely 6 How to Look at Pictures the artist finds his rightful place in the long roll of names. The exaggerations and enthusiasms of each generation fall into their true perspective. The dominating personalities of our own country, our own day, take quite other proportions when ranged alongside of the giants of other countries, other centuries. The most irreconcilable views resolve themselves into something like general unanimity. Old disputes and antagonisms tend to become buried in their own dust. And this growing consensus of opinion applies not only to the greatest masters but to the long list of names which rank after them. Unanimity indeed is impossible, and our work- ing hypothesis, if too closely pressed, shows signs of giving out. The truth is that, broadly speak- ing and subject to the insensate changes of fashion, time does afford the surest test of real merit. It is now universally admitted that such men as Leonardo, Raphael, Michelangelo, Titian, Ru- bens, Rembrandt, Velasquez and Turner were artists of the most splendid genius; that others like Perugino, Luini, Memlinc, Teniers, Murillo and Hogarth were painters of great power but of less extraordinary attainments. It is only when we come to estimate the comparative position of the individuals among their peers that critics equally qualified to judge will be found in hope- less disagreement. And this must always be; the personal element plays so considerable a part with each of us. The enthusiast of realism will prize Velasquez before Raphael. Those who care above all for magnificent colour and exuberant vitality adimire Rubens more than Leonardo. To Titian we go for grandeur and stately tranquillity, to Rembrandt for mystery and character, to Turner for imaginative vision, and according as we set The Personal Point of View 7 store by these qualities we rank their exponents in our Calendar. Further, our own personal likings change with age and increased experience. The idols of child- hood and youth have often fallen before middle age. This is due, no doubt, to some extent to the growth of our powers of criticism, but it is also largely temperamental and independent of the intellect. Fortunately the thought that our judgment of our immediate predecessors and con- temporaries is by no means infallible need not dis- courage. On the contrary, the need for careful judgment is the more imperative. On the opin- ions of the past and the present the verdict of the future will be founded. The unknown artist of to-day may come to be one of the greatest names. The idea adds dignity to the task of judging our contemporaries. There is the more need of bold and independent criticism which, without arro- gating to itself any finality, is prepared to stand by and justify its judgments. Only with experi- ence can the confidence that comes of the sense of power and mastery over the subject be attained. Courage in criticism is as valuable as in art itself. There is no antagonism between this courage and the authority which time and study have sanc- tioned. Authority in contemporary art is based on study of the art which has gone before as well as on that of the present. For the wholly un- studied critic of modern painting to set up his horn against the trained and experienced student is presumption, not courage. But among those who have qualified themselves to judge of pictures on which time has not yet pronounced a final ver- dict, there is room for the most fearless criticism. " To know what you prefer," said R. L. Steven- son, " instead of humbly saying ' Amen ' to what 8 How to Look at Pictures the world tells you you ought to prefer, is to have kept your soul alive." Honesty in criticism is terrified by the bogey of Authority. But Author- ity, with her exclusive list of great names, is only terrible to those who do not look into her title to the claim. We read that a certain well-known art-critic has declared that some one contemporary artist is the greatest master of portraiture or land- scape, of animal painting or still life, the world has ever seen, or that the canvases of another are unworthy of even the most passing attention. If we know nothing of pictures or painting, we are fain to admit that his opinion as an authority must necessarily be of greater value than any we can offer in reply. But its weight is chiefly the outcome of his experience, and in so far as we can approach him in this we find that this same authority is only a more enlightened intelligence and understanding than om: own. Great critical powers are of course far more than mere study and experience. The true critic, we have seen, has a genius or instinct for what is permanently beautiful in art which years of pa- tient labour will not bring. Taste has been admirably defined as Intuition plus Experience. Intuition, unfortunately, comes not by observa- tion. Experience, in the fullest sense of the word, is but slowly won. But apart from the ex- haustive study of art, which forms the life's work of the professional art-critic, there is a kind of novitiate in the rudiments of art-teaching which robs authority of some of its terrors, and gives courage and confidence to the student. The trained eye, so essential to the critic, is largely a matter of experience. It must not be thought that too much stress is being laid upon study in discussing the criticism of art. A picture is far The Personal Point of View more than an exercise for the mind, a book writ- ten on a single page, the coloured map of a mo- ment, a lesson on canvas. A great gallery is no mere dictionary of art, useful for reference and study. If this point of view is emphasised here, it is because without it the fuller understanding and pure enjoyment of a picture is wellnigh im- possible. And herein the personal point of view has its fullest scope. To arouse the powers of enjoyment, of abandonment to beauty as an end in itself, is the legitimate aim of art. If we look at pictures to understand, it is that thus we may come to enjoy them. It has been said that there has come upon art something of excessive earnest- ness and effort, out of harmony with its spirit. Pater, one of the most naturally gifted and subtle of modern critics, to whom the love of art was an instinct, a passion, merely emphasised this view when he fancifully but bitterly complained of " people who would never really have been made glad by any Venus fresh risen from the sea, and who praise the Venus of old Greece or Rome only because they fancy her grown now into something staid and tame." Herein at least the individual is unfettered, free to enjoy the fulness of beauty wherever he can find it. He may find it, like Flaubert, in the great masters of the past. " All I ask," he wrote, "is to retain the power of ad- miring the great masters with that enchanting in- timacy for which I would willingly sacrifice all else." Or he may seek it in the masterpieces of his own age, daring to direct an enlightened and whole-hearted enthusiasm upon the best he can discover, even though he may never hope to hear his judgment finally confirmed. CHAPTER II CONSIDBEATIONS OF DATS GREAT art, it has been said, is for all time, and is therefore independent of time. It is of aU ages, of every land. And if bj' this we merely mean that the creative spirit in man which produces a picture or a statue is com- mon to the whole civilised world, independently of age, race and nationality, the statement may stand unchallenged. I Methods and Materials 167 t GainshoTough' sMusidora, inwhicli a su|terfluous leg is distinctly visible. ' ,(' Time, which can thus betray the artist'^s originlit,^ intention, plays a varying game sszith gjctures, mellowing and maturing someTagja^^gjdhspoil- ing others by blackening or fading. ^TTnlike architecture, painting is never beautiful in ruin. Yet the tender hand of time may often bring into harmony colours which, when fresh, perhaps seemed crude and glaring. "Where the workman- ship is sound, time tones and ripens, however pitilessly it may operate where it is bad. It is not, however, just to attribute the dusky appear- ance of all old pictures to the effects of time. No paintings could be blacker in tone than those of Tintoretto in the Scuola di San Rocco at Venice. We know from Vasari that they were so, even when newly painted. To fresco-paintings, indeed, the lapse of years is never kind, often exposed as they are to the effects of damp and changes of temperature. — V It is, perhaps, true to say that more pictures have been spoiled by restoration, whether in the form of cleaning or repainting, than from any other preventible cause. Skilful and tactful re- storation may indeed give back to a picture some- thing of its first freshness and beauty, but it is often far better to leave well and even ill alone, or at least to do the minimum of doctoring. Where a picture has been repeatedly covered with coat upon coat of dark, heavy varnish, or has been be- grimed with the smoke of altar candles or the dirt of the sacristan's broom, much can be done to re- move them without injury to the painting. On the other hand, it too often happens that in so do- ing some of the delicate transparent surface-glazes are carried away, leaving the picture raw and 1 68 How to Look at Pictures flayed, and where pictures are painted with an oil varnish, in the old Flemish method, cleaning spells certain injury, for the varnish is actually part of the picture. Some of the pictures even in the National Gallery have been thus over-cleaned, greatly to their detriment. Worse, however, than any over-cleaning is the drastic repainting which many pictures have suf- fered ; the careful retouching of parts that have been rubbed or cracked is legitimate enough, but the restorer seldom stops here. In some cases he daubs over the picture so completely as to alter its whole appearance. It is very little I^aguerre has left us under its disguise of new paint of Man- tegna's superb Triumph of Julius Ceesar, now a ruin at Hampton Court. Such so-called " restora- tion " is worse than criminal. Unfortunately the picture-restorer is but rarely an artist, and not always a man of taste and sympathy. In many cases in the great galleries the coarse repainting, especially of the eighteenth century, which dis- figured so many fine pictures, has been again re- moved, but enough may still be seen to show how common the practice had become and how pitiful the results. I^astly, a word may be said as to the framing of pictures. We are gradually breaking loose from the modern tradition of massive gilt frames for all and sundry, a tradition to which the Royal Academy, however, with characteristic conserva- tism, still clings. The fashion seems to have been initiated in England by I^awrence, who as its President was certain of a following; and gradually the narrow, unobtrusive, but well- designed frames used in the eighteenth century were superseded by a more showy style. To- day the suitable framing of a picture is rightly Methods and Materials 169 considered of great importance, as contributing to the decorative effect of the whole. In this we are returning to the practice of the Renaissance, when the frame was often in its own way as beautiful in design as the picture set in it. Without in any way drawing attention from the picture, the ex- quisite old blue and gold frames in which such pictures as Mantegna's San Zeno Altar-piece and Bellini's Frari Madonna are set add immeasurably to the beauty and dignity of the pictures within. Most of the great galleries have now returned to the original manner of framing old Dutch pictures in heavy black or brown frames, just as we see them hanging on the wall in Vermeer and Metzu's interiors. A Dutch genre picture looks out of place in a gilt frame, the quieter setting suiting it far better. KEY TO PRONOUNCIATIONS a as in ale, fate. A as in senate, chaotic. 6. as in glare, care. S as in am, at. a as in arm, father. e as in eve. E as in elate, evade. S as in end, pet. B as in fern, her, and s in sir. i as in ice, quiet. I as in quiescent, i as in ill. o as in old. O as in obey, sobriety. 6 as in orb, nor, 5 as in odd, not. oi as in oU, foil. oo as in food, or as » in rude. ou as in mouse, u as in mule. U as in unite. 6 as in cut, but. u as in put, or as oo 'va.foot. fi as in urn, bum. g (guttural) as ch in bach. n (nasal) as French n in bon. 170 INDEX NotE.~7i4* situation and number of every picture mentioned in the text will be found under the name of the painter. Academy, The Royal, 13, 36, 49, 109, 168, Allegories, 59, 60. ' Alma Tadema, 56, 95. Alps, 84. ' Altdorfer, 76. Landscape with St. George (Munich, No. 288), 77. Amsterdam, 32 ; pictures at, 41, 44, 80. Anachronism, 56, 59. Anatomy, 105, 106, 108. Ancona, 137. ' Andrea del Sarto, 65, 91, 161 ; as draughtsman, 15 ; his portraits, 42. * Angelico, Fra, 12, 40, 165 ; his colour, 113 ; portrait of, by Signorelli, 63. Animal painting, 91, 97. = Antonello da Messina, 159. Salvator Mundi (National Gallery, No. 673), 166. Antwerp, 34, 45 ; picture at, 64. Apennines, 84. ^ ,r 1 \ Apsley House, Picture at, 95 (see under Velasquez). Architecture, 14, 27, 87, 108, 140. Arena Chapel, Padua, 60, 74, 142. Arnolfini, Portrait of, 68, 72. • Arquebusiers, Guild of, 28. • al'ma ta'dS-ma. ' angel ico. » alt'dor-fer. \ P?,^-^?,'!^.; . , » an-dra'a dSl sar'tO, ' ar kwE-bus-er . 171 172 Index 'Assisi, 143. Atelier system, 33, 34. Authority, 4, 7. Background, Treatment of, 25, 72, 74, 87, 114. Backhuizen, 89. ' Badia, The, Florence, 63. Baldovinetti, 159. Baptistery, St. Mark's, Venice, Mosaics in, 142. Barbizon School, 31, 81. Bargello, Florence, 63. Barry, 29. • Bartolommeo, Fra, 127, 143. Basaiti, 33, 34. Bassano, 76, 91 ; portrait of, 65. * Bastien-Ijepage. Haymakers (Luxembourg, No. 8), 139. Beaumont, Sir George, 84. Beauty in art, 66. Bellini, Gentile, 64. 'Bellini, Giovanni, 116; as head of a school, 33, 34. Altarpiece (Frari, Venice), 169 [Illustration], Baptism (Sta. Corona, Vicenza), 142. Blood of the Redeemer i^sMvmaX Gallery, No. 1233), 160. ' Berchem, 80. ' Berckhe^de, 87. Berlin, xiv ; pictures at, 64, 69, 73, 102. Birth of the Virgin, Early German School (Munich, No. 23). 92- Bissolo, 33, 34. Bitumen, 166. Bodegones, 95. ' Bol, Ferdinand, 35. ' Bologna, 36. '" Bonheur, Rosa, 97. Bounington, 40. • as-se'sE. • bSrk'Sm. « ba-de'a. ' bSrk'hl-dg, ' bar'tO-18m-ma'0. ' b61. ■• bas'tySn 15-pazh'. ' bO-lo'yna. ' bSl-le'nE jO-van'nE. '» bO'nEr'. Index 173 • Bordone, Paris, his types, 38. Fisherman Presenting the Ring of St. Mark to the Doge (Academy, Venice, No. 320), 117. ^ Borgognone, 121. 'Bosboom, 87. •* Both, 80. ' Botticelli, quoted, 75 ; his types, 25. Adoration of the Magi (Uffizi, No. 1286), 63. Allegory of Spring (Academy, Florence, 80), 60, 104, Calumny (Uffizi, 'No. 1182), 102. Mars and Venus (National Gallery, No. 915), loi. Pallas and Centaur (Pitti Palace, Private Apart- ments), 102. Bouts, Thierry. St. Christopher (right wing of altarpiece, Munich, No. 109), 85 [Illustration]. Brancacci Chapel, Florence, 75, 135. « Breughel, Jan, 52, 97. Breughel, Peter, 92. Briton-Riviere, 97. ' Brouwer, Adrian, 40, 53, 92, 130. 'Bruges, 26, 72, 164; pictures at, 63, 139. Brussels, 51. Burger, quoted, 146. Burlington House, 13. Burne-Jones, 33, 43, 103, 121. Cabinets, xv. Calvin, 27, 92. » Campagna, The, 78. "Canaletto, 16,87. Cappelle, Van der, 88, "Caravaggio, 129. '^ Carolus-Duran, 33, 72. "Carpaccio, 42, 114. Dream of St. Ursula f Academy, Venice, No. 578), 89. Madonna unth Doge (National Gallery, No. 750), 64. > b6r.d6'nA. ' brou'Er. " b6r'gO-nyo'nA. ' bruzh. ' bSs'bom. ' kam-pa'nya. 4 bot "• ka'na-lSt'tO. » bbt'tl-chSrU. " ka'ra-va'jO. • bru'kSl. " ka'rOlus' du'ran'. " kar-pa'chO. 1 74 Index ' Carracci, The, 5, 121. ' Castagno, 160. ' Castelfranco, 150. Catalogues, xi. * Catena, 33. Catherine, St., of Alexandria, 58. •Chardin, 17, 96. Grace before Meat (Louvre, No. 93), 94. La Mire Laborieuse (Louvre, No. 91), 94. Charles II., Court Beauties of the time of, 71. Charles V., Portrait of, 65. Church Militant, The (Sta. Maria Novella, Florence), 135- Classical landscape, 77-79. Classicism, 23, 77, 145, 150. Classification of pictures, 53. Claude, 16, 42, 75, 77-79, 83, 85, 86, 88, 89. Egeria and her Nymphs (Naples Museum, vi. No. 32 Hs), 77. Embarkation of St. Ursula (National Gallery, No. 30). 77. Mamage of Isaac and Rebecca (National Gallery, No. 12), 77. Queen of Sheba (National Gallery, No. 14), 77 [Illus- tration]. Climate, 22, 23, 157. Clouds, 87. Collaboration, 52, 86. Collins, 51. Cologne, 15. Colvin, Sidney, quoted, 52. Complementary colom-s, iii, 112. Condition, 163. Constable, 25, 81, 83, 84, 86, 88, 133, 162 ; quoted, 81. The Hay-Wain (National Gallery, No. 1207), 86 [Il- lustration]. Continuity iu paintipg, 20. " Copley. Death of Chatham (National Gallery, No. 100), 55. Cornish painters, 89. ' kar-ra'chE. * kate'na. <' kas-ta'nyO. ' shar'd3.n'. » kas-tei-ftan'kO. • kSp'U. Index 175 ' Corot, 43, 81, 83, Landscape (Louvre, No. 141 Mi), 81 [Illustration]. Corporation pictures, 28. 'Correggio, 29, 36, 102, 116, 118, 120, 126, 129, 165. ^«^zo/tf (Louvre, No. 1118), 121. Frescoes (Cupola, Cathedral, Parma), 109, 142. Cosmopolitanism in art, 21, 30. 'Cotman, 162. * Conrbet, 97. The Wave (Louvre, No. 147 a), 89. Cox, David, 162. ' Cozens, 162. ° Credi, Lorenzo di, 42. 'Crivelli, 11, 157. Annunciation (National Gallery, No. 739), 91, 161. ?Cuyp, 52, 75, 79, 85, 97. Cycles of art, 11, 12. « Dante, Portrait of, 63. Darmstadt, 64. 1" Daubigny, 81. David, 150. Madame Ricamier (Louvre, No. 199), 103. Ugolino (Museum, Valence), 149 Decadence, 11. " Delacroix, 39, 119. Denner, 162. "Diaz, 81. " Disraeli, quoted, 2. " Dolci, Carlo, 148. Dominic, St., 58. Don, Gerard, 19, 35, 42, Femme Hydropique ( 92. 93, 154, 164. [Louvre, ,No . 2348), 45. yeune Mire (Hague, No .32; 1,45 . Drapery, treatment of. 107. Drapery-men, 71. ' kO'ro'. ' koip. » daii\A.. ■>■ k6r-rgd jO. 3 kSt'man. >« dO'bE'ynE'. * koor'bA'. " dS-la'krwa'. ' kiiz'nz. " dE'az'. = krA'dE. IS (Hz-ra'li. •> krE-vSl'lE. » dol'chE. 1 76 Index Dresden, Pictures at, 41, 104, 121. ' Duccio. Transfiguration (National Gallery, No. 1330), 143. Dulwich Gallery, 66. Dupr6, 81. « Diirer, 13, 16, 19, 68, 98, 105, 107, 114, 162 ; his back- grounds, 73 ; his landscape, 76, 77. Portrait of Holzschuher (Berlin, No. 557E), 69 [Il- lustration]. Portrait of Michael IVolgemut {Munich, No. 243), 68. Dutch art, xv, 13, 22, 26, 28, 29, 30, 32, 53, 70, 79, 84, 86, 87, 93, 106, 116, 118, 130, 136, 144, 160, 162. ' Dyck, Van, 16, 35, 39, 42, 67, 70, 72, 122 ; his back- grounds, 73 ; periods of development, 45, 46 ; his portraits, 42, 67. Portrait of Lord Wharton (Hermitage, St. Peters- burg, No. 616), 67 [Illustration]. Portrait of Van der Geest (National Gallery, No. 52), 45- Easel pictures, 29, 47, 141, 158. East, The, 29, 120. Eastlake, quoted, 112. Eckhout, 35. Eclecticism, 36. Eliot, George, quoted, 93. English art, 21, 28-30, 32, 35, 72, 162. Ensemble, The, 132. Envelope, The, 131. Evangelists, Emblems of the, 58. ^Everdingen, 80. ' Eyck, The brothers Van, 15, 159, 165 ; portraits of, 63. Adoration of the Lamb (St. Bavon, Ghent), 63, 76, 159- Eyck, Hubert Van, 159. Eyck, Jan Van, 19, 64, 159 ; his tjyes, 24. Madonna with Chancellor Rollin (Ires,A&-a, No. 185), 41, 104, 121. Tempest with Gypsy and Soldier (Prince Giovanelli, Venice), 75. Giotteschi, 75. '' Giotto, 14, 15, 33, 35 ; his perspective, 108 ; types, 62. Allegories (Arena Chapel, Padua), 142. Baptism of Christ (Arena Chapel, Padua), 60. Frescoes (Upper Church, Assisi), 143. foachim among the Sheepcotes (Arena Chapel, Padua), 74 [lUustratiop]. Portrait of Dante (Bargello, Florence), ascribed to, 63- St. Francis before the Soldan (Sta. Croce, Florence), 126. Stephaneschi Altarpiece (Sacristy, S. Peter's), 63. * ga'yar'. * ger'lan-da'yO. * zhan'r'. •• i6r-j6'nA. 'jOt'tO. Index 179 ' Giovanelli CoUectioo, 75. 'Girodet, 57. 'Girtin, 162. Gisze, Portrait of Georg, 72. Glasgow, 32. ^ Goes, Hugo van der. Nativity (Uffizi, No. 1525), 64. Gold, use of, 87, 113, 126. ' Goya, 16, 25, 95. ' Goyen, Van, 26, 79, 88. 'Gozzoli, Benozzo, 114. Adoration of the Magi (Riccardi Palace, Florence), 63- Grand Style, The, 57. 'Greuze, 94, 148. Grosvenor House, Pictures at, 66, 121. 'Guardi, 16, 87. '» Guido Reni, 5 ; quoted, 122. Guilds, Dutch, 28. Haarlem, 28, 32, 44. Hague, Pictures at The, 44, 52, 119, 139. Hals, Frans, l6, 41, 42, 69, 136, 154. Arquebusiers (Haarlem Museum, No. 87), 28, 44 [Illustration]. Laughing Cavalier C^allace Gallery, No. 84), 154. Hamburg, Picture at, 55. Hamerton, quoted, 79. Hampton Court, Pictures at, 71, 102, 121, 168. Hands, Painting of, 67, 104. Haydon, 29. Heathfield, Portrait of Lord, 72. Heda, 96. Heem, De, 96. Herkomer, 72. Hermitage, St. Petersburg, Picture at, 67. " Herrera, 38. Ho'vE-nglU "goi'Sn. ' zhE'rO-dA'. / 'g6t'sO-lE. "ger'tin. 'E'Ez, ( * goos. / * gwar'dE. •gS'ya,' 'Ogwe'dO. -' " 9x-ra'ra. i8o Index Heyden, Van der, 26, 87. ' Hobbema, 26, 52, 79, 83, 86. Hogarth, 6, 17, 20, 40, 72, 113, 148; his Analysis of Beauty, 144. Idle Apprentice (Eneraving), 109. Marriage d. la Mode (National Gallery, Nos. 113- 118), 95. The Rake's Progress (Soane Museum), 95. "^ Holbein, 13, 16, 19, 68, loi ; his backgrounds, 73 ; in- fluence on English painting, 35. Madonna of Burgomaster Meyer (Darmstadt) , 64. Portrait ofGeorg Gisze (Berlin, No. 586), 72 [Illus- tration]. Portrait of Nicholas Kratzer (I^ouvte, No. 2713), 72 ' Holzschuher, Portrait of, 69. * Hondecoeter, 97. Hoogh, De, 93, 119, 130. Interior of a Dutch House (National Gallery, No. 834), 119 [Illustration]. Hoppner, 125. Hudson, 35. Hunt, Holman, 148, 153. Shadow of Death (Manchester, No. 31), 153. Idealism, 145, 147-151. Ideal landscape, 77. Imitation of past styles, 18. Impressionism, 145, 151. Impressionist School, 31. Individuality of artist, 42. Influence, 35, 39. 'Ingres, 150. La Source (Louvre, No. 422), 102. Innocent X., Portrait of, 69. Israels, 40. Italian art, 15, 16, 22, 25, 28, 30, 32, 37, 53, 62, 70, 76, 120, 152, 160, 163. Italian School (early), 13, loi. Japan, 97, 123. ' hOb'bA-ma. » hOlts'shoo-Er. ^ hOl'bin. ■» hSn'dg-koo'tEr. ' 5n' (nasal) gr'. Index i8i 'Jardia, Karel du, 97. Julius II., 41. Kalf, 96. Kensington Museum, South, 51. Kew Gardens, 78. ^Kneller, 35, 71. Court Beauties of William III. (Hampton Court), 71. 'Koainck, De, 26, 79, 83. Kratzer, Portrait of Nicholas, 72, Laguerre, 168. I^amb, Charles, quoted, 53. Lancret, Files Galantes of, 28, 94. I/audseer, 97. Latin race, 22. Laurence, St., 58. Lawrence, 125, 168. Portratt of Mrs. Siddons (National Gallery, No. 785), 67. *LeBrun, 148. 'Leighton, 56, 103, 107, 120, 121. «Lely, Sir Peter, 35, 71. Court Beauties of Charles II. (Hampton Court), 71. ' Lenbach, 40, 72. Leo X., Portrait of Pope, 70. Leonardo, 6, 35, 41, 105, 126, 127, 129 ; as draughtsman, 15 ; complex personality of, 42 ; his types, 25 ; quoted, 75, 101. Last Supper (StSi. Maria delleGrazie, Milan), 141, 165. Mona Ltsa (Louvre, No. 1601), 165. Virgin of the Rocks (Louvre, No. 1599), 127. Leslie, 51, 95. , Leyden, 32. Lippi, Filippino, vision of St. Bernard (Badia, Florence), 63 [Illus- tration]. ' Lippi, Pilippo, 19, 65 ; his types, 38. Annunciation (National Gallery, No. 666), 25, loi, i6r. St.fohn and Saints (National Gallery, No. 667), 161. ' zhar'da.n' (nasal). ' la'ton. ^ nSriEr. « le'U. » ko'nink. ' ISn'bag (guttural). « Ig-brEn' (nasal), • Up'pS. 1 82 Index Liverpool, 65. I^mazzo, 165. Irfombardy, 14. Ivondou. Burlington House, 13. Dulwich, 66. Hampton Court (see under). National Gallery (see under). ' Soane Museum (see Hogarth), 95. South Kensington Museum, 51. Tate Gallery (see Watts), 6i. Wallace Gallery, 69, 154. 'Longhi, 16, 94. * Lorenzetti, Ambrogio. Frescoes of Good and Bad Government (Palazzo Pub- lico, Siena), 60. * Lotto, Lorenzo, 42, 70. Louvre, xiii, 30 ; pictures in the, xiii, xiv, 34, 44, 52, 60, 65, 69, 70, 76, 81, 89, 94, 102, 108, 117, 121, 127, 130, 138, 141, 143, 165. Lucas van Leyden, 107. ' Luini, 6. * Luxembourg, Pictures in the, xiv, 72, 139, 154. ' Mabuse, 29. Madoz Brown, 20. ' Madrid, Prado, xiii ; pictures in the, 55, 69. Maes, Nicolas, 93. ' Makart. Entry of Charles V. into Antwerp (Hamburg, No. 454), 55- Manchester, 153. "Manet, 20, 133, 152. " Mantegna, 15. Altar-piece (San Zeuo, Verona), 169. Dead Christ (Brera, No. 273) , 108. Portrait of Cardinal Scarampi (Berlin, No. 9), 64. Triumph of Julius Ccesar (Hampton Court), 102, 168. ' son. • luks'an (nasal) boor'. « lOn'gE. ' ma'buz'. ' lo'rSn-zSt'tE. ' ma-dred'. * lOt'tO. » ma'kart. ' lop-e'nE. " ma'nA'. " man-ta'nya. Index 183 Maria Novella, Santa, Florence, 135. Marine painting, 88, 89. Masaccio, 26, 35, 75. The Tribute Money (Brancacci Chapel, Florence), 135. ' Medici, Portraits of the, 63. ' Meissonier, 94, 154. Memlinc, 6, 11, 15, 26, 64, 114 ; his backgrounds, 73. Adoration of Magi (Hospitalof St. John, Bruges), 63. St. John Altar-piece (Hospital of St. John, Bruges), 139. ' Mesdag, 89. ^Metzu, 42, 92, 94, 118, 153, 169. * Michelangelo, 6, 29, 35, 36, 40, 42, 106, 160 ; as draughts- man, is; complex personality, 42; his frescoes, Sistine Chapel, 106, 157 ; his influence, 39. Temptation, Fall and Expulsion (Sistine Chapel), 136 [Illustration]. Entombment (National Gallery, No. 790), 164. Microscopic School, The, 154. * Milan. Brera, 108, 139-140. Poldi-Pezzoli, loi. Sta. Maria delle Grazie, 141, 165. ' Millais, 72, 153 ; portrait of his father, 65. Carpenter's Shop (Mrs. Beer), 139 [Illustration]. Lorenzo and Isabella (lyiverpool. No. 337), 65. Return of the Dove to the Ark (Oxford University Gallery, Combe Bequest), 153. ' Moncenigo, Portrait of Doge, 64. 'Monet, Claude, 42, 113, 152. Moore, Albert, 107. Moore, Henry, 88. Morceau, The, 135. '" Morelli, 37, 161. Moretto, 118. Morland, G«orge, 40, 97. • ma'dE-chE. ° mfl'Sn. " mA'sO'nyA'. ■■ mll-la'. ' mgs'dag (guttural). * mO-chg-ne'gO. " mSt'su. ' mO-nA'. ' mE'kSl-anjg-lO. " mO-rgllE. 184 Index ' Moroni. Portrait of a Lawyer (National Gallery No. 742), 118. Mosaics, 142. Mountains, 83. ' Mulready, 95. Munich, 29, 95 ; pictures at, 34, 72, 76, 77, 92, 117, 130, 138. 'Mnrillo, 6, 16, 94 ; his types, 24. Mythological subjects, 59. Naples, 77. National Gallery, xii, xiv, 4, 113 ; pictures in the, 25, 41. 45. 55, 57, 62, 64, 67, 69, 72, 75, 76, 77, 79, 87, 88, 91, 96, loi, 106, 108, 117, 119, 121, 130, 131, 141, 143, 160, 161, 164-166, 168. Nationality in Art, 21-30. Naturalism, 57, 145. * Neefs, Peter, 87. * Neer, Van der, 52. Netherlands, 15, 16, 23, 52, 92. 'Netscher, 121. Newlyn, 32. New Manner, The, 64, 116. Newton, 51. ' Niccold da Poligno. Triptych (National Gallery, No. 1107), 88. Nicholas, St., 58. North and South, 22-23, 26. Norway, 80, 84. ' Norwich, 32. Oil Painting, 158-161, 166. Old Masters, 20. ' Orcagna, ascribed to. Coronation of the Virgin (National Gallery, No. 569), 131 [Illustration]. Orchardson, 95. " Orley, Bernard van, 29. ' mO-ro'nE. « ngt'shEr. ' mul'ready. ' da fO-le'nyO. ' moo-reryO. ' n6r'rich. * nafs. 9 6r-ca'-nya, °nar. , '»6r'll. Index 185 ' Orvieto, 63. ' Ostade, Adrian van, 42, 92, 95, 130, 162 ; his tavern scenes, 50. Outline, 99-102. 'Overbeck, 148. Oxford, Picture at, 153. *Pacheco, 38. ' Padua, Arena Chapel, 60, 74, 142. Palma Vecchio, his types, 25. Paris, 29, 95. Bxhibition, 1900, 30. Louvre (see under). Luxembourg (see under). Parma Cathedral, 109, 142. Pastel, 162. ' Pater, Walter, quoted, 9. ' Patinir, 76, 77, 88. Pentimenti, 166. Perspective. Aerial, 75, 85, 114, 115, 131. Linear, 14, 107-109. * Perugia, 25. ' Perugino, 6, 40, 114, 148 ; his landscapes, 25, 75, 85. Peter's St., Rome, 63. Petersburg, St., Picture at, 67. Petrarch, 74. Philip II., Portrait of, 65. Philip IV., Portrait of, 69. Photography, 29, 72, 100, 105, 146. '» Piero della Francesca, 64, 159. Nativity (National Gallery, No. 908), 160. " Pinturicchio. Circumcision of Sons of Moses and Baptism of Christ (Sistine Chapel), 58, 59. " Piombo, Sebastian del. Raising of Lazarus (National Gallery, No. i), 41. ' 6r-vya'tO. ' pa'tE'nEr'. ' Ss'ta-dS. ' pA-roo'jA. ' o'verbeck. ' pa-roo-je'nO. ' pa-cha'kO. '° pya'rO dSl'la fran-chSs'ka. ' pad'ua. " pEn-too-rE'kE-6. « pa'tA.', '* pE-Om'bO. i86 Index • Pisa, Campo-Santo, 75. Pitti Palace, Pictures in the, 70, 71, 102. Hein-air, 84, 133. ' PoUaiuolo, Antonio, 15. St. Sebastian (National Gallery, No. 292), 106. Potter, Paul, 97. ' Poussin, Caspar, 78. Poussins, The, 16, 79. Prado (Madrid), xiii ; pictures in the, 55, 69. Pre-Raphaelites, 31, 36, 120, 153, 154. Primitives, 5. Prout, 87. Raebum, 125. * Raphael, 6, 29, 35, 36, 42, 148 ; as draughtsman, 16 ; his influence, 39. Frescoes (Farnesina, Rome), 138. La Belle Jardiniire (Juovme, 1496), 143. MassofBolsena (Vatican), 138. Parnassus (Vatican), 137 [Illustration]. Portrait of Pope Leo X. (Pitti, No. 40), 70. School of Athens (Vatican), 109, 138. ^osalizio (Brera, No. 270), 140, 141. Transfiguration (Vatican Gallery), 41. 'Ravesteyn, 136. Realism, 38, 145, 148, 150, 153. 'Rdcamier, Portrait of Madame, 103. Reformation, 27. Regent pictures, 28, 70, 136. Rdigion in art, 26, 27. 'Rembrandt, 6, 16, 20, 33, 35, 39, 41, 42, 52, 69, 70, 73, 92, loi, 102, 113, 116, 119, 126, 127, 129, 130, 154, 162 ; his backgrounds, 73 ; periods of development, 45 ; portraits of himself, 65 ; quoted, 155. Anatomy Lesson (Hague, No. 146), 52. Bathsheba (Louvre, No. 2549), 44. Flayed Ox (Louvre, No. 2548), 52. Night Watch (Amsterdam, No. 1246), 41. IHlgrims of Emmaus (Lioavre, No. 2539), 130. Presentation in the Temple (Hague, No. 145), 44. ' pe'za. * ra'fa-Sl. " p61-la-yoo-6'10. * ra'v6-stin. s poo'sSn' (nasal). ' rA-ka-myA'. ' rfim'brant. Index 187 Raising of the Cross (Munich, No. 327), 130. Syndics (Amsterdam, No. 1247), 45. Woman Taken in Adultery (National Gallery, No. 45), 130 [Illustration]. 'Renaissance, The, 13, 59, 65, 74, 116, 142, 169. Restoration of pictures, 167. 'Reynolds, 17, 35, 40, 41, 42, 72, loi, 107, 121, 122, 130, 163, 165 ; his backgrounds, 73 ; his types, 24 ; quoted, 124, 126, 128, 130, 148. Holy Family (formerly in National Gallery), 165. Portrait of Lord Heathfield (National Gallery, No. Ill), 72. Portrait of Mrs. ,Siddons (Grosvenor House and Dulwich Gallery, No. 318), 67 [Illustration]. 'Ribera, 129. * Robert, Hubert, 87. - Roberts, David, 87. Rocco, Scuola di San, 128, 167. Rockox, Portrait of Nicholas, 64. Romano, Giulio, 35, 121 ; his types, 38. Romantic School, 36. Rome, 29, 36, 164. Doria Gallery, 69. Farnesina, 138. St. Peter's, 63. Sistine Chapel (see under). Vatican, 41, 109, 138. Romney, 107, 122 ; his backgrounds, 73 ; his types, 24, 67. ^ Rosa, Salvator, 84. ' Roselli, Cosimo. Moses Receiving the Law on Mt. Sinai and The Ser- mon on the Mount (Sistine Chapel), 59. Rossettis, Portraits of the, 65. 'Rousseau, 81. Rubens, 6, 11, 16, 31, 39, 40-42, 45, 52, 65, 70, 80, 83, 97, 102, 112, 116, n8, 119, 121, 127, 132, 16s ; as head of a school, 34, 39. Battle of the Amazons (Munich, No. 742), 138. History of Marie de Medicis (Iar(National Gallery, No. 1315), 69. Portrait of Innocent X. (Rome, Doria Gallery, No. 113). 69. Portrait of Philip IV. (Prado, No. 1066), 69 [Illus- tration]. Surrender of Breda (Prado, No. 1060), 55 [Illustra- tion], Two Young Men at a Meal (Apsley House), 95. ' Velde, Adrian Van der, 52, 97. Velde, William Van der, 79, 88. Venetian art, 15, 29, 32, 33, 58, 73, 91, 107, 1 16-1 18, 121, 122, 126, 132, 157, 160. Veneziano, Domenico, 159. Enthroned Madonna (National Gallery, No. 1215), Venice, 14, 29, 58, 75, 128, 130. Academy, Pictures in the, xiv, 91, 102, 117, 139- 141. Baptistery, St. Mark's, 142. Ducal Palace, Pictures in the, 118, 128, 139. Frari Church, xiv, 169. Giovanelli Collection, 75. Salute, 128. Scuola di San Rocco, 128, 167. ' ii'trgkt, ' va-za'rE. 5 va-lans'. ' vA-las'kAth. • vSl'dg. 192 Index ' Vermeer, 130, 169. " Verona, San Zeno, 169. 'Veronese, Paul, 11, 60, 70, 102, 117, 130, 161 ; ascolour- ist, 15, 112, 116. Family of Darius (National Gallery, No. 294), 55, 56 [Illustration]. Feast in the House of Levi (Academy, Venice, No. 203), 141. Frescoes (Villa Maser, near Castelfranco), 150. Marriage ofCana (Louvre, No. 1192), 65, 109, 141. *Verrocchio, 35, loi. Portrait of a Lady (Milan, Poldi Pezzoli, No. 21), ascribed to, loi [Illustration]. ' Vicenza, Santa Corona, 142. Vienna, 34, 95. 'Vivarini, The, 137. Vlieger, De, 88. Volterra, Danlele da, 106. Wallace Gallery, Pictures in the, 69, 154. Water-colour, 82, 162. ' Watteau, 17, 40, 80, 119, 132. Fites Galantes of, 28, 94. Watts, 39 ; his portraits, 42, 72. HopeX^aX.^ Gallery, No. 1640), 61. Love and Life (Tate Gallery, No. 1641), 61. Love Steering the Bark of Humanity (Exhibited Royal Academy, 1902), 61. Mammon (Tate Gallery, No. 1630), 61. 'Weenix, 97. 'WerflF, Van der, 121, 161. West. Death of General Wolfe (Kensington Palace), 57. Westminster, Duke of, 67, 121. '"Weydeu, Roger van der, 15, 114, 149, 165. Madonna with St. Luke (Munich, No. 100), 76. Whistler, 20, 42, 72, 82, 152 ; quoted, 21. ' fSr-mar'. " ve'va-re'nE. * vA-ro'na. ■■ va'tO'. " va'rO-na'zA. " va'niks. < v6r-ro'kE-0. » v6rf. » vE-ch6n'tsa. '" vi'dSn. Index 193 Portrait of the Painter' s Mother (Luxembourg, No. 324), 71 [Illustration]. • Wiertz, Antoine, 51. Wilkie, 40, 95. Blind Fiddler (National Gallery, No. 99), 95. Village Festival^ (National Gallery, No. 122), 95. William III., Court Beauties of the time of, 71. Wilson, 78, 80. 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