INDEX

ABDOMINAL markings, 38

"Abduction of the Sabine "Women, The," by Rubens, 176

Abozzo, the, or " laying in," 141

"Admiral Keppel," by Sir J. Reynolds, 224

"Admiral Pulido-Pareja," by Velazquez, 207

"Adoration of the Magi, The," by Veronese, 158

Aerial perspective, an exercise in, 64

Æsthetics, the study of, 262

Age, effect of, on paintings, 129

" Age of Innocence," by Sir J. Reynolds, 219, 224

Anatomy, the study of, 30

"Ancient Practice of Painting," by Mrs. Merrifield, 123

Andrea del Castagno, 168

Ankle-bones, the, 32

Answering shape, the, 39, 44

Antique, drawing from the, 53

Antonello da Messina and Flemish art, 168

Apprenticeship during the Renaissance, 66

Architecture, some knowledge of it necessary, 262

Arm, the anatomy of the, 55 ; drawing the left, 38, 39, the right, 39 ; proportion of the, 39

" Arnolfini, Jan, and his Wife," by Jan Van Eyck, 171

Arrangement, hints on, 99

Artistic expression, a wide field for, 70

Artistic inequalities, 101

Artists' anatomy, 31

Asphaltum used by Titian, 119

" BACCHANALIAN Dance," analysis of, 256

"Bacchus and Ariadne," by Titian, 142 ; analysis of, 249

Background In monochrome, 84

Background spaces, the, 35, 37

"Baillie Family, The," by Gainsborough, 229

" Banished Lord, The," 223

Bassano, 146

" Bay of Baiae, The," by Turner, 240

" Beggar Boy, The," by Murillo, 215

Bellini, Giovanni, 142

Belvedere Torso, the, 38

" Betrothal, The," by Velazquez, 211

Bibliography of art, 123

Bitumen, the use of, 220

Bituminous pigments, defects of, 77

Blocking in, 21

" Boar Hunt, The," by Velazquez, 211

Bonnat, Léon, and his pupil, 110

Bordone, Paris, 157

Boschini, 157

" Breadth," what it is, 61

Brilliancy, 130

British School, The: Sir Joshua Reynolds, 219; Gainsborough, 226; Romney, 230; Constable, 230; Crome, 233 ; Sir Thomas Lawrence, 234 ; Hoppner, 234 ; James Ward, 239 ; Landseer, 239 ; Turner, 239

Bronzino, Angelo, 127, 129

Brow, the, 44

Brown paper, a good ground, 72

Brushes, the, 73, 118

Burnt umber, 76

CAGE of the ribs, the, 31

" Calais Pier, The," by Turner, 239

Canaletto, 163

Canvas, the, 71 ; the grain or texture of the, 68

Carlo Dolci, 108

Cartoons, 130

Cast, usefulness of the, 58 ; drawing, a 83

Ceiling panels by Veronese, 158

" Cenotaph, The," by Constable, 233

" Chapeau de Poil," by Rubens, 175

Character, 49

Characteristics, 50

Charcoal, 74

Chardin, 217

" Château de Stein," by Rubens, 175

Cheeks, the, 44

Chiaroscuro, elementary principles of, 59 ; in Dutch and Spanish pictures, 100

"Childe Harold's Pilgrimage," by Turner, 240

China in colour, 95

"Christ and Magdalene," by Titian, 146

" Christ at the Column," by Velazquez, 204

" Christ at the Temple," by El Greco, 215

" Christ before Pilate," a grisaille composition by Rembrandt, 185

" Christ in the house of Martha,," by Velazquez, 204

Chromes, beware of, 76

Claude, 217

Cleanliness, necessity for, 92

Cobalt, 76

Collar-bones, the, 31, 35

Colours, the, 75

Colours which should be used fresh, 77 ; for monochrome, 83 ; for mural painting, 264

Colours on the palette, arranging the, 79

Composition, 99; solecisms in, 101; aids to, 245 ; analysis of, 249

Constable, 230

Construction and placing of the eye, 45

Construction of the figure, 33

Copying, on, 243

" Corn Field, The," by Constable, 233

"Cornelius van der Geest," by Van Dyck, 176

Correggio's technique, 164

" Countess of Oxford, The," by Hoppner, 234

Cracking of pictures, the cause, 219

" Creation of Adam, The," 104

Criticism, different standards of, 269

Criticisms and technical remarks, 124

Crome, 233

" Crossing the Brook," by Turner, 240

"Crucifixion, The," by Tintoretto, 149

" Crucifixion," a small monochrome by Rembrandt, 185

DA PONTE, Jacopo, 147

da Vinci, Leonardo, 164

de Hooch, Peter, 198

de Keyser, 198

" Dead Christ, The," by Ribera, 212

Decorative designing, 263 ; effect, 246

Del Piombo, Sebastiano, 146

Del Sarto, Andrea, 131,133

Deltoid, the width of the, 39

" Dido building Carthage," by Turner, 217

Direct painting, distinguishing characteristics of, 118

Double action, to be avoided, 103

Drapery, Terburg's, 197

Draping clay models, 247

Draughtsmanship, the true secret of, 25

Drying "dead," 109

" Duke of Bedford, The," by Gainsborough, 229

Dulwich Gallery, Watteau in the, 216

Dutch landscapists, 201 ; masters and modern painting, 69 ; painters and genre subjects, 201 ; painters and the use of bituminous pigments, 77

Dutch School, The : Rembrandt, 181 ; Frans Hals, 190; Nicolas Maes, 193 ; Terburg and Metsu, 194 ; Jan Steen, 197 ; Peter de Hooch, 198

"Dwarf, The," by Velazquez, 212

EARS, the placing of the, 34, 43, 52

Easel, the, 75

Eastlake's " Materials," 123, 219

" Ecce Homo," by Guido Reni, 134

" Ecclesiastic, The," by Moroni, 153

" Eclectic " school, the, 216

Egg tempera, 149

Elbow, drawing the, 39

Elgin Marbles, the, 58

Emerald green, beware of, 76

Emerald oxide of chromium, 76

English Pre-Raphaelites and the Flemish school, 171

Erasing the painting, 87

Exhibitions, their effect on the painter,69

Expression, artistic, a wide field for, 70

Extract of vermilion, 76

Eye, the, construction and placing of,45, 52, 53, 108

FACE, effects of raising and lowering, the, 44

Family group, by Frans Hals, 190

" Family of Darius at the feet of Alexander," by Veronese, 158

Fashions in painting, 69

Feet and legs, the, 40, 58

Figure, construction of the, 33

Finish, a definition of, 86

Flake white, 75

" Flatford Mill.The," by Constable, 233

Flemish hand-glass, the, 201

Flemish School, The : Jan Van Eyck, 168 ; Rubens, 171 ; Van Dyck, 176

Flesh and skin, the, 107

Flesh colour, 116

Flesh painting, colours for, 76

"Flight in to Egypt, The,"tinted monochrome by Rembrandt, 185

Foreshortened passages, 46

Foreshortening, 29

" Four Ages of Man," by Lancret, 216

French School, The : Nicolas Poussin, 216 ; Greuze, 217

Fresco-painting, 130

Frieze, the, 265

Fruit as a model, 92

GAINSBOROUGH, 119, and Van Dyck, 70, and Guido Reni, 139; intense personality of, 226 ; later landscapes, 230

Galleries, hints on visiting, 100

"Garden of Hesperides," by Turner, 240

" George IV. as Prince of Wales," by Sir J. Reynolds, 225

Gesso ground, 134, 141

Gilbert, Sir John, letter from, 201

Glaze, evaporation of, 153

"Glazing," 112

"Good Samaritan, The," by Bassano, 146

Gouache, a good ground for studies in, 72

Goya, 215

" Graces, The," by Sir J. Reynolds, 225

" Grand Canal, The," by Canaletto, 163

" Graphic Arts,"Hamerton's, 123

"Greek Vintage, The," by Stothard, analysis of, 261

Greeks, the, and the study of anatomy, 30

Greuze, 217

Grey tones, the difficulty of, 119

Greys, the nuclei of, how made, 78

"Grisaille" or monochrome, 75, 112,113, 118, 153 ; by Van Dyck, 180 ; by Jan Steen, 198

Grounds, 71

Grouping, on, 101

" Guild of Archers," by Frans Hals,193

"Guitar Lesson, The," by Terburg, 194

HAIR, treatment of the, 108, 117

Hals, Frans, 118, 119, 154, 190

Hamerton's " Graphic Arts," 123

Hand, drawing a, 27, 39 ; placing it on the wrist, 57

Hand-glass, the use of the, 34, 50

"Hay-Wain, The," by Constable, 233

Head and features, the drawing of the, 34, 37, 43

"Head of a Rabbi, The," by Rembrandt, 186

High light on a porcelain vase, the, 63

High lights, 95

Hints on arrangement, 99

Hip, position of the, 38

Holbein, copying heads by, 45

" Holy Family, The," by Sir J. Reynolds, 224

Hoppner, 234

Humanity of Rembrandt, the, 181

ILIUM, the inclination of the, 31

Indian red, 76

Individuality and proportion, 51

" Infant St. John and the Lamb," byMurillo, 215

Interiors, by Nicolas Maes, 193 ; and courtyards of Peter de Hooch, 198

Internal drawing, 24, 38

Intonaca, the, or wet plaster surface, 133

Italian and Flemish art, 168

Italian and Flemish painters, the flesh tone, 154

Italian Schools : Angelo Bronzino, 129 ; Andrea del Sarto, 133 ; Filippino Lippi, 133; Guido Reni, 134; Paris Bordone, 157 ; Paolo Veronese, 157 ; Canaletto, 163 ; Correggio, 164

Ivory black, 76

JAW, the, 52

"Jewish Merchant, The," 185

Jordaens, 172

KNEE-bones, the, 31

Kremser White or Blanc d'Argent, 75

" LADY COCKBURN and her Children," by Sir J. Reynolds, 225

Lancret in the Wallace Collection, 216

Landscape painting, 98

Landseer, 239

"Laughing Cavalier, The," by Frans Hals, 193

Lavater, the study of, 51

Lawrence, Sir Thomas, 234

"Lawyer, The," by Moroni, 153

Laying the palette, 79

" Legend of the Milky Way, The," by Tintoretto, 149

Legs, drawing the, 40, 57

Leighton brushes, 73

Leighton, Lord, as a modeller, 247

Leonardo da Vinci and the Pre-Raphaelite, 59

Light in the studio, 83

Light red, 76

Light and shade, how to distinguish the relation of, 59, 62

Light and tone, relative values of, 61

Lighting the canvas, 82

Linseed oil, 92

Lippi, Filippino, 133

Lips, the, 47

Living model, the, 105

Local colour, 107

"Lord Heathfield," by Sir J. Reynolds, 224

Luminosity, 129

MADDERS, evanescence of the, 76

Maes, Nicolas, 193

Main planes, 107

" Marchese Cattaneo, The," by Van Dyck, 179

" Maroflage," 264

Masters and their methods, 123

Mastic or amber varnish, 94

Mastoid muscle, the, 35

Materials, 71

"Materials," by Eastlake, 123

Measurement, a standard of, 33

Measuring and plumbing, 40

"Mercury, Venus, and Cupid," by Correggio, 164

Merrifield's, Mrs.," Ancient Practice of Painting," 123

Methods of painting, 75

Methods of the Dutch landscapists, Rubens, Teniers, 201-203

Metsu, 194

Michael Angelo, 103,129

Middle tone in monochrome, 84

" Miracle of St. Mark," by Tintoretto, 149

" Miss Fry," by Sir T. Lawrence, 234

" Mrs. Siddons," by Sir T. Lawrence, 234

Mixing colours, 78

Modelling in wax or clay, 247

Models for painting in monochrome : plaster cast, 81 ; silver teapot, 88

Modern work and method, 67

" Modernity," 71

Monet, 266

"Monk at Prayer, The," by Zurbaran, 215

Monochrome painting, 81 ; colours for, 83 ; textures in, 88; from life, 106 ; colouring a, 111 ; distinguishing characteristics of, 118; and warm glazes, 119

'Monochromes, Sir J. Reynolds', 153

Moroni, 153

" Mousehold Heath," by Crome, 233

Mouth, the, 47

Mural decoration, 163, 263

Muscles, the, 31, 35

" Musidora," by Gainsborough, 229

NAPLES Yellow, 76

" Nativity, The," doubtful authorship of, 215

Navel, the, 37

Neck, the lines of the, 34, 35

Nose, the, 47

OBSERVATION, the value of, 37

Oil, effect of, 130

Oil-painting, a fallacy concerning, 67

Orange Cadmium, 76

Originality, 71

" PAINTER and his Wife, The," by Frans Hals, 193

Painting table, the, 73

Palette, 72, 78 ; laying the, 79

Palette knife, the, 73; Constable's use of the, 233

"Parish Clerk, The," by Gainsborough, 229

"Patina," 129

Pectoral markings, the, 37

"Peter the Martyr," by Giovanni Bellini, 142

" Philip IV.," by Velazquez, 207

Photography, its use and abuse, 64

Plush mat, the use of the, 68, 89

Points of departure, 49

Poppy oil, 109

Portrait-painters, 51

" Portrait of a Gentleman," by Metsu, 197

" Portrait of an Old Lady," by Rembrandt, 182

"Portrait of a Lady, The," by Paris Bordone, 157

" Portrait of a Poet, The," by Titian, 140

" Portrait of a Sculptor," by Andrea del Sarto, 131

" Portrait of Mrs. Siddons," by Gainsborough, 226

"Portraits of Two Gentlemen," by Sir J. Reynolds, 220

Portraits, the size of, 234

Portraiture, Venetian, 140

Poseurs to be shunned, 70

Prado Gallery, Madrid, 212

Prepared and direct painting, 118

Proportion, the importance of, 33, 51

Pupil of the eye, the, 46

RAEBURN, 234

"Raising of the Brazen Serpent, The," 104

"Raising of Lazarus, The," by Sebastiano del Piombo, 146

Raw siena, 76

Raw umber, 76

Realism, the cult of, its effect on modern practice, 67

Reducing the round to the flat, 23

" Regent's Park in 1807," by Ward, 239

Rembrandt, 181

Renaissance, apprenticeship during the,66

Reni, Guido, 134; and Gainsborough,139

Reynolds, Sir J., 52, 77,.112; loss of colour in some of his portraits, 153 ; method of, 219

Ribera, 212

" Rinaldo and Armida," a grisaille composition by Van Dyck, 180

Romney, 230

Rose madder, 76

Rubens school, the flesh of the, 154

Rubens, 171 ; maxim of, 172 ; influenced by Titian, 175, and by Velazquez, 208

"ST. GEORGE and the Dragon," by Titian, 150

Scapulae, the, 31

"Sculptor, The,"by Velazquez, 212

Scumbling, 112

Seated figure, drawing a, 42

Sepia, 77

Shading lines, 27

Shadow and half-tone in monochrome, 85

Shadows and half-tones, 41

Shallow saucers, the use for, 73

Shoulder line, the, 35

Shoulders, the rounding of the, 36

" Silenus," by Rubens, 175

Silver in colour, 95

Silver teapot as model for monochrome,

88 Size of drawings from the nude, 33 ; of portraits, 234

Skin, treatment of the, 108

Skull, study of the, 31, 43

" Slate Quarries," by Crome, 233

Smoked plate, an ingenious substitute for a, 247

"Snake in the Grass, The," by Sir J. Reynolds, 223

Soapiness, how to correct, 72

Solecisms in composition, 101

Sorolla y Bastida, 266

"Spaces left," 27

Spanish School, The : Velazquez, 204 ;Ribera, 212 ; Zurbaran, 215 ; El Greco, 215 ; Murillo, 215 ; Goya, 215

Standard of measurement, 22, 33

Steen, Jan, 197

Still life in colour, 91

Studies in oil or gouache, a good ground for, 72

Sweetness of character, how discovered,52

Symmetry, perfect, 49

"TAILOR, The," by Moroni, 153

Teachers and students, 67

Terburg, 194

Texture of the canvas, the, 71

Textures in monochrome, 88 ; on reproducing, 64

"Three Ladies decorating a terminal figure of Hymen," by Sir J. Reynolds. See " The Graces "

Tintoretto, 141,149

Titian, 118; his method, 142; treatment of landscape masses, 150; painting and glaze, 153

Titian, the school of, 140 ; Giovanni Bellini, 142 ; Sebastiano del Piombo, 146 ; Bassano, 146 ; Tintoretto, 149 ; Moroni, 153

Tone values, 62

Toned canvas, the, 72

Tones in monochrome, 86

Torso, the, 38

" Torso Belvedere," the, and the blind man, 185

Tradition, the causes of the breaking away from, 66

Trapezius muscles, the, 35, 36

Turner, J. M. W., 239

Turpentine, spirits of, 79, 115

"VALLEY FARM, The," by Constable,233

Van Dyck and his model, 57 ; lighting by, 105, 118,176

Van Eyck, Jan, 168

Varnish as a medium, 120

Velazquez, portrait by, 29, 105, 108, 118,154, 204; and Rubens, 208

Venetian painters, the, 140

" Venice," by Canaletto, 163

" Venice, Cupid, Folly, and Time," by Bronzino, 127

" Venus and Man," by Rubens, 175

Vermeer of Delft, and Peter de Hooch,

198

Vermilion, Rubens' use of, 175

Veronese, Paolo, 141,150,157

" Vierge au Panier, La," by Correggio,

"Village Cornard," by Gainsborough, 230

"Virgin and Child," by Filippino Lippi, 133

"Virgin and the Rocks, The," by L.

da Vinci, 164 Virility of Rembrandt, the, 186

"Vision of St. Helena," by Paolo Veronese, 157

WALLACE Collection, Watteau in the, 216

Ward, James, 239

Watteau, 216

Wax as a medium, 219

Wilkie's works, cause of the destruction of some, 77

Wire plush mat, the, 74

"Woman Bathing," by Rembrandt, 182

Wood panels, 72

Wrist, the, 39

YELLOW ochre, 75

ZELOTTI, Battista, 157 Zurbaran, 215

THE END

Printed by BALLANTYNE, HANSON & Co. . at Paul's Work, Edinburgh