Ideals in Art: Papers Theoretical, Practical, Critical

INDEX

• Abydos, Temple of Seti, 89.
• Academic method of art teaching, the, 58–65.
• Action, representation of, 52, 54.
• Advertisements, the curse of modern, 77, 78, 84.
• Allegory in art, 278.
• Anagni, chasuble from the Cathedral of, 206.
• Animal forms in decoration, 203–224.
• Architecture, importance of, in art training, 44, 50.
• Art, influence of economic questions in, 23;
• value of sound traditions in, 29;
• social function of, 32;
• the teaching of, 35–56;
• sympathetic atmosphere a necessity for, 36–40;
• connection between architecture and, 44;
• essential unity of, 44, 48;
• the imitative and imaginative sides of, 48;
• advantage of architectural over pictorial training in, 50;
• methods of art teaching, 58–68;
• academic methods of teaching, 58–65;
• dominated by the sculptor’s art and aims, 64;
• modern possibilities of teaching, 66–68;
• Tolstoi’s views on, 69–75;
• the social and ethical bearings of, 88–101;
• influence of, in the church, 93;
• not the monopoly of the rich, 95–97;
• refining influence of, 97, 98;
• change in the conditions of the practice of, 99, 100.
• “Art Nouveau, L’,” 128, 129.
• Art Workers’ Guild, the, 18, 31;
• device for, 251, 253.
• Arts and Crafts Exhibition Society, the: formation of, 20;
• first exhibition of, 21;
• objects and principles of, 22.
• Assyrian reliefs, object and value of, 90.
• Bacchus, visit of, to Icarius, Romano-Greek relief, 106.
• Bamberg, Royal mantle from the Treasury of, 205.
• Barron, O., 200.
• Bell, R. A., 159.
• Bellamy’s “Looking Backward,” quoted, 83.
• Berthelet, Thomas, bindings by, 227, 229.
• Birmingham, scheme for frescoes illustrating local history at, 120.
• Blake, William, 5, 6.
• Bland, J. P., specimen of calligraphy by, 65.
• Blickling, ceiling at, 158.
• Book-covers, designing of, 225–236.
• Borgia apartments, decoration of the, 238, 239, 240, 248;
• model of, at South Kensington, 240, 248.
• Bournville, 121, 148;
• views in, 123.
• Brown, Ford Madox, 12;
• frescoes in the Manchester Town Hall by, 118, 119, 120.
• Building Acts, the, 126;
• local bye-laws, 152.
• Burges, William, 17.
• Burne-Jones, Sir E., 20, 162, 175, 240.
• Butterfield, William, 17.
• Calvert, Edward, 7, 8, 9.
• Carpaccio’s “Dream of St. Ursula,” 144, 147.
• Crane, Lancelot, figure composition by, 37.
• Crane, Lionel F., design for a collective dwelling by, 116;
• cottage at Letchworth designed by, 148–151.
• Central School of Arts and Crafts, the, 28, 29.
• Chesterton, G. K., his “G. F. Watts” criticised, 273–281.
• Cleobury, W. T., 133–139, 141, 143.
• Cobden-Sanderson, T. J., 230.
• Collective dwellings, 115–117.
• Commercialism, evil effects of, 84, 85, 94.
• Cretonne, printed, 160–162.
• Crivelli’s “Annunciation,” 142.
• Crouchback, Edmund, Earl of Lancaster, figure from the tomb of, 223.
• Dalpeyrat, M. Louis, 27.
• Day, Lewis F., 18, 203.
• “Decorative,” meaning of the word, 267.
• Decorative art, development of, in the nineteenth century, 2 et seq.;
• modern revival of, 15 et seq.;
• relation of the easel picture to, 265.
• “Denoline,” 252.
• Dress, absence of beauty in modern, 81–83;
• progress of taste in, 171–191;
• influence of the pre-Raphaelites on, 175;
• types of artistic, 177;
• types of children’s, 179;
• types of working, 181;
• modern and mediaeval, 185, 187.
• Dunkley, Miss L. M., designs for embroidery by, 45, 46.
• Eastlake, C. L., his “Hints on Household Taste,” 17.
• Egyptian hieroglyphics, 89, 90, 103;
• decorative art, 112.
• Enamelling, modern revival of, 26, 27.
• Exhibition of 1851, the, 3.
• “Fifteen, the,” 18.
• Fisher, Alexander, 27.
• Flats, effects of living in, 114, 115.
• Flaxman, John, 9.
• Fylfot, the, 104.
• Garden City Association, the, 121, 148.
• Genoa, Doria Palace, gesso decorations in, 248.
• Gesso, origin of, 247;
• fine examples of, 248;
• methods of working in, 249;
• Gesso Duro, 249;
• “Denoline,” 252;
• system of modelling in, 257.
• Gilding, use of, in decoration, 237–246.
• Gimson, Ernest W., cottage designed by, 152, 153, 155.
• Graining, 130.
• Greece, the artistic sense of, 90, 91.
• Greek, ornament, 104–107, 215;
• drapery, 173.
• Harvey, Alex. W., cottages designed by, 123, 148.
• Heraldic lions, 220–222.
• Hill, Vincent, panel by, 67.
• Holland Park, 1a, interior of, 131;
• gesso decorations in, 258–261.
• Home Arts and Industries Association, the, 19.
• House-decoration, Thoughts on, 110–170.
• Howard, Ebenezer, 121.
• Hungarian peasant costumes, 182, 183.
• Hunt, Holman, 9, 12.
• Kidd, A., stained glass panel by, 62.
• Knole, ceiling at, 158.
• Kruger, G. E., 195.
• Lacey, Miss C. M., Heraldic studies by, 47.
• Lanteri, Prof., 194.
• Letchworth, Garden City, cottage at, 148–151.
• Line, meaning of, in ornament, 107, 108.
• London, some aspects of, 76–83.
• Lucas van Leyden’s “Annunciation,” 144, 145.
• Mackim, Meade, and White, Messrs., 242.
• Manchester, frescoes in the Town Hall in, 120.
• Mantua, model of the room of Isabella d’Este at, 240.
• Martin, A. E., architectural design by, 42.
• Millais, Sir J. E., 11.
• Moira, Gerald, 159, 194.
• Moore, Sturge, 9.
• Morris, William, 15, 20, 24, 156, 162, 175, 272.
• “Municipal Journal,” the (New York), 81.
• “Mural feeling,” 265, 267.
• Muybridge, Mr., 52.
• National Association for the Advancement of Art in Relation to Industry, the, 19.
• New York, movement in favour of public beauty in, 81.
• Ornament and its meaning, 102–109;
• analogy of to music, 102;
• origins of, 103;
• two sources of meaning in, 106.
• Palermo, Cappella Reale, decoration of, 241, 242, 243.
• Palmer, Samuel, 9.
• Paris Exhibition, the English House at the, 162.
• Parr, H., studies by, 38, 39.
• Peleus and Thetis, Greek cylix, 105.
• Pictures, background for, 142, 144;
• relation of, to decorative art, 265–272.
• Pinturicchio’s decoration of the Appartamenti Borgia, 238, 239, 240, 248.
• Plaster, treatment of, 158, 159.
• Pomeroy, Mr., 159.
• Pompeian decoration, 113.
• Pre-Raphaelite movement, the, 12, 14, 15, 175.
• Pugin, A. W. N., 17.
• Ranworth rood-screen, 133–139, 141, 143.
• Reynes, John, binding by, 233.
• Richard II, figure of, in the Wilton picture, 219.
• Rigby, H. A., pen-drawings by, 55, 57.
• Rome, St. Peter’s, use of gilding in, 246.
• Rossetti, D. G., 10, 12, 15, 175.
• Royal College of Art, specimens of students’ work, 37–67.
• Ruskin, John, 14.
• Sandys, Frederick, 12, 13.
• Scott, Sir Walter, 10.
• Sevenoaks, Combe Bank, decorations at, 159.
• Shaw, Henry, 16.
• Shaw, Norman, 18.
• Shea, J. R., cabinet designed by, 59;
• wood carving by, 61.
• Sicilian Silk Patterns, 207–214, 218.
• South Kensington Museum, formation and influence of, 16.
• Southwold, rood-screen at, 247.
• Spooner, W. G., studies by, 49, 51, 53.
• Stencilling, development of, 136.
• Stevens, Alfred, 4.
• Stevenson, James A., frieze by, 63.
• Stothard, Thomas, 10.
• Street decorations, temporary, 192–202.
• Sykes, Godfrey, 4.
• Temple Bar, suggestion for temporary gatehouse at, 197.
• Tennyson, the Moxon edition of, 9–12.
• Thoreau’s “Walden,” 111.
• Tintoretto, 270.
• Tolstoi, Count, his “What is Art?” 69–75.
• Tristram, E. W., design for Tapestry by, 43.
• Van der Meer, 142.
• Van Dyck’s “Jan Arnolfini and his wife,” 142.
• Venice, St. Mark’s, mosaics in, 244;
• Ducal Palace, 271.
• Voysey, C. F. A., 147.
• Wall-paper designs, 163–169.
• Walton, George, 158.
• Watts, G. F., 240;
• Mr. Chesterton’s book on, 273–281.
• Webb, Philip, 15, 16, 131, 258, 259.
• Weeks, Harold, 250.
• Weeks, Osmund, 251.
• Westminster Bridge, decoration of, by students of the R.C.A., 194, 195.
• Whistler, J. McNeill, 242.
• Whitechapel, Wentworth Street, 79.
• Wilton House, the Vandyke room at, 243, 244, 245.
• Windsor, Lord, 200.
• Wotton Binder, binding by the, 235.