Christian art, i. 263, 273, 284.
Christian and Pagan art con-
trasted, i. 353-4; ii. 190.
Christianity a complete system,
Doddridge, ii. 204-5; essential
to vital progress, i. 3; a per-
sonal thing, ii. 278; a religion
of the heart, ii. 254.
Christmas, Shakspere, i. 404.
Christ, the beautiful in life real-
ized and constellated in, ii.
204; the grand centre of the
universe, ii. 229-30; the Cre-
ator and Redeemer, Cowper, i.
175; the Saviour's love-death,
ii. 210; his precepts and
example the highest test, ii.

204.

Christlike, the, ii. 277.

Christ the Revealer, ii. 296-301.
Chrys-elephantine statues, i. 250.
Churches open, on the Continent,
i. 236.

Church music, the end of, ii. 137.
Cimabue, i. 285.

Circumstance, Lewes, i. 418-19.
Civilization, influence of Christi-
anity on, ii. 261.
Claude Lorrain, i. 294.

Closet study of the Drama, i. 387-9.
Clyde, Frith of, i. 101.
Clytie, i. 273.

Coleridge, i. 402; on beauty, i.
37; experience in regard to
poetry, i. 445; on music, ii.
117; on Shakspere, i. 390-97;
430-34.

Cologne Cathedral, i. 234-5.
Colour, distribution of, observed

in nature, i. 204; laws of, i.
201; relatively modified, i.
324.

Colton on Truth, ii. 266.
"Comfort ye," Handel's, ii. 59.
Como, Lake of, i. 96.
Companionships, ii. 277.
Comparative anatomy, i. 115; of
the universe, ii. 287.
Compensation and perfect adjust-
ment in nature, i. 81; Chaucer,
i. 150; Wordsworth, i. 182.
Complementary colours, i. 201-4.

Composition, musical, ii. 100; in
art-parlance, Ruskin, ii. 148
Mozart's account of his mode
of, ii. 104-7.

Comte's rejection of Revelation
unphilosophical, i. 119; digest
of his system, i. 107.
Conclusion, ii. 300.

Conduct, rule for, Henry Taylor,
ii. 272.

Confirmations of Scripture truth,
Layard, i. 280.

Conscience, Antoninus, ii. 197;
Croly, ii. 283; of learning to
sing, ii. 140.

Constraint of the Church of Rome
adverse to art and to all free-
dom of thought, i. 236.
Consuelo, ii. 123.

Content, Dr. Johnson, ii. 274.
Contempt destroys all trace of
beauty in the countenance, iš
281-2.
Conventionality and license, ii.
174-5; serves to fix the period
of production in art, i. 246.
Conversation, ii. 257.
Cooper, i. 298.

Correspondency between mind
and matter, i. 39.

Cosmog, the Greek word, i. 18.
Costume of thought in poetry, i.
397.

Costume of truth, i. 352.
Cousin on taste, ii. 161.

Cowper, i. 401; descriptions of
nature, i. 171-5; on the poet's
gifts, i. 430; on slavery, i.
370-1.

Cox, David, i. 328.

Craving for beauty, natural, ii. 164.
Creation, Haydn's, ii. 52.
Creator, the, ii. 235.

Credulity of the infidel, ii. 224.
Creed of the worldly, i. 411.
Cridavana, ii. 203.

Criticism, approved method of,
Carlyle, ii. 158; of ignorant and
ill-natured, ii. 154-9; of pre-
tentious, i. 410, 431; of Shaks-
pere, reverential if worthy, i.
391.

Cromwell's policy, ii. 262.
Crystal palace anticipated by
Chaucer, ii. 168-74.
Crystals, proportionate dimen-
sions of, Weiss, i. 46; of soda
and the Mer de Glace, i. 48.
Culdee melodies, ii. 30.
Cycles of change, ii. 296.
Cydippe's Mirror-the daguerreo-
type, i. 42.

Daisy, to the, Wordsworth, i. 179.
Dancing, origin of, ii. 6.
Dante's allusions to nature, i. 147;

"La Vita Nuova," i. 366;
poetry, i. 435.

David the painter, i. 294.
David's harp, influence of, on
Saul, ii. 18.

"Davide Penitente," Mozart, ii.
62.

Da Vinci on beauty, i. 29; philo.
sophy, i. 22.

Deafness of Beethoven, ii. 65-6,
69, 77.

Death, Wordsworth, i. 182.
Debasing thought legible in the
features, ii. 281.
Decamps, i. 296.

Decline of the Carthaginian Em-
pire, Turner, i. 310; of Greek
art, i. 261.

Definitions of poetry necessarily
defective, i. 342.

Degeneration in art, cause of, i.
221.

Demarcation, lines of, i. 417.
De Quincey on music, ii. 126-8.
Delacroix, i. 296.

Delaroche, i. 294.

Descriptions of nature, the poet's,
i. 127.

Development, law of, Comte, i.
108; of poetry, historical phases
of the, i. 353.

Diagram of complementary col-
ours, i. 204.

Dialogue, Morley's, ii. 40-1.
Dibytades, daughter of, i. 245.
Diffusion of taste among the
people, ii. 161-6.

Dignity of character, ii. 283.

Diodati, Milton's letter to, ii. 179.
Discord and Chaos, Hare, ii. 194.
Discoveries often anticipated, i.

40.

Discovery of way of salvation in
the Scriptures alone, ii. 266.
Disinterested goodness, those who
deny, i. 413.

Diversities of gifts, i. 198; in
poetry, i. 399.

Divina Commedia, Dante's, i. 357.
Divine beauty, i. 338; love ex-

pands the heart, ii. 275; love,
Jeremy Taylor, ii. 228-9.
Divine source of beauty, ii. 293.
Don Giovanni, Mozart's, ii. 60-1.
Donizetti, ii. 95.

Drama, the, i. 375.
Drapery in sculpture, i. 245.
Dryden, i. 401; "Ode to St. Ce-
cilia," i. 367; ii. 27.

Duality exists in the mind, ii.
290-1.

Dürer, Albrecht, i. 291.
Düsseldorf school, i. 292.
Duty, Shakspere, ii. 271.
Dying, effect of music on the, ii.
133.

Early fathers, the, ii. 199.
Ear for music, ii. 114, 122.
Ear, training the, ii. 119.
Earth the shadow of heaven,
Milton, i. 49; ii. 287.

East, influence of the, on poetry,
i. 355.

Eastlake, Sir Charles Lock, i. 314.
Ecbatana, palace of, i. 280.
Education, Comte's views of, i.

117; flower garden and weeds,
ii. 184; incomplete without art-
culture, ii. 178; intent of, ii.
183-4; Milton's idea of, ii. 182;
Dr. Whewell on, ii. 178; opens
up sources of delight, ii. 184;
aids the perception of beauty,
i. 50; of a poet, Coleridge, i.
430.

Effect of music on the soldier, ii.

27.

Egoism, Greek philosophy, ii.

257.

English opium-eater, extract from,

ii. 127; English vocal music,
ii. 47.

Engravings, ii. 162.
Epicurus, i. 26.

Epic poetry, i. 355-64; prepara-
tion for writing an, i. 430.
Epipolic forces, i. 47.
Epitaph, Purcell's, ii. 44.
Ethics, Christianity the most
compendious system of, ii. 296.
Etiquette, ii. 266.

Etruscan art, Eastern origin of, i.
282; paintings, i. 282.
Euripides, dramas of, i. 383.
European drama, only three great
schools of the, i. 376.
Euryanthe, Weber's, ii. 83.
Evangel, the last, Carlyle, i. 190.
Evangelic religion, what is it?
ii. 270.

Eva and Topsy, ii. 165.
Evening, Shakspere, i. 155.
Evil, origin of, ii. 217.

Eye, colour of, the human, i. 323.
Example of Christ, Dr. Parr, ii.
231; Whately, ii. 234-5.
Excellence in art, how attainable,
ii. 177; judged by the few, ii.
153; platform of, ii. 179.
Execution, the score dependent
on, ii. 109.
Exhibitions, ii. 168.

Existence, a dominion of Reason,

ii. 202.

"Experience like a pale musi-

cian," Mrs. Browning, ii. 129.
Exploration, how conducted, i. 115.

Expression, beauty of, ii. 282; in
glance or tone, ruled by positive
laws, ii. 5.

Fair women, i. 347.

Fairlie Castle, view from, i. 98.
Faerie Queene, Spencer's, i. 359.
Fall of man, the, ii. 210;

storation, ii. 236.
Fame, of, i. 213.

and re-

Familiarity and knowledge, Dr.
Johnson, i. 208.

Fatalism, ii. 217-18.

Fear, Dr. South, ii. 209.

Female constellation of poetic
genius, i. 406.

Fenelon on reading, i. 54,

Feuds and rivalries of musicians,
ii. 59.

Fidelio, Beethoven's, ii. 68.
Fielding, Copley, i. 329.
Fifteenth century, intellectual

ferment of, i. 286-91, 377, 384.
First parents, our, Milton, i. 167.
Fish in the sea, Milton, i. 166.
Fit audience, Beddoes, ii, 121.
Flandrin, i. 296.

Flaxman's designs, i. 265, 298; on
rules followed by Greek sculp-
tors, i. 206; illustrations of the
Lord's prayer, i. 223,

Flemish school of music, ii. 38.
Flora of the heart, Lynch, i. 439.
Flowers, ii. 163-4; arrangement
of, i. 322; Lord Bacon on, i.
194; the greatest minds have
loved, i. 194.

Flute, Coleridge's desire to hear
the, ii. 120.

Fly, Shakspere's allusion to, i.
153.
Fools, i. 411.

Ford's "Bird and Musician," ii.
124-6.

Form and colour employed by the
artist in accordance with na-
tures's positive laws, i. 321.
Form mathematically determined,
i. 205.

France, plains of, i. 97.
Frauenlob, Heinrich, i. 234.
Free agency, man's, ii. 217-18.

Freedom the atmosphere of the
lyric, i. 372-3.
Freischutz, Der, ii. 82.
French drama, i. 384; painters,
i. 293-97; psalms, ii. 39; sculp-
tors, i. 267.

Friend, a true, Cowper, ii. 190.
Friendship of Haydn and Mozart,
ii. 58-9.

"From you have 1 been absent
in the spring," ii. 215.
Frontier fort, i. 94.
Frost, the, Cowper, i. 171.
Fruitless efforts of metaphysic
per se, ii. 294-5.

Function of the poet, lines by
Wordsworth, i. 446.

Future, art of the, ii. 189; belief
in a future state, ii. 203.

Gain from inquiry, i. 7.
Galaxies, remote, i. 187.
Gay's lines, "What is the bloom-

ing tincture of the skin," ii. 282.
Gazza Ladra, La, Rossini, ii. 91.
Genius, something feminine in
countenance of, i. 36.
Gentleman, the true, ii. 255-6.
George Sand, ii. 123.
Gerard on beauty, i. 35.
Gericault, i. 294.

German art, modern, i. 292; com-
posers of recent times, ii. 48;
drama, i. 385; music, ii. 47;
ii. 115; schools of painting, i.
292; sculptors, i. 268.
Germ of song, ii. 6, 10.
Ghiberti's angels, i. 222; gates at
Florence, i. 262.
Giant harps, ii. 11.
Giorgione, i. 291.

Giotto, ii. 153; Angelico and
Perugino, i. 336.

Giotto's paintings, i. 285-86.
Giulietta, di Guicciardi, the

Countess, ii. 66.
Glory of God, we can say little
worthily of the, Berthold, ii. 293.
Glück, ii. 45.

God the source of beauty, i. 192;
seen in the vast and the minute,
Cowper, i. 171.

Goodness, and happiness, Landor,
ii. 274; not believed in, i. 413;
and novelty in music, ii. 99-100.
Good painting devotional, Michael
Angelo, i. 338.

Good and evil, nature of, ii. 196.
Good, the, to be chosen rather
than novelties, Wren, i. 213.
Goldsmith, i. 401.

Goths, the, loved nature, i. 227.
Gray, i. 367.

Great artist, the, i. 215.
Greatness and glory of the Sa-
viour obscured for a time, Mac-
laurin, ii. 246-8.

Great poets benefactors of the
human race, i. 445.

Great truths and minor points,
ii. 227.

Great works, acquaintance with,
ii. 179.

Greece, poetry of, i. 355.

Greek court, ii. 174; drama, i.
382; and Gothic Architecture
contrasted, i. 236; Spanish and
English drama, i. 376; lan-
guage, Gibbon, i. 199.
Greeks ruled by the lyre, ii. 17.
Greek odes and lyrics, i. 365;
sculpture, i. 246.

Gregorian chants, ii. 31.
Gregory the Great, ii. 30.
Grottoes, &c., in the cottar's home,
ii. 164.

Group of modern painters, i. 316,
317.
Gudin, i. 297.
Guglia rotta, ii. 23.

Hall of the two sisters, verses in-
scribed on the walls of the, ii.
177.

Holy intention, Jeremy Taylor,

211; land, the, Shakspere, i. 405.
Homer and Dante, i. 353.
Homer's allusions to music, ii. 25.
Honour women, ii. 267.
Hood's, Thomas, songs, i. 369.
Hope, Wordsworth, i. 180.
Horace, odes of, i. 365; on poetry,
i. 421.

Horne, Bishop, on instrumental
music in worship, ii- 141-2.
Horses, Greek power in sculpture
of, Flaxman, i. 250; head, Se-
lene, i. 247.

House of Fame, Chaucer's, ii. 168,
174.

Howitt's, Miss, Castaway, i. 315-6;
Margaret, i. 255; visit to Schwan-
thaler's studio, i. 268-70.
Huguenot, by Millais, i. 314.
Humboldt, i. 64.

Humboldt's vivid descriptions of
scenery and phenomena, i. 64;
recommendation to the land-
scape painter, i. 333.

Hunt, Leigh, on poetry, i. 436.
Hydrostatical paradox, i. 59.
Hymns, devotional, i. 374-5.
Hypothesis and observation, i. 11.

Icelandic literature, i. 142.
Ice-lens, ii. 223.

Ideal, the Artist's, Phidias, Plato,
Raphael, i. 253-4.

Iliad, Homer's, i. 356.

Illumination, art of, i. 284, 297.
Il Pensiero, Michael Angelo, i.
263-4.

Imagination in poetry, i. 343-50;
truth, i. 346, 350, 351; and
practical wisdom, i. 345.
Imitation in art, i. 214.
Imitation, of, i. 319.

Immoral works will sink into
oblivion, i. 406.

Immortality, emblems of, Davy,
i. 195.

Importance of art studies, ii. 181.
Improvision, powers of, Beetho-
ven's, ii. 64.

Indefiniteness the charm of music,
ii. 2.