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ii. 272.

Christian art, i. 263, 273, 284. Composition, musical, ii. 100; in
Christian and Pagan art con art-parlance, Ruskin, ii. 148
trasted, i. 353-4; ii. 190.

Mozart's account of his mode
Christianity a complete system, of, ii. 104-7.

Doddridge, ii. 204-5; essential Comte's rejection of Revelation
to vital progress, i. 3; a per unphilosophical, i. 119; digest
sonal thing, ii. 278; a religion of his system, i. 107.
of the heart, ii. 254.

Conclusion, ii. 300.
Christmas, Shakspere, i. 404. Conduct, rule for, Henry Taylor,
Christ, the beautiful in life real-

ized and constellated in, ii. Confirmations of Scripture truth,
204; the grand centre of the Layard, i. 280.
universe, ii. 229-30; the Cre Conscience, Antoninus, ii. 197;
ator and Redeemer, Cowper, i. Croly, ii. 283; of learning to
175; the Saviour's love-death, sing, ii. 140.
ii. 210; his precepts and Constraint of the Church of Rome
example the highest test, ii. adverse to art and to all free-

dom of thought, i. 236.
Christlike, the, ii. 277.

Consuelo, ii. 123.
Christ the Revealer, ii. 296-301. Content, Dr. Johnson, ii. 274.
Chrys-elephantine statues, i. 250. Contempt destroys all trace of
Churches open, on the Continent, beauty in the countenance, iš
i. 236.

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

174-5; serves to fix the period
Circumstance, Lewes, i. 418-19. of production in art, i. 246.
Civilization, influence of Christi Conversation, ii. 257.
anity on, ii. 261.

Cooper, i. 298.
Claude Lorrain, i. 294.

Correspondency between mind
Closet study of the Drama, i.387-9. and matter, i. 39.
Clyde, Frith of, i. 101.

Cosmos, the Greek word, i. 18.
Clytie, i. 273.

Costume of thought in poetry, i.
Coleridge, i. 402 ; on beauty, i. 397.

37 ; experience in regard to Costume of truth, i. 352.
poetry, i. 445 ; on music, ii. Cousin on taste, ii. 161.
117; on Shakspere, i. 390-97 ; Cowper, i. 401; descriptions of

nature, i. 171-5; on the poet's.
Cologne Cathedral, i. 234-5.

gifts, i. 430; on slavery, i.
Colour, distribution of, observed 370-1.

in nature, i. 204; laws of, i. Cox, David, i. 328.
201; relatively modified, i. 1 Craying for beauty, natural, ii. 164.

Creation, Haydn's, ii. 52.
Colton on Truth, ii. 266.

Creator; the, ii. 235.
“ Comfort ye,” Handel's, ii. 50: Credulity of the infidel, ii. 224.
Como, Lake of, i. 96.

Creed of the worldly, i. 411.
Companionships, ii, 277.

Cridavana, ii. 203.
Comparative anatomy, i. 115; of Criticism, ' approved method of,
the universe, ii. 287.

Carlyle, ii. 158; of ignorant and
Compensation and perfect adjust ill-natured, ii. 154-9; of pre-
ment in nature, i. 81; Chaucer, tentious, i. 410, 431 ; of Shaks-
i. 150 ; Wordsworth, i. 182.

pere, reverential ‘if worthy, i.
Complementary colours, i. 201-4. 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, ü.
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.

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.

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.

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

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.

Effect of music on the soldier, ii.

Egoism, Greek philosophy, ii.



ii. 59.

Egyptian court, ii. 174; painting, | Expression, beauty of, ii. 282 ; in
i. 279; temple, i. 232.

glance or tone, ruled by positive
Electric currents, i. 409.

laws, îi. 5.
Electricity, magnetism, and gal-
vanism, i. 43.

Fair women, i. 347.
Electric telegraph, anticipation Fairlie Castle, view from, i. 98.
of, i. 40.

Faerie Queene, Spencer's, i. 359.
Elijah, Mendelssohn's, ii. 87. Fall of man, the, ii. 210; and re-
Eloquence, Wordsworth, i, 181. storation, 'ii. 236.
Elysian fields, ii. 204.

Fame, of, i. 213.
Emelie, Chaucer, i. 150.

Familiarity and knowledge, Dr.
Empty wells, Cowper, ii. 295.

Johnson, i. 208.
End of all learning, Milton, ii. Fatalism, ii. 217-18.

Fear, Dr. South, ii. 209.
English opium-eater,extract from, Female constellation of poetic

ii. 127; English vocal music, genius, i. 406.
ii. 47.

Fenelon on reading, i. 54,
Engravings, ii. 162.

Feuds and rivalries of musicians,
Epicurus, i. 26.
Epic poetry, i. 355-64; prepara Fidelio, Beethoven's, ii. 68.

tion for writing an, i. 430. Fielding, Copley, i. 329.
Epipolic forces, i. 47.

Fifteenth century, intellectual

y, intellectual
Epitaph, Purcell's, ii. 44.

ferment of, i. 286-91, 377, 384.
Ethics, Christianity the most | First parents, our, Milton, i. 167.

compendious system of, ii. 296. Fish in the sea, Milton, i. 166.
Etiquette, ii. 266.

Fit audience, Beddoes, ii, 121.
Etruscan art, Eastern origin of, i. Flandrin, i. 296.
282 ; paintings, i. 282.

Flaxman's designs, i. 265, 298; on
Euripides, dramas of, i. 383.

rules followed by Greek sculp-
European drama, only three great tars, i. 206 ; illustrations of the
schools of the, i. 376.

Lord's prayer, i. 223,
Euryanthe, Weber's, ii. 83.

Flemish school of music, ii. 38.
Evangel, the last, Carlyle, i. 190. | Flora of the heart, Lynch, i. 439.
Evangelic religion, what is it? Flowers, ii. 163-4 ; arrangement
ii. 270.

of, i. 322; Lord Bacon on, i.
Eva and Topsy, ii. 165.

194; the greatest minds have
Evening, Shakspere, i. 155.

loved, i. 194.
Evil, origin of, ii. 217.

Flute, Coleridge's desire to hear
Eye, colour of, the human, i. 323. the, ii. 120.
Example of Christ, Dr. Parr, ii. Fly, Shakspere's allusion to, i.

231; Whately, ii. 234-5.
Excellence in art, how attainable, Fools, i. 411.

ii. 177 ; judged by the few, ii. Ford's “Bird and Musician," ii.
153 ; platform of, ii. 179.

Execution, the score dependent Form and colour employed by the
on, ii. 109.

artist in accordance with na-
Exhibitions, ii. 168.

tures's positive laws, i. 321.
Existence, a dominion of Reason, Form mathematically determined,
ii. 202.

i. 205.
"Experience like a pale musi France, plains of, i. 97.

cian,Mrs. Browning, ii. 129. Frauenlob, Heinrich, i. 234.
Exploration, how conducted, i. 115. | Free agency, man's, ii. 217-18.


Freedom the atmosphere of the God's requirements, ii. 190.
lyric, i. 372-3.

Godwin's divisions of architec-
Freischutz, Der, ii. 82.

ture, i. 229.
French drama, i. 384; painters, Goethe, i. 367 ; on the beautiful,

i. 293-97 ; psalms, ii. 39; sculp i. 29; as a dramatist, i. 385-6;
tors, i. 267.

on hearing music, ii. 121; and
Friend, a true, Cowper, ii. 190. Schiller, i. 386 ; on the poet, i.
Friendship of Haydn and Mozart, 442.
ii. 58-9.

Good to be imitated, Fuller, ii.
"From you have I been absent 271.
in the spring,” ii. 215.

Goodness, and happiness, Landor,
Frontier fort, i. 94.

ii. 274; not believed in, i. 413;
Frost, the, Cowper, i. 171.

and novelty in music. ii. 99-100.
Fruitless efforts of metaphysic Good painting devotional, Michael
per se, ii. 294-5.

Angelo, i. 338.
Function of the poet, lines by Good and evil, nature of, ii. 196.
Wordsworth, i. 446.

Good, the, to be chosen rather
Future, art of the, ii. 189; belief than novelties, Wren, i. 213.
in a future state, ii. 203.

Goldsmith, i. 401.

Goths, the, loved nature, i. 227.
Gain from inquiry, i. 7.

Gray, i. 367.
Galaxies, remote, i. 187.

Great artist, the, i. 215.
Gay's lines, “What is the bloom Greatness and glory of the Sa-

ing tincture of the skin," ii. 282. viour obscured for a time, Mac-
Gazza Ladra, La, Rossini, ii. 91. laurin, ii. 246-8.
Genius, something feminine in Great poets benefactors of the
countenance of, i. 36.

· human race, i. 445.
Gentleman, the true, ii. 255-6. Great truths and minor points,
George Sanid, ii. 123.

ii. 227.
Gerard on beauty, i. 35.

Great works, acquaintance with,
Gericault, i. 294.

ii. 179.
German art, modern, i. 292; com Greece, poetry of, i. 355.

posers of recent times, ii. 48; 1 Greek court, ii. 174; drama, i.
drama, i. 385 ; music, ii. 47; 382; and Gothic Architecture
ii. 115 ; schools of painting, i. contrasted, i. 236; Spanish and
292 ; sculptors, i. 268.

English drama, 'i. 376; lan-
Germ of sung, ii. 6, 10.

guage, Gibbon, i. 199.
Ghiberti's angels, i. 222; gates at Greeks ruled by the lyre, ii. 17.
Florence, i. 262.

Greek odes and lyrics, i. 365 ;
Giant harps, ii. 11.

sculpture, i. 246.
Giorgione, i. 291.

Gregorian chants, ii. 31. .
Giotto, ii. 153; Angelico and Gregory the Great, ií. 30.
Perugino, i. 336.

Grottoes, &c., in the cottar's home,
Giotto's paintings, i. 285-86.

ii. 164.
Giulietta, di Guicciardi, the Group of modern painters, i. 316,
Countess, ii. 66.

Glory of God, we can say little Gudin, i. 297.

worthily of the, Berthold, ii.293. Guglia rotta, ii. 23.
Glück, ii. 45.
God the source of beauty, i. 192 ; Hall of the two sisters, verses in-

seen in the vast and the minute, scribed on the walls of the, ii.
Cowper, i. 171.



Hallelujah chorus, Handel, i. 223. | Holy intention, Jeremy Taylor, i
Handels blindness, ii. 51; inter 211; land, thé, Shakspere, i.405.

view with Lord Kinnoul, ii.51 ; Homer and Dante, i. 353.
life and works, ii. 49-51 ; per Homer's allusions to music, ii. 25.

formance on the organ, ii. 51. Honour women, ii. 267.
flandel the Milton of music, ii. Hood's, Thomas, songs, i. 369.

Hope, Wordsworth, i. 180.
Happiness, Liebnitz on, ii. 199; | Horace, odes of, i. 365; on poetry,
Ruskin on, ii. 274.

i. 421.
Happy man, the, Bishop Hall, ii. Horne, Bishop, on instrumental

music in worship, ii- 141-2.
Harding, J. D., i. 329.

Horses, Greek power in sculpture
Hare on truth, ii. 266.

of, Flaxman, i. 250; head, Se-
Harmony, bond of universal, ii. lene, i. 247.

9-10; 'introduction of, ii. 32; House of Fame, Chaucer's, ii. 168,
introduced by the organ, ii. 36;

the great linked, Mrs. Browning, Howitt's, Miss, Castaway, i. 315-6;
ii. 288; and reason coincide, ii. Margaret, i. 255; visit to Schwan-

thaler's studio, i. 268-70.
Harps, ii. 12.

Huguenot, by Millais, i. 314.
Harp-playing, fresco representa-

Humboldt, i. 64. .
tions of, ii. 24.

Humboldt's vivid descriptions of
Haydon on beauty, i. 36.

scenery and phenomena, i. 64;
Haydn's career, ii. 54; life and recommendation to the land-

works, ii. 52-5; sense of reli scape painter, i. 333.
gion, ii. 55.

Hunt, Leigh, on poetry, i. 436.
Haydn, Mozart, and Beethoven's Hydrostatical paradox, i. 59.
music, ii. 80-1.

Hymns, devotional, i. 374-5.
Hay's theories and demonstra Hypothesis and observation, i. 11.

tions, i. 206-8.
Hazel eyes, i. 323.

Icelandic literature, i. 142.
Hazlitt on the character of Christ, Ice-lens, ii. 223.
ii. 232-4.

Ideal, the Artist's, Phidias, Plato,
Heart, in poetry, i. 343.

Raphael, i. 253-4.
Heavenly music, Milton, i. 223; | Iliad, Homer's, i. 356.
Jeremy Taylor, ii. 143-4.

Illumination, art of, i. 284, 297.
Hebrew lyrics, i. 364; poetry, i. Il Pensiero, Michael Angelo, i.

Herbst-Blume, the, i. 94.

Imagination in poetry, i. 343-50;
Herbert's Hymns, i. 374,

truth, i. 346, 350, 351; and
Hermann-Schlacht, the, Schwan practical wisdom, i. 345.
thaler, i. 269.

Imitation in art, i. 214.
Hermes and the tortoise, ii. 11. Imitation, of, i. 319.
Highest point of view in regard Immoral works will sink into

to nature, time, and change, ii. oblivion, i. 406.

Immortality, emblems of, Davy,
Highest thought, the, seeks to ex i. 195.

press itself in measured num Importance of art studies, ii. 181.
bers, i. 342.

Improvision, powers of, Beetho-
Historian's task, ii. 285-6.

ven's, ii. 64.
Hogarth, i. 298; his line of Indefiniteness the charm of music,
, beauty, i. 36.

ii. 2.

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