the shield, represent symbolically the establishment, defence, and
exaltation of the Knight's house by his Christian courage; and are in
this symbolism, different from all other military bearings. They are
throughout essentially founded on the "quartering" or division of the
field into four spaces by the sign of the Cross: and the history of the
chivalry of Europe is absolutely that of the connection of domestic
honour with Christian faith, and of the exaltation of these two
sentiments into the highest enthusiasm by cultivated imagination.
The means of this culture by the finer arts; the errors, or falls, of
the enthusiasm so excited; its extinction by avarice, pride, and lust,
in the period of the (so called) Renaissance, and the possibility of a
true Renaissance, or Restoration, of courage and pure hope to Christian
men in their homes and industries, must form the general subject of the
study into which I have henceforth to lead you. In a future course of
lectures it will be my endeavour to show you, in the elementary forms of
Christian architecture, the evidence of such mental development and
decline in Europe from the tenth to the seventeenth century; but
remember that my power or any one else's, to show you truths of this
kind, must depend entirely on the degree of sympathy you have in
yourselves with what is decorous and generous. I use both these words
advisedly, and distinctively, for every high quality of art consists
either in some expression of what is decent,--becoming,--or disciplined
in character, or of what is bright and generous in the forces of human
life.
I need not say that I fear no want of such sympathy in you; yet the
circumstances in which you are placed are in many respects adverse to
it.
237. I find, on returning to the University after a period of thirty
years, the scope of its teaching greatly extended, the zeal of its
masters certainly undiminished; and, as far as I can judge, the feeling
of the younger members of the University better, and their readiness to
comply with all sound advice, greater, than in my time. What scandals
there have been among us, I think have been in great part accidental,
and consequent chiefly on the intense need for excitement of some
trivial kind, which is provoked by our restless and competitive work. In
temper, in general amenability to right guidance, and in their sense of
the advantages open to them, more may now be hoped than ever yet from
the students of Oxford--one thing only I find wanting to them
altogether--distinctness of aim.
238. In their new schools of science they learn the power of machinery
and of physical elements, but not that of the soul; I am afraid, in our
new schools of liberal religion they learn rather to doubt their own
faiths than to look with patience or respect on those of others; and in
our new schools of policy, to efface the canons of the past, without
having formed any distinct conception of those which must regulate the
institutions of the future.
239. It is therefore a matter of very deep rejoicing to me that, in
bringing before your examination the best forms of English art, I am
necessarily leading you to take interest in the history of your country
at the time when, so to speak, it became England. You see how, in every
college which is now extending or renewing its buildings, the adopted
style is approximately that of the thirteenth century;--it being felt,
and rightly felt, by a continually-extending instinct, that only then
the national mind had unimpaired power of ideal conception. Whatever
else we may have advanced in, there is no dispute that, in the great
arts, we have steadily, since that thirteenth century, declined: and I
have, therefore, since accepting this professorship, partly again taken
up my abandoned idea of writing the story of that century, at least in
England; of writing it, or, at all events, collecting it, with the help
of my pupils, if they care to help me. By myself, I can do nothing; yet
I should not ask them to help me if I were not certain that at this
crisis of our national existence the fixing the minds of young and old
upon the customs and conception of chivalry is the best of all moral
education. One thing I solemnly desire to see all children
taught--obedience; and one to all persons entering into life--the power
of unselfish admiration.
240. The incident which I have related in my fourth lecture on
sculpture, seen by me last year on the bridge of Wallingford, is a
sufficient example of the courtesies in which we are now bringing up our
peasant children. Do you think that any science or art we can teach them
will make them happy under such conditions? Nay, in what courtesy or in
what affection are we even now carefully training ourselves;--above all,
in what form of duty or reverence to those to whom we owe all our power
of understanding even what duty or reverence means? I warned you in my
former lecture against the base curiosity of seeking for the origin of
life in the dust; in earth instead of heaven: how much more must I warn
you against forgetting the true origin of the life that is in your own
souls, of that good which you have heard with your ears, and your
fathers have told you. You buy the picture of the Virgin as furniture
for your rooms; but you despise the religion, and you reject the memory,
of those who have taught you to love the aspect of whatsoever things and
creatures are good and pure: and too many of you, entering into life,
are ready to think, to feel, to act, as the men bid you who are
incapable of worship, as they are of creation;--whose power is only in
destruction: whose gladness only in disdain; whose glorying is in their
shame. You know well, I should think, by this time, that I am not one to
seek to conceal from you any truth of nature, or superstitiously
decorate for you any form of faith; but I trust deeply--(and I will
strive, for my poor part, wholly, so to help you in steadfastness of
heart)--that you, the children of the Christian chivalry which was led
in England by the Lion-Heart, and in France by Roland, and in Spain by
the Cid, may not stoop to become as these, whose thoughts are but to
invent new foulness with which to blaspheme the story of Christ, and to
destroy the noble works and laws that have been founded in His name.
Will you not rather go round about this England and tell the towers
thereof, and mark well her bulwarks, and consider her palaces, that you
may tell it to the generation following? Will you not rather honour with
all your strength, with all your obedience, with all your holy love and
never-ending worship, the princely sires, and pure maids, and nursing
mothers, who have bequeathed and blest your life?--that so, for you
also, and for your children, the days of strength, and the light of
memory, may be long in this lovely land which the Lord your God has
given you.
INDEX.
INDEX.
[_The references are not to the page, but to the numbered paragraphs,
common to all the editions of this work_].
Abbeville, house at, 91.
Academy, London, and village architecture, 93.
" Royal, 6.
Achilles, 168.
Acland, Dr., 159.
" his dog "Bustle," 151.
Actions and aims, 214.
Advance and contentment in knowledge, 81.
Æschylus, Prom. Vinct., 1022, quoted, 157.
Æstheticism, modern, and sombre colours, 114.
Æthuia, the bird, 192.
Affectation, artistic, 201.
Age, feeling of increasing, 104.
" the present, its dulness and excitement, 65.
" " its vanity in art and science, 33.
Ἀγνοία, 8.
Αἰδὼς in art, 71.
Aims and actions, 214.
Alabama, the, 24.
Alcyone, 190.
Alsace, inscription on peasant's house in, 86.
" peasants of, their delight and art, _ib._
Altorf, 199.
Amboise, chapel of, 92.
America and England, relations of, 79.
Amusement, modern forms of, 71, 72.
Anacreon and his dog, (Greek vase), 151.
Anatomy, a degradation in painting man, 150.
" a hindrance " " animals, _ib._
" comparative mental, 151.
" destroys art, _pref._ vii.
" its effect on the artist's mind and power, 158.
" its place in relation to art, 149, _seq._
" most fatal to the greatest minds, 159.
" Sir J. Reynolds, and, 154.
" statement as to, in _Stones of Venice_, withdrawn, 159.
Anaxagoras, 23.
Angelico's jewel painting, 218.
Angels, modern feeling about, 62.
" their interest in human work, 53.
---- (the coins), 117.
Ancestral honour, power of, 171.
Animalism, humanity, divinity, 30.
Animal history, modern books of, fail and why, 158. See s. _Nat.
Hist._
Animals, artist's right view of their nature, 150.
" each knows its own good, 23.
" desire to kill, in inverse ratio to power to see and love,
175.
" man's relation to, 30.
" use of, as types in art, 151.
" wearing of their skins, begins heraldry, 223.
Ἀνοία, 8.
Apathy, modern, 72, 73.
Ἀφροσύνη, in men, nations, and art, 69-71, 74.
Apollo, 105.
" temple of, 119.
" the Python and, 117.
Apollodorus, quoted on the Halcyon, 190.
Apsis and Aspis, 230.
Arabs, 203.
Architects, Institute of British, 6, 93.
Architecture, decline of English, 239.
" evidence of mental development in, 236.
" short reign of perfect, 82.
" woodcarving and, 86.
See s. _Abbeville_, _Academy_, _Alsace_, _Amboise_, _Apsis_,
_Bergamo_, _Châlet_, _Cottages_, _Hotels_, _Rouen_, _York_.
Aristotle, "common sense" in, 25.
" division of faculties, 8.
" σοφίa and prudence in, 26.
_Quoted_:--
Ethics vi. 7. 12. on wisdom and prudence, 19, 23.
Hist. Av. i. 9. 2. on κανθόs 235.
" v. 8. 9. on the Halcyon, 192.
Armorial bearings, meaning of, 228.
Art--
aim of what it should be, 3, 76.
anatomy, fatal to, _pref._ vii.
characteristics of:--
eagle eyes, 36.
love of nature, 41.
modesty, Lect. iv., 74.
" of wise appreciation, 172.
originality, to what extent, 32, 33.
refinement and rudeness, 90-91.
sight before knowledge, 125-26.
simplicity before skill, 40.
temperance, 90.
unconsciousness, 53-54.
unity of feeling, 93.
unselfishness as essential to wisdom, 76, 172.
wisdom and folly in Lect. i.
definition of great:--
it begins rightly, ends beautifully, 146.
it needs no addition, bears no taking away, 147.
See below s. _Meaning._
difference between good and bad, 71.
education in:--
generally, 94.
the teacher need not talk much, 2.
ethics and, 18.
the science of right conduct essential to it, 161.
imitative, Shakespeare quoted on, 39.
influenced by:--
local surroundings, 91.
love of death, esp., modern, 69.
meaning of, 38.
national art, proper subjects of, 95.
" ignorance of art, 16.
nature and:--
art less beautiful than reality, 172.
general knowledge of organic nature essential to art, 149.
science and:--
art above science, but must comply with it, 145.
" does not teach science, 160.
" the handmaid and shadow of science, 47, 68, 76, 172.
highest sciences need art most, 45, 96.
simplest art the most useful to, 127.
subjects of art and, the same, 43.
the masters of art, beyond all science, 136.
wise art and wise, Lect. iii. See s. _Nature_, _Use_,
_Science_.
self-sufficiency of. See above s. _Characteristics._
subject of, appearances rather than facts, 149.
theology of, only recently recognised, 46.
truth complete given by art _and_ science, 58. See s. _Artist._
use and value of,
as a means of record, 38-9,
as expressing nature, 41.
practical, 206.
to history and physiology, 38-39, 47, 207 seq.
to religion, 46. [See above s. _Science._
See s. _Æstheticism_, _Affectation_, _Anatomy_, _Animals_,
_Architecture_, _Author_, _Beauty_, _Chromo-lithotint_,
_Cleanliness_, _Colour_, _Competition_, _Death_, _Decency_,
_Drawing_, _Dress_, _Folly_, _French_, _Gothic_, _History_,
_Indolence_, _Invention_, κακία, _Knowledge_, _Lindsay_,
_Madonna_, _Nature_, _Nude_, _Photography_, _Royal Academy_,
_Science_.
Artemisium, 199.
Artist--
modesty of, 31.
modesty about, enjoyment in, and feeling as to their own work, 52.
science needed by an, 124-25, 133.
he must know as well as see, 123.
subjects of, not invisible structures, though often invisible
things, 172-3.
See s. _Angelico_, _Barry_, _Bellini_, _Botticelli_, _Copley
Fielding_, _Correggio_, _Dürer_, _Ghirlandajo_, _Giotto_,
_Holbein_, _Hunt (A.)_, _Hunt (Holman)_, _Leonardo_, _Lippi_,
_Luini_, _Mantegna_, _M. Angelo_, _Mulready_, _Raphael_,
_Reynolds_, _Robson_, _Titian_, _Tintoret_, _Turner_,
_Van Eyck_.
Artistic affectation in England, 201.
Aspis and apsis, 230.
Associations, local, to be cherished, 94.
Astronomy--
how far valuable discovery yet possible in, 66.
two young ladies studying, 26. See s. _Stars._
ἀτεχνία, 8.
Atheism, modern, 202.
" " tries to dispense with the sun, 104.
Athena, power of, 196, and _n._
" protects Ulysses, 75.
" typical of what, 224.
Atlantic, Ulysses in the, 75.
αὐταρχεία, 80.
Author: (1) _Generally_, (2) _Teaching_, (3) _Books, &c._
1. _Generally_:--
drawings by, his own pleasure in them, 84.
" leaf-outlines, 217.
early boyhood, its tendencies, 41.
feeling of increasing age, 104.
life of, progressive from his childish pleasures, 83.
love of art, its foundation and growth, 41.
" " and of nature combined, 42.
story of a serpent and, 101.
study of Tuscan art begun (1846), 46.
success and failure, effect on, 31.
various movements of:--
at Crystal Palace, 93.
Düsseldorf, 88.
Hincksey, Oxford, 217.
Iffley Church, 118.
London, watching traffic, 59.
Lucerne, rowing. 215.
Verona (1870), 125.
Wallingford, 240.
Westminster (watching clouds), 130.
See s. _Acland_, _Frou-frou_, _Helps_, _Mineralogy_,
_Sight_, _Water-Colour Exhibition_.
2. _Teaching of:_--
cannot follow modern science, 134.
despairs of return to simplicity, 94.
feeling for Norman art, 92.
his abuse of modernism, 34.
" reverence for mythology, 95.
on Luini, his position shown (1860), 46.
" study of the S. Catherine, 226.
on Turner, his defence of him, 128.
result of his teaching on his early disciples, 42.
Ritualism, not deceived by, 73.
teaches only what he knows, 123.
work at Oxford,
thought spent in preparing his lectures, _pref._, 2, 217.
assistants, 31.
audiences, 1.
plan for lectures, 236.
3. _Books, Lectures, &c.:_--
constant appeals to physical science in, 128.
fine writing in, 3
paradoxes in, 89.
_Quoted or referred to:_--
Aratra Pantalici, (12), 62.
" " (88-9), 240.
" " (142), 39.
Ariadne Florentina, (141) _pref._ viii.
Arrows of the Chace (ii. 178), 212.
Eagle's Nest--pains of writing, _pref._ vii.
" teaching of, needed, 172.
Fors Clavigera (Letter v., p. 4), 88.
Giotto and his Works in Padua (p. 25), 204.
Lecturer on Art (60), 18.
" " (66), 18.
" Landscape (1871), 62.
Munera Pulveris (106), 212.
Modern painters, incomplete, 129.
" " tone of Vol. I., 42.
Queen of the Air (135), 52.
" " (162 _seq._), 229.
Sesame and Lilies (97), 3.
Stones of Venice (iii. 2, 23 _seq._), 159.
Authority, heraldic sign of, 235, 1.
Autolycus and Philammon, myths of, 189.
Bacon, quoted on venomous knowledge, 20.
_New Atlantis_, ref. to, 120.
Bardi, the, 209.
Barry, classical paintings of, 63.
Beauty, Greek love of, 167.
Bee, wisdom of the, 193-196.
Behaviour, knowledge of right, essential to art, 161.
Belfry, 93.
Bellini, jewel painting of, 218.
Bend, the heraldic, 235.
Benvenue, 199.
Bergamo, Duomo of, 86.
Berne, gas works at, 102.
" carving at, 88.
Beverley, lesser egret last seen in England at, 174.
Bible, statements of mental condition in the, 69.
Quoted or referred to:--
Gen. i. 3. Let there be light, 99.
" ii. 19. Brought to Adam to see what he would call
them, 150.
" iii. 21. Unto Adam also and his wife ... coats of
skin, 223.
Exod. xx. 12. Long in the land the Lord ... giveth thee,
240.
" xxv. 5. Rams' skins dyed red, 226.
Deut. xxxii. 11. An eagle ... fluttereth over her young, 63.
Judges v. 30. Divers colours of needlework, 225.
Job xix. 26. _After_ my flesh shall I see God, 121.
Ps. xiv. 1. The fool hath said in his heart, 104.
" xxvii. 1. The Lord is my light ... whom shall I fear,
104-120.
Ps. xlviii. 13. Mark well her bulwarks, consider her
palaces, 240.
" xcvii. 2. Clouds and darkness are round about him, 7.
" ciii. 1-5. Bless the Lord ... youth renewed like the
eagle's, 63-4.
" cxxxvi. 8. The sun to rule the day, 100.
Prov. iii. 15. She is more precious than rubies, 19.
" iv. 13. Take fast hold on instruction, 19.
" viii. 30-31. I was daily His delight ... rejoicing ...
with the sons of men, 19, 64.
Eccl. i. 18. He that increaseth knowledge increaseth
sorrow, 80.
Malachi iv. 2. Sun of _justice_ ... with healing in his
wings, 115.
Matt. v. 8. Blessed the pure in heart ... shall see God,
121, 176.
" vi. 22-23. The light of the body is the eye, 106, 108, 110.
" viii. 20. Son of Man hath not where to lay his head, 205.
" x. 16. Wise as serpents, 103-105.
" xi. 7. A reed shaken with the wind, 203.
" xii. 31-32. Blasphemy against the Holy Ghost, 169.
" xv. 14. Blind ... fall into the ditch, 106.
" xxiv. 28. Where the carcase is, etc., 36.
Mark v. 3. Dwelling among the tombs, 69.
" v. 15. Clothed and in his right mind, 69.
" x. 15. Receive the Kingdom as a little child, 81.
John i. 9. Light that lighteth every man, 115, 116, 120.
1 Cor. viii. 1. Knowledge puffeth up, 29.
" xiii. 5. Charity ... thinketh no evil, 152.
" " 6. Rejoiceth not in iniquity, 210.
" " 11. Put away childish things, 81.
2 Cor. iii. 6. The letter Killeth, 4.
" v. 1. Houses not built by hands, 205.
1 Peter i. 12. Things the angels desire to look into, 54.
Birds, builders and singers, 48.
" classifications of (raptores, rasores, &c.), 187-9.
" English temper towards, illustrated 174-5.
" praising God, 61.
" rare, becoming extinct, 34.
" shooting them, the first idea of English gentlemen, 178.
See s. _Æthuia_, _Bullfinch_, _Clematis_, _Cuvier_, _Egret_,
_Gould_, _Gull_, _Halcyon_, _Hawk_, _Heron_, _Kingfisher_,
_Laros_, _Nest_, _Nightingale_, _Ornithology_, _Peacock_,
_Pheasant_, _Skylark_.
Blake, Wm., as painter and as poet, 21.
" quoted, "The Book of Thel," "Doth the eagle know," &c., 21,
22, 63.
Blindness of mind and body, 106.
Boat race, 212.
Boats, loved by all boys, 41.
Books, children's, 61.
Botanic gardens at Oxford, 160.
Botticelli, as an engraver, _pref._ vii.
" his study of face and limb, _pref._ viii.
Bottle, science of the formation of a, 135.
Brutes, man's relation to the, 30. See s. _Animals_.
Briareus, 183.
British Museum, Greek Vase, "Anacreon and his dog" at, 151.
Bruges, 93.
Bubble, soap, unexplained, 132, 134.
Bullfinch's nest, 48.
Bustle, Dr. Acland's dog, author's delight in, 151, 154.
California, 70.
Camarina, 229.
Cambridge wranglers, value of art to, 96.
Canton, the heraldic, 235.
Carlyle, T., "Shooting Niagara," 70.
Carrion and game, choice of, 11, 36.
Cassell's _Educator_, 202.
Cassiopeia, 124.
Cat, its power and use of sight, 110.
" "may look at a king," _ib._
Ceyx, son of the Morning Star, 198.
Chærephon, in Lucian's dialogue on the Halcyon, 194.
Châlet, education needed to build a Swiss, 202.
Chamouni, Turner's drawing of, 147.
Chance, and design in nature, 182, seq.
Change, and living change, how wrought, 208-9.
Chapel, attendance at, in Oxford, 169.
Character, evidenced by dress, 220.
Chariot, use of Greek, 231.
Charity, true, more reverent than pitiful, 211.
Charlemagne's treaty with Scotland, 235.
Chartism, story of a Chartist herald (Sir A. Helps, quoted), 208.
Charybdis, 75.
Chaucer, quoted, "Cuckoo and Nightingale," 37 (motto), 56.
Chemistry, a modern God, 202.
" modern progress in, 33.
" of little use to art, 96.
Cherwell, the, 179.
Chevron, the heraldic, 235.
Chiefe, the heraldic, 235.
Child and dog, pictures by Titian and Reynolds, 151.
Childhood, pleasures and retrospect of, 82.
Children's books, 61.
Chivalry, Christian and Greek, 219.
" " history of, to be learnt by gentlemen, 216.
" conception of, as an influence in education, 239.
" European, its basis, 236.
" leaders of, 240.
Christ, heraldic symbol of, in Italy, 229.
Christian chivalry. See s. _Chivalry_.
Christianity, early traces of in heathen literature (Lucian), 194.
" idea of God as Light, 116.
" its statements of mental health, 69.
Chromo-lithotints, style of, 69-71.
Church of England, 73.
Cid, The, 240.
Civilization, false, 94.
Civil Service, the, and Orissa, 35.
Classification, scientific, 186-7.
Cleanliness and art, 95.
Clematis, a bird's nest of, 48.
Clouds, 129-30.
" effect of storm-clouds on scientist, artist, and scholar, 7.
" forms of, unexplained by science, 131.
Coins, English "angels," 117.
" engravings of, 157. See s. _Angels_, _Sovereign_.
Colonization, Englishmen likely to be colonists, 94.
Colour, connection of with health, 113.
" design in, on Gothic shields, 233.
" gloomy, in art, 69.
" in dress, originates in the skins of animals, 226-7.
" love of light, 113, 116, 117.
" perception of, a spiritual and moral power, 122.
" pure, delight in, 113, 115.
" school of shade and of crystalline colour, 114.
" temperance of, 71.
Common-sense in the English, 24, 25. See s. _Aristotle_.
Competition in art, 88.
" in education, 177, 212.
Conceit of science, 22.
Conceptions, range of dignity of, and literature, 7-8.
" reason and, 11.
Consideration for others demands imagination, 27.
Contentment and advance in knowledge, 81.
Copiapo, 83.
Copley Fielding, 41.
"Coronis," Pindar's, 189.
Correggio, use of orange for red by, 226.
Corruptibility of art, 11, 13.
Cottages, who should build peasants', and how, 201.
Courtesy, instance of modern, 240.
Covetousness in art, 81.
Coxe, Mr. (Bodleian Library, Oxford), 157.
Crane, legs of a, 162.
Creation, man's relation to the brute, 30.
Creatures, different knowledge fit for different, 21.
Creed, Apostles', its first three clauses, 169.
Crest, heraldic meaning of the, 228.
" personal, but becomes hereditary, 230.
Cross, heraldic, 235.
" heraldic quartering and the, 236.
Crystal Palace, toy at the, 93.
Cuirass, earliest form of, 224.
Cup, forms of, 139.
Cuvier, classification of birds, 188.
Daisy, Wordsworth on a, 51.
Dancing, fair and foul, 13, 14.
Dante, quoted or referred to--
" " _De remi, facemmo ale al folle volo_, 79.
" " on Pisa's cruelty, 35.
" " on the sight of Beatrice, 177.
" " on Ulysses, 75.
Darwin, account of peacock's feather, 185.
Darwinism, 153-155, 207.
Death, connection with the myth of the Halcyon, 199.
" love of, by modern art, 69.
Decency and art, 95.
Deeds, taught by art, 8.
Defence, heraldic sign of, 235. (s.).
Delights, man's best, 212.
Dependence, 77.
Derivative beauty in modern art, 219.
Design in nature, 152, seq.
Desires, man's best, 212.
Devices on Greek and Gothic shields, 233.
Devil, personality of the, 69.
" truth of the expression, "the Devil in him," _ib._
Dictionaries, contain "Tout ce qu'il y a de plus beau," 100.
Dinner, derivation of word, 235.
Diomed, 168.
Dionysus' cup, 139.
" nebris, 225.
Disc or disk, 235.
Discovery of one age, the common knowledge of the next, 34.
" science and, 65, 66.
" vain passion for, 74.
" value of, in itself, 33.
Divinity, Humanity, Animalism, 30.
Doctor, Helps' story of a, in Chartist riots, 208.
Dog, Anacreon and his (Greek vase), 151.
" carved by boy, 88.
" Dr. Acland's dog "Bustle," 151.
" meaning of its introduction in portraits, 151.
" by Titian and Reynolds, their pictures of children and, _ib._
Doing, knowing, and talking, 2, 3, 4.
Domestic love, in peace, 168.
" " its place and influence, 199.
Doncaster, Mr. Reed, bird-stuffer of, 174.
Drake, Sir Francis, arms of, 235.
Drapery, effect of gentleness gained by, 235.
" its laws, 141, seq.
" on persons and statues, 143.
Drawing, a vital part of education, and why, 179.
" rules of, use of sight and science in, 148.
" "draw for your subject, not your picture," 163.
Dress, a sign of character, 220.
" earliest forms of, 223-4.
" Eastern, 225.
" form and colour of, originates in skins of animals, 226-7.
" heraldic, 222, 225.
" national, should be the same in life and art, 166.
" squalor of, a sign of national decay, 221.
Drummond armorial bearings, 235.
Du Cange, on St. Etheldreda, 235.
" " on the orle quoted, 235.
Dürer, 217.
" anatomy in pictures of, 155; influence of anatomy on,
_pref._ viii.
" animals introduced by, 151.
" beautiful faces rare in, _pref._ viii.
" engraving of, _pref._ vii.
" his "Sir, it cannot be better done," 52.
" love of grotesque in, 151.
works of:--
" Knight and Death, _pref._ viii.
" Melancholia, "
" St. Hubert, "
" St. Jerome, "
Düsseldorf, art at, 88.
Eagle, the, 184.
" characteristics of, 156-7.
" sight and scent of, 111.
_Eagles Nest, The._ See s. _Author_. (3) _Books_.
Ease of great work, 85.