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PREFACE TO THE EDITION OF 1887 |
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PERSIAN PAINTING. |
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PHŒNICIAN, CYPRIOTE, AND ASIA MINOR PAINTING. |
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POSTSCRIPT. SCATTERING SCHOOLS AND INFLUENCES IN ART. |
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PREFACE |
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PAOLO VERONESE AND IL TINTORETTO |
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PETER PAUL RUBENS |
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PAINTERS OF GENRE |
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PAINTERS OF ANIMALS |
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PAINTERS OF LANDSCAPE |
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PORTRAIT OF GEORG GISZE |
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PARADISE |
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PORTRAIT OF LADY COCKBURN ANDHER CHILDREN |
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PAOLO UCCELLO |
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POLLAIUOLO AND VERROCCHIO |
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POPULARISERS OF ART |
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PONTORMO |
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PIER DI COSIMO. |
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PIER FRANCESCO FIORENTINO. |
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PONTORMO (Jacopo Carucci). |
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PAOLO UCCELLO. |
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PAINTINGS ON STONE. |
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PAINTING IN ITALY, FROM THE BEGINNING OF THE RENAISSANCE TO THE PRESENT CENTURY. |
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PAINTING IN FLANDERS, HOLLAND, AND GERMANY. |
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PAINTING IN SPAIN. |
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PAINTING IN FRANCE. |
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PAINTING IN ENGLAND. |
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Preface. |
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PRACTICAL HINTS ON THE DAGUERREOTYPE. |
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Painters. |
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PORTRAIT |
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PREFACE |
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PREFACE |
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PORTRAIT OF SASKIA |
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PORTRAIT OF JAN SIX |
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PORTRAIT OF AN OLD WOMAN |
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PREFACE. |
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PICTURES. |
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PORTRAIT OF THE BURGOMASTER SIX. |
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PREFACE |
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PAPER DAGUERREOTYPES. ETCHING DAGUERREOTYPES. |
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PHOTOGENIC DRAWING ON PAPER |
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POSITIVE CALOTYPE |
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PHOTOGRAPHIC DEVIATIONS |
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PARNASSUS |
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PORTRAIT OF RAPHAEL |
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PORTRAIT OF ANNA WAKE |
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PORTRAIT OF CHARLES I |
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PHILIP, LORD WHARTON |
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PORTRAIT OF VAN DYCK |
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PROCESSES FOR TIN-PLATING |
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PREFACE. |
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PREFACE |
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PORTRAIT DRAWING |
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PROCEDURE |
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PATRIOTIC SPLENDOR |
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PAINTING-IN-MOTION |
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PROGRESS AND ENDOWMENT |
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PETER PAUL RUBENS.1577–1640. |
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Plate II.—Key-block of the print shown on the frontispiece.(The portion of wood lying outside the points of the mass of foliage is left standing to support the paper, but is not inked in printing.) |
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Plate III. The Baren, or printing pad.(The pad is actually 5 inches in diameter.) |
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Plate IV. Colour block of a print of which the key-block is shown on page 5. |
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Plate V. Impression (nearly actual size) of a portion of a Japanese wood block showing great variety in the character of the lines and spots suggesting form. |
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Plate VI. Reproduction of an impression (reduced) of the key-block of a Japanese print showing admirable variety in the means used to suggest form. |
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Preparation of Paper, Ink, Colour, and Paste for Printing |
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PAPER |
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Plate VII. Impression of a portion of detail from a Japanese woodblock (very nearly actual size). |
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PASTE |
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PRINTING |
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PRINTING FROM COLOUR-BLOCKS |
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PRINTING OF GRADATIONS |
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Principles and Main Considerations in designing Wood-block Prints—Their Application to Modern Colour Printing |
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Plate VIII.—An original Print designed and cut by the Author, printed by hand on Japanese paper. |
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Plate IX.—First printing. Key block. Black. |
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Plate X.—Second printing. Dull Red. Printed lightly at the top. |
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Plate XI.—Third printing. Deep Blue. Strong at the bottom, paler at the top. |
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Plate XII.—Fifth printing. Bright Orange. |
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Plate XIII.—Sixth printing. Indian Red. Gradation. |
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Plate XIV.—Seventh printing. Green. Printed flat. |
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Plate XV.—Eighth printing. Bluish green. Gradation. |
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Plate XVI.—Reproduction of a colour print by Hiroshigé. |
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Plate XVII.—Reproduction of a portion of the print shown on the preceding page, actual size, showing the treatment of the foliage and the expressive drawing of the tree trunk and stems. |
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Plate XVIII.—Reproduction of another portion of the print shown on page 111 (actual size), showing the expressive use of line in the drawing of the distant forms. |
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Plate XIX.—Reproduction of a colour print by Hiroshigé. |
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Plate XX.—Reproduction of a portion (actual size) of the print on the preceding page, showing treatment of tree forms and distance. |
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Plate XXI.—Reproduction of a colour print by Hiroshigé. |
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Plate XXII.—Reproduction of a portion (actual size) of the print on the preceding page, showing treatment of tree and blossom. |
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Plate XXIII.—The Tiger. Reproduction of a colour print by J. D. Batten. |
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Plate XXIV.—Lapwings. Reproduction of a colour print by A. W. Seaby. |
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Pupils and Assistants |
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PENELOPE BOOTHBY |
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PRISON SCENE. |
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PLATE I.THE FELLOW-'PRENTICES AT THEIR LOOMS. |
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PLATE II.THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN. |
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PLATE III.THE IDLE 'PRENTICE AT PLAY IN THE CHURCH-YARD DURING DIVINE SERVICE. |
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PLATE IV.THE INDUSTRIOUS 'PRENTICE A FAVOURITE AND INTRUSTED BY HIS MASTER. |
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PLATE V.THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA. |
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PLATE VI.THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME, AND MARRIED TO HIS MASTER'S DAUGHTER. |
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PLATE VII.THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN A GARRET WITH A COMMON PROSTITUTE. |
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PLATE VIII.THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON. |
