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CLASSIC PAINTING |
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CLASSIC SCULPTURE |
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CHALDÆO-ASSYRIAN PAINTING. |
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Chinese Painters |
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CONCLUSION |
|
CORÉSUS AND CALLIRHOÉ |
|
CONSTANT AIMS OF FLORENTINE ART |
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CIMABUE. |
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COSIMO, see PIER DI COSIMO. |
|
C. |
|
COSIMO ROSSELLI. |
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CLAUDE MONET: HIS WORK, HIS INFLUENCE |
|
COLOR. |
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COLOR IN TEXTILE ART. |
|
COLOR PHENOMENA. |
|
CHAPTER I. |
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CHAPTER II. MISCELLANEOUS. |
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CHAPTER III. CHEMICALS. |
|
CHLORINE. |
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CYANIDE OF POTASSIUM. |
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CHAPTER IV. LIGHT AND OPTICS. |
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CHAPTER V. |
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CRAYON DAGUERREOTYPES. |
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CHOICE OF PLATES, ETC. |
|
CHAPTER VI. |
|
COLLATERAL READINGS FROM LITERATURE. |
|
CUPID |
|
CHRIST TRIUMPHANT |
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CENTRAL FIGURES IN THE LAST JUDGMENT |
|
CHRIST PREACHING |
|
CHRIST AT EMMAUS |
|
COMPOSITION. |
|
CHIARO-SCURO. |
|
COLOUR. |
|
Correggio |
|
CALOTYPE AND CHRYSOTYPE |
|
CYANOTYPE, ENERGIATYPE, CHROMATYPE, ANTHOTYPE, AMPHITYPE AND "CRAYON DAGUERREOTYPE" |
|
COLLATERAL READINGS FROM LITERATURE |
|
CHARLES, PRINCE OF WALES |
|
CHRIST AND THE PARALYTIC |
|
COLOURS FOR POLISHED BRASS—MISCELLANEOUS |
|
CIRCA FOURTH CENTURY. |
|
CELTIC ILLUMINATION |
|
CELTIC ILLUMINATION—continued |
|
CAROLINGIAN ILLUMINATION |
|
CLASSICAL AND EARLY CHRISTIAN |
|
CAROLINGIAN |
|
CONTENTS |
|
CONCLUSION |
|
CALIFORNIA AND AMERICA |
|
CUTTING |
|
COLOUR |
|
Co-operative Printing |
|
CONTEMPORARIES |
|
CUPID AS LINK BOY |
|
COLUMBUS BREAKING THE EGG. |
|
CONSULTATION OF PHYSICIANS—THE UNDERTAKERS' ARMS. |
|
CAPTAIN THOMAS CORAM. |
|
CARBURI'S BASE FOR THE EQUESTRIAN STATUE OF PETER THE GREAT. |
|
COMPARATIVE SKILL OF THE ANCIENTS AND MODERNS IN MECHANICS. |
|
CONSTRUCTION OF THE TUBES. |
|
CARRIERA ROSALBA. |
|
CALLOT'S PATRIOTISM. |
|
CURIOUS PAINTINGS. |
|
CURIOUS REPRESENTATIONS OF THE HARPIES. |
|
CAMBIASO'S WORKS IN SPAIN. |
|
CAMBIASO'S ARTISTIC MERITS. |
|
CANO'S LOVE OF SCULPTURE. |
|
CASTILLO'S SARCASM ON ALFARO. |
|
CARRENO'S COPY OF TITIAN'S ST. MARGARET. |
|
CARRENO'S COPY OF TITIAN'S ST. MARGARET. |
|
CARRENO'S ABSTRACTION OF MIND. |
|
CAPUGNANO AND LIONELLO SPADA. |
