CLASSIC PAINTING |
CLASSIC SCULPTURE |
CHALDÆO-ASSYRIAN PAINTING. |
Chinese Painters |
CONCLUSION |
CORÉSUS AND CALLIRHOÉ |
CONSTANT AIMS OF FLORENTINE ART |
CIMABUE. |
COSIMO, see PIER DI COSIMO. |
C. |
COSIMO ROSSELLI. |
CLAUDE MONET: HIS WORK, HIS INFLUENCE |
COLOR. |
COLOR IN TEXTILE ART. |
COLOR PHENOMENA. |
CHAPTER I. |
CHAPTER II. MISCELLANEOUS. |
CHAPTER III. CHEMICALS. |
CHLORINE. |
CYANIDE OF POTASSIUM. |
CHAPTER IV. LIGHT AND OPTICS. |
CHAPTER V. |
CRAYON DAGUERREOTYPES. |
CHOICE OF PLATES, ETC. |
CHAPTER VI. |
COLLATERAL READINGS FROM LITERATURE. |
CUPID |
CHRIST TRIUMPHANT |
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. |