To the King |
To the Members of the Royal Academy |
THE NEW MOVEMENT IN SCULPTURE |
THE APPIAN WAY |
THE CUMÆAN SIBYL |
THE ROMAN FORUM |
THE EGYPTIAN OBELISKS |
THE PAINTED TOMB AT VEII |
THE MARBLES OF ANCIENT ROME |
THE VATICAN CODEX |
Two Lectures on the Political Economy of Art |
THE INTERVENTION OF BUDDHISM |
THE T’ANG PERIOD—SEVENTH TO TENTH CENTURIES |
THE SUNG PERIOD—TENTH TO THIRTEENTH CENTURIES |
THE YÜAN PERIOD—THIRTEENTH AND FOURTEENTH CENTURIES |
THE MING PERIOD—FOURTEENTH TO SEVENTEENTH CENTURIES |
THE CH’ING PERIOD—SEVENTEENTH TO TWENTIETH CENTURIES |
TUSCAN SCHOOLS |
THE EARLIER QUATTROCENTISTS |
THE LATER QUATTROCENTISTS |
THE VIVARINI AND BELLINI |
TIZIANO VECELLIO |
THE PUPILS OF RUBENS |
THE SEVENTEENTH CENTURY |
THE EIGHTEENTH CENTURY |
THE ENGLISH SCHOOL |
THE EARLY PORTRAIT PAINTERS |
THE CLOSE OF THE EIGHTEENTH CENTURY |
THE NINETEENTH CENTURY |
THE SPIRIT OF REVOLT |
THE ROYAL ACADEMY |
THE FISHERMAN PRESENTING THE RING TO THE DOGE GRADENIGO |
THE BIRTH OF VENUS |
THE QUEEN OF SHEBA |
THE LAST JUDGEMENT |
THE SISTINE MADONNA |
THE DREAM OF ST. URSULA |
THE DESCENT FROM THE CROSS |
THE CORONATION OF THE VIRGIN |
THE AVENUE OF MIDDELHARNAIS |
THE DANCE OF THE DAUGHTER OF HERODIAS |
THE ASSUMPTION OF THE VIRGIN |
THE NIGHT WATCH |
THE RAPE OF HELEN |
THE ADORATION OF THE LAMB |
THE DEATH OF PROCRIS |
THE DEATH OF PROCRIS |
THE MARRIAGE IN CANA |
THE HAY WAIN |
THE SURRENDER OF BREDA |
THE IMMACULATE CONCEPTION |
THE MADONNA OF THE ROCKS |
THE TRANSFIGURATION |
THE BULL |
THE MARKET-CART |
THE LAST SUPPER |
THE CHILDREN OF CHARLES I. |
THE FIGHTING TÉMÉRAIRE TUGGED TO HER LAST BERTH TO BEBROKEN UP, 1838 |
The Florentine Painters of the Renaissance |
THE POLLAJUOLI. |
The French Impressionists (1860-1900) |
THE PRECURSORS OF IMPRESSIONISM—THE BEGINNING OF THIS MOVEMENT AND THE ORIGIN OF ITS NAME |
THE THEORY OF THE IMPRESSIONISTS—THE DIVISION OF TONES, COMPLEMENTARY COLOURS, THE STUDY OF ATMOSPHERE—THE IDEAS OF THE IMPRESSIONISTS ON SUBJECT-PICTURES, ON THE BEAUTY OF CHARACTER, ON MODERNITY, AND ON STYLE |
THE SECONDARY PAINTERS OF IMPRESSIONISM—CAMILLE PISSARRO, ALFRED SISLEY, PAUL CÉZANNE, BERTHE MORISOT, MISS MARY CASSATT, EVA GONZALÈS, GUSTAVE CAILLEBOTTE, BAZILLE, ALBERT LEBOURG, EUGÈNE BOUDIN |
THE MODERN ILLUSTRATORS CONNECTED WITH IMPRESSIONISM: RAFFAËLLI, TOULOUSE-LAUTREC, FORAIN, CHÉRET, ETC. |
THE EARLY PERIOD. |
THE CENTRAL, OR ROMANESQUE PERIOD. |
THE FINAL, OR GOTHIC PERIOD. |
The Venetian Painters of the Renaissance |
The Textile Art in Its Relation to the Development of Form and Ornament |
TO MAKE PLATES FOR THE DAGUERREOTYPE. |
THE CAUSE OF THE DIFFICULTY THAT SOMETIMES OCCURS TO PREVENT THE PRODUCTION OF A CLEAR IMPRESSION UPON A DAGUERREOTYPE PLATE. |
THE MADONNA AND CHILD |
THE HOLY FAMILY |
THE PIETÀ |
THE CREATION OF MAN |
THE DELPHIC SIBYL |
THE CUMÆAN SIBYL |
THE TOMB OF GIULIANO DE' MEDICI |
THE RECOVERERS OF REMBRANDT |
THE APPEAL OF THE PAINTINGS |
THE APPEAL OF THE ETCHINGS |
THE GREAT TRIUMVIRATE |
THE ANGEL RAPHAEL LEAVING THE FAMILY OF TOBIT |
THE RAT KILLER |
THE PHILOSOPHER IN MEDITATION |
THE GOOD SAMARITAN |
THE PRESENTATION IN THE TEMPLE |
THE SORTIE OF THE CIVIC GUARD, OR THE NIGHT WATCH |
THE SYNDICS OF THE CLOTH GUILD |
THE THREE TREES |
THE PORTRAIT OF REMBRANDT |
THE ETCHINGS OF REMBRANDT. |
THE HOLY NIGHT (LA NOTTE) |
THE MARRIAGE OF ST. CATHERINE |
THE MADONNA DELLA SCODELLA |
The History and Practice of the Art of Photography |
THE THEORY ON LIGHT. THE PHOTOGRAPHIC PRINCIPLE |
THE DAGUERREOTYPE PROCESS |
THE CHRYSOTYPE |