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