18th Century decorative artists, 288

6th Century B.C. fresco & vase painting, 282

 

A

aerial perspective, 279

Aeschylus, Clytemnestra, 268; Naples, 270

aggregates 286

ahistorically  264

Alcamenes, 284

Alexandria, 294

allegro fugitive, 285

Amenemhet III, 262

American skyscraper, 291

Amiens cathedral, 268

analysis, 278, 286

Antigone, as Amazon, 268

anti-Gothic,  273

Aphrodite, Cnidian, 268

Apollo, 266

Apollodorus, 283

apotheosis, 260  

applied art, 269

architectonic, 279

architecture, Roman Imperial Age,  291; New Empire Egypt,  291

Aristotle on the Soul, 259; on Zeuxis, 284

arriere-pensee, 259

Asiatic schools of painting,  293

Ataraxia, 286

Augustus in armour, 295

auricular confession, 264

auxiliaries, 263

 

B

“brown sauce", 288

Bach 283; "Kunst der Fuge" & "Wohltemperiertes & Klavier.", 284

Bach, Beethoven, Wagner, 291

Bach, Haydn, Mozart, 292

Bachs, younger, 284

Bahr, 285

Baroque late period, 281; music thematic" not melodic, 286

Bartolommeo Colleoni, 272

bass melody, 266

basso continuo, 282

Baudelaire his Paris, 289;  Wagner & Manet, 292

Bayreuth, 291

Beethoven, 264, 288; his love, 277; 284

belated, 290

Bellini Giovanni, Gothic & Baroque, 273

Benedetto de Maiano, portraits, 272

bizarrerie, 273

board-picture, 283

Bocklin, 289, 290

Borgias, 273

Botticelli portraits, 271; Medici portrait, 272

Boucher, 271

Bruckner, 290

bust the, 269

 

C

 cadences, 285

Caldero, 264

Can Grande, 272

canon, 291

cantilena, 285

Carissimi, 283

cartouches, 285

Cezanne Forest of Fontainebleau, 289;unfinished work, 292

character type, 270

Chardin, 289

China (portrait), 262

Chinese painting (post Han dynasty), 295

Church Latin, 294

Cimabue, 272

Cimarosa, 292

circum-space, 260  

Civilizations, nascent, 291; “Civilization" after 1800, 288

Classical craftsmanship, copying masterpieces, 294

Clytemnestra, as Amazon, 268

Cnossus,, 293

Columbus, 278, 286

comprised, 259

concerto grosso, 283

Constable, 288

Constantine, arch of, 294

contemplation-painting, 293

contemporary comedy, Greek, 269

contrapuntal form, 277 

co-ordinate geometry,  279

Copernican universe, as discovery, 278

Copernicus, 286

copings, 285

Corelli, sonatas, 283

Corinthian column, 269

Corot & Tiepolo, Mozart & Cimarosa, 292

Corot, nymphs, 271; 286; "paysage intime", 287;silver landscapes, 289

Counter Reformation, 275

counterpoint, 281

Courbet, landscapes, 288, 289

courts, “gingerbread" 285

Cranach, Lucas, 270

credit economics, 282

Cuyp, 287

 

D

daemonic, 276, 287

DaIl'Abaco, 283

Dante, Vita Nuova, 273; 274;Gothic-Christian, 276; great love, 277 

Daumier, & Baroque, 290

Delacroix, 288

Demetrius of Alopeke, 269

Demosthenes statue, 270

Destiny, 288

Differential Calculus, 282

Dinzenhofer, 285

discoveries, the New World, Copernican universe, blood circulation, gunpowder for long range weapon, printing as long-range script, 278

disprizing, 259

Donatello, Uzzano bust, 272

Donatello, David, Bargello, Florence, 265; portraits, 272

draperies, 266

Dresden Zwinger, 285

Durer, 270

Dutch of 1600, 274, 288

dynastic-diplomatic State, 282

 

E

ego habeo factum, 263

Egyptian, portrait, 262, 295; statue as mathematical scheme, 266; Thebes, 293

Eichendorff, 289

etching, 17th century,  90

Ethos, 284

Etruscan statues, Kings in the Capitol, 269

Euclidean, 265,278

expiring art, 290

expressionists, 294

 

F

Farnese Bull, 291

Faustian sculpture, use of Assyrian, Egyptian & Mexican, 294

feci, 263

Fischer von Erlach, 285

Flemish schools, 274

Florence, 273

Form, 291

Fra Angelico, 275

Fra Bartolommeo, 280

Frau Holle, 267

Freethinker, 264

Freilicht, 288

fresco, 284

Friedrich, K.D, 289

Frigga, 267

function, 283

 

G

genre, 269

Germany, 285

Gigantomachia frieze, 291

Giorgione, 271

Giorgione, his noble green, 288

Giotto, 274

Gluck, Armida, 260; 284

Goethe, Werther, Tasso, 264; Urfaust, 286; Faust II, 268, 275, 280; Meister Wilhelm, 263

Goethian sense, 273

Gothic, tombs, 263; draped body, 266; dawn of, 267; portrait, 272

Goya, (Shootings of the 3rd of May), 292

grand Ornamentation, 294

Gretchen, 268

Grunewald, 274; his noble green, 288

Guericault, & Baroque, 290

Guido da Siena, 268

gunpowder, 278

 

H

 Hals, Franz, 283

Handel, his oratorios, 283; 284

Haydn, 264; figure of a rhythmic motive, 284

Hebbel, 290

Helen (of Iliad), 268

Helios of Chares, 291

Hellenic sorriness, 273

Hellenistic portrait, 263, 269

hetrerre, 268

High Renaissance, 266

Hoffmann, 285

Hogarth, 283

Holderlin, 264; last poems, 286

Horus-temple of Edfu, 294

Huguenots, 293

Hyksos Sphinx of Tanis, 262

 

I

Iconoclasm, of Moslems, of Paulicians, 262

illumined, 287

Impressionism, 285

Impressionist, 277; & Nature, 287; inspired by, English landscapists, Japanese art, 289

Indian dramas, 295

Inhaltsmalerei, 293

 

J

Jesuits, 282

 

K

Ka, 269

Kalidasa, 295

Kant, & space, 285; 288

Kreisler, Kapellmeister, 285

Kleist, 290

Kriemhild, 268

 

L

Laocoon group, 291

Leibl, Frau Gedon, 266; 269; modern, 271; 289; Realist, 290; & Rembrandt, 290; late pictures, 292

Lenbach, & Rembrandt, 295

Leo III, 262

Leonardo to Rembrandt (great age of oil-painting), 289

Leonardo, 271; portraits, 272; dreamed of Rembrandt & Bach, as thinker, surface, 274; sfumato, 277; circulation of the blood, 278; red-chalk sketches, backgrounds, aviation  279; & torsos, 281; Last Supper, 279, unfinished, 281; St. Jerome & studies for, 280; & Rembrandt, 281; 287

linear perspective, architectural, 279

Lingam, 267

Ling-yan-si, 260  

Loggia dei Lanzi, 272

Lorrain C., 283; Catholic-heroic landscape, 287; his noble green, 288; 289

Lully, 283

Lysias, 270

Lysippus and Beethoven, 291

Lysippus, 265, 284; & Pliny, 287

Lysistratus, 269

 

M

machine-technique, modern ,282

Madonna of the St. Anne entrance of Notre-Dame, 263

Makart, & Rubens, 295

Malatestas, 273

Manet, Menzel and Leibl, 291

Manet, modern, 271; & Impressionism, 285, 288; railway station, bank of the Seine at Argenteuil, factual space, 289; Shooting of. the Emperor Maximilian), 292

Mantegna, 271

Marees, 266; 269; modern, 271; Marees, 290; unable to complete schemes, 292

Mariner's Compass, 278

Masaccio, Peter and the Tribute Money, 279; & bodies, 287

masters of the Olympia pediment, 283

Mater Dolorosa, 267

Medea, 268

Medicis, 273

Megalopolis, 293

Memlinc, portraits, 272; 274

Menzel, 286, 289, 290

Merovingian times, 262

metaphysical, 276

Michelangelo, & anatomy, his Slaves, 264; declines portrait, Brutus bust as Medici, 272; his sonnets, 273; as thinker, the body, 274, 275; “The Giant”,  276; erotica, 277; & death of plastic, 282

microcosm,  286

mien, 295

Minnesinger, 267

Mino da Fiesole (portraits), 272

Monteverde, 283

Morike, 289

motives, 266

Mozart, 284

multidimensional geometry, 286

Murillo, 283

music after Wagner,  293

Myron, 265; 283

 

N

name magic, 269

naturalists, 294

Naumann, 285

Netherlanders, sculptors, 264; of the Quattrocento, 273

Nietzsche, on Apollonian sculpture, 260; on the Ring, criticism of Parsifal, criticism of Wagner, 291; & Manet, 293

Nile, source of & Greeks, 278

Northern mathematic, Calculus, 282

number, 286

 

O

Odyssey, landscapes, 287

oil-painting, end of, 284

old “classical" sonata, 283

old masters of 1670; metaphysical browns and greens, 290

Olympian victors, statues, 265; iconic" portraits of, 269

Ophelia, 268

orchestra, upper voices, 266

Oresme, 279

ornament-language,  286

 

P

Paeonius,  284

painting after Cezanne, Leibl and Menzel, 293

Palazzo Strozzi, court of, 272

Palestrina, 274; heir to Michelangelo, 277 

Paris cathedral, porches of, 268

Parthenon, East Pediment, 268, 271

patent, 264

perfervid, 260  

Pergamum, sculptures, 260; horses' heads, 271; 291

Pericles of Cresilas, 269

Perugino, 272; his Christ Giving the Keys, 279

Petrarch, 275

Phallus, 267

Phidias, 264, 267, 274, 284

Phiops, King, 265

physics, 286

physiognomic depth, 269; maestria, 281

physiognomy, 264

physiology, 277 

Piero della Francesca, Federigo & Battista of Urbino portraits, 279; 287

Pietism, 286

pilaster, 277 

Pisano, Giovanni in, 263

planar fresco, 282

planimetry, 282

Plein-air, 288

Pliny, 269

points d'appui, 291

pointwise, 264

Polycletus & Phidias relating to Bach & Handel, 284

Polycletus to Lysippus to sculptors of the groups of Gauls, 291

Polycletus, 264, 283; the canon, 284

Polygnotus, 283

Pompeii, wall paintings of,287

Poppelmann, 285

portrait, late Classical, 272; of Holbein, Titian, Rembrandt, Goya, 264

Poseidon statue, 266

Poussin, 283

Praxiteles and Haydn , 291

Praxiteles, & Hermes, 264; & Cnidian Aphrodite), 268; 270; & figure of athlete, 284

printing, 278

progress, concept,282

provenance, 262

pseudo-Corinthian column 15th century versus  Roman columns,  275

psychology, 264

Purcell, 283

Pygmalion and Galatea, 276

pylon, 262

 

Q

Quattrocento, 273

 

R

Ramses the Great, 294

Raphael, 264; his Madonna, 268; portrait of Pope Julius , 272; 274;  his Vatican stanze, 279; his Sistine Madonna, 280

Reims Cathedral, 267

relief sculpture, 19th Dynasty versus Old Kingdom,  294

Rembrandt, 264, 266; 271; 283; 287; 288

Renaissance, 275; High period paganism, 276

Renoir, 292

Rhenish, early masters, 272; 274

Roman busts, 269

Rome, Graeco-Asiatic fashion; Graeco-Egyptian fashion; neo-Attic fashion, 294

Rosmersholm, 290

Rossellino A., 272

Rossini, 293

Rottmann, 289

round-arch & pillar,  275

Rousseau, & return to Nature, 288

Rubens and Delacroix, 289

Rubens, 270; 271

Runge, 289

Ruysdael, 283

 

S

Sangallo, Palazzo Farnese façade, 275

Sanskrit, 294

satyric pendant, 289

Schluter, 285

Schutz, Heinrich, 283

Scopas, 264, 270, 284

sculptors of the groups of Gauls, 291

Sebastian del Piombo, 272

Sforzas, 273

Sicyonian school of painting, 293

Siegfried, 276

Signorelli, 270;  portraits, 271; body-in-itself, 278

Sluter, his Moses of the well in the Chartreuse of Dijon, 263

somatically, 264

sonata for solo 3-part, 283

Sophocles, his likeness in the Lateran Museum, 269

specious, 291

Stamitz, 284

stela, 263

Stendhal, 290

stereometry,  278

stone age, cave paintings, 287

sub specie aeternitatis, 277 

subtilizes, 259

sui generis, 263

suite, 283

superfluities,  293

supernal, 287, 288

superpersonal Rule, 291

superposition, 287

symbolists, 294

 

T

 Tell-el-Amarna , new art,  293

Theotokos,  Byzantine, 267

Thoma, 289

Tiepolo, as painter a Handel, 283

Tilmann Riemenschneider, 270

Titian, 271, 274

tone-picture, imitative piece of Titian’d day, 286

topography, 277 

Tristan, 291

tunedness,  288

Turfan,  295

Tuscan school , Arezzo and Siena, 268

Tuscan, 274

Tyrannicides, 269

 

U V

Van Eyck, his portraits, 272

Van Goyen, 287

variable efficients, 286

Velasquez, 271, 283

Venetian portraits, 273; 274

Venice, 273

Vermeer, 283

Verrocchio, his portraits, 271

vertiginous, 290

Village Sheikh, 265

visage, 269

voices, counterpoint, Baroque continuo, 266

votive images, 265

 

W

Wagner, Tristan, 282; Parsifal, 282; leitmotiv, 286; & Manet; creative struggle, 292

Wasmann, 289

waste republics, 273

Watteau, as painter-Couperin, 283

wistfulness, 288

 

XYZ

Zarlino, 282

Zeuxis, 283