Plate 8.—Raphael's Sistine Madonna (Dresden Gallery), with the Face of the Central Figure in Fragonard's The Pursuit Substituted for that of the Virgin
This and the two following plates show very clearly that in striving for an ideal, artists must necessarily arrive at the same general type. (See Pages 138 et seq.)
Plate 9.—Raphael's Virgin of the Rose (Madrid), with the Face of the Figure Representing Profane Love in Titian's Picture Substituted for that of the Virgin
92
Plate 10.—Raphael's Holy Family (Madrid), with the Face of Luini's Salome Substituted for that of the Virgin
102
Plate 11.—The Pursuit, by Fragonard. (Frick Collection, N. Y.)
114
A detail from this picture forms the Frontispiece. It will be observed that in the complete painting the central figure apparently wears a startled expression, but that this is entirely due to the surroundings and action, is shown by the substitution of the face of the central figure for that of the Virgin in the Sistine Madonna, Plate 8. (See Page 139.)
Plate 12.—Portrait Heads of the Greek Type, Fourth Century, b.c. (See Page 145)
130
(a). Head of Plato. (Copenhagen Museum.)
(b). Term of Euripides. (Naples Museum.)
Plate 13.—Portrait Heads of the Time of Imperial Rome. (See Page 145)
146
(a). Vespasian. (Naples Museum.)
(b). Hadrian. (Athens Museum.)
Plate 14.—Sacrifice of Iphigenia, from a Pompeian Fresco. (Roux Ainé's Herculanum et Pompei, Vol. III)
160
This work is presumed to be a copy of the celebrated picture of Timanthes, in which the head of Agamemnon was hidden because the artist could see no other way of expressing extreme grief without distorting the features. (See Pages 168 and 339.)
Plate 15.—All's Well, by Winslow Homer. (Boston Museum, U. S. A.)
176
An instance where the permanent beauty of a picture is killed by an open mouth. After a few moments' inspection, it will be observed that the mouth appears to be kept open by a wedge. (See Page 176.)
Plate 16.—Hercules Contemplating Death, by A. Pollaiuolo. (Frick Collection, New York.)
190
The only known design of this nature which appears to exist in any of the arts. (See Pages 190 and 343.)
Plate 17.—Arcadian Landscape, by Claude Lorraine. (National Gallery, London)
198
A fine illusion of opening distance created by the precise rendering of the aerial perspective. The illusion is of course unobservable in the reproduction owing to its small size and the want of colour. (See Page 198).
Plate 18.—Landscape, by Hobbema. (Met. Museum, New York)
210
A fine example of Hobbema's work. A strong light is thrown in from the back to enable the artist to multiply his signs for the purpose of deepening the apparent distance. (See Page 202.)
Plate 19.—Landscape, by Jacob Ruysdael, (National Gallery, London)
220
Example of an illusion of movement in flowing water. (See Page 204.)
Plate 20.—The Storm, by Jacob Ruysdael. (Berlin Gallery)
232
Exhibiting an excellent illusion of motion, due to the faithful representation of a series of consecutive movements of water as the vessel passes through it. The illusion is practically lost in the reproduction, but the details of design may be observed. (See Page 206.)
Plate 21.—The Litta Madonna, by Lionardo da Vinci. (Hermitage)
240
This is perhaps the best example known of an illusion of relief secured by shading alone. (See Page 240.)
Plate 22.—Christ on the Cross, by Van Dyck. (Antwerp Museum)
252
A superb example of relief obtained by the exclusion of accessories. Van Dyck took the idea from Rubens, who borrowed it from Titian, this artist improving on Antonella da Messina. The relief of course is not well observed in the reproduction because of its miniature form. The work is usually regarded as the finest of its kind in existence. (See Page 244.)
Plate 23.—Patricia, by Lydia Emmet. (Private Possession, N. Y.)
264
A very excellent example of the plan of securing relief described in Book II, Chap. I. Here also the relief is not observed in the reproduction, but the original is of life size and provides an illusion as nearly perfect as possible. (See Page 247.)
Plate 24.—The Creation of Adam, by Michelangelo. (Vatican)
276
Instance of the use of an oval form of drapery to assist in presenting an illusion of suspension in the air. (See Page 260.)
Plate 25.—The Pleiads, by M. Schwind. (Denner Collection.)
