Age, the present, one of "steam and iron, luxury and selfishness," i. 18; one in which poetry is disregarded, i. 18; fever of change in, ii. 101; shallow learning, the curse of, ii. 124. Agreements, compulsory, ii. 53. Ailsa Rock, i. 146. Alisma Plantago, i. 61. Allen, Mr. George, i. 163; i. 169 (note). Alms and Wages, ii. 56; ii. 60. Almsgiving, ii. 101. (See Charity.) Alps, conformation of the, i. 173, _seqq._; origin of form of, i. 174; charts of sections of chain wanted, i. 175; extent of chain, i. 182; Mr. Ruskin's lecture on the Savoy Alps, i. 174, and note. Alsace and Lorraine, ii. 28. Alsen, ii. 18, and note. Amazon, Kiss', ii. 13 (note), 12. Ambition, tone of modern, ii. 144, 146. America, England no need to learn from, ii. 73; has no castles, i. 151 (note); reference to Mr. Ruskin by Mr. Holyoake in, ii. 73; serf economy in, ii. 21. American War, loss of property in, ii. 38. (See also Lincoln, Pres.) Amiens, Cathedral of, i. 154, ii. 202; the theatres at, ii. 193. Andrew, St., ii. 8. Angelico, i. 43, i. 118; and Giotto, their theology of death, i. 118; holiness of, ii. 23 (note); his "highest inspiration" destroyed at Florence, i. 38, and note; his "Last Judgment," i. 44, and note; formerly no picture by in National Gallery, i. 43, and note. Angrogna, the valley of, ii. 11. Animals, kindness and cruelty to, ii. 128 _seqq._; 128 (note); ii. 142; portraiture of in architecture, i. 141; of Scripture, ii. 172. Anjou, ii. 28. Annual Register (1859) quoted, ii. 10 (note). Antwerp, "Rubens" at, i. 39. "A Pagan Message," ii. 143. Apolline Myths, the, ii. 172. Apollo Belvedere, the, i. 7. Appendix, List of letters in the, ii. 181. Arabian Nights, the, quoted, "the seals of Solomon," (Story of the Fisherman, Chapter ii.), i. 136; Story of the Ugly Bridegroom, ii. 101. Arbia, the, ii. 15 (note). Arbitration and Strikes (letter), ii. 48. Archer knight, the, i. 158. _Architect_, The, (Dec. 27, 1873,) Letter on E. George's Etchings, i. 113. Architecture, List of Letters on, i. 123; its beauty dependent on its use, i. 148; Byzantine builders, i. 167; cultivation of feeling for drawing in, i. 114; English copying of old, i. 141; expressional character of, i. 157; Frankenstein monsters, i. 156; Gothic and Classic, i. 99 (note); Gothic, and the Oxford Museum (letters), i. 125 _seqq._, 131 _seqq._; Greek work freehand, i. 168; jobbery in modern, i. 158; pseudo-Venetian, i. 157; sculpture, use of, in, i. 139 _seqq._; St. Mark's, Venice, place of, in, i. 161; Ruskin's influence on modern, i. 154-157; unity in, i. 140. (See also Gothic Architecture.) Arcola, ii. 33. Argument, the best kind of, i. 37. Aristotle, his work, i. 22 (note). Arno, the, ii. 116-118.