Imitation, the province of art, 52; should be generalized, 237; in landscape, 194, in still-life, 214, in decorative art, 218, in architecture, 294, in music, 293; of other arts by the painter, 221 _et seq._; Aristotle on, 215; S. Colvin on, in respect of the fine arts, 292 Impressionism, definitions of, 25, 284 _et seq._; its origin, 285 _et seq._; its influence, 38; its limitations, 35; its defects, 34 _et seq._; its effects, 51; its correspondence with Sprezzatura, 32 Industry, the key to success in art, 24, 282 Inspiration in art, not recognized by great artists, 16; actual instances of, unknown, 15; suggested national, 9 _et seq._; individual, 14 Interiors, pictures of, their place in art, 84 Invention in art, its relative importance, 54; in poetry, 54; in painting, 312; Lessing on, in poetry and painting, 312; in landscape, 193; the term used in two senses, 311 Irony, works conveying, unsuitable for the painter, 224 Italy, Art of, decline of the Renaissance, 11 _et seq._; in the seventeenth and eighteenth centuries, 30 _et seq._; Renaissance ideals, 12 J Japanese, their practice in decoration, 217 Johnson, Dr., on genius, 282 Juno, representation of, by the painter, 120 Jupiter, Greek representation of, 88, 89; ideal of, 89, 91; by the painter, 109 L Landscape painting, its place in art, 48, 84; produces only sensorial beauty, 192; Humboldt on, 344; signs in, 199; disadvantages of, 44; limitations in, 192 _et seq._, 348; varieties of, 49; relative difficulty of execution in, 48; compositions must be invented, 194; illusion of motion in, 197 _et seq._; precise imitation necessary in, 194; as a useful art, 314; early development of, 46, in ancient Rome, 45, in Italy, 47, in Holland, 46, in England and France, 48 Lanzi, A. L., on the range of Raphael in expression, 339 La Touche, G., on the origin of impressionism, 286 Latour, Fantin, and the origin of impressionism, 285 Laugh, a, when unobjectionable in painting, 177 Lessing, G., on progressive actions, 348; on the relative importance of invention and execution, 312; on the representation of grief, 169; on descriptive poetry, 309; on signs in art, 346; on Homer and the beauty of Helen, 298; on the Laocoon design, 311; on the dictum of Simonides, 307; on ugliness in poetry and painting, 341 Lewes, G. H., on the execution of signs in art, 346 Lightning, its use in landscape, 209; must be subordinated, 209; where used in painting by great masters, 210 Lionardo da Vinci, his imagination compared with his execution, 18; his relief, 239; on success in painting, 16; his representation of Christ, 93