Literary arts, the painter must take his action from them or from nature direct, 81 (_see_ Poetry and The Novel). Literary movement in England in the sixteenth century, 278 Longinus, on the test of the sublime and beautiful, 73; on certain examples of beauty in the literary arts, 300 Luini, A., On an "impressionist" landscape by Titian, 288 M MacColl, D. S., on the origin of impressionism, 284 Madonna, The, her representation, the test of art during the Renaissance, 12, by Cimabue and Giotto, 95, in Crucifixion scenes, 99; her surroundings in art, 99, her representation at different ages, 98, Michelangelo on her presumed age, 320; her presumed social condition, 100; the ideal of the early Italian, 12, 95, of Raphael, 97, Michelangelo's portrayals of, 320; limitations in the ideal of, 98 Madonna and Child, representation of, by thirteenth century French sculptors, 101, 315; in Italy, 101; changes in grouping of, in the fifteenth century, 101; practice of later artists, 102 _et seq._ Manner in painting, its limitations, 39; the public indifferent to, 39; of Rembrandt, 21; of Hals, 336 Manet, E., his connection with the rise of impressionism, 287 Marine painting (_see_ Sea views) Mars, representation of, in painting, 128 Mauclair, C., on impressionism, 285 Mengs, A. R., on Raphael's treatment of drapery, 352 Mercury, his representation in painting, 129 Metaphor, with the poet, 65, 227, 296; with the painter, 226 Michelangelo, and the sublime, 229; his studies in Greek art, 108; Reynolds on, 282; his ideals of the Madonna, 320; on her presumed age at the Crucifixion, 320; on the cause of Raphael's success, 16; on the public judgment of works of art, 304; on the Venetian painters, 350 Miller, Marion M., his translation of Sappho's Hymn to Aphrodite, 302 Minerva (_see_ Athena) Modesty, quality in expression unsuitable to a goddess, 119 Mona Lisa, the Louvre example, 151, 172; the Boston example, 172; her reputed age in the picture, 240; her smile, 341 Mood, influence of, in the work of artists, 17 Moonlight scenes, their place in art, 208 Morals, pictures illustrating, their place in art, 85 Moreau-Vautier, C., on the juxtaposition of pure colors, 287 Music, highest beauty in, produced by complex combinations of signs, 73; greatest works in, the least popular, 75; ideals not possible in, 58; cannot present intellectual beauty, 64; standard of judgment in, 305; cannot be connected with painting, 285; its connection with poetry, 54, 76; imitative character of, 53, 293; claimed by Colvin as non-imitative, 292; Darwin on natural, 293 Muther, R., on the origin of Impressionism, 287 Mystery in painting, indicates inferior art, 341 Mythological subjects, their place in painting, 83, 133 N