Rembrandt, his imagination compared with his execution, 20; cause of variation in his work, 21; his simplicity, 150; his broad work, 289; his use of color, 152; his position in art, 44; his representation of character, 42; suggested as impressionist, 41, 290; compared with the idealists, 43; his palette-knife pictures, 281; classification of his portraits, 281 Renaissance (_see_ Italy, Art of) Repose, in portraiture, 164; in the representation of Venus, 116 Reynolds, Joshua, his high position in portraiture, 160; on color, 350; on the representation of grief, 169; on the cause of excellence in painting, 282; on genius in art, 282; nobility in his portraits, 160; as a painter of women, 161; on the work of Raphael, 303; on Michelangelo, 282; on the early Italian painters, 280; on the Venetian painters, 350; his portraits of actors in character, 224; his use of the smile, 174 Rodin, A., on the suggestion of movement in sculpture, 249, 351; on ugliness in art, 317; his La Vieille Heaulmière, 317; on Greek ideals, 319 Romans, The ancient, had no separate sacred art, 328 "Romantic Art," its various meanings, 278; Hegel's period of, 277 Romney, G., the quality of grace in his portraits, 161 Ruskin, J., on the trees of Raphael, 345; on the ideal of Christ, 319; on the position of landscape in art, 344; on the Italian painters of the fourteenth century, 279 Ruysdael, Jacob, his painting of breaking water, 204, 206; his near-ground work, 203 S Sacred Art, offers highest scope for the artist, 63; in Greece, 91; in Italy, 12 Sadness, as a quality of beauty, 280 Saints, representation of, 104 Sappho, her Ode to Anactoria, and the cause of its beauty, 67; translation of the Ode, 301; her Hymn to Aphrodite, 302 Satan, representation of, 178 Satire, works conveying, unsuited to the painter, 224 Schopenhauer, on music as a non-imitative art, 292 Sculpture, its imitative scope, 52; ideals in, 135; compared with painting, 135; importance of simplicity in, 68; standard of judgment in, 73; illusion of motion in, 249; Rodin on the illusion, 351; in ancient Greece, 106; in Greek and Roman portraiture, 145; thirteenth century French, 315 Sea views, illusion of opening distance in, 204; progressive actions in, 206 Secondary Art, its nature, 85; in historical work, 220; in actions drawn from the novelist, 221; from the written drama, 221; from the acted drama, 222; humorous pictures, 224; in allegorical and symbolical painting, 225 _et seq._ Shakespeare, his imagination, 23; example of his art, 66; represents characters above experience, 61 Short story, the, its essentials, 70; compared with the novel, 69 (_see also_ Fiction)