Cox, David, drawings of, i. xliii. preface, i. 96; foliage of, i. 406; rain-clouds of, i. 248; skies of, in water-color, i. 257; sunset on distant hills, i. 96. Creswick, tree-painting of, i. 397. Pictures referred to-- Nut-brown Maid, i. 397; Weald of Kent, i. 407. Cruikshank, G., iv., 387; Noah Claypole ("Oliver Twist"), v. 266. Cuyp, principal master of pastoral landscape, v. 194; tone of, i. 150; no sense of beauty, i. 76; sky of, i. 215, 225, 209; cattle painting of, v. 259; sunlight of, v. 254, 315; water of, i. 346; foliage of, v. 35, 37; and Rubens, v, 249, 260. Pictures referred to-- Hilly Landscape, in Dulwich Gallery, No. 169, i. 150, 209; Landscape, in National Gallery, No. 53, i. 150, v. 37; Waterloo etchings, i. 92; Landscape, Dulwich Gallery, No, 83, i. 340, No. 163, v. 37. Dannaeker, Ariadne, iii. 65. Dighton, W. E., Hayfield in a Shower, ii. 229; Haymeadow Corner, ii. 229. Dolci, Carlo, finish for finish's sake, iii. 113; softness and smoothness, iii. 113; St. Peter, ii. 204. Domenichino, angels of, ii. 222; landscape of, iii. 317; Madonna del Rosario, and Martyrdom of St. Agnes, both utterly hateful, i. 88, ii. 222. Drummond, Banditti on the Watch, ii. 230. Durer, Albert, and Salvator, v. 230, 240; deficiency in perception of the beautiful, iv. 332; education of, v. 231-232; mind of, how shown, v. 284; decision of, iv. 79, ii. 227; tree-drawing, v. 67; finish of, iii. 42, 122; gloomily minute, i. 90; hatred of fog, iv. 56; drawing of crests, iv. 201; love of sea, v. 234. Pictures referred to-- Dragon of the Apocalypse, iv. 217; Fall of Lucifer, iv. 201; The Cannon, v. 234; Knight and Death, iii. 93, v. 235, 237; Melancholia, iv. 48, iii. 96, v. 235, 238; Root of Apple-tree in Adam and Eve, iii. 116, v. 65; St. Hubert, v. 97, 234; St. Jerome, v. 234. Etty, richness and play of color of, ii. 203; Morning Prayer, ii. 229; Still Life, ii. 229; St. John, ii. 229. Eyck, Van, deficiency in perception of the beautiful, iv. 333. Fielding, Copley, faithful rendering of nature, i. 97; feeling in the drawing of inferior mountains, i. 307; foliage of, i. 406; water of, i. 348; moorland foreground, i. 188; use of crude color, i. 98; love of mist, iv. 75; rain-clouds of, i. 248; sea of, i. 351; truth of, i. 248. Picture referred to--Bolton Abbey, i. 100. Flaxman, Alpine stones, iv. 308; Pool of Envy (in his Dante), iv. 308. Francia, architecture of the Renaissance style, i. 103; finish of, iii. 122; treatment of the open sky, ii. 43; Madonnas of, ii. 224; Nativity, iii. 48. Gaddi, Taddeo, treatment of the open sky, ii. 43.