Anecdotes and sayings, as a teacher, 277-281; attitude towards America, 52-53; authenticity of stories, 81-82; bailiff in the “White House,” 112-113; Balaam’s ass, 84-85; blue-and-white china, 70; Boer war, 45; Carlyle portrait, 123; colors and pigments used, 72-73; concerning a sitter, 238-239; concerning birth, 29; concerning Carlyle and Miss Alexander, 121; concerning Chicago, 27; concerning each portrait, 241-242; concerning his portraits, 255; concerning poor lawyers, 148; concerning purchasers, 265-266; concerning sittings required, 30-31; continually polishing, 84-85; Dieppe, 34; disintegration of the Royal Society of British Artists, 218; early days in Paris, 86-88; early days in Venice, 92-95; effacing an insult, 43; falling down stairs, 114; first money earned with brush, 80-81; Henry James, 85; his umbrella, 227; Hogarth, 55; house-painters, 212; late to dinner, 29-30; Leighton, 82-84; in lithography suit, 103; man whose coat did not fit, 42; “Nana,” 151-153; Napoleon and I, 281; Nature looking up, 214; necktie of a sitter, 191; no artistic period, 73-78; old Delft, 71; painting in the dark, 214; “Peacock Room,” 129; of Peter the Great, 35; railway accident, 33-34; rebuking an admirer, 162; rich man’s house, 56; Rossetti, 111; Royal Academy, 116-119; Savoy Hotel, 181; school, 61; selling his pictures, 274-275; Stoeckl dinner, 40-41; story of “The Yellow Buskin,” 119-120; studio on ground floor, 229; the arrangement in gray, 194; the color of a critic’s clothes, 195; the grocer’s shop, 193-194; the millionaire, 276; the model and the red background, 280; the pupil who smoked, 279; the republic and Whistler, 281; the Ruskin trial, 144-147; the studio stove, 231; to the Prince of Wales, 217; trip to Valparaiso, 22-23; unwelcome callers at studio, 228; visit of students to his studio, 134-135; “warm personal enemy,” 156; West Point, 36; while in service of Coast and Geodetic Survey, 37-41 Angelo, Michael, 253 Appearance and characteristics, 36; alertness, 85; a poser, 149-155; approachable, except in studio, 227-228; as a story-teller, 224; at home, 222; attitude towards art and artists, 122; attitude towards nature, 213-216; attitude towards other artists, 56; attitude towards purchasers, 265-272; attitude towards the Royal Academy, 115-119; careless about keeping list of works, 90; courage, 42-43; dilatory habits, 37-41; dress when a young man, 41-42; George Moore’s theory, 168-172; his Americanism, 47-78; his dislikes and prejudices, 271-272; laugh, 119; military spirit, 45-46; no commercial instinct, 111; no mystery about his art, 106-108; on the street, 226; Puritan element, 49-50; refinement, 50; sense of humor, 82; superstitions, 44; susceptibility to color intervals, 191-195; West Point, 44; when twenty, 38-40