Art, abstract use of color, 211; and physique, 168-172; early love for, 35; harmonies in line, 182; his paintings and poetry, 182; of pure line, 180-181; Oriental, 176; purely sensuous, 180 Artistic period, 73-78 Autograph character of work, 105-106 Balcony,” “The, 58 Baptism, 32 Baronet _vs._ The Butterfly, 266-270 Beauties of form and color, 185-186 Beethoven, 257; relation to, 176 Birth, 28-29, 31-32 Boston, proposed exhibition of pictures, 20 Bouguereau, 277 Boxall, Sir William, 53-54 Brothers and sisters, 32 Burne-Jones, 176; Ruskin trial, 146 Carlyle, 119; and Froude, 122-123; as a friend, 121-122 Catalogues, 167-168, 265; of exhibition in 1892, 160-161; of lithographs, 104. See Exhibitions Character. See Appearance and characteristics Chelsea, Carlyle as neighbor and sitter, 121-122; Carlyle’s description, 109-111; death and last illness, 285-286; early days in, 109; his last home, 281-286; the bailiff, 112-113; “White House,” 112-113; “White House” occupied by a critic, 114 Chicago, grandfather founded, 26-27 Chinese and Japanese art, 181; autograph character of Japanese art, 105-106; blue china, 61; degradation of Japanese art, 78; influence of, 55 Chiswick, buried at, 286 Coast and Geodetic Survey, 39-40 Color, “ability to feel,” 208; abstract composition, 197; and the musical scale, 195-196; art of pure color, 180-181; beauties of, 185-186; decoration, 128-135; first color harmonies, 58; his own explanation of, 178-180; illustrated in different pictures, 211; in Italy and Greece, 198; of sculptor, 206; range of color-notes, 189-191; Ruskin’s attitude towards, 158-160, 199-208; Ruskin trial, 145-146; sense of, lost, 183-184; supreme as a colorist, 173; the house-painter and decorator, 186; used imitatively, 204, 207, 209; Whistler’s susceptibility to, 191-195 Colorist. See Color Commercial side, lacking, 265-276 Conversation, a lost art, 149-151 Courage, 33, 36, 42-43 Criticism, language of, 161 Criticisms in America, 15-16 Critics, arraignment of, in catalogue, 98-102, 160-161, 167-168 Critics and criticisms, attitude towards, 162-165; early criticism of Turner, 142-143; George Moore, 168-172; his attitude towards, 155-157; his color harmonies not understood, 184; is the painter the final judge?, 162-165; order of appreciation, 173-175; Ruskin’s attitude towards color, 158-160; “Voice of a People,” 165-167 Dealers, attitude towards, 276 Death and last illness, 285-286 Decoration, 127-133; as a decorator, 131-135; in home in Paris, 220-222; “Peacock Room,” 128-131, 209 Dieppe, 33-34 Dress, 41-42 Eden, Sir William, 267-270 England’s indifference, 47-49 Englishman’s stupidity, 16