Etchings, appreciation of a collector, 96-97; of Haden, 96; catalogues of, 91; early French criticism, 60; “French Set,” 90; Haden collection of, 96; his first, 88-89; his “Venice Set,” 91; “Thames Set,” 91; “Twenty-six Etchings,” 91 Exhibitions, 1868, 177; 1893, 65; at Antwerp, 263; at Chicago, 263; at London, 265; at Paris, 1894, 24, 264; at the Royal Academy, 114-119; criticisms of, 98-101; his catalogues, 99-101; light and background required for his pictures, 134-139; of etchings, 1883, 97; of lithographs, 104; reluctant about exhibiting, 262-264; Society of American Artists in 1903, 284-285; Society of British Artists, 136; special, 120-121; with artificial light, 135; “Yellow and White,” 98, 132 Family, 25-28; brothers and sisters, 32; father, 27-28, 35; mother, 28; mother’s diary, 34-35 Fine Arts Society, 121 Foreword, 7 Form, appreciation of, 203 Fort Dearborn, grandfather built, 26-27 French art, influence of, 57-60; criticism, early, 59-60 Frith, 177; Ruskin trial, 146 Fur Jacket,” “The, 65 Gainesborough, 249, 250 Gentle Art of Making Enemies,” “The, 32, 154-155 Glasgow and the Carlyle portrait, 124; school, 55 Gleyre, 57, 59, 79 Gold Screen,” “The, 58 Greece, art of, 63 Grosvenor Gallery, 119 Haden, 32, 88-89, 96 Hague, The, illness at, 281-284; letter from, 282-284 Hanging of pictures, 124-128 Harmonies, symphonies, and nocturnes, his explanation of, 178-180 “Hermes,” by Praxiteles, 261 Hogarth, 55, 249, 250 Honors and awards, 264 Impressionism, 72 Ingres, copy of painting by, 80-81 Interior decorator, 127-128 International Society, 121 Irish ancestors, 25, 47 Italian painters, influence of, 71-72 Japanese art and influence of, 55. See Chinese and Japanese art Khayyam, Omar, 243 Lange Leizen,” “The, 58 Leyland, F. R., 128-131 Light and background for pictures, 134-139; as distinguished from color, 160 Lithographs, naming of, 183 Lithography, 102-104, 180. See Exhibitions, Catalogues Lowell, 31-32 Manet, 249-250 Marines, 24, 274-275 Marriage, 219 Method. See Work Miss Alexander, 50, 119 “Mona Lisa,” 251 Moore, “Modern Painting,” 168-172 Mother, diary of, 34-35; portrait of, 53-54, 58, 115 Music, 176-177; and color, 193; and painting, 179; and the color scale, 195-196; range of sounds, 186-188; the uneducated ear, 196; “truths of sound,” 203-204 National influence, 61-78 Nature and art, 213-216; and color, 216; and music, 215 Naval Academy, 37 Nocturnes, 119. See Pictures Nude, attitude towards, 50-51 Painting and music, 179; flat tones, 212; his manner and mode of, 231-237 Paris as an art centre, 62-63; early days in, 86-88; home life in, 222-224; in 1855, 79; Rue du Bac, 219; studio, 131, 132 Pastels, 106-107 “Peacock Room,” 128-131, 209; trouble over payment, 129-130 Phidias, 253 Philadelphia, 120 Physical appearances. See Appearance and characteristics