Amelia, Fielding's, 135.
Amor, the myth of, 36-38; as
treated by Raphael, 99; in the
Elizabethan lullabies, 116, 117;
in Shakespeare, 124; in Thor-
waldsen's art, 201.
Anchises, 31.

Ancient Leaves, cited, 31, 33.
Andersen, Hans Christian, the
unique contribution of, to lit-
erature, 201; the distinction
between his stories and fairy
tales, 202; the basis of his
fame, 207; the life of his cre-
ations, 208; their relation to
human beings, 209; the spring
in his stories, 211; his satires,
212; the deeper experience in
them, 213; his essential child-
ishness, 214; his place with
novelists, 215; his interpreta-
tion of childhood, 216.
Andromache, the parting of, with
Hector, 11, 12; the scene com-
pared with one in the Edipus
Tyrannus, 16-18; and con-
trasted with Virgil, 31.
Angels of children, 144, 145.
Anna the prophetess, 47.
Anthology, the Greek, 28-30.
Antigone, 18.

Apocryphal Gospels, the legends
of the, 57-64.

Art, American, as it relates to
children, 237, 238.

Art, modern, the foible of, 38.

Arthur, in King John, 120.
Ascanius, 31, 32.
Askbert, 68, 69.

Astyanax, 11; a miniature Hec-
tor, 14.

Atlantic Monthly, The, cited,

34.

Austin, Alfred, cited, 38.

Ballads relating to children, 106-
108; characteristics of, 113.
Barbauld, Mrs., 173; her relation
to the literature of childhood,
175; Coleridge and Lamb on,
174.

Bathsheba's child, 42.
Beatrice, first seen by Dante,
77.

Better Land, The, 222.
Bible, the truth of the, not de-
pendent on external witness,
6; the university to many in
modern times, 41, 42.
Blake, William, 163-165.
Boccaccio, 79.

Browning, Robert, as an inter-
preter of Greek life, 27; his
Pied Piper, 237.

Bryant, William Cullen, 217.
Bunyan, childhood in, 129-133.
Byzantine type of the Madonna,
83, 84.

Catullus, 33.

Chapman's translation of Homer,
quoted, 8, 9, 10, 16; the quality
of his defects, 9, 10.
Chaucer's treatment of child-
hood, 108-111; compared with
the Madonna in art, 113.
Childhood, discovered at the
close of the last century, 4;
in literature as related to lit-
erature for children, 4; in
Greek life, how attested, 7;

indirect reference to it in
Homer, 8-11; the direct refer-
ence, 11, 12; in the Greek tra-
gedians, 16-21; in Plato, 22-
26; in the Greek Anthology,
29, 30; in Virgil, 31, 32; con-
ception of, in Roman litera-
ture, 32, 33; in Catullus, 33;
in epitaphs, 33, 34; in Lucre-
tius, 34; in Juvenal, 35; in
classic conception of the su-
pernatural, 34-36; in the myth
of Amor, 36-38; in Old Tes-
tament literature, 42-46; in
New Testament literature, 48,
49; attitude of the Saviour
toward, 49; as a sign of his-
tory, 52; in the legends of the
Apocryphal Gospels, 57-64; of
saints, 65-71; under the form-
ing power of Christianity, 73;
in Dante, 75-78; in the rep-
resentations of the Holy
Family, 83-87; in the art of
the northern peoples, 87-92;
in the Madonnas of Raphael,
92-98; in Raphael's Amor, 98,
99; in his representations of
children generally, 100, 101;
in the art of Luca della Rob-
bia, 101, 102; its elemental
force the same in all litera-
tures, 105; in ballad literature,
106-108; in Chaucer, 108-111;
its character in early English
literature, 112, 113; in Spen-
ser, 114, 115; in the lighter
strains of Elizabethan litera-
ture, 116, 117; in Shakespeare,
117-126; its absence in Milton,
127, 128; how regarded in
Puritanism, 128, 129; in Bun-
yan, 129-133; in Pope, 133,
134; in Fielding, 135; in Gray,
135-137; in Goldsmith, 137-
140; in Cowper, 140, 141; in
the art of Reynolds and Gains-
borough, 141, 142; in Words-
worth, 144-157; in De Quincey,
158-162; in William Blake,
163-165; in Dickens, 165-170;
in Paul and Virginia, 181-183;
in Lamartine, 184-186; in
Michelet de Musset, and Vic-
tor Hugo, 186, 187; in German
sentiment, 189; illustrated by

Luther, 190, 191; in Richter,
191, 192; in Goethe, 194-196;
in Froebel's system, 197, 198;
in Overbeck's art, 199, 200; in
Hans Christian Andersen, 201-
216; in Emerson, Bryant, Low-
ell, and Holmes, 217, 218; in
Whittier, 218, 219; in Long-
fellow, 219-222; mistakenly
presented in sentimental verse,
222-225; in Hawthorne, 225-
234.

Child-Life in Poetry, 219.
Child-Life in Prose, 219.
Children, books for, the begin-
ning of, 171, 172; the char-
acteristics of this beginning,
173; their revolutionary char-
acter, 174; the sincerity of
the early books, 175; the union
of the didactic and artistic in,
177; a new branch of litera-
ture, 177, 178; art in connec-
tion with, 179.
Children's Hour, The, 220.
Child's Last Will, The, 106.
Christ, the childhood of, 48; his
scenes with children, 48, 49;
his attitude toward childhood,
49-52; an efficient cause of
the imagination, 55; legends
of, in the Apocryphal Gospels,
57-64; his symbolic use of the
child, 81; his infancy the sub-
ject of art, 82; especially in
Netherlands, 89; his words il-
lustrative of human history,
102.

Christianity and French senti-
ment, 182.
Christianity, living and struc-
tural, 53; its supersedure of
ancient life, 54; its germinal
truth, 55; its operative imagi-
nation, 56; its care of children,
especially orphans, 73; its of-
fice of organization, 74; its in-
fluence on the family, 75; its
insistence on death, 79; in
what its power consists, 81;
its ideals, 82; its type in the
Madonna, 83; does not inter-
fere with elemental facts, 105.
Christmas in Germany, 189.
Cimabue, 84.

Coleridge, Samuel Taylor, on