Abstraction necessary, when realization is impossible, ii. 206.Æsthetic faculty, defined, ii. 12, 16.Age, the present, mechanical impulse of, iii. 301, 302; spirit of, iii. 302, 303; our greatest men nearly all unbelievers, iii. 253, 264; levity of, ii. 170. See Modern.Aiguilles, structure of, iv. 174; contours of, iv. 178, 190; curved cleavage of, iv. 186, 192, 193, 210-214; angular forms of, iv. 179, 191; how influencing the earth, iv. 193; Dez Charmoz, sharp horn of, iv. 177; Blaitière, curves of, iv. 185-188; of Chamouni, sculpture of, 160, 182. See Local Index.Alps, Tyrolese, v.216; aërialness of, at great distances, i. 277; gentians on, v.89; roses on, v.99; pines on, iv. 290, v.86; ancient glaciers of, iv. 169; color of, iii. 233; influence of, on Swiss character, iv. 356, v.83; general structure of, iv. 164; higher, impossible to paint snow mountains, iv. 240; precipices of, iv. 260, 261; suggestive of Paradise, iv. 346; sunrise in, i. 264. See Mountains.Anatomy, development of, admissible only in subordination to laws of beauty, ii. 221; not to be substituted for apparent aspect, iv. 187.Animals, proportion in, ii. 58 (note), 64; moral functions of, ii. 94, 95, 97; lower ideal form of, ii. 104; noble qualities of, v.203.Animal Painting, of the Dutch school, v.254,258; of the Venetian, 255, 258; of the moderns, v.257,273.Architecture, influence of bad, on artists, iii. 311; value of signs of age in, i. 104, 106; importance of chiaroscuro in rendering of, i. 106, 107; early painting of, how deficient, i. 103; how regarded by the author, v.197; Renaissance chiefly expressive of pride, iii. 63; lower than sculpture or painting, the idea of utility being dominant, ii. 10 (note); and trees, coincidences between, v.19; of Nuremberg, v.232; Venetian, v.295.Art, definition of greatness in, i. 8, 11, iii. 3-10, 39; imitative, noble or ignoble according to its purpose, iii. 20, 202; practical, ii. 8; theoretic, ii. 8; profane, iii. 61; ideality of, ii. 110; in what sense useful, ii. 3, 4; perfection of, in what consisting, i. 357; first aim of, the representation of facts, i. 45, 46; highest aim of, the expression of thought, i. 45, 46; truth, a just criterion of, i. 48; doubt as to the use of, iii. 19; laws of, how regarded by imaginative and unimaginative painters, ii. 155; neglect of works of, ii. 6, 8 (note); nobleness of, in what consisting, iii. 21, 22; noble, right minuteness of, v.175; meaning of “style,” different selection of particular truths to be indicated, i. 95; bad, evil effects of the habitual use of, iv. 334; love of, the only effective patronage, ii. 3; sacred, general influence of, iii. 55; misuse of, in religious services, iii. 59, 60; religious, of Italy, abstract, iii. 48, 58, v.219; religious, of Venice, Naturalistic, iii. 78, v.214,226; Christian, divisible into two great masses, symbolic and imitative, iii. 203; Christian, opposed to pagan, ii. 222, 223; “Christian,” denied, the flesh, v.203; high, consists in the truthful presentation of the maximum of beauty, iii. 34;high, modern ideal of, iii. 65; highest, purely imaginative, iii. 39; highest, dependent on sympathy, iv. 9; highest, chiaroscuro necessary in, i. 79; modern, fatal influence of the sensuality of, iii. 65; allegorical, iii. 95; essays on, by the author, distinctive character of, v. preface, x. v.196; influence of climate on, v.133; influence of scenery on, v.214,232,235,287; Venetian, v.188,214,226; classical defined, v.242; Angelican, iii. 50-57, v.282; Greek, v.209; Dutch, v.277. See Painting, Painters.Art, Great, definition of, i. 8-11, iii. 3, 10, 41; characteristics of, i. 305, iii. 26-41, 88, v.158,175,178,202; not to be taught, iii. 43, 141; the expression of the spirits of great men, iii. 43, v.179; represents something seen and believed, iii. 80; sets forth the true nature and authority of freedom, v.203; relation of, to man, v.203. See Style.Artists, danger of spirit of choice to, ii. 26; right aim of, i. 425, 426, iii. 19; their duty in youth, to begin as patient realists, i. 423; choice of subject by, ii. 188, iii. 27, 28, iii. 35, iv. 290, iv. 18 (note); should paint what they love, ii. 217; mainly divided into two classes, i. 74, 315; necessity of singleness of aim in, i. 423, 424, v.179. See Painters.Artists, Great, characteristics of, i. 8, 123, 327, ii. 42, iii. 26-41; forgetfulness of self in, i. 84; proof of real imagination in, i. 306; calmness of, v.191; delight in symbolism, iii. 93; qualities of, v.191; keenness of sight in, iv. 188; sympathy of, with nature, ii. 90, iii. 177, iv. 13, 70, ii. 92; with humanity, iv. 9, 11, 13, iii. 63, ii. 169, v.198,203; live wholly in their own age, iii. 90.Artists, Religious, ii. 174, 176, 180, 216, iii. 48-60, iv. 355; imaginative and unimaginative, distinction between, ii. 154, 156; history of the Bible has yet to be painted, iii. 58.Asceticism, ii. 114, three forms of, v.325.Association, of two kinds, accidental and rational, ii. 33, 34; unconscious influence of, ii. 34; power of, iii. 17, ii. 45, v.216; charm of, by whom felt, iii. 292, 309; influence of, on enjoyment of landscape, iii. 289.Bacon, master of the science of essence, iii. 307; compared with Pascal, iv. 361.Banks, formation of, iv. 262; curvature of, iv. 262, 278, 282; luxuriant vegetation of, iv. 125.Beauty, definition of the term (pleasure-giving) i. 26, 27; sensations of, instinctive, i. 27, ii. 21, 46, 135; vital, ii. 88, 100, 110; typical, ii. 28, 38, 85, 115, 135; error of confounding truth with, iii. 31 (note); of truths of species, i. 60; of curvature, ii. 46, iv. 192, 197, 200, 262, 263, 264; love of, in great artists, iii. 33, v.209; moderation essential to, ii. 84; ideas of, essentially moral, ii. 12, 18; repose, an unfailing test of, ii. 68, 108; truth the basis of, i. 47, ii. 136; how far demonstrable by reason, ii. 27; ideas of, exalt and purify the human mind, i. 26, 27; not dependent on the association of ideas, ii. 33, 34; the substitution of, for truth, erroneous, iii. 61, 254; sense of, how degraded and how exalted, ii. 17, 18, v.209; of the sea, v.215; influence of moral expression on, ii. 96, 97; lovers of, how classed, iii. 33; consequences of the reckless pursuit of, iii. 23; modern destruction of, v.325; Renaissance, principles of, to what tending, iii. 254; false opinions respecting, ii. 28, 29, 30, 136; arising out of sacrifice, v.53; sense of, often wanting in good men, ii. 135, 138; false use of the word, ii. 28; not necessary to our being, ii. 16; unselfish sympathy necessary to sensations of, ii. 17, 93; degrees of love for, in various authors, iii. 285, 288; and sublimity, connection between, i. 42; custom not destructive to, ii. 32; natural, Scott’s love of, iii. 271, 272; natural, lessons to be learnt from investigation of, v.147; natural, when terrible, v.197; of animal form, depends on moral expression, ii. 97, 98;Alison’s false theory of association, ii. 28, 33; sense of, how exalted by affection, ii. 18; abstract of form, how dependent on curvature, iv. 262, 263; ideal, definition of, i. 28; physical, iii. 67; physical, Venetian love of, v.295; vulgar pursuit of, iii. 67.Beauty, human, ancient, and mediæval admiration of, iii. 197, 198; Venetian painting of, v.227; consummation not found on earth, ii. 134; Greek love of, iii. 177, 189, 197; culture of, in the middle ages, iii. 197.Beauty of nature, character of minds destitute of the love of, iii. 296.Benevolence, wise purchase the truest, v.328(note).Browning, quotation on Renaissance spirit, iv. 369.Buds, typical of youth, iii. 206; difference in growth of, v.8; formation and position of, v.11,14,17,27; of horse-chestnut, v.19; accommodating spirit of, v.53; true beauty of, from what arising, v.53; sections and drawings of, v.13,73,74.Business, proper, of man in the world, iii. 44, 336.Byron, use of details by, iii. 8; character of works of, iii. 235, 263, 266, 270, 296, i. 3 (note); love of nature, iii. 285, 288, 295, 297; use of color by, iii. 235; death, without hope, v.350.Carlyle, iii. 253; on clouds, v.107.Cattle, painting of, v.259,260.Change, influence of, on our senses, ii. 54; love of, an imperfection of our nature, ii. 54, 55.Charity, the perfection of the theoretic faculty, ii. 90; exercise of, its influence on human features, ii. 115.Chasteness, meaning of the term, ii. 81.Chiaroscuro, truth of, i. 173-184; contrasts of systems of, iv. 41; great principles of, i. 173, 180; necessity of, in high art, i. 181; necessity of, in expressing form, i. 69, 70; nature’s contrasted with man’s, i. 141; natural value of, i. 182; rank of deceptive effects in, i. 73; fatal effects of, on art, iii. 140 (note); treatment of, by Venetian colorists, iv. 45, 46.Chiaroscurists, advantages of, over colorists, iv. 48.Choice, spirit of, dangerous, ii. 26, iv. 18 (note); of love, in rightly tempered men, ii. 137; importance of sincerity of, iii. 27, 35; effect of, on painters, iii. 28; of subject, when sincere, a criterion of the rank of painters, iii. 27; difference of, between great and inferior artists, iii. 35; of subject, painters should paint what they love, ii. 219; error of Pre-Raphaelites, iv. 19.City and country life, influence of, v.4,5.Classical landscape, iii. 168, 190; its features described, v.242; spirit, its resolute degradation of the lower orders, v.243(note).Clay, consummation of, v.157.Cliffs, formation of, iv. 146, 149, 158, 241; precipitousness of, iv. 230, 257; Alpine, stability of, iv. 261; Alpine, sublimity of, iv. 245, 261, v.81; common mistake respecting structure of, iv. 297. See Mountains.Clouds, questions respecting, v.101-107, 110-113; truth of, i. 216, 266; light and shade in, iv. 36; scriptural account of their creation, iv. 82-88; modern love of, iii. 244, 248; classical love of, iii. 245; connected with, not distinct from the sky, i. 207; balancings, v.101-107; high, at sunset, i. 161; massive and striated, v.108; method of drawing, v.111(note); perspective of, v.114-121; effects of moisture, heat, and cold, on formation of, v.131; “cap-cloud,” v.124; “lee-side cloud,” v.124,125; mountain drift, v.127,128; variety of, at different elevations, i. 216; brighter than whitest paper, iv. 36; never absent from a landscape, iv. 69; supremacy of, in mountain scenery, iv. 349; level, early painters’ love of, iii. 244; love of, by Greek poets, iii. 244; as represented by Aristophanes, iii. 249, v.139;Dante’s dislike of, iii. 244; wave-band, sign of, in thirteenth century art, iii. 209; Cirrus, or Upper Region, extent of, i. 217, v.109; color of, i. 224, v.119,120,149; purity of color of, i. 219; sharpness of edge of, i. 218; symmetrical arrangement of, i. 217; multitude of, i. 218, v.109,110; Stratus, or Central Region, extent of, i. 226; connection of with mountains, v.123; majesty of, v.122; arrangement of, i. 228; curved outlines of, i. 64, 229; perfection and variety of, i. 229, v.111,112; Rain, regions of, definite forms in, i. 245, v.122-138; difference in colors of, i. 244, v.136; pure blue sky, only seen through the, i. 256; heights of, v.137(note); functions of, v.135,137; condition of, on Yorkshire hills, v.141; influence of, on high imagination, v.141.Color, truth of, i. 67-71, 155, 173; purity of, means purity of colored substance, ii. 75, 79; purity of in early Italian masters, ii. 220; the purifier of material beauty, v.320(note); associated with purity, life, and light, iv. 53, 123, v.320; contrasts of, iv. 40; gradation of, ii. 47, 48; dulness of, a sign of dissolution, iv. 124; effect of distance on, iv. 64, 65; effect of gradation in, iv. 71; noble, found in things innocent and precious, iv. 48; pale, are deepest and fullest in shade, iv. 42; sanctity of, iv. 52, v.320(note), 149, 319; true dignity of, v.318,320(note), effect of falsifying, v.321(note); Venetian love of, v.212; rewards of veracity in, v.321(note); of sunshine, contrasted with sun color, v.317,318; perfect, the rarest art power, v.320(note); pleasure derived from, on what depending, i. 10; chord of perfect, iii. 99, v.317,318, iii. 275, iv. 52; anything described by words as visible, may be rendered by, iii. 97; variety of, in nature, i. 70, 168; no brown in nature, iii. 235; without texture, Veronese and Landseer, ii. 202; without form, ii. 202; faithful study of, gives power over form, iv. 54, v.320(note); perception of form not dependent on, ii. 77, v.320(note); effect of atmosphere on distant, i. 97, iv. 188; less important than light, shade, and form, i. 68, 172, v.321(note); sombreness of modern, iii. 251, 257; sentimental falsification of, iii. 31; arrangement of, by the false idealist and naturalist, iii. 77; done best by instinct (Hindoos and Chinese), iii. 87; use of full, in shadow, very lovely, iv. 46, v.317; ground, use of, by great painters, v.188,190; nobleness of painting dependent on, v.316; a type of love, v.319,320(note); use of, shadowless in representing the supernatural, ii. 219; right splendor of in flesh painting, ii. 124; delicate, of the idealists, ii. 221; local, how far expressible in black and white, i. 404; natural, compared with artificial, i. 157; destroyed by general purple tone, i. 169; manifestation of, in sunsets, i. 161, 210; quality of, owes part of its brightness to light, i. 140, 148; natural, impossibility of imitating (too intense), i. 157, 164; imitative, how much truth necessary to, i. 22; effect of association upon, i. 69; delight of great men in, iii. 257; cause of practical failures, three centuries’ want of practice, iii. 257; mediæval love of, iii. 231; Greek sense of, iii. 219; brightness of, when wet, iv. 244; difference of, in mountain and lowland scenery, iv. 346, 347; great power in, sign of art intellect, iv. 55; why apparently unnatural when true, iv. 40, v.317; of near objects, may be represented exactly, iv. 39; of the earth, iv. 38; in stones, iv. 129, 305; in crystalline rocks and marbles, iv. 104, 106, 107, 129, 135; of mosses, iv. 130, v.99; solemn moderation in, ii. 84, 85; of mountains, i. 157, 158, 168, iv. 351; on buildings, improved by age, i. 105; of the open sky, i. 206; of clouds, v.120,121,136,149; reflected, on water, i. 330, 332; of form, i. 349; of old masters, i. 159; of the Apennines, contrasted with the Alps, iii. 233; of water, i. 349; the painter’s own proper work, v.316.Colorists, contrasts of, iv. 40; advantages of, over chiaroscurists, iv. 47-51;great, use of green by, i. 159 (note); seven supreme, v.318(note); great, painting of sun color, v.317,318.Completion, in art, when professed, should be rigorously exacted, ii. 82; of portraiture, iii. 90; on what depending, v.181; meaning of, by a good painter, v.181,191; right, v.272(note); abused, v.273.Composers, great, habit of regarding relations of things, v.178,179; determinate sketches of, v.182.Composition, definition of, v.155; use of simple conception in, ii. 148; harmony of, with true rules, ii. 150, iii. 86; transgression of laws allowable in, iv. 274; true not produced by rules, v.154; necessity of every part in, v.158; true, the noblest condition of art, v.158; law of help in, v.158,163; great, has always a leading purpose, v.163; law of perfectness, v.180.Conception, simple, nature of, ii. 147; concentrates on one idea the pleasure of many, ii. 193; how connected with verbal knowledge, ii. 148; of more than creature, impossible to creature, ii. 133, 134, 212, 215; of superhuman form, ii. 215; use of, in composition, ii. 148; ambiguity of things beautiful changes by its indistinctness, ii. 92; partial, is none, v.190.Conscience, power of association upon, ii. 35.Consistence, is life, v.156; example of its power, jewels out of mud, v.156.Crests, mountain, formation of, i. 295, iv. 197, 198; forms of, i. 295, iv. 195-209; beauty of, depends on radiant curvature, iv. 201, 204; sometimes like flakes of fire, i. 278.Crimean War, iii. 326-332.Criticism, importance of truth in, i. 48; qualifications necessary to good, i. 418, iii. 23; technical knowledge necessary to, i. 4; how it may be made useful, iii. 22; judicious, i. 11, 420; modern, general incapability and inconsistency of, i. 419; general, iii. 16; when to be contemned, i. 338; true, iii. 22.Curvature, a law of nature, ii. 46, iv. 192; two sorts of, finite and infinite, iv. 263; infinity of, in nature, ii. 46, iv. 272; curves arranged to set off each other, iv. 272; beauty of, ii. 46, iv. 263, 264, 287; beauty of moderation in, ii. 84; value of apparent proportion in, ii. 59, 60; laws of, in trees, i. 400; in running streams and torrents, i. 370; approximation of, to right lines, adds beauty, iv. 263 264, 268; in mountains, produced by rough fracture, iv. 193; beauty of catenary, iv. 279; radiating, the most beautiful, iv. 203 (note); measurement of, iv. 269 (note); of beds of slaty crystallines, wavy, iv. 150; of mountains, iv. 282, 285, 287; of aiguilles, iv. 184, 191; in stems, v.21,56; in branches, v.39,63; loss of, in engraving, v.320(note).Custom, power of, ii. 24, 34, 55; twofold operation, deadens sensation, confirms affection, ii. 24, 34, 35; Wordsworth on, iii. 293.Dante, one of the creative order of poets, iii. 156; and Shakspere, difference between, iv. 372 (note); compared with Scott, iii. 266; demons of, v.256; statement of doctrine by (damnation of heathen), v.230.Dante’s self-command, iii. 160; clear perception, iii. 156; keen perception of color, iii. 218, 220, 222, 223, 234; definiteness of his Inferno, compared with indefiniteness of Milton’s, iii. 209; ideal landscape, iii. 213; poem, formality of landscape in, iii. 209, 211; description of flame, ii. 163; description of a wood, iii. 214; makes mountains abodes of misery, iii. 231, and is insensible to their broad forms, iii. 240; conception of rocks, iii. 232, 238; declaration of mediæval faith, iii. 217; delight in white clearness of sky, iii. 242; idea of the highest art, reproduction of the aspects of things past and present, iii. 18; idea of happiness, iii. 217; representation of love, iii. 197; hatred of rocks, iii. 238, 275; repugnance to mountains, iii. 240;symbolic use of color in hewn rock, iv. 109 (note); carefulness in defining color, iii. 222; Vision of Leah and Rachel, iii. 216; use of the rush, as emblem of humility, iii. 227; love of the definite, iii. 209, 212, 223; love of light, iii. 243, 244; Spirit of Treachery, v.305; Geryon, Spirit of Fraud, v.305; universality, Straw street and highest heavens, iv. 84.David, King, true gentleman, v.263.Dead, the, can receive our honor, not our gratitude, i. 6.Death, fear of, v.231,236; conquest over, v.237; vulgarity, a form of, v.275; English and European, v.296; following the vain pursuit of wealth, power, and beauty (Venice), v.337; mingled with beauty, iv. 327; of Moses and Aaron, iv. 378-383; contrasted with life, ii. 79.Débris, curvature of, iv. 279, 284, 285; lines of projection produced by, iv. 279; various angles of, iv. 309; effect of gentle streams on, iv. 281; torrents, how destructive to, iv. 281.Deception of the senses, not the end of art, i. 22, 74, 76.Decision, love of, leads to vicious speed, i. 39.Decoration, architectural effects of light on, i. 106; use of, in representing the supernatural, ii. 219.Deity, revelation of, iv. 84; presence of, manifested in the clouds, iv. 84, 85; modes of manifestation of, in the Bible, iv. 81; his mountain building, iv. 37; warning of, in the mountains, iv. 341; art representations of, meant only as symbolic, iii. 203; purity, expressive of the presence and energy of, ii. 78, 79; finish of the works of, ii. 82, 87; communication of truth to men, ii. 137; Greek idea of, iii. 170, 177; modern idea of, as separated from the life of nature, iii. 176; presence of, in nature, i. 57, iii. 305, 306, v.85,137; manifestation of the, in nature, i. 324, iii. 196; love of nature develops a sense of the presence and power of, iii. 300, 301; directest manifestation of the, v.198.Deflection, law of, in trees, v.25,26.Delavigne, Casimir, “La toilette de Constance,” iii. 162.Details, use of variable and invariable, not the criterion of poetry, iii. 7-10; Byron’s use of, iii. 8; careful drawing of, by great men, iii. 122; use of light in understanding architectural, i. 106; swift execution secures perfection of, i. 202; false and vicious treatment of, by old masters, i. 74.Devil, the, held by some to be the world’s lawgiver, v.345.“Discord,” in Homer, Spenser, and Turner, v.309-311.Distance, effect of, on our perception of objects, i. 186, 191, 192; must sometimes be sacrificed to foreground, i. 187; effect of, on pictorial color, iv. 64; expression of infinity in, ii. 41; extreme, characterized by sharp outlines, i. 283; effect of, on mountains, i. 277, 280; early masters put details into, i. 187.Dog, as painted by various masters, v.224,255.Dragon, of Scripture, v.305; of the Greeks, v.300,305; of Dante, v.306; of Turner, v.300,307-312, 314, 316, 323.Drawing, noble, mystery and characteristic of, iv. 56, 59, 63, 214; real power of, never confined to one subject, i. 416; of mountain forms, i. 286, 305, iv. 188-191, 242; of clouds, v.111(note), 118; necessary to education, v.330(note); figure, of Turner, i. 189; questions concerning, v.36; landscape of old and modern painters, iii. 249; of artists and architects, difference between, i. 118; distinctness of, iii. 36; of Swiss pines, iv. 290; modern, of snowy mountains, unintelligible, i. 286; as taught in Encyclopædia Britannica, iv. 295; inviolable canon of, “draw only what you see,” iv. 16; should be taught every child, iii. 299.Earth, general structure of, i. 271;laws of organization of, important in art, i. 270; past and present condition of, iv. 140, 141; colors of, iv. 38; the whole not habitable, iv. 95, 96; noblest scenes of, seen by few, i. 204; man’s appointed work on, v.1; preparation of, for man, v.3; sculpturing of the dry land, iv. 89.Economy of labor, v.328.Education, value of, iii. 42; its good and bad effect on enjoyment of beauty, iii. 64; of Turner, iii. 319, v.287-297; of Scott, iii. 308; of Giorgione, v.286,287,291; of Durer, v.230,231; of Salvator, v.235,236; generally unfavorable to love of nature, iii. 298; modern, corrupts taste, iii. 65; logical, a great want of the time, iv. 384; love of picturesque, a means of, iv. 12; what to be taught in, v.328(note); what it can do, iii. 42; can improve race, v.262; of persons of simple life, v.328(note).Emotions, noble and ignoble, iii. 10; true, generally imaginative, ii. 190.Enamel, various uses of the word, iii. 221-223.Energy, necessary to repose, ii. 66; purity a type of, ii. 76; how expressed by purity of matter, ii. 79; expression of, in plants, a source of pleasure, ii. 92.English art culminated in the 13th century, iv. 350.Engraving, influence of, i. 101; system of landscape, i. 260, v.38,98,328.Evil, the indisputable fact, iv. 342; captivity to, v.217,285; contest with, v.285; conquered, v.285; recognition and conquest of, essential to highest art, v.205-209, 217; war with, v.231.Exaggeration, laws and limits of, ii. 208-210; necessary on a diminished scale, ii. 208.Excellence, meaning of the term, i. 14, 15 (note); in language, what necessary to, i. 9; the highest, cannot exist without obscurity, iv. 61; passing public opinion no criterion of, i. 1, 2; technical, superseding expression, iii. 29.Execution, meaning of the term, i. 36; three vices of, ii. 188 (note); qualities of, i. 36, 37, 39 (note); dependent upon knowledge of truth, i. 36; essential to drawing of water, i. 350; swift, details best given by, i. 202; legitimate sources of pleasures in, i. 36, 38; mystery of, necessary in rendering space of nature, i. 203; rude, when the source of noble pleasure, ii. 82 (note); determinate, v.37,38.Expression, three distinct schools of—Great, Pseudo, and Grotesque-Expressional, iv. 385; subtle, how reached, iv. 55; influence of moral in animal form, ii. 97, 98; perfect, never got without color, iv. 54 (note); unison of expressional, with technical power, where found, iii. 29; superseded by technical excellence, iii. 29; of inspiration, ii. 214; of superhuman character, how attained, ii. 213.Eye, focus of, truth of space dependent on, i. 186-190; what seen by the cultivated, iv. 71; what seen by the uncultivated, iv. 71; when necessary to change focus of, i. 186, 355; keenness of an artist’s, how tested, iv. 188.Faculty Theoretic, definition of, ii. 12, 18.Faculty Æsthetic, definition of, ii. 12, 18.Faith, derivation of the word, v.161; developed by love of nature, iii. 299; want of, iii. 252-254; our ideas of Greek, iii. 169; of the Scotch farmer, iii. 189; source and substance of all human deed, v.161; want of, in classical art, v.242; right, looks to present work, v.205; brave and hopeful, accompanies intellectual power, v.205; tranquillity of, before the Reformation, v.230; want of, in Dutch artists, v.251; of Venetians, v.218; how shown in early Christian art, iii. 49-51, v.205; in God, in nature, nearly extinct, iii. 251.Fallacy, Pathetic defined, iii. 155; not admitted by greatest poets, iii. 156; Pope’s, iii. 158; emotional temperament liable to, iii. 158; instances illustrating the, iii. 160, 167;characteristic of modern painting, iii. 168.Fancy, functions of, ii. 150; never serious, ii. 169; distinction between imagination and, ii. 166-170; restlessness of, ii. 170; morbid or nervous, ii. 200.Fear, destructive of ideal character, ii. 126; distinguished from awe, ii. 126; expressions of, only sought by impious painters, ii. 128; holy, distinct from human terror, ii. 127.Ferocity, always joined with fear, ii. 127; destructive of ideal character, ii. 126.Field Sports, v.259.Fields. See Grass.Finish, two kinds of—fallacious and faithful, iii. 109; difference between English and continental, iii. 109, 111; human often destroys nature’s, iii. 112; nature’s, of rock, iii. 112; of outline, iii. 114; vain, useless conveying additional facts, iii. 116, 123, v.271,272(note); in landscape foregrounds, i. 200; mysteriousness of, i. 193; esteemed essential by great masters, ii. 83, v.271,272(note); infinite in God’s work, ii. 82; how right and how wrong, i. 82-84, iii. 114; of tree stems, iii. 115 (plate).Firmament, definition of, iv. 83, v.148.Flowers, mediæval love of, iii. 193; mountain variety of, iv. 347; typical of the passing and the excellence of human life, iii. 227; sympathy with, ii. 91, v.88; no sublimity in, v.91; alpine, v.93; neglected by the great painters, v. 89; two chief peculiarities, v.92,93; beauty of, on what depending, v.97(note).Foam, two conditions of, i. 373; difficulty of representing, i, 373; appearance of, at Schaffhausen, i. 349; sea, how different from the “yeast” of a tempest, i. 380 (note).Foliage, an element of mountain glory, iv. 348; unity, variety, and regularity of, 394, 398; as painted on the Continent, i. 401; and by Pre-Raphaelites, i. 397; study of, by old masters, i. 384.Forbes, Professor, description of mountains, quoted, iv. 182, 235.Foreground, finer truths of, the peculiar business of a master, i. 315; lesson to be received from all, i. 323; mountain attractiveness of, i. 99; of ancient masters, i. 308, 313; increased loveliness of, when wet, iv. 245; Turner’s, i. 323, 324; must sometimes be sacrificed to distance, i. 187.Form, chiaroscuro necessary to the perception of, i. 69, 70; more important than color, i. 68-71, ii. 77, iv. 54, v.318(note); multiplicity of, in mountains, i. 280; animal, typical representation of, ii. 203, 204; without color, ii. 201; without texture, Veronese and Landseer, ii. 202; natural curvature of, ii. 60, 61; animal beauty of, depends on moral expression, ii. 98; what necessary to the sense of beauty in organic, ii. 94, 95; ideal, ii. 104, iii. 78; animal and vegetable, ii. 105; ideal, destroyed by pride, sensuality, etc., ii. 122, 123; rendering of, by photography, iv. 63; mountain, iv. 135, 139, 159-262; natural, variety of, inconceivable, iv. 189; of aiguilles, how produced, iv. 189; beauty of, dependent upon curvature, ii. 46.French art culminated in 13th century, iv. 358.Fuseli, quotations from, i. 16, ii. 153, 171.Genius, unrecognized at the time, i. 6; not the result of education, iii. 42; power of, to teach, i. 414.Gentility, an English idea, iv. 4.Gentleman, the characteristics of a, sensibility, sympathy, courage, v.263-272.German religious art, “piety” of, iii. 253.Glacier, description, iv. 137; action of, iv. 161; gradual softener of mountain form, iv. 169; non-rigidity of, v.86.Gloom, of Savoyard peasant, iv. 320; appearance of, in southern slope of Alps, iv. 326. See Mountain.Gneiss, nature of, iv. 206, 209; color of, iv. 136; Matterhorn composed of, iv. 160.God. See Deity.Gotthelf, works of, iv. 135, v.330.Gracefulness, of poplar grove, iii. 181; of willow, v.67; of Venetian art, 229.Gradation, suggestive of infinity, ii. 47; constant in nature, ii. 47; necessary to give facts of form and distance, i. 149; progress of the eye shown in sensibility to effects (Turner’s Swiss towers), iv. 71; of light, Turnerian mystery, iv. 73; in a rose, iv. 46.Granite, qualities of, iv. 109, 110; color of, iv. 136.Grass, uses of, iii. 227; type of humility and cheerfulness, and of the passing away of human life, iii. 227, 228, v.96; Greek mode of regarding as opposed to mediæval, iii. 223, 224; enamelled, Dante’s “green enamel” description of, iii. 222, 226; damp, Greek love of, iii. 222; careful drawing of, by Venetians, iii. 317; mystery in, i. 315, iii. 221; man’s love of, iii. 224; first element of lovely landscape, iii. 224.Gratitude, from what arising, ii. 15; a duty to the living can’t be paid to the dead, i. 6.Greatness, tests of, i. 323, iii. 260, 261, v.175. See Art, Artists.Greek, conception of Godhead, iii. 170, 175; art, spirit of, v.209,213; poetry, purpose of, the victory over fate, sin, and death, v.209,210; religion, the manful struggle with evil, v.211-213; ideas of truthfulness, v.267,268; mythology, v.300,307,308,322; distrust of nature, v.324; culture of human beauty, iii. 179, 180, 198, 204; landscape, composed of a fountain, meadow, and grove, iii. 181; belief in the presence of Deity in nature, iii. 169-177; absence of feeling for the picturesque, iii. 187; belief in particular gods ruling the elements, iii. 171-177; and Mediæval feeling, difference between, iii. 218; ideal of God, ii. 223; faith, compared with that of an old Scotch farmer, iii. 188; feeling about waves, iii. 169; indifference to color, iii. 219, 220; life, healthy, iii. 175; formalism of ornament, iii. 208; not visionary, iii. 188; delight in trees, meadows, gardens, caves, poplars, flat country, and damp grass, iii. 182-186, 221; preference of utility to beauty, iii. 181, 185; love of order, iii. 181, 189; coins, v.36; description of clouds, v.137-144; design, v.196.Grief, a noble emotion, ii. 129, iii. 10.Grotesque, third form of the Ideal, iii. 92-107; three kinds of, iii. 92; noble, iii. 93, 102; true and false (mediæval and classical) griffins, iii. 101-107; Spenser’s description of Envy, iii. 94; how fitted for illumination, iii. 101; modern, iv. 385-403.Grotesque Expressional, iv. 385; modern example of, “Gen. Fèvrier turned traitor,” iv. 388.Habit, errors induced by; embarrasses the judgment, ii. 24; modifying effects of, ii. 32; power of, how typified, iv. 215. See Custom.Heavens, fitfulness and infinity of, i. 135; means in Scripture, clouds, iv. 86; relation of, to our globe, iv. 88, v.148; presence of God in, iv. 88; Hebrew, Greek, and Latin names for, v.147-150; meaning of, in 19th Psalm, v.148.Help, habit of, the best part of education, v.328(note).Helpfulness, law of, v.155-158; of inventive power, v.192. See Consistence.Homer, a type of the Greek mind, iii. 188; poetical truth of, iii. 162; idea of the Sea-power, iii. 169; intense realism, iii. 185; conception of rocks, iii. 232, 239-241; pleasure in woody-scenery, iii. 184, 212; love of aspens, iii. 182, 185; love of symmetry, iii. 180; pleasure in utility, iii. 181, 184, 185; ideal of landscape, iii. 179-182; feelings traceable in his allusion to flowers, iii. 226; Michael Angelo compared to, by Reynolds, iii. 13; poetry of, v.209; Iliad and Odyssey of, v.210,211,309; his “Discord,” v.308; the victory over fate, sin, and death, v.209; heroic spirit of, v.211,212; pride of, v.217; faith of, v.217.Hooker, his definition of a law, ii. 84; referred to, ii. 9, 14, 24; quotation from, on Divine Unity, ii. 50; quotation on exactness of nature, ii. 82.Horse, Greek and Roman treatment of, v.257; Vandyke, first painter of, v.258.Humility, means a right estimate of one’s own powers, iii. 260; how symbolized by Dante, iii. 227; a test of greatness, iii. 260; inculcated by science, iii. 256; necessity of, to enjoyment of nature, iii. 269, iv. 69; grass, a type of, iii. 226, 228, v.96; of inventive power, v.192; distinguishing mark between the Christian and Pagan spirit, iii. 226.Ideal, definition of the word, i. 28; its two senses referring to imagination or to perfection of type, ii. 102, 103; how to be attained, i. 44; form in lower animals, ii. 104; form in plants, ii. 105; of form to be preserved in art by exhibition of individuality, ii. 109, 210; the bodily, effect of intellect and moral feelings on, ii. 113-115; form, of what variety susceptible, ii. 221; of human form, destroyed by expression of corrupt passions, ii. 122, 129; of humanity, how to be restored, ii. 112, 118, 121; form to be obtained only by portraiture, ii. 119, iii. 78; form, necessity of love to the perception of, ii. 121, 130; pictures, interpreters of nature, iii. 141; general, of classical landscape, v.244; modern pursuit of the, iii. 44, 65, 69; Angelican, iii. 49, 57, v.283, i. 82; false Raphaelesque, iii. 53-57.Ideal, the true, faithful pursuit of, in the business of life, iii. 44; relation of modern sculpturesque to the, iii. 63; operation of, iii. 77; three kinds of—Purist, Naturalist, and Grotesque (see below), iii. 71.Ideal, true grotesque, iii. 92-107; limited expression of, iii. 99, 100.Ideal, true naturalist, character of, iii. 77-91; high, necessity of reality in, iii. 80, 81, 91; its operation on historical art, iii. 89-91; in landscape produces the heroic, v.206.Ideal, true purist, iii. 71-76.Ideal, false, various forms of, iii. 69, iv. 308, 310 (plates); results of pursuit of the, iii. 61, 63; religious, iii. 44, 60; well-executed, dulls perception of truth, iii. 48-52; profane, iii. 61-69; of the modern drama, iv. 321.Ideal, superhuman, ii. 212, 224; expression of, by utmost degree of human beauty, ii. 214.Ideality, not confined to one age or condition, ii. 109-117; expressible in art, by abstraction of form, color, or texture, ii. 201.Illumination, distinguished from painting by absence of shadow, iii. 99; pigments used in, iii. 223; decline of the art of, to what traceable, iv. 359; of MSS. in thirteenth century, illustrating treatment of natural form, iii. 207, 208, iv. 76; of MSS. in fifteenth century, illustrating treatment of landscape art, iii. 201; of MSS. in sixteenth century, illustrating idea of rocks, iii. 239; of missals, illustrating later ideas of rocks and precipices, iv. 253; of missal in British Museum, illustrating German love of horror, iv. 328; of MSS. in fifteenth century, German coarseness contrasted with grace and tenderness of thirteenth century, iv. 335; representation of sun in, iii. 318.Imagination, threefold operation of, ii. 146; why so called, iii. 132; defined, ii. 151; functions of, ii. 10, 143, 188, iii. 45, iv. 31; how strengthened by feeding on truth and external nature, i. 427, ii. 191; tests of presence of, ii. 155, 169, 207; implies self-forgetfulness, i. 306; importance of in art, iii. 38; Dugald Stewart’s definition of, ii. 143, 145; conscious of no rules, ii. 155; makes use of accurate knowledge, ii. 109, iii. 40; noble only when truthful, ii. 161, iii. 123, iv. 30; entirety of its grasp, ii. 156, 179, v.187,190; its delight in the character of repose, ii. 66; verity of, ii. 161, 188, 211, iii. 30, 107, 133; power of, ii. 158, 206, iii. 10, 11, 131, 287, iv. 19, 30; calmness essential to, v.191;always the seeing and asserting faculty, iii. 211; charm of expectant, iv. 131; pleasure derived from, how enhanced, iii. 281; highest form of, ii. 146; always right when left to itself, iii. 106; how excited by mountain scenery, iv. 23, 222, v.216,235; influence of clouds on, v.141; searching apprehension of, ii. 164, 165, 169, 183, 188, 195, iii. 107; distinguished from fancy, ii. 166-170, 194, 201; signs of, in language, ii. 165; how shown in sculpture, ii. 184-187; work of, distinguished from composition, ii. 154-158; what necessary to formation of, v.189-191.Imagination, penetrative, ii. 163-191; associative, ii. 147-162; contemplative, ii. 192-211.Imitation, power of deceiving the senses, i. 17; why reprehensible, i. 18, 19, 21, 34, 73, 416, iv. 136; no picture good which deceives by, i. 25; when right, in architectural ornament, ii. 205; of flowers, v.92; was least valued in the thirteenth century, iii. 18, 199, 209; general pleasure in deceptive effects of, iii. 16; when made an end of art, i. 74, 143; began, as a feature of art, about 1300, iii. 203; of what impossible, i. 77, 157, 164, 371, 372, ii. 203, iii. 20, 129, v.91; definition of ideas of, i. 13, 20.Infinity, typical of redeemed life, iv. 80; expressed in nature by curvature and gradation, ii. 45-48; of gradation, i. 210, 224, ii. 47; of variety in nature’s coloring, i. 168, 172, 325, iv. 127; of nature’s fulness, i. 195, v.99; of clouds, i. 218, 235, v.110,113; of detail in mountains, i. 290, 297; of curvature, i. 315, ii. 60, iv. 262-269, v.39; expressed by distance, ii. 41; not implied by vastness, ii. 49; the cause of mystery, iv. 58; of mountain vegetation, iv. 288; absence of, in Dutch work, v.37; general delight in, ii. 42-44.Inspiration, the expression of the mind of a God-made great man, iii. 141; expression of, on human form, ii. 214; as manifested in impious men, ii. 137, 138; revelations made by, how communicable, ii. 133; condition of prophetic, iii. 159.Intellect, how affected by novelty, ii. 54; how connected with pleasure derived from art, i. 10, 28; its operation upon the features, ii. 113-115; connection of beauty with, i. 27; how influenced by state of heart, ii. 17, 114; affected by climatic influences, v.134; how rendered weak, v.205,247; abuse of, v.266(note); culture of, in mechanical arts, v.328(note); comparison between Angelico’s, Salvator’s, Durer’s, and Giorgione’s, v.284,285; beauty of animal form increased by expression of, ii. 98; decay of, shown by love of the horrible, iv. 328; popular appreciation of, i. 418; influence of mountain scenery on, iv. 274, 351-363; condition of, in English and French nations, from thirteenth to sixteenth century, iv. 358; great humility of, iii. 260; seriousness of, iii. 258; sensibility of, iii. 159, 286; power of, in controlling emotions, iii. 160; sees the whole truth, v.205; greater, not found in minds of purest religious temper, v.204.
Abstraction necessary, when realization is impossible, ii. 206.
Æsthetic faculty, defined, ii. 12, 16.
Age, the present, mechanical impulse of, iii. 301, 302; spirit of, iii. 302, 303; our greatest men nearly all unbelievers, iii. 253, 264; levity of, ii. 170. See Modern.
Aiguilles, structure of, iv. 174; contours of, iv. 178, 190; curved cleavage of, iv. 186, 192, 193, 210-214; angular forms of, iv. 179, 191; how influencing the earth, iv. 193; Dez Charmoz, sharp horn of, iv. 177; Blaitière, curves of, iv. 185-188; of Chamouni, sculpture of, 160, 182. See Local Index.
Alps, Tyrolese, v.216; aërialness of, at great distances, i. 277; gentians on, v.89; roses on, v.99; pines on, iv. 290, v.86; ancient glaciers of, iv. 169; color of, iii. 233; influence of, on Swiss character, iv. 356, v.83; general structure of, iv. 164; higher, impossible to paint snow mountains, iv. 240; precipices of, iv. 260, 261; suggestive of Paradise, iv. 346; sunrise in, i. 264. See Mountains.
Anatomy, development of, admissible only in subordination to laws of beauty, ii. 221; not to be substituted for apparent aspect, iv. 187.
Animals, proportion in, ii. 58 (note), 64; moral functions of, ii. 94, 95, 97; lower ideal form of, ii. 104; noble qualities of, v.203.
Animal Painting, of the Dutch school, v.254,258; of the Venetian, 255, 258; of the moderns, v.257,273.
Architecture, influence of bad, on artists, iii. 311; value of signs of age in, i. 104, 106; importance of chiaroscuro in rendering of, i. 106, 107; early painting of, how deficient, i. 103; how regarded by the author, v.197; Renaissance chiefly expressive of pride, iii. 63; lower than sculpture or painting, the idea of utility being dominant, ii. 10 (note); and trees, coincidences between, v.19; of Nuremberg, v.232; Venetian, v.295.
Art, definition of greatness in, i. 8, 11, iii. 3-10, 39; imitative, noble or ignoble according to its purpose, iii. 20, 202; practical, ii. 8; theoretic, ii. 8; profane, iii. 61; ideality of, ii. 110; in what sense useful, ii. 3, 4; perfection of, in what consisting, i. 357; first aim of, the representation of facts, i. 45, 46; highest aim of, the expression of thought, i. 45, 46; truth, a just criterion of, i. 48; doubt as to the use of, iii. 19; laws of, how regarded by imaginative and unimaginative painters, ii. 155; neglect of works of, ii. 6, 8 (note); nobleness of, in what consisting, iii. 21, 22; noble, right minuteness of, v.175; meaning of “style,” different selection of particular truths to be indicated, i. 95; bad, evil effects of the habitual use of, iv. 334; love of, the only effective patronage, ii. 3; sacred, general influence of, iii. 55; misuse of, in religious services, iii. 59, 60; religious, of Italy, abstract, iii. 48, 58, v.219; religious, of Venice, Naturalistic, iii. 78, v.214,226; Christian, divisible into two great masses, symbolic and imitative, iii. 203; Christian, opposed to pagan, ii. 222, 223; “Christian,” denied, the flesh, v.203; high, consists in the truthful presentation of the maximum of beauty, iii. 34;high, modern ideal of, iii. 65; highest, purely imaginative, iii. 39; highest, dependent on sympathy, iv. 9; highest, chiaroscuro necessary in, i. 79; modern, fatal influence of the sensuality of, iii. 65; allegorical, iii. 95; essays on, by the author, distinctive character of, v. preface, x. v.196; influence of climate on, v.133; influence of scenery on, v.214,232,235,287; Venetian, v.188,214,226; classical defined, v.242; Angelican, iii. 50-57, v.282; Greek, v.209; Dutch, v.277. See Painting, Painters.
Art, Great, definition of, i. 8-11, iii. 3, 10, 41; characteristics of, i. 305, iii. 26-41, 88, v.158,175,178,202; not to be taught, iii. 43, 141; the expression of the spirits of great men, iii. 43, v.179; represents something seen and believed, iii. 80; sets forth the true nature and authority of freedom, v.203; relation of, to man, v.203. See Style.
Artists, danger of spirit of choice to, ii. 26; right aim of, i. 425, 426, iii. 19; their duty in youth, to begin as patient realists, i. 423; choice of subject by, ii. 188, iii. 27, 28, iii. 35, iv. 290, iv. 18 (note); should paint what they love, ii. 217; mainly divided into two classes, i. 74, 315; necessity of singleness of aim in, i. 423, 424, v.179. See Painters.
Artists, Great, characteristics of, i. 8, 123, 327, ii. 42, iii. 26-41; forgetfulness of self in, i. 84; proof of real imagination in, i. 306; calmness of, v.191; delight in symbolism, iii. 93; qualities of, v.191; keenness of sight in, iv. 188; sympathy of, with nature, ii. 90, iii. 177, iv. 13, 70, ii. 92; with humanity, iv. 9, 11, 13, iii. 63, ii. 169, v.198,203; live wholly in their own age, iii. 90.
Artists, Religious, ii. 174, 176, 180, 216, iii. 48-60, iv. 355; imaginative and unimaginative, distinction between, ii. 154, 156; history of the Bible has yet to be painted, iii. 58.
Asceticism, ii. 114, three forms of, v.325.
Association, of two kinds, accidental and rational, ii. 33, 34; unconscious influence of, ii. 34; power of, iii. 17, ii. 45, v.216; charm of, by whom felt, iii. 292, 309; influence of, on enjoyment of landscape, iii. 289.
Bacon, master of the science of essence, iii. 307; compared with Pascal, iv. 361.
Banks, formation of, iv. 262; curvature of, iv. 262, 278, 282; luxuriant vegetation of, iv. 125.
Beauty, definition of the term (pleasure-giving) i. 26, 27; sensations of, instinctive, i. 27, ii. 21, 46, 135; vital, ii. 88, 100, 110; typical, ii. 28, 38, 85, 115, 135; error of confounding truth with, iii. 31 (note); of truths of species, i. 60; of curvature, ii. 46, iv. 192, 197, 200, 262, 263, 264; love of, in great artists, iii. 33, v.209; moderation essential to, ii. 84; ideas of, essentially moral, ii. 12, 18; repose, an unfailing test of, ii. 68, 108; truth the basis of, i. 47, ii. 136; how far demonstrable by reason, ii. 27; ideas of, exalt and purify the human mind, i. 26, 27; not dependent on the association of ideas, ii. 33, 34; the substitution of, for truth, erroneous, iii. 61, 254; sense of, how degraded and how exalted, ii. 17, 18, v.209; of the sea, v.215; influence of moral expression on, ii. 96, 97; lovers of, how classed, iii. 33; consequences of the reckless pursuit of, iii. 23; modern destruction of, v.325; Renaissance, principles of, to what tending, iii. 254; false opinions respecting, ii. 28, 29, 30, 136; arising out of sacrifice, v.53; sense of, often wanting in good men, ii. 135, 138; false use of the word, ii. 28; not necessary to our being, ii. 16; unselfish sympathy necessary to sensations of, ii. 17, 93; degrees of love for, in various authors, iii. 285, 288; and sublimity, connection between, i. 42; custom not destructive to, ii. 32; natural, Scott’s love of, iii. 271, 272; natural, lessons to be learnt from investigation of, v.147; natural, when terrible, v.197; of animal form, depends on moral expression, ii. 97, 98;Alison’s false theory of association, ii. 28, 33; sense of, how exalted by affection, ii. 18; abstract of form, how dependent on curvature, iv. 262, 263; ideal, definition of, i. 28; physical, iii. 67; physical, Venetian love of, v.295; vulgar pursuit of, iii. 67.
Beauty, human, ancient, and mediæval admiration of, iii. 197, 198; Venetian painting of, v.227; consummation not found on earth, ii. 134; Greek love of, iii. 177, 189, 197; culture of, in the middle ages, iii. 197.
Beauty of nature, character of minds destitute of the love of, iii. 296.
Benevolence, wise purchase the truest, v.328(note).
Browning, quotation on Renaissance spirit, iv. 369.
Buds, typical of youth, iii. 206; difference in growth of, v.8; formation and position of, v.11,14,17,27; of horse-chestnut, v.19; accommodating spirit of, v.53; true beauty of, from what arising, v.53; sections and drawings of, v.13,73,74.
Business, proper, of man in the world, iii. 44, 336.
Byron, use of details by, iii. 8; character of works of, iii. 235, 263, 266, 270, 296, i. 3 (note); love of nature, iii. 285, 288, 295, 297; use of color by, iii. 235; death, without hope, v.350.
Carlyle, iii. 253; on clouds, v.107.
Cattle, painting of, v.259,260.
Change, influence of, on our senses, ii. 54; love of, an imperfection of our nature, ii. 54, 55.
Charity, the perfection of the theoretic faculty, ii. 90; exercise of, its influence on human features, ii. 115.
Chasteness, meaning of the term, ii. 81.
Chiaroscuro, truth of, i. 173-184; contrasts of systems of, iv. 41; great principles of, i. 173, 180; necessity of, in high art, i. 181; necessity of, in expressing form, i. 69, 70; nature’s contrasted with man’s, i. 141; natural value of, i. 182; rank of deceptive effects in, i. 73; fatal effects of, on art, iii. 140 (note); treatment of, by Venetian colorists, iv. 45, 46.
Chiaroscurists, advantages of, over colorists, iv. 48.
Choice, spirit of, dangerous, ii. 26, iv. 18 (note); of love, in rightly tempered men, ii. 137; importance of sincerity of, iii. 27, 35; effect of, on painters, iii. 28; of subject, when sincere, a criterion of the rank of painters, iii. 27; difference of, between great and inferior artists, iii. 35; of subject, painters should paint what they love, ii. 219; error of Pre-Raphaelites, iv. 19.
City and country life, influence of, v.4,5.
Classical landscape, iii. 168, 190; its features described, v.242; spirit, its resolute degradation of the lower orders, v.243(note).
Clay, consummation of, v.157.
Cliffs, formation of, iv. 146, 149, 158, 241; precipitousness of, iv. 230, 257; Alpine, stability of, iv. 261; Alpine, sublimity of, iv. 245, 261, v.81; common mistake respecting structure of, iv. 297. See Mountains.
Clouds, questions respecting, v.101-107, 110-113; truth of, i. 216, 266; light and shade in, iv. 36; scriptural account of their creation, iv. 82-88; modern love of, iii. 244, 248; classical love of, iii. 245; connected with, not distinct from the sky, i. 207; balancings, v.101-107; high, at sunset, i. 161; massive and striated, v.108; method of drawing, v.111(note); perspective of, v.114-121; effects of moisture, heat, and cold, on formation of, v.131; “cap-cloud,” v.124; “lee-side cloud,” v.124,125; mountain drift, v.127,128; variety of, at different elevations, i. 216; brighter than whitest paper, iv. 36; never absent from a landscape, iv. 69; supremacy of, in mountain scenery, iv. 349; level, early painters’ love of, iii. 244; love of, by Greek poets, iii. 244; as represented by Aristophanes, iii. 249, v.139;Dante’s dislike of, iii. 244; wave-band, sign of, in thirteenth century art, iii. 209; Cirrus, or Upper Region, extent of, i. 217, v.109; color of, i. 224, v.119,120,149; purity of color of, i. 219; sharpness of edge of, i. 218; symmetrical arrangement of, i. 217; multitude of, i. 218, v.109,110; Stratus, or Central Region, extent of, i. 226; connection of with mountains, v.123; majesty of, v.122; arrangement of, i. 228; curved outlines of, i. 64, 229; perfection and variety of, i. 229, v.111,112; Rain, regions of, definite forms in, i. 245, v.122-138; difference in colors of, i. 244, v.136; pure blue sky, only seen through the, i. 256; heights of, v.137(note); functions of, v.135,137; condition of, on Yorkshire hills, v.141; influence of, on high imagination, v.141.
Color, truth of, i. 67-71, 155, 173; purity of, means purity of colored substance, ii. 75, 79; purity of in early Italian masters, ii. 220; the purifier of material beauty, v.320(note); associated with purity, life, and light, iv. 53, 123, v.320; contrasts of, iv. 40; gradation of, ii. 47, 48; dulness of, a sign of dissolution, iv. 124; effect of distance on, iv. 64, 65; effect of gradation in, iv. 71; noble, found in things innocent and precious, iv. 48; pale, are deepest and fullest in shade, iv. 42; sanctity of, iv. 52, v.320(note), 149, 319; true dignity of, v.318,320(note), effect of falsifying, v.321(note); Venetian love of, v.212; rewards of veracity in, v.321(note); of sunshine, contrasted with sun color, v.317,318; perfect, the rarest art power, v.320(note); pleasure derived from, on what depending, i. 10; chord of perfect, iii. 99, v.317,318, iii. 275, iv. 52; anything described by words as visible, may be rendered by, iii. 97; variety of, in nature, i. 70, 168; no brown in nature, iii. 235; without texture, Veronese and Landseer, ii. 202; without form, ii. 202; faithful study of, gives power over form, iv. 54, v.320(note); perception of form not dependent on, ii. 77, v.320(note); effect of atmosphere on distant, i. 97, iv. 188; less important than light, shade, and form, i. 68, 172, v.321(note); sombreness of modern, iii. 251, 257; sentimental falsification of, iii. 31; arrangement of, by the false idealist and naturalist, iii. 77; done best by instinct (Hindoos and Chinese), iii. 87; use of full, in shadow, very lovely, iv. 46, v.317; ground, use of, by great painters, v.188,190; nobleness of painting dependent on, v.316; a type of love, v.319,320(note); use of, shadowless in representing the supernatural, ii. 219; right splendor of in flesh painting, ii. 124; delicate, of the idealists, ii. 221; local, how far expressible in black and white, i. 404; natural, compared with artificial, i. 157; destroyed by general purple tone, i. 169; manifestation of, in sunsets, i. 161, 210; quality of, owes part of its brightness to light, i. 140, 148; natural, impossibility of imitating (too intense), i. 157, 164; imitative, how much truth necessary to, i. 22; effect of association upon, i. 69; delight of great men in, iii. 257; cause of practical failures, three centuries’ want of practice, iii. 257; mediæval love of, iii. 231; Greek sense of, iii. 219; brightness of, when wet, iv. 244; difference of, in mountain and lowland scenery, iv. 346, 347; great power in, sign of art intellect, iv. 55; why apparently unnatural when true, iv. 40, v.317; of near objects, may be represented exactly, iv. 39; of the earth, iv. 38; in stones, iv. 129, 305; in crystalline rocks and marbles, iv. 104, 106, 107, 129, 135; of mosses, iv. 130, v.99; solemn moderation in, ii. 84, 85; of mountains, i. 157, 158, 168, iv. 351; on buildings, improved by age, i. 105; of the open sky, i. 206; of clouds, v.120,121,136,149; reflected, on water, i. 330, 332; of form, i. 349; of old masters, i. 159; of the Apennines, contrasted with the Alps, iii. 233; of water, i. 349; the painter’s own proper work, v.316.
Colorists, contrasts of, iv. 40; advantages of, over chiaroscurists, iv. 47-51;great, use of green by, i. 159 (note); seven supreme, v.318(note); great, painting of sun color, v.317,318.
Completion, in art, when professed, should be rigorously exacted, ii. 82; of portraiture, iii. 90; on what depending, v.181; meaning of, by a good painter, v.181,191; right, v.272(note); abused, v.273.
Composers, great, habit of regarding relations of things, v.178,179; determinate sketches of, v.182.
Composition, definition of, v.155; use of simple conception in, ii. 148; harmony of, with true rules, ii. 150, iii. 86; transgression of laws allowable in, iv. 274; true not produced by rules, v.154; necessity of every part in, v.158; true, the noblest condition of art, v.158; law of help in, v.158,163; great, has always a leading purpose, v.163; law of perfectness, v.180.
Conception, simple, nature of, ii. 147; concentrates on one idea the pleasure of many, ii. 193; how connected with verbal knowledge, ii. 148; of more than creature, impossible to creature, ii. 133, 134, 212, 215; of superhuman form, ii. 215; use of, in composition, ii. 148; ambiguity of things beautiful changes by its indistinctness, ii. 92; partial, is none, v.190.
Conscience, power of association upon, ii. 35.
Consistence, is life, v.156; example of its power, jewels out of mud, v.156.
Crests, mountain, formation of, i. 295, iv. 197, 198; forms of, i. 295, iv. 195-209; beauty of, depends on radiant curvature, iv. 201, 204; sometimes like flakes of fire, i. 278.
Crimean War, iii. 326-332.
Criticism, importance of truth in, i. 48; qualifications necessary to good, i. 418, iii. 23; technical knowledge necessary to, i. 4; how it may be made useful, iii. 22; judicious, i. 11, 420; modern, general incapability and inconsistency of, i. 419; general, iii. 16; when to be contemned, i. 338; true, iii. 22.
Curvature, a law of nature, ii. 46, iv. 192; two sorts of, finite and infinite, iv. 263; infinity of, in nature, ii. 46, iv. 272; curves arranged to set off each other, iv. 272; beauty of, ii. 46, iv. 263, 264, 287; beauty of moderation in, ii. 84; value of apparent proportion in, ii. 59, 60; laws of, in trees, i. 400; in running streams and torrents, i. 370; approximation of, to right lines, adds beauty, iv. 263 264, 268; in mountains, produced by rough fracture, iv. 193; beauty of catenary, iv. 279; radiating, the most beautiful, iv. 203 (note); measurement of, iv. 269 (note); of beds of slaty crystallines, wavy, iv. 150; of mountains, iv. 282, 285, 287; of aiguilles, iv. 184, 191; in stems, v.21,56; in branches, v.39,63; loss of, in engraving, v.320(note).
Custom, power of, ii. 24, 34, 55; twofold operation, deadens sensation, confirms affection, ii. 24, 34, 35; Wordsworth on, iii. 293.
Dante, one of the creative order of poets, iii. 156; and Shakspere, difference between, iv. 372 (note); compared with Scott, iii. 266; demons of, v.256; statement of doctrine by (damnation of heathen), v.230.
Dante’s self-command, iii. 160; clear perception, iii. 156; keen perception of color, iii. 218, 220, 222, 223, 234; definiteness of his Inferno, compared with indefiniteness of Milton’s, iii. 209; ideal landscape, iii. 213; poem, formality of landscape in, iii. 209, 211; description of flame, ii. 163; description of a wood, iii. 214; makes mountains abodes of misery, iii. 231, and is insensible to their broad forms, iii. 240; conception of rocks, iii. 232, 238; declaration of mediæval faith, iii. 217; delight in white clearness of sky, iii. 242; idea of the highest art, reproduction of the aspects of things past and present, iii. 18; idea of happiness, iii. 217; representation of love, iii. 197; hatred of rocks, iii. 238, 275; repugnance to mountains, iii. 240;symbolic use of color in hewn rock, iv. 109 (note); carefulness in defining color, iii. 222; Vision of Leah and Rachel, iii. 216; use of the rush, as emblem of humility, iii. 227; love of the definite, iii. 209, 212, 223; love of light, iii. 243, 244; Spirit of Treachery, v.305; Geryon, Spirit of Fraud, v.305; universality, Straw street and highest heavens, iv. 84.
David, King, true gentleman, v.263.
Dead, the, can receive our honor, not our gratitude, i. 6.
Death, fear of, v.231,236; conquest over, v.237; vulgarity, a form of, v.275; English and European, v.296; following the vain pursuit of wealth, power, and beauty (Venice), v.337; mingled with beauty, iv. 327; of Moses and Aaron, iv. 378-383; contrasted with life, ii. 79.
Débris, curvature of, iv. 279, 284, 285; lines of projection produced by, iv. 279; various angles of, iv. 309; effect of gentle streams on, iv. 281; torrents, how destructive to, iv. 281.
Deception of the senses, not the end of art, i. 22, 74, 76.
Decision, love of, leads to vicious speed, i. 39.
Decoration, architectural effects of light on, i. 106; use of, in representing the supernatural, ii. 219.
Deity, revelation of, iv. 84; presence of, manifested in the clouds, iv. 84, 85; modes of manifestation of, in the Bible, iv. 81; his mountain building, iv. 37; warning of, in the mountains, iv. 341; art representations of, meant only as symbolic, iii. 203; purity, expressive of the presence and energy of, ii. 78, 79; finish of the works of, ii. 82, 87; communication of truth to men, ii. 137; Greek idea of, iii. 170, 177; modern idea of, as separated from the life of nature, iii. 176; presence of, in nature, i. 57, iii. 305, 306, v.85,137; manifestation of the, in nature, i. 324, iii. 196; love of nature develops a sense of the presence and power of, iii. 300, 301; directest manifestation of the, v.198.
Deflection, law of, in trees, v.25,26.
Delavigne, Casimir, “La toilette de Constance,” iii. 162.
Details, use of variable and invariable, not the criterion of poetry, iii. 7-10; Byron’s use of, iii. 8; careful drawing of, by great men, iii. 122; use of light in understanding architectural, i. 106; swift execution secures perfection of, i. 202; false and vicious treatment of, by old masters, i. 74.
Devil, the, held by some to be the world’s lawgiver, v.345.
“Discord,” in Homer, Spenser, and Turner, v.309-311.
Distance, effect of, on our perception of objects, i. 186, 191, 192; must sometimes be sacrificed to foreground, i. 187; effect of, on pictorial color, iv. 64; expression of infinity in, ii. 41; extreme, characterized by sharp outlines, i. 283; effect of, on mountains, i. 277, 280; early masters put details into, i. 187.
Dog, as painted by various masters, v.224,255.
Dragon, of Scripture, v.305; of the Greeks, v.300,305; of Dante, v.306; of Turner, v.300,307-312, 314, 316, 323.
Drawing, noble, mystery and characteristic of, iv. 56, 59, 63, 214; real power of, never confined to one subject, i. 416; of mountain forms, i. 286, 305, iv. 188-191, 242; of clouds, v.111(note), 118; necessary to education, v.330(note); figure, of Turner, i. 189; questions concerning, v.36; landscape of old and modern painters, iii. 249; of artists and architects, difference between, i. 118; distinctness of, iii. 36; of Swiss pines, iv. 290; modern, of snowy mountains, unintelligible, i. 286; as taught in Encyclopædia Britannica, iv. 295; inviolable canon of, “draw only what you see,” iv. 16; should be taught every child, iii. 299.
Earth, general structure of, i. 271;laws of organization of, important in art, i. 270; past and present condition of, iv. 140, 141; colors of, iv. 38; the whole not habitable, iv. 95, 96; noblest scenes of, seen by few, i. 204; man’s appointed work on, v.1; preparation of, for man, v.3; sculpturing of the dry land, iv. 89.
Economy of labor, v.328.
Education, value of, iii. 42; its good and bad effect on enjoyment of beauty, iii. 64; of Turner, iii. 319, v.287-297; of Scott, iii. 308; of Giorgione, v.286,287,291; of Durer, v.230,231; of Salvator, v.235,236; generally unfavorable to love of nature, iii. 298; modern, corrupts taste, iii. 65; logical, a great want of the time, iv. 384; love of picturesque, a means of, iv. 12; what to be taught in, v.328(note); what it can do, iii. 42; can improve race, v.262; of persons of simple life, v.328(note).
Emotions, noble and ignoble, iii. 10; true, generally imaginative, ii. 190.
Enamel, various uses of the word, iii. 221-223.
Energy, necessary to repose, ii. 66; purity a type of, ii. 76; how expressed by purity of matter, ii. 79; expression of, in plants, a source of pleasure, ii. 92.
English art culminated in the 13th century, iv. 350.
Engraving, influence of, i. 101; system of landscape, i. 260, v.38,98,328.
Evil, the indisputable fact, iv. 342; captivity to, v.217,285; contest with, v.285; conquered, v.285; recognition and conquest of, essential to highest art, v.205-209, 217; war with, v.231.
Exaggeration, laws and limits of, ii. 208-210; necessary on a diminished scale, ii. 208.
Excellence, meaning of the term, i. 14, 15 (note); in language, what necessary to, i. 9; the highest, cannot exist without obscurity, iv. 61; passing public opinion no criterion of, i. 1, 2; technical, superseding expression, iii. 29.
Execution, meaning of the term, i. 36; three vices of, ii. 188 (note); qualities of, i. 36, 37, 39 (note); dependent upon knowledge of truth, i. 36; essential to drawing of water, i. 350; swift, details best given by, i. 202; legitimate sources of pleasures in, i. 36, 38; mystery of, necessary in rendering space of nature, i. 203; rude, when the source of noble pleasure, ii. 82 (note); determinate, v.37,38.
Expression, three distinct schools of—Great, Pseudo, and Grotesque-Expressional, iv. 385; subtle, how reached, iv. 55; influence of moral in animal form, ii. 97, 98; perfect, never got without color, iv. 54 (note); unison of expressional, with technical power, where found, iii. 29; superseded by technical excellence, iii. 29; of inspiration, ii. 214; of superhuman character, how attained, ii. 213.
Eye, focus of, truth of space dependent on, i. 186-190; what seen by the cultivated, iv. 71; what seen by the uncultivated, iv. 71; when necessary to change focus of, i. 186, 355; keenness of an artist’s, how tested, iv. 188.
Faculty Theoretic, definition of, ii. 12, 18.
Faculty Æsthetic, definition of, ii. 12, 18.
Faith, derivation of the word, v.161; developed by love of nature, iii. 299; want of, iii. 252-254; our ideas of Greek, iii. 169; of the Scotch farmer, iii. 189; source and substance of all human deed, v.161; want of, in classical art, v.242; right, looks to present work, v.205; brave and hopeful, accompanies intellectual power, v.205; tranquillity of, before the Reformation, v.230; want of, in Dutch artists, v.251; of Venetians, v.218; how shown in early Christian art, iii. 49-51, v.205; in God, in nature, nearly extinct, iii. 251.
Fallacy, Pathetic defined, iii. 155; not admitted by greatest poets, iii. 156; Pope’s, iii. 158; emotional temperament liable to, iii. 158; instances illustrating the, iii. 160, 167;characteristic of modern painting, iii. 168.
Fancy, functions of, ii. 150; never serious, ii. 169; distinction between imagination and, ii. 166-170; restlessness of, ii. 170; morbid or nervous, ii. 200.
Fear, destructive of ideal character, ii. 126; distinguished from awe, ii. 126; expressions of, only sought by impious painters, ii. 128; holy, distinct from human terror, ii. 127.
Ferocity, always joined with fear, ii. 127; destructive of ideal character, ii. 126.
Field Sports, v.259.
Fields. See Grass.
Finish, two kinds of—fallacious and faithful, iii. 109; difference between English and continental, iii. 109, 111; human often destroys nature’s, iii. 112; nature’s, of rock, iii. 112; of outline, iii. 114; vain, useless conveying additional facts, iii. 116, 123, v.271,272(note); in landscape foregrounds, i. 200; mysteriousness of, i. 193; esteemed essential by great masters, ii. 83, v.271,272(note); infinite in God’s work, ii. 82; how right and how wrong, i. 82-84, iii. 114; of tree stems, iii. 115 (plate).
Firmament, definition of, iv. 83, v.148.
Flowers, mediæval love of, iii. 193; mountain variety of, iv. 347; typical of the passing and the excellence of human life, iii. 227; sympathy with, ii. 91, v.88; no sublimity in, v.91; alpine, v.93; neglected by the great painters, v. 89; two chief peculiarities, v.92,93; beauty of, on what depending, v.97(note).
Foam, two conditions of, i. 373; difficulty of representing, i, 373; appearance of, at Schaffhausen, i. 349; sea, how different from the “yeast” of a tempest, i. 380 (note).
Foliage, an element of mountain glory, iv. 348; unity, variety, and regularity of, 394, 398; as painted on the Continent, i. 401; and by Pre-Raphaelites, i. 397; study of, by old masters, i. 384.
Forbes, Professor, description of mountains, quoted, iv. 182, 235.
Foreground, finer truths of, the peculiar business of a master, i. 315; lesson to be received from all, i. 323; mountain attractiveness of, i. 99; of ancient masters, i. 308, 313; increased loveliness of, when wet, iv. 245; Turner’s, i. 323, 324; must sometimes be sacrificed to distance, i. 187.
Form, chiaroscuro necessary to the perception of, i. 69, 70; more important than color, i. 68-71, ii. 77, iv. 54, v.318(note); multiplicity of, in mountains, i. 280; animal, typical representation of, ii. 203, 204; without color, ii. 201; without texture, Veronese and Landseer, ii. 202; natural curvature of, ii. 60, 61; animal beauty of, depends on moral expression, ii. 98; what necessary to the sense of beauty in organic, ii. 94, 95; ideal, ii. 104, iii. 78; animal and vegetable, ii. 105; ideal, destroyed by pride, sensuality, etc., ii. 122, 123; rendering of, by photography, iv. 63; mountain, iv. 135, 139, 159-262; natural, variety of, inconceivable, iv. 189; of aiguilles, how produced, iv. 189; beauty of, dependent upon curvature, ii. 46.
French art culminated in 13th century, iv. 358.
Fuseli, quotations from, i. 16, ii. 153, 171.
Genius, unrecognized at the time, i. 6; not the result of education, iii. 42; power of, to teach, i. 414.
Gentility, an English idea, iv. 4.
Gentleman, the characteristics of a, sensibility, sympathy, courage, v.263-272.
German religious art, “piety” of, iii. 253.
Glacier, description, iv. 137; action of, iv. 161; gradual softener of mountain form, iv. 169; non-rigidity of, v.86.
Gloom, of Savoyard peasant, iv. 320; appearance of, in southern slope of Alps, iv. 326. See Mountain.
Gneiss, nature of, iv. 206, 209; color of, iv. 136; Matterhorn composed of, iv. 160.
God. See Deity.
Gotthelf, works of, iv. 135, v.330.
Gracefulness, of poplar grove, iii. 181; of willow, v.67; of Venetian art, 229.
Gradation, suggestive of infinity, ii. 47; constant in nature, ii. 47; necessary to give facts of form and distance, i. 149; progress of the eye shown in sensibility to effects (Turner’s Swiss towers), iv. 71; of light, Turnerian mystery, iv. 73; in a rose, iv. 46.
Granite, qualities of, iv. 109, 110; color of, iv. 136.
Grass, uses of, iii. 227; type of humility and cheerfulness, and of the passing away of human life, iii. 227, 228, v.96; Greek mode of regarding as opposed to mediæval, iii. 223, 224; enamelled, Dante’s “green enamel” description of, iii. 222, 226; damp, Greek love of, iii. 222; careful drawing of, by Venetians, iii. 317; mystery in, i. 315, iii. 221; man’s love of, iii. 224; first element of lovely landscape, iii. 224.
Gratitude, from what arising, ii. 15; a duty to the living can’t be paid to the dead, i. 6.
Greatness, tests of, i. 323, iii. 260, 261, v.175. See Art, Artists.
Greek, conception of Godhead, iii. 170, 175; art, spirit of, v.209,213; poetry, purpose of, the victory over fate, sin, and death, v.209,210; religion, the manful struggle with evil, v.211-213; ideas of truthfulness, v.267,268; mythology, v.300,307,308,322; distrust of nature, v.324; culture of human beauty, iii. 179, 180, 198, 204; landscape, composed of a fountain, meadow, and grove, iii. 181; belief in the presence of Deity in nature, iii. 169-177; absence of feeling for the picturesque, iii. 187; belief in particular gods ruling the elements, iii. 171-177; and Mediæval feeling, difference between, iii. 218; ideal of God, ii. 223; faith, compared with that of an old Scotch farmer, iii. 188; feeling about waves, iii. 169; indifference to color, iii. 219, 220; life, healthy, iii. 175; formalism of ornament, iii. 208; not visionary, iii. 188; delight in trees, meadows, gardens, caves, poplars, flat country, and damp grass, iii. 182-186, 221; preference of utility to beauty, iii. 181, 185; love of order, iii. 181, 189; coins, v.36; description of clouds, v.137-144; design, v.196.
Grief, a noble emotion, ii. 129, iii. 10.
Grotesque, third form of the Ideal, iii. 92-107; three kinds of, iii. 92; noble, iii. 93, 102; true and false (mediæval and classical) griffins, iii. 101-107; Spenser’s description of Envy, iii. 94; how fitted for illumination, iii. 101; modern, iv. 385-403.
Grotesque Expressional, iv. 385; modern example of, “Gen. Fèvrier turned traitor,” iv. 388.
Habit, errors induced by; embarrasses the judgment, ii. 24; modifying effects of, ii. 32; power of, how typified, iv. 215. See Custom.
Heavens, fitfulness and infinity of, i. 135; means in Scripture, clouds, iv. 86; relation of, to our globe, iv. 88, v.148; presence of God in, iv. 88; Hebrew, Greek, and Latin names for, v.147-150; meaning of, in 19th Psalm, v.148.
Help, habit of, the best part of education, v.328(note).
Helpfulness, law of, v.155-158; of inventive power, v.192. See Consistence.
Homer, a type of the Greek mind, iii. 188; poetical truth of, iii. 162; idea of the Sea-power, iii. 169; intense realism, iii. 185; conception of rocks, iii. 232, 239-241; pleasure in woody-scenery, iii. 184, 212; love of aspens, iii. 182, 185; love of symmetry, iii. 180; pleasure in utility, iii. 181, 184, 185; ideal of landscape, iii. 179-182; feelings traceable in his allusion to flowers, iii. 226; Michael Angelo compared to, by Reynolds, iii. 13; poetry of, v.209; Iliad and Odyssey of, v.210,211,309; his “Discord,” v.308; the victory over fate, sin, and death, v.209; heroic spirit of, v.211,212; pride of, v.217; faith of, v.217.
Hooker, his definition of a law, ii. 84; referred to, ii. 9, 14, 24; quotation from, on Divine Unity, ii. 50; quotation on exactness of nature, ii. 82.
Horse, Greek and Roman treatment of, v.257; Vandyke, first painter of, v.258.
Humility, means a right estimate of one’s own powers, iii. 260; how symbolized by Dante, iii. 227; a test of greatness, iii. 260; inculcated by science, iii. 256; necessity of, to enjoyment of nature, iii. 269, iv. 69; grass, a type of, iii. 226, 228, v.96; of inventive power, v.192; distinguishing mark between the Christian and Pagan spirit, iii. 226.
Ideal, definition of the word, i. 28; its two senses referring to imagination or to perfection of type, ii. 102, 103; how to be attained, i. 44; form in lower animals, ii. 104; form in plants, ii. 105; of form to be preserved in art by exhibition of individuality, ii. 109, 210; the bodily, effect of intellect and moral feelings on, ii. 113-115; form, of what variety susceptible, ii. 221; of human form, destroyed by expression of corrupt passions, ii. 122, 129; of humanity, how to be restored, ii. 112, 118, 121; form to be obtained only by portraiture, ii. 119, iii. 78; form, necessity of love to the perception of, ii. 121, 130; pictures, interpreters of nature, iii. 141; general, of classical landscape, v.244; modern pursuit of the, iii. 44, 65, 69; Angelican, iii. 49, 57, v.283, i. 82; false Raphaelesque, iii. 53-57.
Ideal, the true, faithful pursuit of, in the business of life, iii. 44; relation of modern sculpturesque to the, iii. 63; operation of, iii. 77; three kinds of—Purist, Naturalist, and Grotesque (see below), iii. 71.
Ideal, true grotesque, iii. 92-107; limited expression of, iii. 99, 100.
Ideal, true naturalist, character of, iii. 77-91; high, necessity of reality in, iii. 80, 81, 91; its operation on historical art, iii. 89-91; in landscape produces the heroic, v.206.
Ideal, true purist, iii. 71-76.
Ideal, false, various forms of, iii. 69, iv. 308, 310 (plates); results of pursuit of the, iii. 61, 63; religious, iii. 44, 60; well-executed, dulls perception of truth, iii. 48-52; profane, iii. 61-69; of the modern drama, iv. 321.
Ideal, superhuman, ii. 212, 224; expression of, by utmost degree of human beauty, ii. 214.
Ideality, not confined to one age or condition, ii. 109-117; expressible in art, by abstraction of form, color, or texture, ii. 201.
Illumination, distinguished from painting by absence of shadow, iii. 99; pigments used in, iii. 223; decline of the art of, to what traceable, iv. 359; of MSS. in thirteenth century, illustrating treatment of natural form, iii. 207, 208, iv. 76; of MSS. in fifteenth century, illustrating treatment of landscape art, iii. 201; of MSS. in sixteenth century, illustrating idea of rocks, iii. 239; of missals, illustrating later ideas of rocks and precipices, iv. 253; of missal in British Museum, illustrating German love of horror, iv. 328; of MSS. in fifteenth century, German coarseness contrasted with grace and tenderness of thirteenth century, iv. 335; representation of sun in, iii. 318.
Imagination, threefold operation of, ii. 146; why so called, iii. 132; defined, ii. 151; functions of, ii. 10, 143, 188, iii. 45, iv. 31; how strengthened by feeding on truth and external nature, i. 427, ii. 191; tests of presence of, ii. 155, 169, 207; implies self-forgetfulness, i. 306; importance of in art, iii. 38; Dugald Stewart’s definition of, ii. 143, 145; conscious of no rules, ii. 155; makes use of accurate knowledge, ii. 109, iii. 40; noble only when truthful, ii. 161, iii. 123, iv. 30; entirety of its grasp, ii. 156, 179, v.187,190; its delight in the character of repose, ii. 66; verity of, ii. 161, 188, 211, iii. 30, 107, 133; power of, ii. 158, 206, iii. 10, 11, 131, 287, iv. 19, 30; calmness essential to, v.191;always the seeing and asserting faculty, iii. 211; charm of expectant, iv. 131; pleasure derived from, how enhanced, iii. 281; highest form of, ii. 146; always right when left to itself, iii. 106; how excited by mountain scenery, iv. 23, 222, v.216,235; influence of clouds on, v.141; searching apprehension of, ii. 164, 165, 169, 183, 188, 195, iii. 107; distinguished from fancy, ii. 166-170, 194, 201; signs of, in language, ii. 165; how shown in sculpture, ii. 184-187; work of, distinguished from composition, ii. 154-158; what necessary to formation of, v.189-191.
Imagination, penetrative, ii. 163-191; associative, ii. 147-162; contemplative, ii. 192-211.
Imitation, power of deceiving the senses, i. 17; why reprehensible, i. 18, 19, 21, 34, 73, 416, iv. 136; no picture good which deceives by, i. 25; when right, in architectural ornament, ii. 205; of flowers, v.92; was least valued in the thirteenth century, iii. 18, 199, 209; general pleasure in deceptive effects of, iii. 16; when made an end of art, i. 74, 143; began, as a feature of art, about 1300, iii. 203; of what impossible, i. 77, 157, 164, 371, 372, ii. 203, iii. 20, 129, v.91; definition of ideas of, i. 13, 20.
Infinity, typical of redeemed life, iv. 80; expressed in nature by curvature and gradation, ii. 45-48; of gradation, i. 210, 224, ii. 47; of variety in nature’s coloring, i. 168, 172, 325, iv. 127; of nature’s fulness, i. 195, v.99; of clouds, i. 218, 235, v.110,113; of detail in mountains, i. 290, 297; of curvature, i. 315, ii. 60, iv. 262-269, v.39; expressed by distance, ii. 41; not implied by vastness, ii. 49; the cause of mystery, iv. 58; of mountain vegetation, iv. 288; absence of, in Dutch work, v.37; general delight in, ii. 42-44.
Inspiration, the expression of the mind of a God-made great man, iii. 141; expression of, on human form, ii. 214; as manifested in impious men, ii. 137, 138; revelations made by, how communicable, ii. 133; condition of prophetic, iii. 159.
Intellect, how affected by novelty, ii. 54; how connected with pleasure derived from art, i. 10, 28; its operation upon the features, ii. 113-115; connection of beauty with, i. 27; how influenced by state of heart, ii. 17, 114; affected by climatic influences, v.134; how rendered weak, v.205,247; abuse of, v.266(note); culture of, in mechanical arts, v.328(note); comparison between Angelico’s, Salvator’s, Durer’s, and Giorgione’s, v.284,285; beauty of animal form increased by expression of, ii. 98; decay of, shown by love of the horrible, iv. 328; popular appreciation of, i. 418; influence of mountain scenery on, iv. 274, 351-363; condition of, in English and French nations, from thirteenth to sixteenth century, iv. 358; great humility of, iii. 260; seriousness of, iii. 258; sensibility of, iii. 159, 286; power of, in controlling emotions, iii. 160; sees the whole truth, v.205; greater, not found in minds of purest religious temper, v.204.