Intemperance, nature and application of the word, ii. 13, 14.Invention, characteristic of great art, i. 305, iii. 38, 88; greatest of art-qualities, v.158; instinctive character of, ii. 155, iii. 84, 87, v.154,158; evil of misapplied, i. 117; liberty of, with regard to proportion, ii. 61; operation of (Turnerian Topography), iv. 18, 23, 24; “never loses an accident,” v.173; not the duty of young artists, i. 422; verity of, v.191; absence of, how tested, v.157; grandeur of, v.187; material, v.153-163; spiritual, v.193-217; sacred, a passionate finding, v.192; of form, superior to invention of color, v.320(note).Joy, a noble emotion, ii. 16, iii. 10; necessity of, to ideas of beauty, ii. 17, 29; of youth, how typified in bud-structure and flowers, iii. 206, 227; of humble life, v.328.Judgment, culture and regulation of, i. 49-56, ii. 22-25;distinguished from taste, i. 25, ii. 34; right moral, necessary to sense of beauty, ii. 96, 99; right technical knowledge necessary to formation of, ii. 4; equity of, illustrated by Shakspere, iv. 332; substitution of, for admiration, the result of unbelief, v.244.Keats, subdued by the feeling under which he writes, iii. 160; description of waves by, iii. 168; description of pine, v.82; coloring of, iii. 257; no real sympathy with, but a dreamy love of nature, iii. 270, 285; death of, v.349; his sense of beauty, v.332.Knowledge, connection of, with sight, i. 54; connection of, with thought, i. 47; pleasure in, iv. 69; communication of, railways and telegraphs, iii. 302; what worth teaching, iii. 298, v.330; influence of, on art, i. 45, 47, 238; necessary to right judgment of art, i. 121, 411, 418; feeling necessary to fulness of, v.107; highest form of, is Trust, v.161; coldness of, v.140; how to be employed, v.330; refusal of, a form of asceticism, v.326.Labor, healthful and harmful, v.329,331.Lands, classed by their produce and corresponding kinds of art, v.133-135.Landscape, Greek, iii. 178-187, v.211-213; effect of on Greek mind, iv. 351; of fifteenth century, iii. 201; mediæval, iii. 201, 209, 219, iv. 77-79; choice of, influenced by national feeling, i. 125; novelty of, iii. 143-151; love of, iii. 280, 294; Scott’s view of, iii. 257; of Switzerland, iv. 132, 290 (see Mountains, Alps, &c.); of Southern Italy, v.235; Swiss moral influences of, contrasted with those of Italy, iv. 135-136; colors of, iv. 40, 345; lowland and mountain, iv. 363; gradation in, i. 182; natural, how modified by choice of inventive artists, iv. 24, 26 (note); dependent for interest on relation to man, v.193,196; how to manufacture one, iv. 291.Landscape Painters, aims of great, i. 44, iv. 23; choice of truths by, i. 74-76; in seventeenth century, their vicious and false style, i. 5, 185, 328, 387; German and Flemish, i. 90; characteristics of Dutch, v.253,259; vulgarity of Dutch, v.277; English, i. 83, 92-95.Landscape Painting, modern, i. 424; four true and two spurious forms of, v.194,195; true, dependent for its interest on sympathy with humanity (the “dark mirror”), v.195-201, iii. 248, 250, 259, 325, iv. 56; early Italian school of, i. 81-85, 165, ii. 217; emancipation of, from formalism, iii. 312; Venetian school of, expired 1594, iii. 317, v.214,219; supernatural, ii. 219-222; Purist ideal of, iii. 70-76; delight in quaint, iii. 313; preservation of symmetry in, by greatest men, ii. 74; northern school of, iii. 323; doubt as to the usefulness of, iii. 144, v.193; symbolic, iii. 203; topographical, iv. 16; Dutch school of, i. 92; modern love of darkness and dark color, the “service of clouds,” iii. 248-251.Landscape Painting, Classical, v.242-248; absence of faith in, v.242; taste and restraint of, v.242; ideal of, v.244.Landscape Painting, Dutch, v.277-281.Landscape Painting, Heroic, v.194-198.Landscape Painting, Pastoral, v.253-260.Language of early Italian Pictures, i. 10; of Dutch pictures, i. 10; distinction between ornamental and expressive, i. 10; painting a, i. 8; accuracy of, liable to misinterpretation, iii. 5.Law, David’s delight in the, v.146; helpfulness or consistence the highest, v.156.Laws of leaf-grouping, v.25,26,32; of ramification, v.49-62; of vegetation, how expressed in early Italian sculpture, v.46.Leaf, Leaves, how treated by mediæval ornamental artists, iii. 204;of American plane, iii. 205; of Alisma plantago, iii. 205; of horse-chestnut, iii. 205; growth of, iv. 193, v.31; laws of Deflection, Radiation, and Succession, v.25,26; ribs of, law of subordination in, iii. 206, v.24; lessons from, v.32,74,75; of the pine, v.78; of earth-plants, shapes of, v.92-95; life of, v.31,32,40,41,63; structure of, 21-25; variety and symmetry of, i. 394, ii. 72, 92; drawing of, by Venetians, iii. 316; drawing of, by Dutch and by Durer, v.37,90; curvature in, iv. 271-273; mystery in, i. 191, 396; strength and hope received from, ii. 140.Leaflets, v.33.Liberty, self-restrained, ii. 84; love of, in modern landscapes, iii. 250; Scott’s love of, iii. 271; religious, of Venetians, v.215; individual helplessness (J. S. Mill), v.174.Lichens. See Moss.Life, intensity of, proportionate to intensity of helpfulness, v.155; connection of color with, iv. 53, 123, v.322; man’s, see Man, Mediæval.Light, power, gradation, and preciousness of, iv. 34, 37, 53, 69, 71-73; mediæval love of, iii. 200; value of, on what dependent, ii. 48; how affected by color, i. 68, 70; influence of, in architecture, i. 106; table of gradation of different painters, iv. 42; law of evanescence (Turner), iv. 70; expression of, by color, i. 98, 171; with reference to tone, i. 147, 149; a characteristic of the thirteenth century, iv. 49; love of, ii. 75, 76, iii. 244; a type of God, ii. 78; purity of, i. 147, ii. 75; how related to shadows, i. 140, 173; hues of, i. 149, 157, 161; high, how obtained, i. 173, 182, ii. 48; high, use of gold in, i. 106; white of idealists to be distinguished from golden of Titian’s school, ii. 221; Dutch, love of, v.254,278; effects of, as given by Turner, iv, 71.Limestone, of what composed, i. 309; color of, iii. 231-233; tables, iv. 127-129.Lines of fall, iv. 276; of projection, iv. 279; of escape, iv. 279; of rest, iv. 309; nature of governing, iv. 187; in faces, ii. 114; undulating, expressive of action, horizontal, of rest and strength, v.164; horizontal and angular, v.164; grandeur of, consists in simplicity with variation, iv. 247; curved, iv. 263; apparent proportion in, ii. 61; all doubtful, rejected in armorial bearings, iii. 200.Literature, greatest not produced by religious temper, v.205; classical, the school of taste or restraint, v.242; spasmodic, v.242; world of, divided into thinkers and seers, iii. 262; modern temper of, iii. 252, 261-263; reputation of, on what dependent (error transitory) i. 1, 2.Locke, quoted (hard to see well), i. 51, 67.Love, a noble emotion, iii. 10; color a type of, v.320(note); source of unity, ii. 50; as connected with vital beauty, ii. 89; perception quickened by, i. 52; want of, in some of the old landscape painters, i. 77; finish proceeding from, i. 84; nothing drawn rightly with out, iv. 33; of brightness in English cottages, iv. 320; of horror, iv. 328; characteristic of all great men, ii. 90; higher than reason, ii. 114; ideal form, only to be reached by, ii. 121; loveliest things wrought through, ii. 131, v.348; good work only done for, v.346-348; and trust the nourishment of man’s soul, v.348.Lowell, quotation from, v.347.Lowlander, proud of his lowlands (farmer in “Alton Locke”), iii. 182.Magnitude, relation of, to minuteness, v.175-177; love of mere size, v.176; influence of, on different minds, v.177.Man, his use and function, ii. 4; his business in the world, iii. 44, v.1; three orders of, iii. 286; characteristics of a great, iii. 260; perfection of threefold, v.326; vital beauty in, ii. 111-131; present and former character of, iii. 149-151; intelligibility necessary to a great, iv. 74; adaptation of plants to needs of, v.2,3;influence of scenery on, v.133-135; lessons learnt by, from natural beauty, v.146; result of unbelief in, v.345; how to get noblest work out of, v.346-348; love and trust necessary to development of, v.347; divided into five classes, v.159-162; how to perceive a noble spirit in, iv. 18; when intemperate, ii. 13; pursuits of, how divided, ii. 8, v.159-162; life of, the rose and cankerworm, v.324,332; not intended to be satisfied by earthly beauty, i. 204, iv. 131; his happiness, how constituted, iii. 303, v.327-330; his idea of finish, iii. 113; society necessary to the development of, ii. 116; noblest tone and reach of life of, v.331.Marble, domestic use of, iv. 370; fitted for sculpture, iv. 127; colors of, iv. 140.Mediæval, ages compared with modern, iii. 250; not “dark,” iii. 252; mind, how opposed to Greek, iii. 193; faith, life the expression of man’s delight in God’s work, iii. 217; admiration of human beauty, iii. 197; knights, iii. 192-195; feeling respecting mountains, iii. 192, 196, 229, iv. 377; want of gratitude, iii. 193; sentimental enjoyment of nature, iii. 192; dread of thick foliage, iii. 213; love for color, iii. 219, 220; dislike of rugged stone, iv. 301; love of cities, v.4; love of gardens, iii. 191; love of symmetry, iii. 199; neglect of earth’s beauty, v.5, iii. 146; love of definition, iii. 209; idea of education, v.5; landscape, the fields, iii. 191-228; the rocks, iii. 229-247.Mica, characteristics of, iv. 105; connected with chlorite, iv. 113; use of the word, iv. 114; flake of, typical of strength in weakness, iv. 239.Michelet, “L’Insecte,” quoted on magnitude, v.176.Middle Ages, spirit of the, iii. 151; deficiency in Shakspere’s conception of, iv. 364-368; baronial life in the, iii. 192, 195; neglect of agriculture in, iii. 192; made earth a great battlefield, v.5. See Mediæval.Mill, J. S., “On Liberty,” v.174.Milton, characteristics of, ii. 144, iii. 285, 296; his use of the term “expanse,” iv. 83; and Dante’s descriptions, comparison between, ii. 163, iii. 209; misuse of the term “enamelled” by, iii. 223; instances of “imagination,” ii. 144.Mind, independence of, ii. 191; visibleoperation of, on the body, ii. 113.Minuteness, value of, v.175-177; influence of, on different minds, v.177. See Magnitude.Mist, of what typical, iv. 70; Copley Fielding’s love of, iv. 75.Mistakes, great, chiefly due to pride, iv. 50.Moderation, value of, ii. 84.Modern age, characteristics of, iii. 251, 254, 264, 276; costume, ugliness of, iii. 255, v.273(note); romance of the past, iii. 255; criticism, iv. 389; landscape, i. 424, ii. 159, iii. 248; mind, pathetic fallacy characteristic of, iii. 168.Moisture, expressed by fulness of color, iv. 245.Moss, colors of, iv. 130, v.99; beauty and endurance of, v.100.Mountaineer, false theatrical idea of, iv. 321; regarded as a term of reproach by Dante, iii. 241; same by Shakspere, iv. 371; his dislike of his country, iii. 182; hardship of, iv. 335; his life of, “gloom,” iv. 320.Mountains (see also Banks, Crests, Débris, &c.), uses and functions of, iv. 91; influences of, on artistic power, iv. 356; influence on purity of religion, doctrine, and practice, iv. 351; monkish view of, iv. 377, iii. 196; structure of, i. 300, iv. 157; materials of, i. 271, iv. 90; principal laws of, i. 270, 302; spirit of, i. 271; false color of (Salvator and Titian), i. 158; multiplicity of feature, i. 299; fulness of vegetation, iv. 291; contours of, i. 298, iv. 141, 157, 182, 276, 309; curvature of, i. 296, iv. 186, 192, 282, 287; appearances of, i. 281, 283; foreground, beauty of, i. 99, iv. 99; two regions in, iv. 172; superior beauty of, iv. 91, 346, 348; false ideal of life in, iv. 319;decomposition, iv. 103, 137, 169, 309; sanctity of, iii. 196; lessons from decay of, iv. 315; regularity and parallelism of beds in, iv. 207; exaggeration in drawing of, ii. 208, iv. 175, 190; love of, iii. 250, 259, 288, iv. 376; mentions of, in Scripture, iii. 196, iv. 377; Moses on Sinai, iv. 378; Transfiguration, iv. 381; construction of Northern Alpine, iv. 286, iv. 324; glory, iv. 344, 345; lift the lowlands on their sides, iv. 92; mystery of, unfathomable, iv. 155, 174; material of Alpine, a type of strength in weakness, iv. 239; Dante’s conception of, iii. 229, 230, 239; Dante’s repugnance to, iii. 240; influence of the Apennines on Dante, iii. 231; mediæval feeling respecting, iii. 191, 229; symbolism of, in Dante, iii. 240; not represented by the Greeks, iii. 145; scenery not attempted by old masters, i. 278; influence of, iv. 344, 356; the beginning and end of natural scenery, iv. 344.Mountains, central, their formation and aspect, i. 275-287.Mountain gloom, iv. 317-343; life in Alpine valleys, iv. 320; love of horror, iv. 328-332; Romanism, iv. 333; disease, iv. 335; instance, Sion in the Valais, iv. 339.Mountains, inferior, how distinguished from central, i. 290; individual truth in drawing of, i. 304.Mystery, of nature, i. 37, iv. 67, 80; never absent in nature, iv. 58; noble and ignoble, iv. 70, 73, 74; of execution, necessary to the highest excellence, i. 37, iv. 62; in Pre-Raphaelitism, iv. 61; sense of delight in, iv. 69; Turnerian, essential, iv. 56-67; wilful, iv. 68-81.Mythology, Renaissance paintings of, iii. 62; Apollo and the Python, v.322; Calypso, the concealer, v.211; Ceto, deep places of the sea, v.138,304; Chrysaor, angel of lightning, v.140; Danae’s golden rain, v.140; Danaïdes, sieves of, v.140; Dragon of Hesperides, v.302,308,309; Eurybia, tidal force of the sea, v.138,304; Fates, v.301; Garden of Hesperides, v.300-316; Goddess of Discord, Eris, v.305-310; Gorgons, storm-clouds, v.138,304; Graiæ, soft rain-clouds, 138, 304; Hesperides, v.303,310; Nereus, god of the sea, v.138,303; Minerva’s shield, Gorgon’s head on, v.140; Muses, v.163; Pegasus, lower rain-clouds, v.140; Phorcys, malignant angel of the sea, v.138,303; Thaumas, beneficent angel of the sea, v.138,304.Nature, infinity of, i. 64, 66, 164-168, 198, 219, 224, iii. 121 (drawing of leafage), iv. 29, 267, 303, i. 77; variety of, i. 55, 169, 291, v.2-5; gradation in, ii. 47, iv. 122, 287; curvature in, ii. 46, 60, iv. 271, 272; colors of, i. 70, 169, 352, iii. 35; finish of, iii. 112, 121, 122; fineness of, iv. 304; redundancy of, iii. 122, v.99; balance of, v.64; inequality of, v.22; pathetic treatment of, v.177; always imaginative, ii. 158; never distinct, never vacant, i. 193; love of, intense or subordinate, classification of writers, iii. 285; love of, an indication of sensibility, iii. 285; love of (moral of landscape), iii. 285-307; want of love of in old masters, i. 77, iii. 325; lights and shadows in, i. 180, 311, iv. 34; organic and inorganic beauty of, i. 286, ii. 96; highest beauty rare in, i. 65, iv. 131; sympathy with, iii. 194, 306, ii. 91, 93, iv. 16-67; not to be painted, i. 64; imagination dependent on, ii. 191; how modified by inventive painters, v.181; as represented by old masters, i. 77, 176; treatment of, by old landscape painters, i. 75; feeling respecting, of mediæval and Greek knight, iii. 177, 192, 193, 197, v.5; drawing from (Encyclopædia Britannica), iv. 295. See Beauty, Deity, Greek, Mediæval, Mystery, also Clouds, Mountains, etc.Neatness, modern love of, iii. 109, iv. 3-6; vulgarity of excessive, v.271.Nereid’s guard, the, v.298-313.Niggling, ugly misused term, v.36; means disorganized and mechanical work, v.37.Obedience, equivalent of, “faith,” and root of all human deed, v.161;highest form of, v.161,163; law of, v.161.Obscurity, law of, iv. 61; of intelligible and unintelligible painters, iv. 74. See Mystery.Ornament, abstract, as used by Angelico, ii. 220; realized, as used by Filippino Lippi, etc., ii. 220; language of, distinct from language of expression, i. 10; use of animal form in, ii. 204; architectural, i. 105, 107, ii. 205; symbolic, ii. 204-205; vulgar, iv. 273; in dress, iv. 364; curvature in, iv. 273, 274; typical, iii. 206; symmetrical, iii. 207; in backgrounds, iii. 203; floral, iii. 207-208.Outline exists only conventionally in nature, iii. 114.Painters, classed by their objects, 1st, exhibition of truth, 2nd, deception of senses, i. 74; classed as colorists and chiaroscurists, iv. 47; functions of, iii. 25; great, characteristics of, i. 8, 124, 326, ii. 42, iii. 26-43, iv. 38, v.189,190,332; great, treatment of pictures by, v.189; valgar, characteristics of, i. 327, ii. 82, 128, 137, iii. 32, 63, 175, 257, 318; religious, ii. 174, 175, 181, 217, iii. 48, 59, iv. 355; complete use of space by, i. 235; duty of, with regard to choice of subject, ii. 219, iv. 18 (note); interpreters of nature, iii. 139; modern philosophical, error respecting color of, iii. 30; imaginative and unimaginative, ii. 154-157; should be guides of the imagination, iii. 132; sketches of, v.180; early Italian, i. 247, iii. 244; Dutch, i. xxxii. preface, iii. 182; v.35,37,278; Venetian, i. 80, 346, v.214,229,258; value of personification to, iii. 96; contrast between northern and Italian, in drawing of clouds, v.133; effect of the Reformation on, v.250. See Art, Artists.Painting, a language, i. 8; opposed to speaking and writing, not to poetry, iii. 13; classification of, iii. 12; sacred, iii. 46; historical, iii. 39, 90; allegorical, delight of greatest men, iii. 95; of stone, iv. 301; kind of conception necessary to, v.187; success, how found in, v.179; of the body, v.228; differs from illumination in representing shadow, iii. 29; mode of, subordinate to purpose, v.187; distinctively the art of coloring, v.316; perfect, indistinctness necessary to, iv. 64; great, expressive of nobleness of mind, v.178,191. See Landscape Painting, Animal Painting, Art, Artist, Truth, Mediæval, Renaissance.Past and present, sadly sundered, iv. 4.Peace, v.339-353; of monasticism, v.282; choice between the labor of death and the peace of obedience, v.353.Perfectness, law of, v.180-192.Perspective, aërial, iii. 248; aërial, and tone, difference between, i. 141; despised in thirteenth century art, iii. 18; of clouds, v.114,118; of Turner’s diagrams, v.341(note).Pharisaism, artistic, iii. 60.Photographs give Turnerian form, and Rembrandtesque chiaroscuro, iv. 63.Pictures, use of, to give a precious, non-deceptive resemblance of Nature, iii. 126-140; noblest, characteristic of, iii. 141; value of estimate by their completeness, i. 11, 421; Venetian, choice of religious subjects in, v.221; Dutch, description of, v.277, advantages of unreality in, iii. 139, 140; as treated by uninventive artists, iii. 20; finish of, iii. 113; of Venice at early morn, i. 343; of mountaineer life, iv. 320-322. See Realization, Finish.Picturesque, nobleness of, dependent on sympathy, iv. 13; Turnerian, iv. 1-15; dependent on absence of trimness, iv. 5; and on actual variety of form and color, iv. 6; lower, heartless delight in decay, iv. 11; treatment of stones, iv. 302; Calais spire an instance of noble, iv. 7.Plagiarism, greatest men oftenest borrowers, iii. 339.Plains, structure of, i. 272; scenery of compared with mountains, iv. 344, 345; spirit of repose in, i. 271; effect of distance on, i. 273. See Lowlander.Plants, ideal of, ii. 105-107; sense of beauty in, ii. 92, 99; typical of virtues, iii. 227; influence of constructive proportion on, ii. 63; sympathy with, ii. 91; uses of, v.2,3; “tented” and “building,” earth-plants and pillar-plants, v.8; law of succession in, v.26; seed of, v.96; roots of, v.41; life of, law of help, v.155; strawberry, v.96; Sisymbrium Irio, v.95; Oxalis acetosella, i. 82 (note); Soldanella and ranunculus, ii. 89, 108; black hollyhock, v.234.Pleasure of overcoming difficulties, i. 16; sources of, in execution, i. 36; in landscape and architecture, iv. 345. See Pictures.Pleasures, higher and lower, ii. 15-18; of sense, ii. 12; of taste, how to be cultivated, ii. 23.Poetry, the suggestion by the imagination of noble ground for noble emotion, iii. 10, v.163; use of details in, iii. 8; contrasted with history, iii. 7-9; modern, pathetic fallacy characteristic of, iii. 168.Poets, too many second-rate, iii. 156; described, v.163; two orders of (creative and reflective), iii. 156 (note), 160; great, have acuteness of, and command of, feeling, iii. 163; love of flowers by, v.91; why not good judges of painting, iii. 133.Poplar grove, gracefulness of, Homer’s love of, iii. 91, 182, 185.Popularity, i. 2.Porphyry, characteristics of, iv. 108-112.Portraits, recognition, no proof of real resemblance, i. 55.Portraiture, use of, by painters, ii. 119, iii. 78, 89, 91, iv. 358; necessary to ideal art, ii. 119; modern foolishness, and insolence of, ii. 122; modern, compared with Vandyke’s, v.273(note); Venetians painted praying, v.220.Power, ideas of, i. 13, 14; ideas of, how received, i. 32; imaginative, iii. 39; never wasted, i. 13; sensations of, not to be sought in imperfect art, i. 33; importance technical, its relation to expressional, iii. 29.Precipices, how ordinarily produced, i. 290, iv. 148; general form of, iv. 246; overhanging, in Inferior Alps, iv. 241; steepness of, iv. 230; their awfulness and beauty, iv. 241, 260; action of years upon, iv. 147; rarity of high, among secondary hills, i. 301.Pre-Raphaelites, aim of, i. 425; unwise in choice of subject, iv. 18; studies of, iii. 58, 71 (note); rank of, in art, iii. 141, iv. 57; mystery of, iv. 61, iii. 29, 127-129; apparent variance between Turner and, iii. 129; love of flowers, v.91; flower and leaf-painting of, i. 397, v.35.Pride, cause of mistakes, iv. 50; destructive of ideal character, ii. 122; in idleness, of mediæval knights, iii. 192; in Venetian landscape, v.218.Proportion, apparent and constructive, ii. 57-63; of curvature, ii. 60, iv. 266, 267; how differing from symmetry, ii. 73; of architecture, ii. 59; Burke’s error, ii. 60-62.Prosperity, evil consequences of long-continued, ii. 4-5.Psalm 19th, meaning of, v.147-149.Purchase, wise, the root of all benevolence, v.328(note).Puritans and Romanists, iii. 252.Purity, the expression of divine energy, ii. 75; type of sinlessness, ii. 78; how connected with ideas of life, ii. 79; of color, ii. 79; conquest of, over pollution, typified in Apollo’s contest, v.323; of flesh painting, on what dependent, ii. 124; Venetian painting of the nude, v.227. See Sensuality.Python, the corrupter, v.323.Rays, no perception of, by old masters, i. 213; how far to be represented, i. 213.Realization, in art, iii. 16; gradually hardened feeling, iv. 47-51; not the deception of the senses, iii. 16; Dante’s, iii. 18. See Pictures.Refinement, meaning of term, ii. 81; of spiritual and practical minds, v.282-284; unconnected with toil undesirable, v.328.Reflection, on distant water, i. 355 et seq.; effect of water upon, i. 329-331;to what extent visible from above, i. 336.Reformation, strength of, v.249; arrest of, v.250; effect of, on art, iii. 55, v.251.Relation, ideas of, i. 13, 29, 31.Religion, of the Greeks, v.208-213; of Venetian painters, v.220; of London and Venice, v.291; English, v.343.Renaissance, painting of mythology, iii. 62; art, its sin and its Nemesis, iii. 254; sensuality, iii. 63; builders, v.176; spirit of, quotation from Browning, iv. 368.Repose, a test of greatness in art, ii. 65-68, 108, 222; characteristic of the eternal mind, ii. 65; want of, in the Laocoon, ii. 69; in scenery, i. 272; Turner’s “Rietz” (plate), v.164,168; instance of, in Michael Angelo’s “Plague of Serpents,” ii. 69 (note); how consistent with ideal organic form, ii. 108.Reserve, of a gentleman (sensibility habitual), v.269.Resilience, law of, v.30,71.Rest, lines of, in mountains, iv. 276, 310, 312.Revelation, v.199.Reverence, for fair scenery, iii. 258; false ideas of (Sunday religion), iii. 142; for mountains, iii. 230; inculcated by science, iii. 256; Venetian, the Madonna in the house, v.224.Reynolds, on the grand style of painting, iii. 23; on the influence of beauty, iii. 23.Rocks, iv. 99-134; formation of, iv. 113; division of, iv. 99, 102, 157; curvature of, iv. 150, 154, 213, i. 295; color of, iv. 107, 121, 136, 123, 125, 129, i. 169; cleavages of, iv. 391; great truths taught by, iv. 102; aspect of, i. 295, 309, iv. 101, 108, 120, 128; compound crystalline, iv. 101, 105; compact crystalline, characteristics of, iv. 107, 102, 114, 159, 205; slaty coherent, characteristics of, iv. 122, 205, 251; compact coherent, iv. 128, 159; junction of slaty and compact crystalline, iv. 114, 173, 202; undulation of, iv. 116, 118, 150; material uses of, iv. 119, 127; effect of weather upon, iv. 104; effect of water on, iv. 213; power of, in supporting vegetation, iv. 125, 130; varied vegetation and color of, i. 169; contortion of, iv. 116, 150, 152, 157; débris of, iv. 119; lamination of, iv. 113, 127, i. 291; limestone, iv. 130, 144, 209, 250, 258; sandstone, iv. 132; light and shade of, i. 311; overhanging of, iv. 120, 254, 257; mediæval landscape, iii. 229-247; early painters’ drawing of, iii. 239; Dante’s dislike of, iii. 230; Dante’s description of, iii. 231, 236; Homer’s description of, iii. 232, 239; classical ideal of, iii. 186; Scott’s love of, iii. 242, 275. See Stones.Romanism, modern, effect of on national temper, iv. 333, and Puritanism, iii. 252, 253.Saussure, De, description of curved cleavage by, iv. 395; quotation from, iv. 294; on structure of mountain ranges, iv. 172; love of Alps, iv. 393.Scenery, interest of, rooted in human emotion, v.194; associations connected with, iii. 290, 292; classical, Claude and Poussin, v.244; Highland, v.206; two aspects of, bright and dark, v.206; of Venice, effects of, v.216; of Nuremberg, effect of, v.233; of Yorkshire hills, effect of, i. 126, v.293; Swiss influence of, iv. 337-376, v.84-87; of the Loire, v.165; effect of mountains on, iv. 343-346. See Nature, Pictures.Scent, artificial, opposed to natural, ii. 15; different in the same flower, i. 67-68.Science, subservient to life, ii. 8; natural, relation to painting, iii. 305; interest in, iii. 256; inculcates reverence, iii. 256; every step in, adds to its practical applicabilities, ii. 9; use and danger of in relation to enjoyment of nature, iii. 306; gives the essence, art the aspects, of things, iii. 306; may mislead as to aspects, iv. 391.Scott, representative of the mind of the age in literature, iii. 259, 263, 277; quotations from, showing his habit of looking at nature, iii. 268, 269; Scott’s love of color, iii. 273-276;enjoyment of nature associated with his weakness, iii. 269-287; love of liberty, iii. 271; habit of drawing slight morals from every scene, iii. 276, 277; love of natural history, iii. 276; education of, compared with Turner’s, iii. 308, 309; description of Edinburgh, iii. 273; death without hope, v.349.Scripture, sanctity of color stated in, iv. 52, v.319; reference to mountains in, iv. 98, 119, 377; Sermon on the Mount, iii. 305, 338; reference to firmament, iv. 80, 86 (note), 87; attention to meaning of words necessary to the understanding of, v.147-151; Psalms, v.145,147.Sculpture, imagination, how manifested in, ii. 184, 185; suitability of rocks for, iv. 111, 112, 119; instances of gilding and coloring of (middle ages), ii. 201; statues in Medici Chapel referred to, ii. 208; at the close of 16th century devoted to luxury and indolence, iii. 63; of 13th century, fidelity to nature in, iii. 203-208, v.46-48.Sea, painting of, i. 373-382; has never been painted, i. 328; Stanfield’s truthful rendering of, i. 353; Turner’s heavy rolling, i. 376; seldom painted by the Venetians, i. 346; misrepresented by the old masters, i. 344; after a storm, effect of, i. 380, 381; Dutch painting of, i. 343; shore breakers inexpressible, i. 374; Homer’s feeling about the, iii. 169; Angel of the, v.133-151. See Foam, Water.Seer, greater than thinker, iii. 134, 262.Sensibility, knowledge of the beautiful dependent on, i. 52; an attribute of all noble minds, i. 52; the essence of a gentleman, v.263; want of, is vulgarity, v.273; necessary to the perception of facts, i. 52; to color and to form, difference between, i. 416; want of, in undue regard to appearance, v.269; want of, in Dutch painters, v.277.Sensitiveness, criterion of the gentleman, v.262,266; absence of, sign of vulgarity, v.273; want of, in Dutch painters, v.277,278.Sensuality, destructive of ideal character, ii. 123; how connected with impurity of color, ii. 124; various degrees of, in modern art, ii. 126, iii. 66; impressions of beauty, not connected with, ii. 12. See Purity.Seriousness of men of mental power, iii. 258; want of, in the present age, ii. 169.Shade, gradation of, necessary, ii. 47; want of, in early works of nations and men, i. 54; more important than color in expressing character of bodies, i. 70; distinctness of, in nature’s rocks, i. 311; and color, sketch of a great master conceived in, i. 405; beautiful only when showing beautiful form, ii. 82 (note).Shadow, cast, importance of, i. 331-333; strangeness of cast, iv. 77; importance of, in bright light, i. 174-175; variety of, in nature, i. 168; none on clear water, i. 331; on water, falls clear and dark, in proportion to the quantity of surface-matter, i. 332; as given by various masters, iv. 47; of colorists right, of chiaroscurists untrue, iv. 49; exaggeration of, in photography, iv. 63; rejection of, by mediævals, iii. 200.Shakspere, creative order of poets, iii. 156 (note); his entire sympathy with all creatures, iv. 362-363; tragedy of, compared with Greek, v.210; universality of, iii. 90, 91; painted human nature of the sixteenth century, iii. 90, iv. 367; repose of, ii. 68; his religion occult behind his equity, v.226; complete portraiture in, iii. 78, 91, iv. 364; penetrative imagination of, ii. 165; love of pine trees, iv. 371, v.82; no reverence for mountains, iv. 363, 370; corrupted by the Renaissance, iv. 367; power of, shown by his self-annihilation, i. xxv. (preface).Shelley, contemplative imagination a characteristic of, ii. 199; death without hope, v.349.Sight, greater than thought, iii. 282; better than scientific knowledge, i. 54; impressions of, dependent on mental observations, i. 50, 53;elevated pleasure of, duty of cultivating, ii. 26; of the whole truth, v.206; partial, of Dutch painters, v.278; not valued in the present age, ii. 4; keenness of, how to be tested, ii. 37; importance of, in education, iv. 401, v.330.Simplicity, second quality of execution, i. 36; of great men, iii. 87.Sin, Greek view of, v.210; Venetian view of, v.217; “missing the mark,” v.339; washing away of (the fountain of love), v.321.Sincerity, a characteristic of great style, iii. 35.Singing, should be taught to everybody, v.329(note), 330.Size. See Magnitude.Sketches, experimental, v.181; determinant, v.182; commemorative, v.182.Sky, truth of, i. 204, 264; three regions of, i. 217, cannot be painted i. 161, iv. 38; pure blue, when visible, i. 256; ideas of, often conventional, i. 206; gradation of color in, i. 210; treated of by the old masters as distinct from clouds, i. 208; prominence of, in modern landscape, iii. 250; open, of modern masters, i. 214; lessons to be taught by, i. 204, 205; pure and clear noble painting of, by earlier Italian and Dutch school, very valuable, ii. 43, i. 84, 210; appearance of, during sunset, i. 161; effect of vapor upon, i. 211; variety of color in, i. 225; reflection of, in water, i. 327; supreme brightness of, iv. 38; transparency of, i. 207; perspective of, v.114; engraving of, v.108,112(note).Snow, form of, on Alps, i. 286, 287; waves of, unexpressible, when forming the principal element in mountain form, iv. 240; wreaths of, never properly drawn, i. 286.Space, truth of, i. 191-203; deficiency of, in ancient landscape, i. 256; child-instinct respecting, ii. 39; mystery throughout all, iv. 58.Spiritual beings, their introduction into the several forms of landscape art, v.194; rejected by modern art, v.236.Spenser, example of the grotesque from description of envy, iii. 94, 95; description of Eris, v.309; description of Hesperides fruit, v.311.Spring, our time for staying in town, v.89.Stones, how treated by mediæval artists, iv. 302; carefully realized in ancient art, iv. 301; false modern ideal, iv. 308; true drawing of, iv. 308. See Rock.Style, greatness of, iii. 23-43; choice of noble subject, iii. 26; love of beauty, iii. 31; sincerity, iii. 35; invention, iii. 38; quotation from Reynolds on, iii. 13; false use of the term, i. 95; the “grand,” received opinions touching, iii. 1-15.Sublimity, the effect on the mind of anything above it, i. 41; Burke’s treatise on, quoted, i. 17; when accidental and outward, picturesque, iv. 2, 6, 7.Sun, first painted by Claude, iii. 320; early conventional symbol for, iii. 320; color of, painted by Turner only, v.315.Sunbeams, nature and cause of, i. 211; representation of, by old masters, i. 211.Sunsets, splendor of, unapproachable by art, i. 161; painted faithfully by Turner only, i. 162; why, when painted, seem unreal, i. 162.Superhuman, the, four modes of manifestation, always in the form of a creature, ii. 212, 213.Superiority, distinction between kind and degrees of, i. 417.Surface, examples of greatest beauty of, ii. 77; of water, imperfectly reflective, i. 329; of water, impossible to paint, i. 355.Swiss, character, iv. 135, 338, 374; the forest cantons (“Under the Woods”), v.86,87.Symbolism, passionate expression of, in Lombardic griffin, iii. 206; delight of great artists in, iii. 97; in Calais Tower, iv. 3.Symmetry, type of divine justice, ii. 72-74; value of, ii. 222; use of, in religious art, ii. 73, iv. 75; love of, in mediæval art, iii. 199; appearance of, in mountain form, i. 297; of curvature in trees, i. 400, v.34; of tree-stems, v.58,60; of clouds, i. 219.Sympathy, characteristics of, ii. 93, 169; condition of noble picturesque, iv. 10, 12, 14; the foundation of true criticism, iii, 22; cunning associated with absence of, v.266; necessary to detect passing expression, iii. 67; with nature, ii. 91, 93, iii. 179, 193, iv. 14, 15; with humanity, ii. 169, iv. 11; absence of, is vulgarity, iii. 83, v.264; mark of a gentleman, v.263,264.System, establishment of, often useless, iii. 2; of chiaroscuro, of various artists, iv. 42.Taste, definition of, i. 26; right, characteristics of, ii. 25; a low term, indicating a base feeling for art, iii. 64, 65; how developed, ii. 21; injustice and changefulness of public, i. 418; purity of, how tested, ii. 25; classical, its essence, v.243; present fondness for unfinished works, i. 420, ii. 82.Temperate, right use of the word, ii. 13.Tennyson, rich coloring of, iii. 257; subdued by the feelings under which he writes, iii. 160; instances of the pathetic fallacy in, iii. 167, 267; sense of beauty in, v.332; his faith doubtful, iii. 253.Theoretic Faculty, first perfection of, is Charity, ii. 90; second perfection of, is justice of moral judgment, ii. 96; three operations of, ii. 101; how connected with vital beauty, ii. 91; how related to the imagination, ii. 157; should not be called æsthetic, ii. 12; as concerned with moral functions of animals, ii. 97, 98.Theoria, meaning of, ii. 12, 18; derivation of, ii. 23; the service of Heaven, ii. 140; what sought by Christian, ii. 18.Thought, definition of, i. 29; value of, in pictures, i. 10; representation of the second end of art, i. 45-47; how connected with knowledge, i. 47; art, in expression of individual, i. 44; choice of incident, expressive of, i. 29; appreciation of, in art, not universal, i. 46.Thoughts, highest, depend least on language, i. 9; various, suggested in different minds by same object, iii. 283, 284.Tone, meaning of, right relation of shadows to principal light, i. 140; truth of, i. 140-154; a secondary truth, i. 72; attention paid to, by old masters, i. 75, 141; gradation more important than, i. 149; cause of want of, in pictures, i. 141.Topography, Turnerian, iv. 16-33; pure, preciousness of, iv. 10, 17; slight exaggeration sometimes allowed in, iv. 32; sketch of Lausanne, v.185.Torrents, beneficent power of, iv. 285; power of, in forcing their way, iv. 258, 259, 318; sculpture of earth by, iv. 262; mountains furrowed by descent of, i. 297, iv. 312; curved lines of, i. 370, iv. 312.Transparency, incompatible with highest beauty, ii. 77; appearance of, in mountain chains, i. 281; wanting in ancient landscape, not in modern, i. 215, 234; of the sky, i. 207; of bodies, why admired, ii. 77; ravelling, best kind of, iii. 293.Tree, aspen, iv. 77, 78; willow, v.68; black spruce, v.78.Tree boughs, falsely drawn by Claude and Poussin, i. 389, 391, v.65; rightly drawn by Veronese and Durer, v.66,67; complexity of, i. 389; angles of, i. 392; not easily distinguished, i. 70; diminution and multiplication of, i. 388-389; appearance of tapering in, how caused, i. 385; loveliness of, how produced, v.64; subtlety of balance in, v.64; growth of, v.61; nourishment of, by leaves, v.41; three conditions of branch-aspect—spring, caprice, and fellowship, v.63-71.Trees, outlines of, iii. 114; ramifications of, i. 386, v.58,60,62; the most important truth respecting (symmetrical terminal curve), i. 400; laws common to forest, i. 385; poplar, an element in lovely landscape, i. 129, iii. 186; superiority of, on mountain sides, iv. 348, v.78-79; multiplicity of, in Swiss scenery, iv. 289, 290; change of color in leafage of, iv. 261;classical delight in, iv. 76, iii. 184; examples of good and bad finish in (plates), iii. 116, 117; examples of Turner’s drawing of, i. 394; classed as “builders with the shield” and “with the sword,” v.8; laws of growth of, v.17,49,72; mechanical aspect of, v.40; classed by leaf-structure—trefoil, quatrefoil, and cinqfoil, v.19; trunks of, v.40,56; questions concerning, v.51; how strengthened, v.41; history of, v.52; love of, v.4; Dutch drawing of, bad, v.68,71; as drawn by Titian and Turner, i. 392, 394; as rendered by Italian school, i. 384.
Intemperance, nature and application of the word, ii. 13, 14.
Invention, characteristic of great art, i. 305, iii. 38, 88; greatest of art-qualities, v.158; instinctive character of, ii. 155, iii. 84, 87, v.154,158; evil of misapplied, i. 117; liberty of, with regard to proportion, ii. 61; operation of (Turnerian Topography), iv. 18, 23, 24; “never loses an accident,” v.173; not the duty of young artists, i. 422; verity of, v.191; absence of, how tested, v.157; grandeur of, v.187; material, v.153-163; spiritual, v.193-217; sacred, a passionate finding, v.192; of form, superior to invention of color, v.320(note).
Joy, a noble emotion, ii. 16, iii. 10; necessity of, to ideas of beauty, ii. 17, 29; of youth, how typified in bud-structure and flowers, iii. 206, 227; of humble life, v.328.
Judgment, culture and regulation of, i. 49-56, ii. 22-25;distinguished from taste, i. 25, ii. 34; right moral, necessary to sense of beauty, ii. 96, 99; right technical knowledge necessary to formation of, ii. 4; equity of, illustrated by Shakspere, iv. 332; substitution of, for admiration, the result of unbelief, v.244.
Keats, subdued by the feeling under which he writes, iii. 160; description of waves by, iii. 168; description of pine, v.82; coloring of, iii. 257; no real sympathy with, but a dreamy love of nature, iii. 270, 285; death of, v.349; his sense of beauty, v.332.
Knowledge, connection of, with sight, i. 54; connection of, with thought, i. 47; pleasure in, iv. 69; communication of, railways and telegraphs, iii. 302; what worth teaching, iii. 298, v.330; influence of, on art, i. 45, 47, 238; necessary to right judgment of art, i. 121, 411, 418; feeling necessary to fulness of, v.107; highest form of, is Trust, v.161; coldness of, v.140; how to be employed, v.330; refusal of, a form of asceticism, v.326.
Labor, healthful and harmful, v.329,331.
Lands, classed by their produce and corresponding kinds of art, v.133-135.
Landscape, Greek, iii. 178-187, v.211-213; effect of on Greek mind, iv. 351; of fifteenth century, iii. 201; mediæval, iii. 201, 209, 219, iv. 77-79; choice of, influenced by national feeling, i. 125; novelty of, iii. 143-151; love of, iii. 280, 294; Scott’s view of, iii. 257; of Switzerland, iv. 132, 290 (see Mountains, Alps, &c.); of Southern Italy, v.235; Swiss moral influences of, contrasted with those of Italy, iv. 135-136; colors of, iv. 40, 345; lowland and mountain, iv. 363; gradation in, i. 182; natural, how modified by choice of inventive artists, iv. 24, 26 (note); dependent for interest on relation to man, v.193,196; how to manufacture one, iv. 291.
Landscape Painters, aims of great, i. 44, iv. 23; choice of truths by, i. 74-76; in seventeenth century, their vicious and false style, i. 5, 185, 328, 387; German and Flemish, i. 90; characteristics of Dutch, v.253,259; vulgarity of Dutch, v.277; English, i. 83, 92-95.
Landscape Painting, modern, i. 424; four true and two spurious forms of, v.194,195; true, dependent for its interest on sympathy with humanity (the “dark mirror”), v.195-201, iii. 248, 250, 259, 325, iv. 56; early Italian school of, i. 81-85, 165, ii. 217; emancipation of, from formalism, iii. 312; Venetian school of, expired 1594, iii. 317, v.214,219; supernatural, ii. 219-222; Purist ideal of, iii. 70-76; delight in quaint, iii. 313; preservation of symmetry in, by greatest men, ii. 74; northern school of, iii. 323; doubt as to the usefulness of, iii. 144, v.193; symbolic, iii. 203; topographical, iv. 16; Dutch school of, i. 92; modern love of darkness and dark color, the “service of clouds,” iii. 248-251.
Landscape Painting, Classical, v.242-248; absence of faith in, v.242; taste and restraint of, v.242; ideal of, v.244.
Landscape Painting, Dutch, v.277-281.
Landscape Painting, Heroic, v.194-198.
Landscape Painting, Pastoral, v.253-260.
Language of early Italian Pictures, i. 10; of Dutch pictures, i. 10; distinction between ornamental and expressive, i. 10; painting a, i. 8; accuracy of, liable to misinterpretation, iii. 5.
Law, David’s delight in the, v.146; helpfulness or consistence the highest, v.156.
Laws of leaf-grouping, v.25,26,32; of ramification, v.49-62; of vegetation, how expressed in early Italian sculpture, v.46.
Leaf, Leaves, how treated by mediæval ornamental artists, iii. 204;of American plane, iii. 205; of Alisma plantago, iii. 205; of horse-chestnut, iii. 205; growth of, iv. 193, v.31; laws of Deflection, Radiation, and Succession, v.25,26; ribs of, law of subordination in, iii. 206, v.24; lessons from, v.32,74,75; of the pine, v.78; of earth-plants, shapes of, v.92-95; life of, v.31,32,40,41,63; structure of, 21-25; variety and symmetry of, i. 394, ii. 72, 92; drawing of, by Venetians, iii. 316; drawing of, by Dutch and by Durer, v.37,90; curvature in, iv. 271-273; mystery in, i. 191, 396; strength and hope received from, ii. 140.
Leaflets, v.33.
Liberty, self-restrained, ii. 84; love of, in modern landscapes, iii. 250; Scott’s love of, iii. 271; religious, of Venetians, v.215; individual helplessness (J. S. Mill), v.174.
Lichens. See Moss.
Life, intensity of, proportionate to intensity of helpfulness, v.155; connection of color with, iv. 53, 123, v.322; man’s, see Man, Mediæval.
Light, power, gradation, and preciousness of, iv. 34, 37, 53, 69, 71-73; mediæval love of, iii. 200; value of, on what dependent, ii. 48; how affected by color, i. 68, 70; influence of, in architecture, i. 106; table of gradation of different painters, iv. 42; law of evanescence (Turner), iv. 70; expression of, by color, i. 98, 171; with reference to tone, i. 147, 149; a characteristic of the thirteenth century, iv. 49; love of, ii. 75, 76, iii. 244; a type of God, ii. 78; purity of, i. 147, ii. 75; how related to shadows, i. 140, 173; hues of, i. 149, 157, 161; high, how obtained, i. 173, 182, ii. 48; high, use of gold in, i. 106; white of idealists to be distinguished from golden of Titian’s school, ii. 221; Dutch, love of, v.254,278; effects of, as given by Turner, iv, 71.
Limestone, of what composed, i. 309; color of, iii. 231-233; tables, iv. 127-129.
Lines of fall, iv. 276; of projection, iv. 279; of escape, iv. 279; of rest, iv. 309; nature of governing, iv. 187; in faces, ii. 114; undulating, expressive of action, horizontal, of rest and strength, v.164; horizontal and angular, v.164; grandeur of, consists in simplicity with variation, iv. 247; curved, iv. 263; apparent proportion in, ii. 61; all doubtful, rejected in armorial bearings, iii. 200.
Literature, greatest not produced by religious temper, v.205; classical, the school of taste or restraint, v.242; spasmodic, v.242; world of, divided into thinkers and seers, iii. 262; modern temper of, iii. 252, 261-263; reputation of, on what dependent (error transitory) i. 1, 2.
Locke, quoted (hard to see well), i. 51, 67.
Love, a noble emotion, iii. 10; color a type of, v.320(note); source of unity, ii. 50; as connected with vital beauty, ii. 89; perception quickened by, i. 52; want of, in some of the old landscape painters, i. 77; finish proceeding from, i. 84; nothing drawn rightly with out, iv. 33; of brightness in English cottages, iv. 320; of horror, iv. 328; characteristic of all great men, ii. 90; higher than reason, ii. 114; ideal form, only to be reached by, ii. 121; loveliest things wrought through, ii. 131, v.348; good work only done for, v.346-348; and trust the nourishment of man’s soul, v.348.
Lowell, quotation from, v.347.
Lowlander, proud of his lowlands (farmer in “Alton Locke”), iii. 182.
Magnitude, relation of, to minuteness, v.175-177; love of mere size, v.176; influence of, on different minds, v.177.
Man, his use and function, ii. 4; his business in the world, iii. 44, v.1; three orders of, iii. 286; characteristics of a great, iii. 260; perfection of threefold, v.326; vital beauty in, ii. 111-131; present and former character of, iii. 149-151; intelligibility necessary to a great, iv. 74; adaptation of plants to needs of, v.2,3;influence of scenery on, v.133-135; lessons learnt by, from natural beauty, v.146; result of unbelief in, v.345; how to get noblest work out of, v.346-348; love and trust necessary to development of, v.347; divided into five classes, v.159-162; how to perceive a noble spirit in, iv. 18; when intemperate, ii. 13; pursuits of, how divided, ii. 8, v.159-162; life of, the rose and cankerworm, v.324,332; not intended to be satisfied by earthly beauty, i. 204, iv. 131; his happiness, how constituted, iii. 303, v.327-330; his idea of finish, iii. 113; society necessary to the development of, ii. 116; noblest tone and reach of life of, v.331.
Marble, domestic use of, iv. 370; fitted for sculpture, iv. 127; colors of, iv. 140.
Mediæval, ages compared with modern, iii. 250; not “dark,” iii. 252; mind, how opposed to Greek, iii. 193; faith, life the expression of man’s delight in God’s work, iii. 217; admiration of human beauty, iii. 197; knights, iii. 192-195; feeling respecting mountains, iii. 192, 196, 229, iv. 377; want of gratitude, iii. 193; sentimental enjoyment of nature, iii. 192; dread of thick foliage, iii. 213; love for color, iii. 219, 220; dislike of rugged stone, iv. 301; love of cities, v.4; love of gardens, iii. 191; love of symmetry, iii. 199; neglect of earth’s beauty, v.5, iii. 146; love of definition, iii. 209; idea of education, v.5; landscape, the fields, iii. 191-228; the rocks, iii. 229-247.
Mica, characteristics of, iv. 105; connected with chlorite, iv. 113; use of the word, iv. 114; flake of, typical of strength in weakness, iv. 239.
Michelet, “L’Insecte,” quoted on magnitude, v.176.
Middle Ages, spirit of the, iii. 151; deficiency in Shakspere’s conception of, iv. 364-368; baronial life in the, iii. 192, 195; neglect of agriculture in, iii. 192; made earth a great battlefield, v.5. See Mediæval.
Mill, J. S., “On Liberty,” v.174.
Milton, characteristics of, ii. 144, iii. 285, 296; his use of the term “expanse,” iv. 83; and Dante’s descriptions, comparison between, ii. 163, iii. 209; misuse of the term “enamelled” by, iii. 223; instances of “imagination,” ii. 144.
Mind, independence of, ii. 191; visibleoperation of, on the body, ii. 113.
Minuteness, value of, v.175-177; influence of, on different minds, v.177. See Magnitude.
Mist, of what typical, iv. 70; Copley Fielding’s love of, iv. 75.
Mistakes, great, chiefly due to pride, iv. 50.
Moderation, value of, ii. 84.
Modern age, characteristics of, iii. 251, 254, 264, 276; costume, ugliness of, iii. 255, v.273(note); romance of the past, iii. 255; criticism, iv. 389; landscape, i. 424, ii. 159, iii. 248; mind, pathetic fallacy characteristic of, iii. 168.
Moisture, expressed by fulness of color, iv. 245.
Moss, colors of, iv. 130, v.99; beauty and endurance of, v.100.
Mountaineer, false theatrical idea of, iv. 321; regarded as a term of reproach by Dante, iii. 241; same by Shakspere, iv. 371; his dislike of his country, iii. 182; hardship of, iv. 335; his life of, “gloom,” iv. 320.
Mountains (see also Banks, Crests, Débris, &c.), uses and functions of, iv. 91; influences of, on artistic power, iv. 356; influence on purity of religion, doctrine, and practice, iv. 351; monkish view of, iv. 377, iii. 196; structure of, i. 300, iv. 157; materials of, i. 271, iv. 90; principal laws of, i. 270, 302; spirit of, i. 271; false color of (Salvator and Titian), i. 158; multiplicity of feature, i. 299; fulness of vegetation, iv. 291; contours of, i. 298, iv. 141, 157, 182, 276, 309; curvature of, i. 296, iv. 186, 192, 282, 287; appearances of, i. 281, 283; foreground, beauty of, i. 99, iv. 99; two regions in, iv. 172; superior beauty of, iv. 91, 346, 348; false ideal of life in, iv. 319;decomposition, iv. 103, 137, 169, 309; sanctity of, iii. 196; lessons from decay of, iv. 315; regularity and parallelism of beds in, iv. 207; exaggeration in drawing of, ii. 208, iv. 175, 190; love of, iii. 250, 259, 288, iv. 376; mentions of, in Scripture, iii. 196, iv. 377; Moses on Sinai, iv. 378; Transfiguration, iv. 381; construction of Northern Alpine, iv. 286, iv. 324; glory, iv. 344, 345; lift the lowlands on their sides, iv. 92; mystery of, unfathomable, iv. 155, 174; material of Alpine, a type of strength in weakness, iv. 239; Dante’s conception of, iii. 229, 230, 239; Dante’s repugnance to, iii. 240; influence of the Apennines on Dante, iii. 231; mediæval feeling respecting, iii. 191, 229; symbolism of, in Dante, iii. 240; not represented by the Greeks, iii. 145; scenery not attempted by old masters, i. 278; influence of, iv. 344, 356; the beginning and end of natural scenery, iv. 344.
Mountains, central, their formation and aspect, i. 275-287.
Mountain gloom, iv. 317-343; life in Alpine valleys, iv. 320; love of horror, iv. 328-332; Romanism, iv. 333; disease, iv. 335; instance, Sion in the Valais, iv. 339.
Mountains, inferior, how distinguished from central, i. 290; individual truth in drawing of, i. 304.
Mystery, of nature, i. 37, iv. 67, 80; never absent in nature, iv. 58; noble and ignoble, iv. 70, 73, 74; of execution, necessary to the highest excellence, i. 37, iv. 62; in Pre-Raphaelitism, iv. 61; sense of delight in, iv. 69; Turnerian, essential, iv. 56-67; wilful, iv. 68-81.
Mythology, Renaissance paintings of, iii. 62; Apollo and the Python, v.322; Calypso, the concealer, v.211; Ceto, deep places of the sea, v.138,304; Chrysaor, angel of lightning, v.140; Danae’s golden rain, v.140; Danaïdes, sieves of, v.140; Dragon of Hesperides, v.302,308,309; Eurybia, tidal force of the sea, v.138,304; Fates, v.301; Garden of Hesperides, v.300-316; Goddess of Discord, Eris, v.305-310; Gorgons, storm-clouds, v.138,304; Graiæ, soft rain-clouds, 138, 304; Hesperides, v.303,310; Nereus, god of the sea, v.138,303; Minerva’s shield, Gorgon’s head on, v.140; Muses, v.163; Pegasus, lower rain-clouds, v.140; Phorcys, malignant angel of the sea, v.138,303; Thaumas, beneficent angel of the sea, v.138,304.
Nature, infinity of, i. 64, 66, 164-168, 198, 219, 224, iii. 121 (drawing of leafage), iv. 29, 267, 303, i. 77; variety of, i. 55, 169, 291, v.2-5; gradation in, ii. 47, iv. 122, 287; curvature in, ii. 46, 60, iv. 271, 272; colors of, i. 70, 169, 352, iii. 35; finish of, iii. 112, 121, 122; fineness of, iv. 304; redundancy of, iii. 122, v.99; balance of, v.64; inequality of, v.22; pathetic treatment of, v.177; always imaginative, ii. 158; never distinct, never vacant, i. 193; love of, intense or subordinate, classification of writers, iii. 285; love of, an indication of sensibility, iii. 285; love of (moral of landscape), iii. 285-307; want of love of in old masters, i. 77, iii. 325; lights and shadows in, i. 180, 311, iv. 34; organic and inorganic beauty of, i. 286, ii. 96; highest beauty rare in, i. 65, iv. 131; sympathy with, iii. 194, 306, ii. 91, 93, iv. 16-67; not to be painted, i. 64; imagination dependent on, ii. 191; how modified by inventive painters, v.181; as represented by old masters, i. 77, 176; treatment of, by old landscape painters, i. 75; feeling respecting, of mediæval and Greek knight, iii. 177, 192, 193, 197, v.5; drawing from (Encyclopædia Britannica), iv. 295. See Beauty, Deity, Greek, Mediæval, Mystery, also Clouds, Mountains, etc.
Neatness, modern love of, iii. 109, iv. 3-6; vulgarity of excessive, v.271.
Nereid’s guard, the, v.298-313.
Niggling, ugly misused term, v.36; means disorganized and mechanical work, v.37.
Obedience, equivalent of, “faith,” and root of all human deed, v.161;highest form of, v.161,163; law of, v.161.
Obscurity, law of, iv. 61; of intelligible and unintelligible painters, iv. 74. See Mystery.
Ornament, abstract, as used by Angelico, ii. 220; realized, as used by Filippino Lippi, etc., ii. 220; language of, distinct from language of expression, i. 10; use of animal form in, ii. 204; architectural, i. 105, 107, ii. 205; symbolic, ii. 204-205; vulgar, iv. 273; in dress, iv. 364; curvature in, iv. 273, 274; typical, iii. 206; symmetrical, iii. 207; in backgrounds, iii. 203; floral, iii. 207-208.
Outline exists only conventionally in nature, iii. 114.
Painters, classed by their objects, 1st, exhibition of truth, 2nd, deception of senses, i. 74; classed as colorists and chiaroscurists, iv. 47; functions of, iii. 25; great, characteristics of, i. 8, 124, 326, ii. 42, iii. 26-43, iv. 38, v.189,190,332; great, treatment of pictures by, v.189; valgar, characteristics of, i. 327, ii. 82, 128, 137, iii. 32, 63, 175, 257, 318; religious, ii. 174, 175, 181, 217, iii. 48, 59, iv. 355; complete use of space by, i. 235; duty of, with regard to choice of subject, ii. 219, iv. 18 (note); interpreters of nature, iii. 139; modern philosophical, error respecting color of, iii. 30; imaginative and unimaginative, ii. 154-157; should be guides of the imagination, iii. 132; sketches of, v.180; early Italian, i. 247, iii. 244; Dutch, i. xxxii. preface, iii. 182; v.35,37,278; Venetian, i. 80, 346, v.214,229,258; value of personification to, iii. 96; contrast between northern and Italian, in drawing of clouds, v.133; effect of the Reformation on, v.250. See Art, Artists.
Painting, a language, i. 8; opposed to speaking and writing, not to poetry, iii. 13; classification of, iii. 12; sacred, iii. 46; historical, iii. 39, 90; allegorical, delight of greatest men, iii. 95; of stone, iv. 301; kind of conception necessary to, v.187; success, how found in, v.179; of the body, v.228; differs from illumination in representing shadow, iii. 29; mode of, subordinate to purpose, v.187; distinctively the art of coloring, v.316; perfect, indistinctness necessary to, iv. 64; great, expressive of nobleness of mind, v.178,191. See Landscape Painting, Animal Painting, Art, Artist, Truth, Mediæval, Renaissance.
Past and present, sadly sundered, iv. 4.
Peace, v.339-353; of monasticism, v.282; choice between the labor of death and the peace of obedience, v.353.
Perfectness, law of, v.180-192.
Perspective, aërial, iii. 248; aërial, and tone, difference between, i. 141; despised in thirteenth century art, iii. 18; of clouds, v.114,118; of Turner’s diagrams, v.341(note).
Pharisaism, artistic, iii. 60.
Photographs give Turnerian form, and Rembrandtesque chiaroscuro, iv. 63.
Pictures, use of, to give a precious, non-deceptive resemblance of Nature, iii. 126-140; noblest, characteristic of, iii. 141; value of estimate by their completeness, i. 11, 421; Venetian, choice of religious subjects in, v.221; Dutch, description of, v.277, advantages of unreality in, iii. 139, 140; as treated by uninventive artists, iii. 20; finish of, iii. 113; of Venice at early morn, i. 343; of mountaineer life, iv. 320-322. See Realization, Finish.
Picturesque, nobleness of, dependent on sympathy, iv. 13; Turnerian, iv. 1-15; dependent on absence of trimness, iv. 5; and on actual variety of form and color, iv. 6; lower, heartless delight in decay, iv. 11; treatment of stones, iv. 302; Calais spire an instance of noble, iv. 7.
Plagiarism, greatest men oftenest borrowers, iii. 339.
Plains, structure of, i. 272; scenery of compared with mountains, iv. 344, 345; spirit of repose in, i. 271; effect of distance on, i. 273. See Lowlander.
Plants, ideal of, ii. 105-107; sense of beauty in, ii. 92, 99; typical of virtues, iii. 227; influence of constructive proportion on, ii. 63; sympathy with, ii. 91; uses of, v.2,3; “tented” and “building,” earth-plants and pillar-plants, v.8; law of succession in, v.26; seed of, v.96; roots of, v.41; life of, law of help, v.155; strawberry, v.96; Sisymbrium Irio, v.95; Oxalis acetosella, i. 82 (note); Soldanella and ranunculus, ii. 89, 108; black hollyhock, v.234.
Pleasure of overcoming difficulties, i. 16; sources of, in execution, i. 36; in landscape and architecture, iv. 345. See Pictures.
Pleasures, higher and lower, ii. 15-18; of sense, ii. 12; of taste, how to be cultivated, ii. 23.
Poetry, the suggestion by the imagination of noble ground for noble emotion, iii. 10, v.163; use of details in, iii. 8; contrasted with history, iii. 7-9; modern, pathetic fallacy characteristic of, iii. 168.
Poets, too many second-rate, iii. 156; described, v.163; two orders of (creative and reflective), iii. 156 (note), 160; great, have acuteness of, and command of, feeling, iii. 163; love of flowers by, v.91; why not good judges of painting, iii. 133.
Poplar grove, gracefulness of, Homer’s love of, iii. 91, 182, 185.
Popularity, i. 2.
Porphyry, characteristics of, iv. 108-112.
Portraits, recognition, no proof of real resemblance, i. 55.
Portraiture, use of, by painters, ii. 119, iii. 78, 89, 91, iv. 358; necessary to ideal art, ii. 119; modern foolishness, and insolence of, ii. 122; modern, compared with Vandyke’s, v.273(note); Venetians painted praying, v.220.
Power, ideas of, i. 13, 14; ideas of, how received, i. 32; imaginative, iii. 39; never wasted, i. 13; sensations of, not to be sought in imperfect art, i. 33; importance technical, its relation to expressional, iii. 29.
Precipices, how ordinarily produced, i. 290, iv. 148; general form of, iv. 246; overhanging, in Inferior Alps, iv. 241; steepness of, iv. 230; their awfulness and beauty, iv. 241, 260; action of years upon, iv. 147; rarity of high, among secondary hills, i. 301.
Pre-Raphaelites, aim of, i. 425; unwise in choice of subject, iv. 18; studies of, iii. 58, 71 (note); rank of, in art, iii. 141, iv. 57; mystery of, iv. 61, iii. 29, 127-129; apparent variance between Turner and, iii. 129; love of flowers, v.91; flower and leaf-painting of, i. 397, v.35.
Pride, cause of mistakes, iv. 50; destructive of ideal character, ii. 122; in idleness, of mediæval knights, iii. 192; in Venetian landscape, v.218.
Proportion, apparent and constructive, ii. 57-63; of curvature, ii. 60, iv. 266, 267; how differing from symmetry, ii. 73; of architecture, ii. 59; Burke’s error, ii. 60-62.
Prosperity, evil consequences of long-continued, ii. 4-5.
Psalm 19th, meaning of, v.147-149.
Purchase, wise, the root of all benevolence, v.328(note).
Puritans and Romanists, iii. 252.
Purity, the expression of divine energy, ii. 75; type of sinlessness, ii. 78; how connected with ideas of life, ii. 79; of color, ii. 79; conquest of, over pollution, typified in Apollo’s contest, v.323; of flesh painting, on what dependent, ii. 124; Venetian painting of the nude, v.227. See Sensuality.
Python, the corrupter, v.323.
Rays, no perception of, by old masters, i. 213; how far to be represented, i. 213.
Realization, in art, iii. 16; gradually hardened feeling, iv. 47-51; not the deception of the senses, iii. 16; Dante’s, iii. 18. See Pictures.
Refinement, meaning of term, ii. 81; of spiritual and practical minds, v.282-284; unconnected with toil undesirable, v.328.
Reflection, on distant water, i. 355 et seq.; effect of water upon, i. 329-331;to what extent visible from above, i. 336.
Reformation, strength of, v.249; arrest of, v.250; effect of, on art, iii. 55, v.251.
Relation, ideas of, i. 13, 29, 31.
Religion, of the Greeks, v.208-213; of Venetian painters, v.220; of London and Venice, v.291; English, v.343.
Renaissance, painting of mythology, iii. 62; art, its sin and its Nemesis, iii. 254; sensuality, iii. 63; builders, v.176; spirit of, quotation from Browning, iv. 368.
Repose, a test of greatness in art, ii. 65-68, 108, 222; characteristic of the eternal mind, ii. 65; want of, in the Laocoon, ii. 69; in scenery, i. 272; Turner’s “Rietz” (plate), v.164,168; instance of, in Michael Angelo’s “Plague of Serpents,” ii. 69 (note); how consistent with ideal organic form, ii. 108.
Reserve, of a gentleman (sensibility habitual), v.269.
Resilience, law of, v.30,71.
Rest, lines of, in mountains, iv. 276, 310, 312.
Revelation, v.199.
Reverence, for fair scenery, iii. 258; false ideas of (Sunday religion), iii. 142; for mountains, iii. 230; inculcated by science, iii. 256; Venetian, the Madonna in the house, v.224.
Reynolds, on the grand style of painting, iii. 23; on the influence of beauty, iii. 23.
Rocks, iv. 99-134; formation of, iv. 113; division of, iv. 99, 102, 157; curvature of, iv. 150, 154, 213, i. 295; color of, iv. 107, 121, 136, 123, 125, 129, i. 169; cleavages of, iv. 391; great truths taught by, iv. 102; aspect of, i. 295, 309, iv. 101, 108, 120, 128; compound crystalline, iv. 101, 105; compact crystalline, characteristics of, iv. 107, 102, 114, 159, 205; slaty coherent, characteristics of, iv. 122, 205, 251; compact coherent, iv. 128, 159; junction of slaty and compact crystalline, iv. 114, 173, 202; undulation of, iv. 116, 118, 150; material uses of, iv. 119, 127; effect of weather upon, iv. 104; effect of water on, iv. 213; power of, in supporting vegetation, iv. 125, 130; varied vegetation and color of, i. 169; contortion of, iv. 116, 150, 152, 157; débris of, iv. 119; lamination of, iv. 113, 127, i. 291; limestone, iv. 130, 144, 209, 250, 258; sandstone, iv. 132; light and shade of, i. 311; overhanging of, iv. 120, 254, 257; mediæval landscape, iii. 229-247; early painters’ drawing of, iii. 239; Dante’s dislike of, iii. 230; Dante’s description of, iii. 231, 236; Homer’s description of, iii. 232, 239; classical ideal of, iii. 186; Scott’s love of, iii. 242, 275. See Stones.
Romanism, modern, effect of on national temper, iv. 333, and Puritanism, iii. 252, 253.
Saussure, De, description of curved cleavage by, iv. 395; quotation from, iv. 294; on structure of mountain ranges, iv. 172; love of Alps, iv. 393.
Scenery, interest of, rooted in human emotion, v.194; associations connected with, iii. 290, 292; classical, Claude and Poussin, v.244; Highland, v.206; two aspects of, bright and dark, v.206; of Venice, effects of, v.216; of Nuremberg, effect of, v.233; of Yorkshire hills, effect of, i. 126, v.293; Swiss influence of, iv. 337-376, v.84-87; of the Loire, v.165; effect of mountains on, iv. 343-346. See Nature, Pictures.
Scent, artificial, opposed to natural, ii. 15; different in the same flower, i. 67-68.
Science, subservient to life, ii. 8; natural, relation to painting, iii. 305; interest in, iii. 256; inculcates reverence, iii. 256; every step in, adds to its practical applicabilities, ii. 9; use and danger of in relation to enjoyment of nature, iii. 306; gives the essence, art the aspects, of things, iii. 306; may mislead as to aspects, iv. 391.
Scott, representative of the mind of the age in literature, iii. 259, 263, 277; quotations from, showing his habit of looking at nature, iii. 268, 269; Scott’s love of color, iii. 273-276;enjoyment of nature associated with his weakness, iii. 269-287; love of liberty, iii. 271; habit of drawing slight morals from every scene, iii. 276, 277; love of natural history, iii. 276; education of, compared with Turner’s, iii. 308, 309; description of Edinburgh, iii. 273; death without hope, v.349.
Scripture, sanctity of color stated in, iv. 52, v.319; reference to mountains in, iv. 98, 119, 377; Sermon on the Mount, iii. 305, 338; reference to firmament, iv. 80, 86 (note), 87; attention to meaning of words necessary to the understanding of, v.147-151; Psalms, v.145,147.
Sculpture, imagination, how manifested in, ii. 184, 185; suitability of rocks for, iv. 111, 112, 119; instances of gilding and coloring of (middle ages), ii. 201; statues in Medici Chapel referred to, ii. 208; at the close of 16th century devoted to luxury and indolence, iii. 63; of 13th century, fidelity to nature in, iii. 203-208, v.46-48.
Sea, painting of, i. 373-382; has never been painted, i. 328; Stanfield’s truthful rendering of, i. 353; Turner’s heavy rolling, i. 376; seldom painted by the Venetians, i. 346; misrepresented by the old masters, i. 344; after a storm, effect of, i. 380, 381; Dutch painting of, i. 343; shore breakers inexpressible, i. 374; Homer’s feeling about the, iii. 169; Angel of the, v.133-151. See Foam, Water.
Seer, greater than thinker, iii. 134, 262.
Sensibility, knowledge of the beautiful dependent on, i. 52; an attribute of all noble minds, i. 52; the essence of a gentleman, v.263; want of, is vulgarity, v.273; necessary to the perception of facts, i. 52; to color and to form, difference between, i. 416; want of, in undue regard to appearance, v.269; want of, in Dutch painters, v.277.
Sensitiveness, criterion of the gentleman, v.262,266; absence of, sign of vulgarity, v.273; want of, in Dutch painters, v.277,278.
Sensuality, destructive of ideal character, ii. 123; how connected with impurity of color, ii. 124; various degrees of, in modern art, ii. 126, iii. 66; impressions of beauty, not connected with, ii. 12. See Purity.
Seriousness of men of mental power, iii. 258; want of, in the present age, ii. 169.
Shade, gradation of, necessary, ii. 47; want of, in early works of nations and men, i. 54; more important than color in expressing character of bodies, i. 70; distinctness of, in nature’s rocks, i. 311; and color, sketch of a great master conceived in, i. 405; beautiful only when showing beautiful form, ii. 82 (note).
Shadow, cast, importance of, i. 331-333; strangeness of cast, iv. 77; importance of, in bright light, i. 174-175; variety of, in nature, i. 168; none on clear water, i. 331; on water, falls clear and dark, in proportion to the quantity of surface-matter, i. 332; as given by various masters, iv. 47; of colorists right, of chiaroscurists untrue, iv. 49; exaggeration of, in photography, iv. 63; rejection of, by mediævals, iii. 200.
Shakspere, creative order of poets, iii. 156 (note); his entire sympathy with all creatures, iv. 362-363; tragedy of, compared with Greek, v.210; universality of, iii. 90, 91; painted human nature of the sixteenth century, iii. 90, iv. 367; repose of, ii. 68; his religion occult behind his equity, v.226; complete portraiture in, iii. 78, 91, iv. 364; penetrative imagination of, ii. 165; love of pine trees, iv. 371, v.82; no reverence for mountains, iv. 363, 370; corrupted by the Renaissance, iv. 367; power of, shown by his self-annihilation, i. xxv. (preface).
Shelley, contemplative imagination a characteristic of, ii. 199; death without hope, v.349.
Sight, greater than thought, iii. 282; better than scientific knowledge, i. 54; impressions of, dependent on mental observations, i. 50, 53;elevated pleasure of, duty of cultivating, ii. 26; of the whole truth, v.206; partial, of Dutch painters, v.278; not valued in the present age, ii. 4; keenness of, how to be tested, ii. 37; importance of, in education, iv. 401, v.330.
Simplicity, second quality of execution, i. 36; of great men, iii. 87.
Sin, Greek view of, v.210; Venetian view of, v.217; “missing the mark,” v.339; washing away of (the fountain of love), v.321.
Sincerity, a characteristic of great style, iii. 35.
Singing, should be taught to everybody, v.329(note), 330.
Size. See Magnitude.
Sketches, experimental, v.181; determinant, v.182; commemorative, v.182.
Sky, truth of, i. 204, 264; three regions of, i. 217, cannot be painted i. 161, iv. 38; pure blue, when visible, i. 256; ideas of, often conventional, i. 206; gradation of color in, i. 210; treated of by the old masters as distinct from clouds, i. 208; prominence of, in modern landscape, iii. 250; open, of modern masters, i. 214; lessons to be taught by, i. 204, 205; pure and clear noble painting of, by earlier Italian and Dutch school, very valuable, ii. 43, i. 84, 210; appearance of, during sunset, i. 161; effect of vapor upon, i. 211; variety of color in, i. 225; reflection of, in water, i. 327; supreme brightness of, iv. 38; transparency of, i. 207; perspective of, v.114; engraving of, v.108,112(note).
Snow, form of, on Alps, i. 286, 287; waves of, unexpressible, when forming the principal element in mountain form, iv. 240; wreaths of, never properly drawn, i. 286.
Space, truth of, i. 191-203; deficiency of, in ancient landscape, i. 256; child-instinct respecting, ii. 39; mystery throughout all, iv. 58.
Spiritual beings, their introduction into the several forms of landscape art, v.194; rejected by modern art, v.236.
Spenser, example of the grotesque from description of envy, iii. 94, 95; description of Eris, v.309; description of Hesperides fruit, v.311.
Spring, our time for staying in town, v.89.
Stones, how treated by mediæval artists, iv. 302; carefully realized in ancient art, iv. 301; false modern ideal, iv. 308; true drawing of, iv. 308. See Rock.
Style, greatness of, iii. 23-43; choice of noble subject, iii. 26; love of beauty, iii. 31; sincerity, iii. 35; invention, iii. 38; quotation from Reynolds on, iii. 13; false use of the term, i. 95; the “grand,” received opinions touching, iii. 1-15.
Sublimity, the effect on the mind of anything above it, i. 41; Burke’s treatise on, quoted, i. 17; when accidental and outward, picturesque, iv. 2, 6, 7.
Sun, first painted by Claude, iii. 320; early conventional symbol for, iii. 320; color of, painted by Turner only, v.315.
Sunbeams, nature and cause of, i. 211; representation of, by old masters, i. 211.
Sunsets, splendor of, unapproachable by art, i. 161; painted faithfully by Turner only, i. 162; why, when painted, seem unreal, i. 162.
Superhuman, the, four modes of manifestation, always in the form of a creature, ii. 212, 213.
Superiority, distinction between kind and degrees of, i. 417.
Surface, examples of greatest beauty of, ii. 77; of water, imperfectly reflective, i. 329; of water, impossible to paint, i. 355.
Swiss, character, iv. 135, 338, 374; the forest cantons (“Under the Woods”), v.86,87.
Symbolism, passionate expression of, in Lombardic griffin, iii. 206; delight of great artists in, iii. 97; in Calais Tower, iv. 3.
Symmetry, type of divine justice, ii. 72-74; value of, ii. 222; use of, in religious art, ii. 73, iv. 75; love of, in mediæval art, iii. 199; appearance of, in mountain form, i. 297; of curvature in trees, i. 400, v.34; of tree-stems, v.58,60; of clouds, i. 219.
Sympathy, characteristics of, ii. 93, 169; condition of noble picturesque, iv. 10, 12, 14; the foundation of true criticism, iii, 22; cunning associated with absence of, v.266; necessary to detect passing expression, iii. 67; with nature, ii. 91, 93, iii. 179, 193, iv. 14, 15; with humanity, ii. 169, iv. 11; absence of, is vulgarity, iii. 83, v.264; mark of a gentleman, v.263,264.
System, establishment of, often useless, iii. 2; of chiaroscuro, of various artists, iv. 42.
Taste, definition of, i. 26; right, characteristics of, ii. 25; a low term, indicating a base feeling for art, iii. 64, 65; how developed, ii. 21; injustice and changefulness of public, i. 418; purity of, how tested, ii. 25; classical, its essence, v.243; present fondness for unfinished works, i. 420, ii. 82.
Temperate, right use of the word, ii. 13.
Tennyson, rich coloring of, iii. 257; subdued by the feelings under which he writes, iii. 160; instances of the pathetic fallacy in, iii. 167, 267; sense of beauty in, v.332; his faith doubtful, iii. 253.
Theoretic Faculty, first perfection of, is Charity, ii. 90; second perfection of, is justice of moral judgment, ii. 96; three operations of, ii. 101; how connected with vital beauty, ii. 91; how related to the imagination, ii. 157; should not be called æsthetic, ii. 12; as concerned with moral functions of animals, ii. 97, 98.
Theoria, meaning of, ii. 12, 18; derivation of, ii. 23; the service of Heaven, ii. 140; what sought by Christian, ii. 18.
Thought, definition of, i. 29; value of, in pictures, i. 10; representation of the second end of art, i. 45-47; how connected with knowledge, i. 47; art, in expression of individual, i. 44; choice of incident, expressive of, i. 29; appreciation of, in art, not universal, i. 46.
Thoughts, highest, depend least on language, i. 9; various, suggested in different minds by same object, iii. 283, 284.
Tone, meaning of, right relation of shadows to principal light, i. 140; truth of, i. 140-154; a secondary truth, i. 72; attention paid to, by old masters, i. 75, 141; gradation more important than, i. 149; cause of want of, in pictures, i. 141.
Topography, Turnerian, iv. 16-33; pure, preciousness of, iv. 10, 17; slight exaggeration sometimes allowed in, iv. 32; sketch of Lausanne, v.185.
Torrents, beneficent power of, iv. 285; power of, in forcing their way, iv. 258, 259, 318; sculpture of earth by, iv. 262; mountains furrowed by descent of, i. 297, iv. 312; curved lines of, i. 370, iv. 312.
Transparency, incompatible with highest beauty, ii. 77; appearance of, in mountain chains, i. 281; wanting in ancient landscape, not in modern, i. 215, 234; of the sky, i. 207; of bodies, why admired, ii. 77; ravelling, best kind of, iii. 293.
Tree, aspen, iv. 77, 78; willow, v.68; black spruce, v.78.
Tree boughs, falsely drawn by Claude and Poussin, i. 389, 391, v.65; rightly drawn by Veronese and Durer, v.66,67; complexity of, i. 389; angles of, i. 392; not easily distinguished, i. 70; diminution and multiplication of, i. 388-389; appearance of tapering in, how caused, i. 385; loveliness of, how produced, v.64; subtlety of balance in, v.64; growth of, v.61; nourishment of, by leaves, v.41; three conditions of branch-aspect—spring, caprice, and fellowship, v.63-71.
Trees, outlines of, iii. 114; ramifications of, i. 386, v.58,60,62; the most important truth respecting (symmetrical terminal curve), i. 400; laws common to forest, i. 385; poplar, an element in lovely landscape, i. 129, iii. 186; superiority of, on mountain sides, iv. 348, v.78-79; multiplicity of, in Swiss scenery, iv. 289, 290; change of color in leafage of, iv. 261;classical delight in, iv. 76, iii. 184; examples of good and bad finish in (plates), iii. 116, 117; examples of Turner’s drawing of, i. 394; classed as “builders with the shield” and “with the sword,” v.8; laws of growth of, v.17,49,72; mechanical aspect of, v.40; classed by leaf-structure—trefoil, quatrefoil, and cinqfoil, v.19; trunks of, v.40,56; questions concerning, v.51; how strengthened, v.41; history of, v.52; love of, v.4; Dutch drawing of, bad, v.68,71; as drawn by Titian and Turner, i. 392, 394; as rendered by Italian school, i. 384.