Trees, pine, v.8-30, 79, 92; Shakspere’s feeling respecting, iv. 371, v.83; error of painters in representing, iv. 346 (note); perfection of, v.80-83; influence on Swiss and northern nations, v.84.Truth, in art, i. 21, 46, 47, 74, iii. 35; Greek idea of, v.267; blindness to beauty of, in vulgar minds, v.268; half, the worst falsehood, v.268; standard of all excellence, i. 417; not easily discerned, i. 50, 51, 53; first quality of execution, i. 37; many-sided, the author’s seeming contradiction of himself, v.271(note); essential to real imagination, ii. 161, 188; essential to invention, v.191; highest difficulty of illustrating the, i. 410; laws of, in painting, iii. vii. (preface); ideas of, i. 23, 24; infinity essential to, i. 239; sometimes spoken through evil men, ii. 137; imaginative preciousness of, iv. 30; individual, in mountain drawing, i. 305; wisely conveyed by grotesque idealism, iii. 96; no vulgarity in, iii. 82; dominion of, universal, iii. 167; error of confounding beauty with, ii. 30, iii. 32 (note); pictures should present the greatest possible amount of, iii. 139; sacrifice of, to decision and velocity, i. 39; difference between imitation and, i. 21, 22; absolute, generally attained by “colorists,” never by “chiaroscurists,” iv. 42, 48; instance of imaginative (the Two Griffins), iii. 100.Truths, two classes of, of deception and of inner resemblance, iii. 126; most precious, how attained, iv. 38; importance of characteristic, i. 59, 62; of specific form most important, i. 72; relative importance of, i. 58; nature’s always varying, i. 55; value of rare, i. 64; particular, more important than general, i. 58; historical, the most valuable, i. 71; the finer, importance of rendering, i. 316; accurate, not necessary to imitation, i. 21, 22; geological, use of considering, i. 303; simplest, generally last believed, iii. 300; certain sacred, how conveyed, iii. 289, 300; choice of, by artists, the essence of “style,” iii. 33, iv. 46; as given by old masters, i. 75; selected by modern artists, i. 76.Types—light, ii. 75; purity, ii. 75-79, v.156; impurity, v.156; clouds, v.110,114; sky, ii. 40-42; mountain decay, iv. 315; crags and ravines, iv. 215; rocks, ii. 79, iv. 102, 117; mountains, iv. 343; sunlight, v.332; color, v.331(note), 332; mica flake, iv. 239; rainbow, v.332; stones, weeds, logs, thorns, and spines, v.161; Dante’s vision of Rachel and Leah, iii. 216; mythological, v.140,300,301; beauty, ii. 30, 86, v.145; symmetry, Divine justice, ii. 72, 74; moderation, ii. 81-85; infinity, ii. 41, iv. 79; grass, humility and cheerfulness, iii. 226, 228; rush, humility, iii. 228; buds, iii. 206, v.20,53,74; laws of leaf growth, v.31,32,33,53,74; leaf death, v.74,95; trees, v.52,78,80; crystallization, v.33.Ugliness, sometimes permitted in nature, i. 64; is a positive thing, iii. 24; delight in, Martin Schöngauer, iv. 329, 333; of modern costume, v.273(note), iii. 254, 255; of modern architecture, iii. 253, v.347.Unbelief, characteristic of all our most powerful men, iii. 253; modern English, “God is, but cannot rule,” v.347.Unity, type of Divine comprehensiveness, ii. 50, 52, 56, 152, 153; in nature, i. 398;apparent proportion, a cause of, ii. 57, 64; instinct of, a faculty of the associative imagination, ii. 151.Utility, definition of, ii. 4; of art, ii. 3; of details in poetry, iii. 8; of pictures, iii. 125, 142; of mountains, iv. 91.Valleys, Alpine beauty of, iv. 311, 316; gloom in, iv. 326; English, iv. 297; French, i. 129, iv. 297.Variety, necessity of, arises out of that of unity, ii. 53-55; love of, ii. 55; when most conspicuous, i. 213; in nature, i. 55, 65, 169, 198, 219, 224, 291.Vapor, v.109,120,127,129.Vegetables, ideal form in, ii. 107.Vegetation, truth of, i. 384, 408; process of form in, v.78; in forest-lands, v.133; appointed service of, v.2; in sculpture, v.35.Velocity in execution, i. 37, ii. 187 (note); sacrifice of truth to, i. 38.Venetian art (“The Wings of the Lion”), v.209,214; conquest of evil, v.214, seq., 217, 229; scenery, v.214,217; idea of beauty, v.294; faith, v.219; religious liberty, v.214; mind, perfection of, v.227; contempt of poverty, v.289; unworthy purposes of, v.227; reverence, the Madonna in the house, v.223-228.Virtue, effect of, on features, ii. 117; set forth by plants, iii. 228; of the Swiss, v.84,85.Vulgarity of mind, v.261-276; consists in insensibility, v.274-275; examples of, v.269,270; seen in love of mere physical beauty, iii. 67; in concealment of truth and affectation, iii. 82, 83; inconceivable by the greatest minds, iii. 82; of Renaissance builders, v.176; “deathful selfishness,” v.277; among Dutch painters, v.277-285; how produced by vicious habits, v.262. See Gentlemen.War, a consequence of injustice, iii. 328; lessons to be gathered from the Crimean, iii. 329; at the present day of what productive, iii. 326; modern fear of, iii. 256.Water, influence of, on soil, i. 273; faithful representation of, impossible, i. 325-326; effect produced by mountains on, iv. 93; functions of, i. 325; laws of reflection in, i. 329, 336; clear, takes no shadow, i. 331; most wonderful of inorganic substances, i. 325; difference in the action of continuous and interrupted, i. 369; in shade most reflective, i. 330; painting of, optical laws necessary to, i. 336; smooth, difficulty of giving service to, i. 355, 356; distant, effect of ripple on, i. 335; swift execution necessary to drawing of, i. 350; reflections in, i. 326; motion in, elongates reflections, i. 335-336; execrable painting of, by elder landscape masters, i. 328; as painted by the modern, i. 348-354; as painted by Turner, i. 355-383; as represented by mediæval art, iii. 209; truth of, i. 325-383. See Sea, Torrents, Foam.Waves, as described by Homer and Keats, iii. 168; exaggeration of size in, ii. 209; grander than any torrent, iv. 347; breakers in, i. 377; curves of, i. 375.Wordsworth, his insight into nature (illustration of Turner), i. 177; love of plants, ii. 91; good foreground described by, i. 83-84; skies of, i, 207; description of a cloud by, ii 67; on effect of custom, iii 293; fancy and imagination of, ii. 196-200; description of the rays of the sun, i. 220.Work, the noblest done only for love, v.346.
Trees, pine, v.8-30, 79, 92; Shakspere’s feeling respecting, iv. 371, v.83; error of painters in representing, iv. 346 (note); perfection of, v.80-83; influence on Swiss and northern nations, v.84.
Truth, in art, i. 21, 46, 47, 74, iii. 35; Greek idea of, v.267; blindness to beauty of, in vulgar minds, v.268; half, the worst falsehood, v.268; standard of all excellence, i. 417; not easily discerned, i. 50, 51, 53; first quality of execution, i. 37; many-sided, the author’s seeming contradiction of himself, v.271(note); essential to real imagination, ii. 161, 188; essential to invention, v.191; highest difficulty of illustrating the, i. 410; laws of, in painting, iii. vii. (preface); ideas of, i. 23, 24; infinity essential to, i. 239; sometimes spoken through evil men, ii. 137; imaginative preciousness of, iv. 30; individual, in mountain drawing, i. 305; wisely conveyed by grotesque idealism, iii. 96; no vulgarity in, iii. 82; dominion of, universal, iii. 167; error of confounding beauty with, ii. 30, iii. 32 (note); pictures should present the greatest possible amount of, iii. 139; sacrifice of, to decision and velocity, i. 39; difference between imitation and, i. 21, 22; absolute, generally attained by “colorists,” never by “chiaroscurists,” iv. 42, 48; instance of imaginative (the Two Griffins), iii. 100.
Truths, two classes of, of deception and of inner resemblance, iii. 126; most precious, how attained, iv. 38; importance of characteristic, i. 59, 62; of specific form most important, i. 72; relative importance of, i. 58; nature’s always varying, i. 55; value of rare, i. 64; particular, more important than general, i. 58; historical, the most valuable, i. 71; the finer, importance of rendering, i. 316; accurate, not necessary to imitation, i. 21, 22; geological, use of considering, i. 303; simplest, generally last believed, iii. 300; certain sacred, how conveyed, iii. 289, 300; choice of, by artists, the essence of “style,” iii. 33, iv. 46; as given by old masters, i. 75; selected by modern artists, i. 76.
Types—light, ii. 75; purity, ii. 75-79, v.156; impurity, v.156; clouds, v.110,114; sky, ii. 40-42; mountain decay, iv. 315; crags and ravines, iv. 215; rocks, ii. 79, iv. 102, 117; mountains, iv. 343; sunlight, v.332; color, v.331(note), 332; mica flake, iv. 239; rainbow, v.332; stones, weeds, logs, thorns, and spines, v.161; Dante’s vision of Rachel and Leah, iii. 216; mythological, v.140,300,301; beauty, ii. 30, 86, v.145; symmetry, Divine justice, ii. 72, 74; moderation, ii. 81-85; infinity, ii. 41, iv. 79; grass, humility and cheerfulness, iii. 226, 228; rush, humility, iii. 228; buds, iii. 206, v.20,53,74; laws of leaf growth, v.31,32,33,53,74; leaf death, v.74,95; trees, v.52,78,80; crystallization, v.33.
Ugliness, sometimes permitted in nature, i. 64; is a positive thing, iii. 24; delight in, Martin Schöngauer, iv. 329, 333; of modern costume, v.273(note), iii. 254, 255; of modern architecture, iii. 253, v.347.
Unbelief, characteristic of all our most powerful men, iii. 253; modern English, “God is, but cannot rule,” v.347.
Unity, type of Divine comprehensiveness, ii. 50, 52, 56, 152, 153; in nature, i. 398;apparent proportion, a cause of, ii. 57, 64; instinct of, a faculty of the associative imagination, ii. 151.
Utility, definition of, ii. 4; of art, ii. 3; of details in poetry, iii. 8; of pictures, iii. 125, 142; of mountains, iv. 91.
Valleys, Alpine beauty of, iv. 311, 316; gloom in, iv. 326; English, iv. 297; French, i. 129, iv. 297.
Variety, necessity of, arises out of that of unity, ii. 53-55; love of, ii. 55; when most conspicuous, i. 213; in nature, i. 55, 65, 169, 198, 219, 224, 291.
Vapor, v.109,120,127,129.
Vegetables, ideal form in, ii. 107.
Vegetation, truth of, i. 384, 408; process of form in, v.78; in forest-lands, v.133; appointed service of, v.2; in sculpture, v.35.
Velocity in execution, i. 37, ii. 187 (note); sacrifice of truth to, i. 38.
Venetian art (“The Wings of the Lion”), v.209,214; conquest of evil, v.214, seq., 217, 229; scenery, v.214,217; idea of beauty, v.294; faith, v.219; religious liberty, v.214; mind, perfection of, v.227; contempt of poverty, v.289; unworthy purposes of, v.227; reverence, the Madonna in the house, v.223-228.
Virtue, effect of, on features, ii. 117; set forth by plants, iii. 228; of the Swiss, v.84,85.
Vulgarity of mind, v.261-276; consists in insensibility, v.274-275; examples of, v.269,270; seen in love of mere physical beauty, iii. 67; in concealment of truth and affectation, iii. 82, 83; inconceivable by the greatest minds, iii. 82; of Renaissance builders, v.176; “deathful selfishness,” v.277; among Dutch painters, v.277-285; how produced by vicious habits, v.262. See Gentlemen.
War, a consequence of injustice, iii. 328; lessons to be gathered from the Crimean, iii. 329; at the present day of what productive, iii. 326; modern fear of, iii. 256.
Water, influence of, on soil, i. 273; faithful representation of, impossible, i. 325-326; effect produced by mountains on, iv. 93; functions of, i. 325; laws of reflection in, i. 329, 336; clear, takes no shadow, i. 331; most wonderful of inorganic substances, i. 325; difference in the action of continuous and interrupted, i. 369; in shade most reflective, i. 330; painting of, optical laws necessary to, i. 336; smooth, difficulty of giving service to, i. 355, 356; distant, effect of ripple on, i. 335; swift execution necessary to drawing of, i. 350; reflections in, i. 326; motion in, elongates reflections, i. 335-336; execrable painting of, by elder landscape masters, i. 328; as painted by the modern, i. 348-354; as painted by Turner, i. 355-383; as represented by mediæval art, iii. 209; truth of, i. 325-383. See Sea, Torrents, Foam.
Waves, as described by Homer and Keats, iii. 168; exaggeration of size in, ii. 209; grander than any torrent, iv. 347; breakers in, i. 377; curves of, i. 375.
Wordsworth, his insight into nature (illustration of Turner), i. 177; love of plants, ii. 91; good foreground described by, i. 83-84; skies of, i, 207; description of a cloud by, ii 67; on effect of custom, iii 293; fancy and imagination of, ii. 196-200; description of the rays of the sun, i. 220.
Work, the noblest done only for love, v.346.