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.