iii. 34;

high, modern ideal of, iii. 65; highest, purely imaginative, iii. 39; highest, dependent on sympathy, iv. 9; highest, chiaroscuro necessary in, i. 79; modern, fatal influence of the sensuality of, iii. 65; allegorical, iii. 95; essays on, by the author, distinctive character of, v. preface, x. v. 196; influence of climate on, v. 133; influence of scenery on, v. 214, 232, 235, 287; Venetian, v. 188, 214, 226; classical defined, v. 242; Angelican, iii. 50-57, v. 282; Greek, v. 209; Dutch, v. 277. See Painting, Painters.

Art, Great, definition of, i. 8-11, iii. 3, 10, 41; characteristics of, i. 305, iii. 26-41, 88, v. 158, 175, 178, 202; not to be taught, iii. 43, 141; the expression of the spirits of great men, iii. 43, v. 179; represents something seen and believed, iii. 80; sets forth the true nature and authority of freedom, v. 203; relation of, to man, v. 203. See Style.

Artists, danger of spirit of choice to, ii. 26; right aim of, i. 425, 426, iii. 19; their duty in youth, to begin as patient realists, i. 423; choice of subject by, ii. 188, iii. 27, 28, iii. 35, iv. 290, iv. 18 (note); should paint what they love, ii. 217; mainly divided into two classes, i. 74, 315; necessity of singleness of aim in, i. 423, 424, v. 179. See Painters.

Artists, Great, characteristics of, i. 8, 123, 327, ii. 42, iii. 26-41; forgetfulness of self in, i. 84; proof of real imagination in, i. 306; calmness of, v. 191; delight in symbolism, iii. 93; qualities of, v. 191; keenness of sight in, iv. 188; sympathy of, with nature, ii. 90, iii. 177, iv. 13, 70, ii. 92; with humanity, iv. 9, 11, 13, iii. 63, ii. 169, v. 198, 203; live wholly in their own age, iii. 90.

Artists, Religious, ii. 174, 176, 180, 216, iii. 48-60, iv. 355; imaginative and unimaginative, distinction between, ii. 154, 156; history of the Bible has yet to be painted, iii. 58.

Asceticism, ii. 114, three forms of, v. 325.

Association, of two kinds, accidental and rational, ii. 33, 34; unconscious influence of, ii. 34; power of, iii. 17, ii. 45, v. 216; charm of, by whom felt, iii. 292, 309; influence of, on enjoyment of landscape, iii. 289.

Bacon, master of the science of essence, iii. 307; compared with Pascal, iv. 361.

Banks, formation of, iv. 262; curvature of, iv. 262, 278, 282; luxuriant vegetation of, iv. 125.

Beauty, definition of the term (pleasure-giving) i. 26, 27; sensations of, instinctive, i. 27, ii. 21, 46, 135; vital, ii. 88, 100, 110; typical, ii. 28, 38, 85, 115, 135; error of confounding truth with, iii. 31 (note); of truths of species, i. 60; of curvature, ii. 46, iv. 192, 197, 200, 262, 263, 264; love of, in great artists, iii. 33, v. 209; moderation essential to, ii. 84; ideas of, essentially moral, ii. 12, 18; repose, an unfailing test of, ii. 68, 108; truth the basis of, i. 47, ii. 136; how far demonstrable by reason, ii. 27; ideas of, exalt and purify the human mind, i. 26, 27; not dependent on the association of ideas, ii. 33, 34; the substitution of, for truth, erroneous, iii. 61, 254; sense of, how degraded and how exalted, ii. 17, 18, v. 209; of the sea, v. 215; influence of moral expression on, ii. 96, 97; lovers of, how classed, iii. 33; consequences of the reckless pursuit of, iii. 23; modern destruction of, v. 325; Renaissance, principles of, to what tending, iii. 254; false opinions respecting, ii. 28, 29, 30, 136; arising out of sacrifice, v. 53; sense of, often wanting in good men, ii. 135, 138; false use of the word, ii. 28; not necessary to our being, ii. 16; unselfish sympathy necessary to sensations of, ii. 17, 93; degrees of love for, in various authors, iii. 285, 288; and sublimity, connection between, i. 42; custom not destructive to, ii. 32; natural, Scott's love of, iii. 271, 272; natural, lessons to be learnt from investigation of, v. 147; natural, when terrible, v. 197; of animal form, depends on moral expression, ii. 97, 98; Alison's false theory of association, ii. 28, 33; sense of, how exalted by affection, ii. 18; abstract of form, how dependent on curvature, iv. 262, 263; ideal, definition of, i. 28; physical, iii. 67; physical, Venetian love of, v. 295; vulgar pursuit of, iii. 67.

Beauty, human, ancient, and mediæval admiration of, iii. 197, 198; Venetian painting of, v. 227; consummation not found on earth, ii. 134; Greek love of, iii. 177, 189, 197; culture of, in the middle ages, iii. 197.

Beauty of nature, character of minds destitute of the love of, iii. 296.

Benevolence, wise purchase the truest, v. 328 (note).

Browning, quotation on Renaissance spirit, iv. 369.

Buds, typical of youth, iii. 206; difference in growth of, v. 8; formation and position of, v. 11, 14, 17, 27; of horse-chestnut, v. 19; accommodating spirit of, v. 53; true beauty of, from what arising, v. 53; sections and drawings of, v. 13, 73, 74.

Business, proper, of man in the world, iii. 44, 336.

Byron, use of details by, iii. 8; character of works of, iii. 235, 263, 266, 270, 296, i. 3 (note); love of nature, iii. 285, 288, 295, 297; use of color by, iii. 235; death, without hope, v. 350.

Carlyle, iii. 253; on clouds, v. 107.

Cattle, painting of, v. 259, 260.

Change, influence of, on our senses, ii. 54; love of, an imperfection of our nature, ii. 54, 55.

Charity, the perfection of the theoretic faculty, ii. 90; exercise of, its influence on human features, ii. 115.

Chasteness, meaning of the term, ii. 81.

Chiaroscuro, truth of, i. 173-184; contrasts of systems of, iv. 41; great principles of, i. 173, 180; necessity of, in high art, i. 181; necessity of, in expressing form, i. 69, 70; nature's contrasted with man's, i. 141; natural value of, i. 182; rank of deceptive effects in, i. 73; fatal effects of, on art, iii. 140 (note); treatment of, by Venetian colorists, iv. 45, 46.

Chiaroscurists, advantages of, over colorists, iv. 48.

Choice, spirit of, dangerous, ii. 26, iv. 18 (note); of love, in rightly tempered men, ii. 137; importance of sincerity of, iii. 27, 35; effect of, on painters, iii. 28; of subject, when sincere, a criterion of the rank of painters, iii. 27; difference of, between great and inferior artists, iii. 35; of subject, painters should paint what they love, ii. 219; error of Pre-Raphaelites, iv. 19.

City and country life, influence of, v. 4, 5.

Classical landscape, iii. 168, 190; its features described, v. 242; spirit, its resolute degradation of the lower orders, v. 243 (note).

Clay, consummation of, v. 157.

Cliffs, formation of, iv. 146, 149, 158, 241; precipitousness of, iv. 230, 257; Alpine, stability of, iv. 261; Alpine, sublimity of, iv. 245, 261, v. 81; common mistake respecting structure of, iv. 297. See Mountains.

Clouds, questions respecting, v. 101-107, 110-113; truth of, i. 216, 266; light and shade in, iv. 36; scriptural account of their creation, iv. 82-88; modern love of, iii. 244, 248; classical love of, iii. 245; connected with, not distinct from the sky, i. 207; balancings, v. 101-107; high, at sunset, i. 161; massive and striated, v. 108; method of drawing, v. 111 (note); perspective of, v. 114-121; effects of moisture, heat, and cold, on formation of, v. 131; "cap-cloud," v. 124; "lee-side cloud," v. 124, 125; mountain drift, v. 127, 128; variety of, at different elevations, i. 216; brighter than whitest paper, iv. 36; never absent from a landscape, iv. 69; supremacy of, in mountain scenery, iv. 349; level, early painters' love of, iii. 244; love of, by Greek poets, iii. 244; as represented by Aristophanes, iii. 249, v. 139; Dante's dislike of, iii. 244; wave-band, sign of, in thirteenth century art, iii. 209; Cirrus, or Upper Region, extent of, i. 217, v. 109; color of, i. 224, v. 119, 120, 149; purity of color of, i. 219; sharpness of edge of, i. 218; symmetrical arrangement of, i. 217; multitude of, i. 218, v. 109, 110; Stratus, or Central Region, extent of, i. 226; connection of with mountains, v. 123; majesty of, v. 122; arrangement of, i. 228; curved outlines of, i. 64, 229; perfection and variety of, i. 229, v. 111, 112; Rain, regions of, definite forms in, i. 245, v. 122-138; difference in colors of, i. 244, v. 136; pure blue sky, only seen through the, i. 256; heights of, v. 137 (note); functions of, v. 135, 137; condition of, on Yorkshire hills, v. 141; influence of, on high imagination, v. 141.

Color, truth of, i. 67-71, 155, 173; purity of, means purity of colored substance, ii. 75, 79; purity of in early Italian masters, ii. 220; the purifier of material beauty, v. 320 (note); associated with purity, life, and light, iv. 53, 123, v. 320; contrasts of, iv. 40; gradation of, ii. 47, 48; dulness of, a sign of dissolution, iv. 124; effect of distance on, iv. 64, 65; effect of gradation in, iv. 71; noble, found in things innocent and precious, iv. 48; pale, are deepest and fullest in shade, iv. 42; sanctity of, iv. 52, v. 320 (note), 149, 319; true dignity of, v. 318, 320 (note), effect of falsifying, v. 321 (note); Venetian love of, v. 212; rewards of veracity in, v. 321 (note); of sunshine, contrasted with sun color, v. 317, 318; perfect, the rarest art power, v. 320 (note); pleasure derived from, on what depending, i. 10; chord of perfect, iii. 99, v. 317, 318, iii. 275, iv. 52; anything described by words as visible, may be rendered by, iii. 97; variety of, in nature, i. 70, 168; no brown in nature, iii. 235; without texture, Veronese and Landseer, ii. 202; without form, ii. 202; faithful study of, gives power over form, iv. 54, v. 320 (note); perception of form not dependent on, ii. 77, v. 320 (note); effect of atmosphere on distant, i. 97, iv. 188; less important than light, shade, and form, i. 68, 172, v. 321 (note); sombreness of modern, iii. 251, 257; sentimental falsification of, iii. 31; arrangement of, by the false idealist and naturalist, iii. 77; done best by instinct (Hindoos and Chinese), iii. 87; use of full, in shadow, very lovely, iv. 46, v. 317; ground, use of, by great painters, v. 188, 190; nobleness of painting dependent on, v. 316; a type of love, v. 319, 320 (note); use of, shadowless in representing the supernatural, ii. 219; right splendor of in flesh painting, ii. 124; delicate, of the idealists, ii. 221; local, how far expressible in black and white, i. 404; natural, compared with artificial, i. 157; destroyed by general purple tone, i. 169; manifestation of, in sunsets, i. 161, 210; quality of, owes part of its brightness to light, i. 140, 148; natural, impossibility of imitating (too intense), i. 157, 164; imitative, how much truth necessary to, i. 22; effect of association upon, i. 69; delight of great men in, iii. 257; cause of practical failures, three centuries' want of practice, iii. 257; mediæval love of, iii. 231; Greek sense of, iii. 219; brightness of, when wet, iv. 244; difference of, in mountain and lowland scenery, iv. 346, 347; great power in, sign of art intellect, iv. 55; why apparently unnatural when true, iv. 40, v. 317; of near objects, may be represented exactly, iv. 39; of the earth, iv. 38; in stones, iv. 129, 305; in crystalline rocks and marbles, iv. 104, 106, 107, 129, 135; of mosses, iv. 130, v. 99; solemn moderation in, ii. 84, 85; of mountains, i. 157, 158, 168, iv. 351; on buildings, improved by age, i. 105; of the open sky, i. 206; of clouds, v. 120, 121, 136, 149; reflected, on water, i. 330, 332; of form, i. 349; of old masters, i. 159; of the Apennines, contrasted with the Alps, iii. 233; of water, i. 349; the painter's own proper work, v. 316.

Colorists, contrasts of, iv. 40; advantages of, over chiaroscurists, iv. 47-51; great, use of green by, i. 159 (note); seven supreme, v. 318 (note); great, painting of sun color, v. 317, 318.

Completion, in art, when professed, should be rigorously exacted, ii. 82; of portraiture, iii. 90; on what depending, v. 181; meaning of, by a good painter, v. 181, 191; right, v. 272 (note); abused, v. 273.

Composers, great, habit of regarding relations of things, v. 178, 179; determinate sketches of, v. 182.

Composition, definition of, v. 155; use of simple conception in, ii. 148; harmony of, with true rules, ii. 150, iii. 86; transgression of laws allowable in, iv. 274; true not produced by rules, v. 154; necessity of every part in, v. 158; true, the noblest condition of art, v. 158; law of help in, v. 158, 163; great, has always a leading purpose, v. 163; law of perfectness, v. 180.

Conception, simple, nature of, ii. 147; concentrates on one idea the pleasure of many, ii. 193; how connected with verbal knowledge, ii. 148; of more than creature, impossible to creature, ii. 133, 134, 212, 215; of superhuman form, ii. 215; use of, in composition, ii. 148; ambiguity of things beautiful changes by its indistinctness, ii. 92; partial, is none, v. 190.

Conscience, power of association upon, ii. 35.

Consistence, is life, v. 156; example of its power, jewels out of mud, v. 156.

Crests, mountain, formation of, i. 295, iv. 197, 198; forms of, i. 295, iv. 195-209; beauty of, depends on radiant curvature, iv. 201, 204; sometimes like flakes of fire, i. 278.

Crimean War, iii. 326-332.

Criticism, importance of truth in, i. 48; qualifications necessary to good, i. 418, iii. 23; technical knowledge necessary to, i. 4; how it may be made useful, iii. 22; judicious, i. 11, 420; modern, general incapability and inconsistency of, i. 419; general, iii. 16; when to be contemned, i. 338; true, iii. 22.

Curvature, a law of nature, ii. 46, iv. 192; two sorts of, finite and infinite, iv. 263; infinity of, in nature, ii. 46, iv. 272; curves arranged to set off each other, iv. 272; beauty of, ii. 46, iv. 263, 264, 287; beauty of moderation in, ii. 84; value of apparent proportion in, ii. 59, 60; laws of, in trees, i. 400; in running streams and torrents, i. 370; approximation of, to right lines, adds beauty, iv. 263 264, 268; in mountains, produced by rough fracture, iv. 193; beauty of catenary, iv. 279; radiating, the most beautiful, iv. 203 (note); measurement of, iv. 269 (note); of beds of slaty crystallines, wavy, iv. 150; of mountains, iv. 282, 285, 287; of aiguilles, iv. 184, 191; in stems, v. 21, 56; in branches, v. 39, 63; loss of, in engraving, v. 320 (note).

Custom, power of, ii. 24, 34, 55; twofold operation, deadens sensation, confirms affection, ii. 24, 34, 35; Wordsworth on, iii. 293.

Dante, one of the creative order of poets, iii. 156; and Shakspere, difference between, iv. 372 (note); compared with Scott, iii. 266; demons of, v. 256; statement of doctrine by (damnation of heathen), v. 230.

Dante's self-command, iii. 160; clear perception, iii. 156; keen perception of color, iii. 218, 220, 222, 223, 234; definiteness of his Inferno, compared with indefiniteness of Milton's, iii. 209; ideal landscape, iii. 213; poem, formality of landscape in, iii. 209, 211; description of flame, ii. 163; description of a wood, iii. 214; makes mountains abodes of misery, iii. 231, and is insensible to their broad forms, iii. 240; conception of rocks, iii. 232, 238; declaration of mediæval faith, iii. 217; delight in white clearness of sky, iii. 242; idea of the highest art, reproduction of the aspects of things past and present, iii. 18; idea of happiness, iii. 217; representation of love, iii. 197; hatred of rocks, iii. 238, 275; repugnance to mountains, iii. 240; symbolic use of color in hewn rock, iv. 109 (note); carefulness in defining color, iii. 222; Vision of Leah and Rachel, iii. 216; use of the rush, as emblem of humility, iii. 227; love of the definite, iii. 209, 212, 223; love of light, iii. 243, 244; Spirit of Treachery, v. 305; Geryon, Spirit of Fraud, v. 305; universality, Straw street and highest heavens, iv. 84.

David, King, true gentleman, v. 263.

Dead, the, can receive our honor, not our gratitude, i. 6.

Death, fear of, v. 231, 236; conquest over, v. 237; vulgarity, a form of, v. 275; English and European, v. 296; following the vain pursuit of wealth, power, and beauty (Venice), v. 337; mingled with beauty, iv. 327; of Moses and Aaron, iv. 378-383; contrasted with life, ii. 79.

Débris, curvature of, iv. 279, 284, 285; lines of projection produced by, iv. 279; various angles of, iv. 309; effect of gentle streams on, iv. 281; torrents, how destructive to, iv. 281.

Deception of the senses, not the end of art, i. 22, 74, 76.

Decision, love of, leads to vicious speed, i. 39.

Decoration, architectural effects of light on, i. 106; use of, in representing the supernatural, ii. 219.

Deity, revelation of, iv. 84; presence of, manifested in the clouds, iv. 84, 85; modes of manifestation of, in the Bible, iv. 81; his mountain building, iv. 37; warning of, in the mountains, iv. 341; art representations of, meant only as symbolic, iii. 203; purity, expressive of the presence and energy of, ii. 78, 79; finish of the works of, ii. 82, 87; communication of truth to men, ii. 137; Greek idea of, iii. 170, 177; modern idea of, as separated from the life of nature, iii. 176; presence of, in nature, i. 57, iii. 305, 306, v. 85, 137; manifestation of the, in nature, i. 324, iii. 196; love of nature develops a sense of the presence and power of, iii. 300, 301; directest manifestation of the, v. 198.

Deflection, law of, in trees, v. 25, 26.

Delavigne, Casimir, "La toilette de Constance," iii. 162.

Details, use of variable and invariable, not the criterion of poetry,