iii. 7-10;

Byron's use of, iii. 8; careful drawing of, by great men, iii. 122; use of light in understanding architectural, i. 106; swift execution secures perfection of, i. 202; false and vicious treatment of, by old masters, i. 74.

Devil, the, held by some to be the world's lawgiver, v. 345.

"Discord," in Homer, Spenser, and Turner, v. 309-311.

Distance, effect of, on our perception of objects, i. 186, 191, 192; must sometimes be sacrificed to foreground, i. 187; effect of, on pictorial color, iv. 64; expression of infinity in, ii. 41; extreme, characterized by sharp outlines, i. 283; effect of, on mountains, i. 277, 280; early masters put details into, i. 187.

Dog, as painted by various masters, v. 224, 255.

Dragon, of Scripture, v. 305; of the Greeks, v. 300, 305; of Dante, v. 306; of Turner, v. 300, 307-312, 314, 316, 323.

Drawing, noble, mystery and characteristic of, iv. 56, 59, 63, 214; real power of, never confined to one subject, i. 416; of mountain forms, i. 286, 305, iv. 188-191, 242; of clouds, v. 111 (note), 118; necessary to education, v. 330 (note); figure, of Turner, i. 189; questions concerning, v. 36; landscape of old and modern painters, iii. 249; of artists and architects, difference between, i. 118; distinctness of, iii. 36; of Swiss pines, iv. 290; modern, of snowy mountains, unintelligible, i. 286; as taught in Encyclopædia Britannica, iv. 295; inviolable canon of, "draw only what you see," iv. 16; should be taught every child, iii. 299.

Earth, general structure of, i. 271; laws of organization of, important in art, i. 270; past and present condition of, iv. 140, 141; colors of, iv. 38; the whole not habitable, iv. 95, 96; noblest scenes of, seen by few, i. 204; man's appointed work on, v. 1; preparation of, for man, v. 3; sculpturing of the dry land, iv. 89.

Economy of labor, v. 328.

Education, value of, iii. 42; its good and bad effect on enjoyment of beauty, iii. 64; of Turner, iii. 319, v. 287-297; of Scott, iii. 308; of Giorgione, v. 286, 287, 291; of Durer, v. 230, 231; of Salvator, v. 235, 236; generally unfavorable to love of nature, iii. 298; modern, corrupts taste, iii. 65; logical, a great want of the time, iv. 384; love of picturesque, a means of, iv. 12; what to be taught in, v. 328 (note); what it can do, iii. 42; can improve race, v. 262; of persons of simple life, v. 328 (note).

Emotions, noble and ignoble, iii. 10; true, generally imaginative, ii. 190.

Enamel, various uses of the word, iii. 221-223.

Energy, necessary to repose, ii. 66; purity a type of, ii. 76; how expressed by purity of matter, ii. 79; expression of, in plants, a source of pleasure, ii. 92.

English art culminated in the 13th century, iv. 350.

Engraving, influence of, i. 101; system of landscape, i. 260, v. 38, 98, 328.

Evil, the indisputable fact, iv. 342; captivity to, v. 217, 285; contest with, v. 285; conquered, v. 285; recognition and conquest of, essential to highest art, v. 205-209, 217; war with, v. 231.

Exaggeration, laws and limits of, ii. 208-210; necessary on a diminished scale, ii. 208.

Excellence, meaning of the term, i. 14, 15 (note); in language, what necessary to, i. 9; the highest, cannot exist without obscurity, iv. 61; passing public opinion no criterion of, i. 1, 2; technical, superseding expression, iii. 29.

Execution, meaning of the term, i. 36; three vices of, ii. 188 (note); qualities of, i. 36, 37, 39 (note); dependent upon knowledge of truth, i. 36; essential to drawing of water, i. 350; swift, details best given by, i. 202; legitimate sources of pleasures in, i. 36, 38; mystery of, necessary in rendering space of nature, i. 203; rude, when the source of noble pleasure, ii. 82 (note); determinate, v. 37, 38.

Expression, three distinct schools of--Great, Pseudo, and Grotesque-Expressional, iv. 385; subtle, how reached, iv. 55; influence of moral in animal form, ii. 97, 98; perfect, never got without color, iv. 54 (note); unison of expressional, with technical power, where found, iii. 29; superseded by technical excellence, iii. 29; of inspiration, ii. 214; of superhuman character, how attained, ii. 213.

Eye, focus of, truth of space dependent on, i. 186-190; what seen by the cultivated, iv. 71; what seen by the uncultivated, iv. 71; when necessary to change focus of, i. 186, 355; keenness of an artist's, how tested, iv. 188.

Faculty Theoretic, definition of, ii. 12, 18.

Faculty Æsthetic, definition of, ii. 12, 18.

Faith, derivation of the word, v. 161; developed by love of nature, iii. 299; want of, iii. 252-254; our ideas of Greek, iii. 169; of the Scotch farmer, iii. 189; source and substance of all human deed, v. 161; want of, in classical art, v. 242; right, looks to present work, v. 205; brave and hopeful, accompanies intellectual power, v. 205; tranquillity of, before the Reformation, v. 230; want of, in Dutch artists, v. 251; of Venetians, v. 218; how shown in early Christian art, iii. 49-51, v. 205; in God, in nature, nearly extinct, iii. 251.

Fallacy, Pathetic defined, iii. 155; not admitted by greatest poets, iii. 156; Pope's, iii. 158; emotional temperament liable to, iii. 158; instances illustrating the, iii. 160, 167; characteristic of modern painting, iii. 168.

Fancy, functions of, ii. 150; never serious, ii. 169; distinction between imagination and, ii. 166-170; restlessness of, ii. 170; morbid or nervous, ii. 200.

Fear, destructive of ideal character, ii. 126; distinguished from awe, ii. 126; expressions of, only sought by impious painters, ii. 128; holy, distinct from human terror, ii. 127.

Ferocity, always joined with fear, ii. 127; destructive of ideal character, ii. 126.

Field Sports, v. 259.

Fields. See Grass.

Finish, two kinds of--fallacious and faithful, iii. 109; difference between English and continental, iii. 109, 111; human often destroys nature's, iii. 112; nature's, of rock, iii. 112; of outline, iii. 114; vain, useless conveying additional facts, iii. 116, 123, v. 271, 272 (note); in landscape foregrounds, i. 200; mysteriousness of, i. 193; esteemed essential by great masters, ii. 83, v. 271, 272 (note); infinite in God's work, ii. 82; how right and how wrong, i. 82-84, iii. 114; of tree stems, iii. 115 (plate).

Firmament, definition of, iv. 83, v. 148.

Flowers, mediæval love of, iii. 193; mountain variety of, iv. 347; typical of the passing and the excellence of human life, iii. 227; sympathy with, ii. 91, v. 88; no sublimity in, v. 91; alpine, v. 93; neglected by the great painters, v. 89; two chief peculiarities, v. 92, 93; beauty of, on what depending, v. 97 (note).

Foam, two conditions of, i. 373; difficulty of representing, i, 373; appearance of, at Schaffhausen, i. 349; sea, how different from the "yeast" of a tempest, i. 380 (note).

Foliage, an element of mountain glory, iv. 348; unity, variety, and regularity of, 394, 398; as painted on the Continent, i. 401; and by Pre-Raphaelites, i. 397; study of, by old masters, i. 384.

Forbes, Professor, description of mountains, quoted, iv. 182, 235.

Foreground, finer truths of, the peculiar business of a master, i. 315; lesson to be received from all, i. 323; mountain attractiveness of, i. 99; of ancient masters, i. 308, 313; increased loveliness of, when wet, iv. 245; Turner's, i. 323, 324; must sometimes be sacrificed to distance, i. 187.

Form, chiaroscuro necessary to the perception of, i. 69, 70; more important than color, i. 68-71, ii. 77, iv. 54, v. 318 (note); multiplicity of, in mountains, i. 280; animal, typical representation of, ii. 203, 204; without color, ii. 201; without texture, Veronese and Landseer, ii. 202; natural curvature of, ii. 60, 61; animal beauty of, depends on moral expression, ii. 98; what necessary to the sense of beauty in organic, ii. 94, 95; ideal, ii. 104, iii. 78; animal and vegetable, ii. 105; ideal, destroyed by pride, sensuality, etc., ii. 122, 123; rendering of, by photography, iv. 63; mountain, iv. 135, 139, 159-262; natural, variety of, inconceivable, iv. 189; of aiguilles, how produced, iv. 189; beauty of, dependent upon curvature, ii. 46.

French art culminated in 13th century, iv. 358.

Fuseli, quotations from, i. 16, ii. 153, 171.

Genius, unrecognized at the time, i. 6; not the result of education, iii. 42; power of, to teach, i. 414.

Gentility, an English idea, iv. 4.

Gentleman, the characteristics of a, sensibility, sympathy, courage, v. 263-272.

German religious art, "piety" of, iii. 253.

Glacier, description, iv. 137; action of, iv. 161; gradual softener of mountain form, iv. 169; non-rigidity of, v. 86.

Gloom, of Savoyard peasant, iv. 320; appearance of, in southern slope of Alps, iv. 326. See Mountain.

Gneiss, nature of, iv. 206, 209; color of, iv. 136; Matterhorn composed of, iv. 160.

God. See Deity.

Gotthelf, works of, iv. 135, v. 330.

Gracefulness, of poplar grove, iii. 181; of willow, v. 67; of Venetian art, 229.

Gradation, suggestive of infinity, ii. 47; constant in nature, ii. 47; necessary to give facts of form and distance, i. 149; progress of the eye shown in sensibility to effects (Turner's Swiss towers), iv. 71; of light, Turnerian mystery, iv. 73; in a rose, iv. 46.

Granite, qualities of, iv. 109, 110; color of, iv. 136.

Grass, uses of, iii. 227; type of humility and cheerfulness, and of the passing away of human life, iii. 227, 228, v. 96; Greek mode of regarding as opposed to mediæval, iii. 223, 224; enamelled, Dante's "green enamel" description of, iii. 222, 226; damp, Greek love of, iii. 222; careful drawing of, by Venetians, iii. 317; mystery in, i. 315, iii. 221; man's love of, iii. 224; first element of lovely landscape, iii. 224.

Gratitude, from what arising, ii. 15; a duty to the living can't be paid to the dead, i. 6.

Greatness, tests of, i. 323, iii. 260, 261, v. 175. See Art, Artists.

Greek, conception of Godhead, iii. 170, 175; art, spirit of, v. 209, 213; poetry, purpose of, the victory over fate, sin, and death, v. 209, 210; religion, the manful struggle with evil, v. 211-213; ideas of truthfulness, v. 267, 268; mythology, v. 300, 307, 308, 322; distrust of nature, v. 324; culture of human beauty, iii. 179, 180, 198, 204; landscape, composed of a fountain, meadow, and grove, iii. 181; belief in the presence of Deity in nature, iii. 169-177; absence of feeling for the picturesque, iii. 187; belief in particular gods ruling the elements, iii. 171-177; and Mediæval feeling, difference between, iii. 218; ideal of God, ii. 223; faith, compared with that of an old Scotch farmer, iii. 188; feeling about waves, iii. 169; indifference to color, iii. 219, 220; life, healthy, iii. 175; formalism of ornament, iii. 208; not visionary, iii. 188; delight in trees, meadows, gardens, caves, poplars, flat country, and damp grass, iii. 182-186, 221; preference of utility to beauty, iii. 181, 185; love of order, iii. 181, 189; coins, v. 36; description of clouds, v. 137-144; design, v. 196.

Grief, a noble emotion, ii. 129, iii. 10.

Grotesque, third form of the Ideal, iii. 92-107; three kinds of, iii. 92; noble, iii. 93, 102; true and false (mediæval and classical) griffins, iii. 101-107; Spenser's description of Envy, iii. 94; how fitted for illumination, iii. 101; modern, iv. 385-403.

Grotesque Expressional, iv. 385; modern example of, "Gen. Fèvrier turned traitor," iv. 388.

Habit, errors induced by; embarrasses the judgment, ii. 24; modifying effects of, ii. 32; power of, how typified, iv. 215. See Custom.

Heavens, fitfulness and infinity of, i. 135; means in Scripture, clouds, iv. 86; relation of, to our globe, iv. 88, v. 148; presence of God in, iv. 88; Hebrew, Greek, and Latin names for, v. 147-150; meaning of, in 19th Psalm, v. 148.

Help, habit of, the best part of education, v. 328 (note).

Helpfulness, law of, v. 155-158; of inventive power, v. 192. See Consistence.

Homer, a type of the Greek mind, iii. 188; poetical truth of, iii. 162; idea of the Sea-power, iii. 169; intense realism, iii. 185; conception of rocks, iii. 232, 239-241; pleasure in woody-scenery, iii. 184, 212; love of aspens, iii. 182, 185; love of symmetry, iii. 180; pleasure in utility, iii. 181, 184, 185; ideal of landscape, iii. 179-182; feelings traceable in his allusion to flowers, iii. 226; Michael Angelo compared to, by Reynolds, iii. 13; poetry of, v. 209; Iliad and Odyssey of, v. 210, 211, 309; his "Discord," v. 308; the victory over fate, sin, and death, v. 209; heroic spirit of, v. 211, 212; pride of, v. 217; faith of, v. 217.

Hooker, his definition of a law, ii. 84; referred to, ii. 9, 14, 24; quotation from, on Divine Unity, ii. 50; quotation on exactness of nature, ii. 82.

Horse, Greek and Roman treatment of, v. 257; Vandyke, first painter of, v. 258.

Humility, means a right estimate of one's own powers, iii. 260; how symbolized by Dante, iii. 227; a test of greatness, iii. 260; inculcated by science, iii. 256; necessity of, to enjoyment of nature, iii. 269, iv. 69; grass, a type of, iii. 226, 228, v. 96; of inventive power, v. 192; distinguishing mark between the Christian and Pagan spirit, iii. 226.

Ideal, definition of the word, i. 28; its two senses referring to imagination or to perfection of type, ii. 102, 103; how to be attained, i. 44; form in lower animals, ii. 104; form in plants, ii. 105; of form to be preserved in art by exhibition of individuality, ii. 109, 210; the bodily, effect of intellect and moral feelings on, ii. 113-115; form, of what variety susceptible, ii. 221; of human form, destroyed by expression of corrupt passions, ii. 122, 129; of humanity, how to be restored, ii. 112, 118, 121; form to be obtained only by portraiture, ii. 119, iii. 78; form, necessity of love to the perception of, ii. 121, 130; pictures, interpreters of nature, iii. 141; general, of classical landscape, v. 244; modern pursuit of the, iii. 44, 65, 69; Angelican, iii. 49, 57, v. 283, i. 82; false Raphaelesque, iii. 53-57.

Ideal, the true, faithful pursuit of, in the business of life, iii. 44; relation of modern sculpturesque to the, iii. 63; operation of, iii. 77; three kinds of--Purist, Naturalist, and Grotesque (see below), iii. 71.

Ideal, true grotesque, iii. 92-107; limited expression of, iii. 99, 100.

Ideal, true naturalist, character of, iii. 77-91; high, necessity of reality in, iii. 80, 81, 91; its operation on historical art, iii. 89-91; in landscape produces the heroic, v. 206.

Ideal, true purist, iii. 71-76.

Ideal, false, various forms of, iii. 69, iv. 308, 310 (plates); results of pursuit of the, iii. 61, 63; religious, iii. 44, 60; well-executed, dulls perception of truth, iii. 48-52; profane, iii. 61-69; of the modern drama, iv. 321.

Ideal, superhuman, ii. 212, 224; expression of, by utmost degree of human beauty, ii. 214.

Ideality, not confined to one age or condition, ii. 109-117; expressible in art, by abstraction of form, color, or texture, ii. 201.

Illumination, distinguished from painting by absence of shadow, iii. 99; pigments used in, iii. 223; decline of the art of, to what traceable, iv. 359; of MSS. in thirteenth century, illustrating treatment of natural form, iii. 207, 208, iv. 76; of MSS. in fifteenth century, illustrating treatment of landscape art, iii. 201; of MSS. in sixteenth century, illustrating idea of rocks, iii. 239; of missals, illustrating later ideas of rocks and precipices, iv. 253; of missal in British Museum, illustrating German love of horror, iv. 328; of MSS. in fifteenth century, German coarseness contrasted with grace and tenderness of thirteenth century, iv. 335; representation of sun in, iii. 318.

Imagination, threefold operation of, ii. 146; why so called, iii. 132; defined, ii. 151; functions of, ii. 10, 143, 188, iii. 45, iv. 31; how strengthened by feeding on truth and external nature, i. 427, ii. 191; tests of presence of, ii. 155, 169, 207; implies self-forgetfulness, i. 306; importance of in art, iii. 38; Dugald Stewart's definition of, ii. 143, 145; conscious of no rules, ii. 155; makes use of accurate knowledge, ii. 109, iii. 40; noble only when truthful, ii. 161, iii. 123, iv. 30; entirety of its grasp, ii. 156, 179, v. 187, 190; its delight in the character of repose, ii. 66; verity of, ii. 161, 188, 211, iii. 30, 107, 133; power of, ii. 158, 206, iii. 10, 11, 131, 287, iv. 19, 30; calmness essential to, v. 191; always the seeing and asserting faculty, iii. 211; charm of expectant, iv. 131; pleasure derived from, how enhanced, iii. 281; highest form of, ii. 146; always right when left to itself, iii. 106; how excited by mountain scenery, iv. 23, 222, v. 216, 235; influence of clouds on, v. 141; searching apprehension of, ii. 164, 165, 169, 183, 188, 195, iii. 107; distinguished from fancy, ii. 166-170, 194, 201; signs of, in language, ii. 165; how shown in sculpture, ii. 184-187; work of, distinguished from composition, ii. 154-158; what necessary to formation of, v. 189-191.

Imagination, penetrative, ii. 163-191; associative, ii. 147-162; contemplative, ii. 192-211.

Imitation, power of deceiving the senses, i. 17; why reprehensible, i. 18, 19, 21, 34, 73, 416, iv. 136; no picture good which deceives by, i. 25; when right, in architectural ornament, ii. 205; of flowers, v. 92; was least valued in the thirteenth century, iii. 18, 199, 209; general pleasure in deceptive effects of, iii. 16; when made an end of art, i. 74, 143; began, as a feature of art, about 1300, iii. 203; of what impossible, i. 77, 157, 164, 371, 372, ii. 203, iii. 20, 129,