v. 284, 285;

beauty of animal form increased by expression of, ii. 98; decay of, shown by love of the horrible, iv. 328; popular appreciation of, i. 418; influence of mountain scenery on, iv. 274, 351-363; condition of, in English and French nations, from thirteenth to sixteenth century, iv. 358; great humility of, iii. 260; seriousness of, iii. 258; sensibility of, iii. 159, 286; power of, in controlling emotions, iii. 160; sees the whole truth, v. 205; greater, not found in minds of purest religious temper, v. 204.

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,