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.

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.

End of Project Gutenberg's Modern Painters, Volume V (of 5), by John Ruskin