Chapter XII: Peace (2)

Eyck, Van, deficiency in perception of the beautiful, iv. 333.

Fielding, Copley, faithful rendering of nature, i. 97;
feeling in the drawing of inferior mountains, i. 307;
foliage of, i. 406;
water of, i. 348;
moorland foreground, i. 188;
use of crude color, i. 98;
love of mist, iv. 75;
rain-clouds of, i. 248;
sea of, i. 351;
truth of, i. 248. Picture referred to--Bolton Abbey, i. 100.

Flaxman, Alpine stones, iv. 308;
Pool of Envy (in his Dante), iv. 308.

Francia, architecture of the Renaissance style, i. 103;
finish of, iii. 122;
treatment of the open sky, ii. 43;
Madonnas of, ii. 224;
Nativity, iii. 48.

Gaddi, Taddeo, treatment of the open sky, ii. 43.

Gainsborough, color of, i. 93;
execution of i. xxii. preface;
aërial distances of, i. 93;
imperfect treatment of details, i. 82.

Ghiberti, Lorenzo, leaf-moulding and bas-reliefs of, v. 35.

Ghirlandajo, architecture of the Renaissance style, i. 103;
introduction of portraiture in pictures, ii. 120;
reality of conception, iii. 59;
rocks of, iii. 239, 314;
symmetrical arrangement of pictures, ii. 74;
treatment of the open sky, ii. 44;
quaintness of landscape, iii. 322;
garlanded backgrounds of, v. 90.
Pictures referred to--
Adoration of the Magi, iii. 312;
Baptism of Christ, iii. 313;
Pisa, iv. 1.

Giorgione, boyhood of, v. 287-297;
perfect intellect of, v. 285;
landscape of, i. 86;
luminous sky of, ii, 44;
modesty of, ii. 123, 124;
one of the few who has painted leaves, v. 35;
frescoes of, v. 284, 337;
sacrifice of form to color by, ii. 202;
two figures, or the Fondaco de'Tedeschi, i. 110;
one of the seven supreme colorists, v. 318 (note).

Giotto, cramped by traditional treatment, ii. 178;
decoration of, ii. 220;
influence of hills upon, iv. 357;
introduction of portraiture in pictures, ii. 120;
landscape of, ii. 217;
power in detail, iii. 57;
reality of conception, iii. 57;
symmetrical arrangement in pictures, ii. 73;
treatment of the open sky, ii. 44;
unison of expressional and pictorial power in detail, iii. 29;
use of mountain distances, iv. 354.
Pictures referred to--
Baptism of Christ, ii. 176;
Charity, iii. 97;
Crucifixion and Arena frescoes, ii. 129;
Sacrifice for the Friedes, i. 88.

Gozzoli Benozzo, landscape of, ii. 217;
love of simple domestic incident, iii. 28;
reality of conception, iii. 57;
treatment of the open sky, ii. 44.

Guercino, Hagar, ii. 129.

Guido, sensuality, ii. 125, 136;
use of base models for portraiture, ii. 120.
Picture--
Susannah and the Elders, ii. 126.

Harding, J. D., aspen drawing of, iv. 78;
execution of, i. 179, 403, iv. 78;
chiaroscuro of, i. 179, 405;
distance of, i. 189;
foliage, i. 387, 401;
trees of, v. 61 (note), i. 387;
rocks of, i. 313;
water of, i. 350.
Pictures referred to--
Chamouni, i. 287;
Sunrise on the Swiss Alps, i. 102.

Hemling, finish of, iii. 122.

Hobbima, niggling of, v. 36, 37;
distances of, i. 202;
failures of, i. 202, 398;
landscape in Dulwich Gallery, v. 36.

Holbein, best northern art represented by, v. 209-231;
the most accurate portrait painter, v. 322;
Dance of Death, iii. 93;
glorious severity of, ii. 123;
cared not for flowers, v. 90.

Hooghe, De, quiet painting of, v. 282.

Hunt, Holman, finish of, i. 416 (note).
Pictures referred to--
Awakened Conscience, iii. 90;
Claudio and Isabella, iii. 27;
Light of the World, iii. 29, 40, 57, 76, 340, iv. 61 (note);
Christ in the Temple, v. 347.

Hunt, William, anecdote of, iii. 86;
Farmer's Girl, iii. 82;
foliage of, i. 407;
great ideality in treatment of still-life, ii. 203.

Landseer, E., more a natural historian than a painter, ii. 203 (note);
animal painting of, v. 257;
Dog of, ii. 202;
Old Cover Hack, deficiency of color, ii. 226;
Random Shot, ii. 226;
Shepherd's Chief Mourner, i. 9, 30;
Ladies' Pets, imperfect grass drawing, v. 98;
Low Life, v. 266.

Laurati, treatment of the open sky, ii. 44.

Lawrence, Sir Thomas, Satan of, ii. 209.

Lewis, John, climax of water-color drawing, i. 85;
success in seizing Spanish character, i, 124.

Linnell, cumuli of, i. 244 (note).
Picture referred to--
Eve of the Deluge, ii. 225.

Lippi, Filippino, heads of, ii. 220;
Tribute Money, iii. 314.

Mantegna, Andrea, painting of stones by, iv. 302;
decoration of, ii. 220.

Masaccio, painting of vital truth from vital present, iii. 90;
introduction of portraiture into pictures, ii. 120;
mountain scenery of, i. 95, iv. 299;
Deliverance of Peter, ii. 222;
Tribute Money, i. 85, 95, iii. 314.

Memmi, Simone, abstract of the Duomo at Florence, at Santa Maria
Novella, i. 103;
introduction of portraiture in pictures, ii. 120.

Millais, Huguenot, iii. 90.

Mino da Fiesole, truth and tenderness of, ii. 184;
two statues by, ii. 201.

Mulready, Pictures by--
the Butt, perfect color, ii. 227;
Burchell and Sophia, ii. 227;
Choosing of the Wedding Gown, ii. 227;
Gravel Pit, ii. 228.

Murillo, painting of, ii. 83.

Nesfield, treatment of water by, i. 349.

Orcagna, influence of hills upon, iv. 358;
intense solemnity and energy of, iii. 28;
unison of expressional and pictorial power in detail of, iii. 28;
Inferno, ii. 128;
Last Judgment, ii. 181, iii. 57;
Madonna, ii. 201;
Triumph of Death, iii. 57, 95.

Perugino, decoration of, ii. 220;
finish of, ii. 83;
formalities of, iii. 122, 315;
hatred of fog, iv. 56;
landscape of, ii. 218;
mountain distances of, iv. 355;
right use of gold by, i. 109;
rationalism of, how affecting his works, v. 205;
sea of, i. 346;
expression of, inspiration by, ii. 223.
Pictures referred to--
Annunciation, ii. 44;
Assumption of the Virgin, ii. 44;
Michael the Archangel, ii. 223;
Nativity, iii. 48;
Portrait of Himself, ii. 136;
Queen-Virgin, iii. 52;
St. Maddelena at Florence, i. 346.

Pickersgill, Contest of Beauty, ii. 229.

Pinturicchio, finish of, ii. 83;
Madonnas of, ii. 224.

Pisellino, Filippo, rocks of, iii. 239.

Potter, Paul, Landscape, in Grosvenor Gallery, ii. 226;
Landscape, No. 176, Dulwich Gallery, i. 340;
foliage of, compared with Hobbima's and Ruysdael's, v. 35;
best Dutch painter of cattle, v. 254.

Poussin, Gaspar, foliage of, i. 386-395;
distance of, i. 202;
narrowness of, contrasted with vastness of nature, i. 179;
mannerism of, i. 90, ii. 45, iv. 38;
perception of moral truth, i. 76;
skies of, i. 227, 231;
want of imagination, ii. 158;
false sublimity, iv. 245.
Pictures referred to--
Chimborazo, i. 208;
Destruction of Niobe's Children, in Dulwich Gallery, i. 294;
Dido and Æneas, i. 257, 391, ii. 159;
La Riccia, i. 386, 155, ii. 159;
Mont Blanc, i. 208;
Sacrifice of Isaac, i. 195, 208, 230, ii. 159.

Poussin, Nicolas, and Claude, v. 241-248;
principal master of classical landscape, v. 194, 247;
peculiarities of, v. 247;
compared with Claude and Titian, v. 247;
characteristics of works by, v. 247;
want of sensibility in, v. 247;
landscape of, v. 247; trees of, i. 401;
landscape of, composed on right principles, i. 90, iii. 323, ii. 159.
Pictures referred to--
The Plague, v. 248;
Death of Polydectes, v. 248;
Triumph of David, v. 248;
The Deluge, v. 248;
Apollo, ii. 207;
Deluge (Louvre), i. 345, iv. 244;
Landscape, No. 260, Dulwich Gallery, i. 144;
Landscape, No. 212, Dulwich Gallery, i. 231;
Phocion, i. 144, 159, 178, 258;
Triumph of Flora, iii. 323.

Procaccini, Camillo.
Picture referred to--
Martyrdom (Milan), ii. 129.

Prout, Samuel, master of noble picturesque, iv. 13;
influence on modern art by works of, i. 103;
excellent composition and color of, i. 112, 114;
expression of the crumbling character of stone, i. 96, 112, 114.
Pictures referred to--
Brussels, i. 113;
Cologne, i. 113;
Flemish Hotel de Ville, i. 115;
Gothic Well at Ratisbon, i. 114;
Italy and Switzerland, i. 113;
Louvain, i. 113;
Nuremberg, i. 113;
Sion, i. 113;
Sketches in Flanders and Germany, i. 113;
Spire of Calais, iv. 13;
Tours, i. 113.

Punch, instance of modern grotesque from, iv. 388.

Pyne, J. B. drawing of, i. 314.

Raffaelle, chiaroscuro of, iv. 47;
completion of detail by, i. 82, iii. 122;
finish of, ii. 83;
instances of leaf drawing by, v. 35;
conventionalism of branches by, v. 38;
his hatred of fog, iii. 126, iv. 56;
influence of hills upon, iv. 357;
influenced by Masaccio, iii. 315;
introduction of portraiture in pictures by, ii. 120;
composition of, v. 182;
lofty disdain of color in drawings of, v. 320 (note);
landscape of, ii. 217;
mountain distance of, iv. 355;
subtle gradation of sky, ii. 47, 48;
symbolism of, iii. 96.
Pictures referred to--
Baldacchino, ii. 44;
Charge to Peter, iii. 53, 315;
Draught of Fishes, i. preface, xxx., ii. 204;
Holy Family--Tribune of the Uffizii, iii. 313;
Madonna della Sediola, ii. 44, iii. 51;
Madonna dell' Impannata, ii. 44;
Madonna del Cardellino, ii. 44;
Madonna di San Sisto, iii. 56;
Massacre of the Innocents, ii. 130, 179;
Michael the Archangel, ii. 223;
Moses at the Burning Bush, iii. 115;
Nativity, iii. 341;
St. Catherine, i. preface, xxxi., i. 34, 139, ii. 98, 224;
St. Cecilia, ii. 136, 218, iii. 15, 54;
St. John of the Tribune, ii. 44;
School of Athens, iii. 26;
Transfiguration, iii. 54 (note).

Rembrandt, landscape of, i. 192;
chiaroscuro of, iii. 35, iv. 42-47;
etchings of, i. 405 (note);
vulgarity of, iii. 257.
Pictures referred to--
Presentation of Christ in the Temple, ii. 42;
Spotted Shell, ii. 203;
Painting of himself and his wife, v. 252.

Rethel, A.
Pictures referred to--
Death the Avenger, iii. 98;
Death the Friend, iii. 98.

Retsch.
Pictures referred to--
Illustrations to Schiller's Fight of the Dragon, ii. 171.

Reynolds, Sir Joshua, swiftest of painters, v. 191;
influence of early life of, on painting of, v. 289;
lectures quoted, i. 7, 44, iii. 4;
tenderness of, iv. 67 (note).
Picture referred to--
Charity, iii. 97.

Roberts, David, architectural drawing of, i. 118;
drawings of the Holy Land, i. 118;
hieroglyphics of the Egyptian temples, i. 119;
Roslin Chapel, i. 120.

Robson G., mountain scenery of, i. 95, iii. 325.

Rosa, Salvator, and Albert Durer, v. 230-240;
landscape of, i. 390;
characteristics of, v. 237, 285;
how influenced by Calabrian scenery, v. 236;
of what capable, v. 236;
death, how regarded by, v. 237;
contrast between, and Angelico, v. 285;
leaf branches of, compared with Durer's, v. 67, 68;
example of tree bough of, v. 45;
education of, v. 235, 236;
fallacies of contrast with early artists, v. 46;
narrowness of, contrasted with freedom and vastness of nature, i. 77;
perpetual seeking for horror and ugliness, ii. 128, 137, v. 46-67;
skies of, i. 227, 230;
vicious execution of, i. 39, ii. 83;
vigorous imagination of, ii. 159;
vulgarity of, iii. 33, iii. 317, 257.
Pictures referred to--
Apollo and Sibyl, v. 79;
Umana Fragilita, v. 237;
Baptism of Christ, ii. 176 (note);
Battles by, ii. 127;
Diogenes, ii. 159;
finding of Oedipus, iii. 115, v. 65;
Landscape, No. 220, Dulwich Gallery, i. 231, 240, 294, 312;
Landscape, No. 159, Dulwich Gallery, i. 254;
Sea-piece (Pitti Palace), i. 345;
Peace burning the arms of War, i. 390;
St. Jerome, ii. 159;
Temptation of St. Anthony, ii. 45, (note);
Mercury and the Woodman (National Gallery), i, 157.

Rubens and Cuyp, v. 249-260;
color of, i. 169;
landscape of, i. 91, 220, iii. 182, 318;
leaf drawing of, v. 35;
flowers of, v. 90;
realistic temper of, iii. 97;
symbolism of, iii. 96;
treatment of light, ii. 41, i. 165;
want of feeling for grace and mystery, iv. 14;
characteristics of, v. 251;
religion of, v. 252;
delight in martyrdoms, v. 251;
painting of dogs and horses by, v. 257, 258;
descriptions of his own pictures by, v. 252;
imitation of sunlight by, v. 315 (note);
hunts by, v. 258.
Pictures referred to--
Adoration of the Magi, i. 37;
Battle of the Amazons, v. 251;
Landscape, No. 175, Dulwich Gallery, iv. 15;
His Family, v. 252;
Waggoner, iii. 114;
Landscapes in Pitti Palace, i. 91;
Sunset behind a Tournament, iii. 318.

Ruysdael.
Pictures referred to--
Running and Falling Water, i. 325, 344;
Sea-piece, i. 344.

Schöngauer, Martin, joy in ugliness, iv. 329;
missal drawing of, iv. 329.

Snyders, painting of dogs by, v. 257.

Spagnoletto, vicious execution of, ii. 83.

Stanfield, Clarkson, architectural drawing of, i. 121;
boats of, i. 122;
chiaroscuro of, i. 281;
clouds of, i. 224, 243;
a realistic painter, i. 121, iv. 57 (note);
knowledge and power of, i. 353.
Pictures referred to--
Amalfi, ii. 228;
Borromean Islands, with St. Gothard in the distance, i. 282;
Botallack Mine (coast scenery), i. 313;
Brittany, near Dol, iv. 7;
Castle of Ischia, i. 122;
Doge's Palace at Venice, i. 122;
East Cliff, Hastings, i. 313;
Magra, ii. 228;
Rocks of Suli, i. 307;
Wreck on the Coast of Holland, i. 121.

Taylor, Frederick, drawings of, power of swift execution, i. 35, 257.

Teniers, scenery of, v. 253;
painter of low subjects, v. 256.
Pictures referred to--Landscape, No. 139,
Dulwich Gallery, i. 315.

Tintoret, coloring of, iii. 42;
delicacy of, iii. 38;
painting of vital truth from the vital present, iii. 90;
use of concentrically-grouped leaves by, ii. 73;
imagination, ii. 158, 159, 173, 180;
inadequacy of landscapes by, i. 78;
influence of hills upon, iv. 358;
intensity of imagination of, ii. 173, iv. 66;
introduction of portraiture in pictures, ii. 120;
luminous sky of, ii. 44;
modesty of, ii. 123;
neglectful of flower-beauty, v. 90;
mystery about the pencilling of, ii. 64;
no sympathy with the humor of the world, iv. 13;
painter of space, i. 87;
realistic temper of, iii. 97;
sacrifice of form to color by, ii. 201;
slightness and earnest haste of, ii. 82 (note), 187 (note);
symbolism of, iii. 96.
Pictures referred to--
Agony in the Garden, ii. 159;
Adoration of the Magi, iii. 78, 122, iv. 66;
Annunciation, ii. 174;
Baptism, ii. 176;
Cain and Abel, i. 399(note);
Crucifixion, ii. 178, 183, iii. 72, v. 197, 221;
Doge Loredano before the Madonna, ii. 204;
Entombment, ii. 174, iii. 316;
Fall of Adam, i. 80 (note);
Flight into Egypt, ii. 159, 202;
Golden Calf, ii. 207;
Last Judgment, ii. 181;
picture in Church of Madonna dell' Orto, i. 109;
Massacre of the Innocents, ii. 130, 179, 183;
Murder of Abel, i. 391;
Paradise, i. 338, iv. 66, v. 221, 229;
Plague of Fiery Serpents, ii. 183;
St. Francis, ii. 207;
Temptation, ii. 159, 189.

Titian, tone of, i. 148;
tree drawing of, i. 392;
want of foreshortening, v. 71;
bough drawing of, i. 392;
good leaf drawing, v. 35;
distant branches of, v. 38;
drawing of crests by, iv. 218;
color in the shadows of, iv. 47;
mind of, v. 226, 227;
imagination of, ii. 159;
master of heroic landscape, v. 194;
landscape of, i. 78, iii. 316;
influence of hills upon, iv. 358;
introduction of portraiture in pictures, ii. 120;
home of, v. 287, 288;
modesty of, ii. 123;
mystery about the pencilling of, iv. 62;
partial want of sense of beauty, ii. 136;
prefers jewels and fans to flowers, v. 90;
right conception of the human form, ii. 123, v. 228;
sacrifice of form to color by, ii. 202;
color of, v. 317, 318;
stones of, iv. 304, 305;
trees of, i. 392, ii. 73.
Pictures referred to--
Assumption, iv. 202 (note), v. 221, 229, 251, 312;
Bacchus and Ariadne, i. 83, 148, iii. 122, v. 89;
Death of Abel, i. 80 (note);
Entombment, iii. 122;
Europa (Dulwich Gallery), i. 148; Faith, i. 109;
Holy Family, v. 133 (note);
Madonna and Child, v. 170;
Madonna with St. Peter and St. George, v. 170;
Flagellation, ii. 44;
Magdalen (Pitti Palace), ii. 125, v. 226, 338 (note);
Marriage of St. Catherine, i. 91;
Portrait of Lavinia, v. 90, preface, viii.;
Older Lavinia, preface, viii.;
St. Francis receiving the Stigmata, i. 214 (note);
St. Jerome, i. 86, ii. 159;
St. John, ii. 120;
San Pietro Martire, ii. 159, 207;
Supper at Emmaus, iii. 19, 122;
Venus, iii. 63;
Notomie, v. 338.

Turner, William, of Oxford, mountain drawings, i. 305.

Turner, Joseph Mallord William, character of, v. 340, 342, 348;
affection of, for humble scenery, iv. 248, 249;
architectural drawing of, i. 109, 199;
his notion of "Eris" or "Discord," v. 308, 309;
admiration of, for Vandevelde, i. 328;
boyhood of, v. 288, 297;
chiaroscuro of, i. 134, 143, 148, 281, 366, iv. 40-55;
only painter of sun-color, v. 315;
painter of "the Rose and the Cankerworm," v. 324;
his subjection of color to chiaroscuro, i. 171;
color of, i. 134, 151, 157, 160, 166, 169, 171, ii. 202, iii. 236
(note), iv. 40, v. 319 (note);
composition of, iv. 27, 303;
curvature of, i. 125, iii. 118, iv. 192, 293;
tree drawing of, i. 394, v. 38, 65, 69, 72;
drawing of banks by, iv. 293, 297;
discovery of scarlet shadow by, v. 316, 317, 319;
drawing of cliffs by, iv. 246;
drawing of crests by, iv. 220, 222, 225;
drawing of figures by, i. 189;
drawing of reflections by, i. 151, 359, 361, 379;
drawing of leaves by, v. 38, 99;
drawing of water by, i. 355, 382;
exceeding refinement of truth in, i. 411;
education of, iii. 309, v. 299 (note);
execution of, v. 38;
ruin of his pictures by decay of pigments, i. 136 (note);
gradation of, i. 259;
superiority of intellect in, i. 29;
expression of weight in water by, i. 367, 376;
expression of infinite redundance by, iv. 291;
aspects, iii. 279, 307;
first great landscape painter, iii. 279, v. 325;
form sacrificed to color, ii. 201;
head of Pre-Raphaelitism, iv. 61;
master of contemplative landscape, v. 194;
work of, in first period, v. 297;
infinity of, i. 239, 282, iv. 287;
influence of Yorkshire scenery upon, i. 125, iv. 246, 296, 300, 309;
his love of stones and rocks, iii. 314, iv. 24;
love of rounded hills, iv. 246;
master of the science of aspects, 305;
mystery of, i. 198,257, 413, iv. 34, 61, v. 33;
painting of French and Swiss landscape by, i. 129;
spirit of pines not entered into by, v. 80, 81;
flowers not often painted by, v. 92;
painting of distant expanses of water by, i. 365;
rendering of Italian character by, i. 130;
skies of, i. 138, 201, 236, 237;
storm-clouds, how regarded by, v. 142;
study of clouds, by, i. 221, 236, 242, 250, 261, v. 118;
study of old masters by, iii. 322;
sketches of, v. 183, 184, 333, 334, (note), v. preface, v. vi.;
system of tone of, i. 143, 152, 363;
treatment of foregrounds by, i. 319, v. 98;
treatment of picturesque by, iv. 7-15;
treatment of snow mountains by, iv. 240;
memoranda of, v. 185, 187, 335 (note);
topography of, iv. 16-33;
unity of, i. 320;
views of Italy by, i. 132;
memory of, iv. 27, 30;
ideal conception of, i. 388;
endurance of ugliness by, v. 283, 289;
inventive imagination of, dependent on mental vision and truth of
impression, iv. 21-24, 308;
lessons to be learnt from Liber Studiorum, v. 332, 333;
life of, v. 341;
death of, v. 349.
Pictures referred to--
Æsacus and Hesparie, i. 394;
Acro-Corinth, i. 221;
Alnwick, i. 127, 269;
Ancient Italy, i. 131;
Apollo and Sibyl, v. 331;
Arona with St. Gothard, i. 262;
Assos, i. 201 (note);
Avenue of Brienne, i. 178;
Babylon, i. 236;
Bamborough, i. 375;
Bay of Baiæ, i. 132, 324, iii. 311, v. 98, 323;
Bedford, i. 127;
Ben Lomond, i. 258;
Bethlehem, i. 242;
Bingen, i. 268;
Blenheim, i. 268;
Bolton Abbey, i. 394, iii. 118, iv. 249;
Bonneville in Savoy, i. 133;
Boy of Egremont, i. 372;
Buckfastleigh, i. 267, iv. 14;
Building of Carthage, i. 29, 136, 147, 162, 171, iii. 311;
Burning of Parliament House, i. 269;
Cærlaverock, i. 202 (note), 264;
Calais, i. 269;
Calder Bridge, i. 183;
Caldron Snout Fall, i. 268;
Caliglula's Bridge, i. 131, v. 331;
Canale della Guidecco, i. 362;
Carew Castle, i. 268;
Carthages, the two, i. 131, v. 337;
Castle Upnor, i. 267, 359;
Chain Bridge over the Tees, i. 368, 394;
Château de la Belle Gabrielle, i. 394, v. 61;
Château of Prince Albert, i. 357;
Cicero's Villa, i. 131, 136, 146, 147;
Cliff from Bolton Abbey, iii. 321;
Constance, i. 367;
Corinth, i. 267;
Coventry, i. 254, 268;
Cowes, i. 268, 363, 365;
Crossing the Brook, i. 131, 170, 394;
Daphne and Leucippus, i. 200, 201 (note), 293, 300, iv. 291, v. 98;
Dartmouth (river scenery), i. 212;
Dartmouth Cove (Southern Coast), i. 394;
Dazio Grande, i. 372;
Departure of Regulus, i. 131;
Devenport, with the Dockyards, i. 159 (note), 366;
Dragon of the Hesperides, iii. 97, v. 306, 311;
Drawing of the spot where Harold fell, ii. 200;
Drawings of the rivers of France, i. 129;
Drawings of Swiss Scenery, i. 129;
Drawing of the Chain of the Alps of the Superga above Turin, iii.
125;
Drawing of Mount Pilate, iv. 227, 298;
Dudley, i. 173 (note), 269;
Durham, i. 267, 394;
Dunbar, i. 376;
Dunstaffnage, i. 231, 285;
Ely, i. 410;
Eton College, i. 127;
Faïdo, Pass of, iv. 21, 222;
Fall of Carthage, i. 146, 171;
Fall of Schaffhausen, v. 167, 325 (note);
Flight into Egypt, i. 242;
Fire at Sea, v. 189 (note);
Folkestone, i. 242, 268;
Fort Augustus, i. 305;
Fountain of Fallacy, i. 131;
Fowey Harbor, i. 267, 376, v. 142 (note);
Florence, i. 132;
Glencoe, i. 285;
Goldau (a recent drawing) i. 264 (note);
Goldau, i. 367, iv. 312, v. 337 (note);
Golden Bough, iv. 291;
Gosport, i. 257;
Great Yarmouth, i. 383 (note);
Hannibal passing the Alps, i. 130;
Hampton Court, i. 178;
Hero and Leander, i. 131, 177, 242, 375, 409, v. 188 (note);
Holy Isle, iii. 310;
Illustration to the Antiquary, i. 264;
Inverary, v. 65;
Isola Bella, iii. 125;
Ivy Bridge, i. 133, iii. 121;
Jason, ii. 171;
Juliet and her Nurse, i. 135, 137 (note), 269;
Junction of the Greta and Tees, i. 372, iv. 309;
Kenilworth, i. 268;
Killie-Crankie, i. 371;
Kilgarren, i. 127;
Kirby Lonsdale Churchyard, i. 267, 394, iv. 14, 315;
Lancaster Sands, i. 340;
Land's End, i. 251 (note), 253, 352, 376, 377;
Laugharne, i. 376;
Llanberis, i. 93, 268, v. 320 (note) (English series);
Llanthony Abbey, i. 127, 173 (note), 251, 321, 371;
Long Ship's Lighthouse, i. 253;
Lowestoft, i. 267, 352, 383 (note);
Lucerne, iv. 227;
"Male Bolge"(of the Splugen and St. Gothard), iv. 315;
Malvern, i. 268;
Marly, i. 80, 399;
Mercury and Argus, i. 145, 167, 172 (note), 198, 221, 318, 324,
372, v. 62;
Modern Italy, i. 132, 172 (note), iv. 291;
Morecambe Bay, i. 258;
Mount Lebanon, i. 293;
Murano, view of, i. 138;
Napoleon, i. 151, 162, 163, 170, 221, 268, 310, v. 118, 330 (note);
Napoleon at St. Helena, iv. 314;
Narcissus and Echo, v. 299;
Nemi, i. 268;
Nottingham, i. 268, 359, iv. 29;
Oakhampton, i. 127, 258, 267, 400;
Oberwesel, i. 268, 305;
Orford, Suffolk, i. 267;
Ostend, i. 380;
Palestrina, i. 132;
Pas de Calais, i. 339, 380;
Penmaen Mawr, i. 323;
Picture of the Deluge, i. 346;
Pools of Solomon, i. 237, 268, v. 116;
Port Ruysdael, i. 380;
Pyramid of Caius Cestius, i. 269;
Python, v. 315, 316;
Rape of Proserpine, i. 131;
Rheinfels, v. 335 (note);
Rhymer's Glen, i. 371;
Richmond (Middlesex), i. 268;
Richmond (Yorkshire), i. 261, iv. 14, v. 93;
Rome from the Forum, i. 136, v. 359;
Salisbury, v. 144;
Saltash, i. 268, 359;
San Benedetto, looking toward Fusina, i. 362, 138, v. 118;
Scarborough, iii. 121;
Shores of Wharfe, iv. 248;
Shylock, i. 221, 268;
Sketches in National Gallery, v. 182, 183;
Sketches in Switzerland, i. 138;
Slave Ship, i. 135, 137 (note), 146, 151, 170, 261, 268, ii. 209,
iv. 314, v. 142, 336;
Snowstorm, i. 130, 170, 352, v. 342 (note);
St. Gothard, iv. 27, 292, 300;
St. Herbert's Isle, i. 269;
St. Michael's Mount, i. 261, 263;
Stonehenge, i. 260, 268, v. 143 (English series);
Study (Block of Gniess at Chamouni), iii. 125;
Study (Pæstum) v. 145;
Sun of Venice going to Sea, i. 138, 361;
Swiss Fribourg, iii. 125;
Tantallon Castle, i. 377;
Tees (Upper Fall of), i. 319, 323, 367, iv. 309;
Tees (Lower Fall of), i. 322, 371;
Temptation on the Mountain (Illustration to Milton), ii. 210;
Temple of Jupiter, i. 131, iii. 310;
Temple of Minerva, v. 145;
Tenth Plague of Egypt, i. 130, v. 295 (note), 299;
The Old Téméraire, i. 135, iv. 314, v. 118, 290;
Tivoli, i. 132;
Towers of Héve, i. 269;
Trafalgar, v. 290;
Trematon Castle, i. 268;
Ulleswater, i. 322, 258, iv. 300;
Ulysses and Polypheme, iv. 314, v. 336 (note);
various vignettes, i. 267;
Venices, i. 109, 268, v. 337, 338;
Walhalla, i. 136 (note);
Wall Tower of a Swiss Town, iv. 71;
Warwick, i. 268, 394;
Waterloo, i. 261, 269;
Whitby, iii. 310;
Wilderness of Engedi, i. 201 (note), 269;
Winchelsea (English series), i. 172 (note), 268;
Windsor, from Eton, i. 127;
Wycliffe, near Rokeby, iv. 309.
Finden's Bible Series:--
Babylon, i. 236;
Bethlehem, i. 242;
Mount Lebanon, i. 293, v. 145;
Sinai, v. 145;
Pyramids of Egypt, i. 242;
Pool of Solomon, i. 237, v. 116;
Fifth Plague of Egypt, i. 130, v. 299.
Illustrations to Campbell:--
Hohenlinden, i. 267;
Second Vignette, i. 258;
The Andes, i. 277;
Vignette to the Beech-tree's Petition, i. 177;
Vignette to Last Man, i. 264.
Illustrations to Rogers' "Italy:"--
Amalfi, i. 239;
Aosta, i. 277;
Battle of Marengo, i. 273, 285;
Farewell, i. 285;
Lake of Albano, i. 268;
Lake of Como, i. 238;
Lake of Geneva, i. 238, 267;
Lake of Lucerne, i. 263, 367;
Perugia, i. 174;
Piacenza, i. 268, 296;
Pæstum, i. 260, 268;
Second Vignette, i. 264, 372;
The Great St. Bernard, i. 263;
Vignette to St. Maurice, i. 263, 263 (note), v. 127.
Illustrations to Rogers' "Poems:"
Bridge of Sighs, i. 269;
Datur Hora Quieti, i. 145, 268, v. 167;
Garden opposite title-page, i. 177;
Jacqueline, i. 277, ii. 210;
Loch Lomond, i. 365;
Rialto, i. 242, 269;
Sunset behind Willows, i. 147;
Sunrise, i. 212;
Sunrise on the Sea, i. 222, 263;
the Alps at Daybreak, i. 223, 264, 267, 276;
Vignette to Human Life, i. 267;
Vignette to Slowly along the Evening Sky, i. 217;
Vignette to the Second Part of Jacqueline, ii. 210;
Villa of Galileo, i. 132;
Voyage of Columbus, i. 242, 267, ii. 201.
Illustrations to Scott:--
Armstrong's Tower, i. 178;
Chiefswood Cottage, i. 394;
Derwentwater, i. 365;
Dryburgh, i. 366;
Dunstaffnage, i. 261, 285;
Glencoe, i. 285, 293;
Loch Archray, i. 285;
Loch Coriskin, i. 252, 292, iv. 220;
Loch Katrine, i. 298, 365;
Melrose, i. 336;
Skiddaw, i. 267, 305.
Liber Studiorum:--
Æsacus and Hesperie, i. 130, 400 (note), ii. 162;
Ben Arthur, i. 126, iv. 308, 309;
Blair Athol, i. 394;
Cephalus and Procris, i. 394, 400 (note), ii. 160, 207, iii. 317,
v. 334;
Chartreuse, i. 127, 394, iii. 317;
Chepstow, v. 333;
Domestic subjects of L. S., i. 127;
Dunstan borough, v. 333;
Foliage of L. S., i. 128;
Garden of Hesperides, iii. 310, v. 310;
Gate of Winchelsea Wall, v. 330;
Raglan, v. 333;
Rape of Europa, v. 334;
Via Mala, v. 336 (note), iv. 259;
Isis, v. 171, 172;
Hedging and Ditching, i. 127, 394, v. 333;
Jason, i. 130, ii. 171, 199, iii. 317;
Juvenile Tricks, i. 394;
Lauffenbourg, i. 128, iii. 327, v. 170;
Little Devil's Bridge, i. 127, iv. 27;
Lianberis, i. 258;
Mer de Glace, i. 126, 287, iv. 191;
Mill near Grande Chartreuse, iv. 259, v. 333;
Morpeth Tower, v. 333;
Mont St. Gothard, i. 127, 311 (note);
Peat Bog, iii. 317, v. 333;
Rivaulx choir, v. 333;
Rizpah, i. 130, iii. 317, iv. 14, v. 295, 334;
Solway Moss, iii. 317;
Source of Avernon, iv. 308, v. 80;
Study of the Lock, iv. 7, v. 332;
Young Anglers, v. 333;
Water Mill, v. 333.
Rivers of France, i. 129;
Amboise, i. 184, 269;
Amboise (the Château), i. 184;
Beaugency, i. 184;
Blois, i. 183;
Blois (Château de), i. 183, 202, 269;
Caudebec, i. 269, 302, 366;
Château Gaillard, i. 183;
Clairmont, i. 269, 303;
Confluence of the Seine and Marne, i. 364;
Drawings of, i. 130;
Havre, i. 224;
Honfleur, i. 304;
Jumièges, i. 250, 364;
La Chaise de Gargantua, i. 364;
Loire, i. 363;
Mantes, i. 269;
Mauves, i. 303;
Montjan, i. 269;
Orleans, i. 183;
Quilleboeuf, i. 377, 170;
Reitz, near Saumur, v. 164, 165;
Rouen, i. 410, v. 118;
Rouen, from St. Catherine's Hill, i. 240, 366;
St. Denis, i. 264, 269;
St. Julien, i. 184, 269;
The Lantern of St. Cloud, i. 268;
Troyes, i. 269;
Tours, i. 184, 269;
Vernon, i. 364.
Yorkshire Series:--
Aske Hall, i. 394, v. 70;
Brignall Church, i. 394;
Hardraw Fall, iv. 309;
Ingleborough, iv. 249;
Greta, iv. 14, 248;
Junction of the Greta and Tees, i. 322, 372, iv. 309;
Kirkby Lonsdale, i. 267, 394, iv. 14, 313;
Richmond, i. 261, iv. 14, v. 38;
Richmond Castle, iii. 230;
Tees (Upper Fall of), i. 319, 323, 367, iv. 309;
Zurich, i. 367.

Uccello, Paul, Battle of Sant' Egidio, National Gallery, v. 5, 281.

Uwin's Vineyard Scene in the South of France, ii. 229.

Vandevelde, reflection of, i. 359;
waves of, iii. 324;
Vessels Becalmed, No. 113, Dulwich Gallery, i. 340.

Vandyke, flowers of, v. 90;
delicacy of, v. 275 (note).
Pictures--
Portrait of King Charles' Children, v. 90;
the Knight, v. 273 (note).

Veronese, Paul, chiaroscuro of, iii. 35, iv. 41, 47;
color in the shadows of, iv. 47;
delicacy of, iii. 38;
influence of hills upon, iv. 350;
love of physical beauty, iii. 33;
mystery about the pencilling of, iv. 61;
no sympathy with the tragedy and horror of the world, iv. 14;
sincerity of manner, iii. 41;
symbolism of, iii. 96;
treatment of the open sky, ii. 44;
tree drawing of, v. 67;
foreground of, v. 90;
religion of, (love casting out fear), v. 222;
animal painting, compared with Landseer's, ii. 202;
Pictures--
Entombment, ii. 44;
Magdalen washing the feet of Christ, iii. 19, 30;
Marriage in Cana, iii. 122, iv. 66, v. 196, 220, 221;
two fresco figures at Venice, i. 110;
Supper at Emmaus, iii. 30, 60;
Queen of Sheba, v. preface, vii. 224;
Family of Veronese, v. 222, 224;
Holy Family v. 225;
Veronica, v. 226;
Europa, v. 90, 170;
Triumph of Venice, v. 170;
Family of Darius, National Gallery, v. 189.

Vinci, Leonardo da, chiaroscuro of, iv. 47 (and note);
completion of detail by, iii. 122;
drapery of, iv. 48;
finish of, ii. 84, iii. 261;
hatred of fog, iv. 56;
introduction of portraiture in pictures, ii. 120;
influence of hills upon, iv. 356;
landscape of, i. 88;
love of beauty, iii. 41;
rocks of, iii. 239;
system of contrast of masses, iv. 42.
Pictures--
Angel, ii. 176;
Cenacolo, ii. 215;
Holy Family (Louvre), i. 88;
Last Supper, iii. 26, 341;
St. Anne, iv. 302, iii. 122.

Wallis, snow scenes of, i. 286 (note).

Wouvermans, leaves of, v. 33;
landscape of, v. 195;
vulgarity of, v. 278, 281;
contrast between, and Angelico, v. 283.
Pictures referred to--
Landscape, with hunting party, v. 278;
Battle piece, with bridge, v. 280.

Zeuxis, picture of Centaur, v. 258.

TOPICAL INDEX.

Abstraction necessary, when realization is impossible, ii. 206.

Æsthetic faculty, defined, ii. 12, 16.

Age, the present, mechanical impulse of, iii. 301, 302;
spirit of, iii. 302, 303;
our greatest men nearly all unbelievers, iii. 253, 264;
levity of, ii. 170.
See Modern.

Aiguilles, structure of, iv. 174;
contours of, iv. 178, 190;
curved cleavage of, iv. 186, 192, 193, 210-214;
angular forms of, iv. 179, 191;
how influencing the earth, iv. 193;
Dez Charmoz, sharp horn of, iv. 177;
Blaitière, curves of, iv. 185-188;
of Chamouni, sculpture of, 160, 182.
See Local Index.

Alps, Tyrolese, v. 216;
aërialness of, at great distances, i. 277;
gentians on, v. 89;
roses on, v. 99;
pines on, iv. 290, v. 86;
ancient glaciers of, iv. 169;
color of, iii. 233;
influence of, on Swiss character, iv. 356, v. 83;
general structure of, iv. 164;
higher, impossible to paint snow mountains, iv. 240;
precipices of, iv. 260, 261;
suggestive of Paradise, iv. 346;
sunrise in, i. 264.
See Mountains.

Anatomy, development of, admissible only in subordination to laws of
beauty, ii. 221;
not to be substituted for apparent aspect, iv. 187.

Animals, proportion in, ii. 58 (note), 64;
moral functions of, ii. 94, 95, 97;
lower ideal form of, ii. 104;
noble qualities of, v. 203.

Animal Painting, of the Dutch school, v. 254, 258;
of the Venetian, 255, 258;
of the moderns, v. 257, 273.

Architecture, influence of bad, on artists, iii. 311;
value of signs of age in, i. 104, 106;
importance of chiaroscuro in rendering of, i. 106, 107;
early painting of, how deficient, i. 103;
how regarded by the author, v. 197;
Renaissance chiefly expressive of pride, iii. 63;
lower than sculpture or painting, the idea of utility being dominant,
ii. 10 (note);
and trees, coincidences between, v. 19;
of Nuremberg, v. 232;
Venetian, v. 295.

Art, definition of greatness in, i. 8, 11, iii. 3-10, 39;
imitative, noble or ignoble according to its purpose, iii. 20, 202;
practical, ii. 8;
theoretic, ii. 8;
profane, iii. 61;
ideality of, ii. 110;
in what sense useful, ii. 3, 4;
perfection of, in what consisting, i. 357;
first aim of, the representation of facts, i. 45, 46;
highest aim of, the expression of thought, i. 45, 46;
truth, a just criterion of, i. 48;
doubt as to the use of, iii. 19;
laws of, how regarded by imaginative and unimaginative painters, ii.
155;
neglect of works of, ii. 6, 8 (note);
nobleness of, in what consisting, iii. 21, 22;
noble, right minuteness of, v. 175;
meaning of "style," different selection of particular truths to be
indicated, i. 95;
bad, evil effects of the habitual use of, iv. 334;
love of, the only effective patronage, ii. 3;
sacred, general influence of, iii. 55;
misuse of, in religious services, iii. 59, 60;
religious, of Italy, abstract, iii. 48, 58, v. 219;
religious, of Venice, Naturalistic, iii. 78, v. 214, 226;
Christian, divisible into two great masses, symbolic and imitative,
iii. 203;
Christian, opposed to pagan, ii. 222, 223;
"Christian," denied, the flesh, v. 203;
high, consists in the truthful presentation of the maximum of beauty,
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,
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.