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.