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.