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.