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].