Help, habit of, the best part of education, v. [328] (note).
Helpfulness, law of, v. [155]-158; of inventive power, v. [192]. See Consistence.
Homer, a type of the Greek mind, iii. 188; poetical truth of, iii. 162; idea of the Sea-power, iii. 169; intense realism, iii. 185; conception of rocks, iii. 232, 239-241; pleasure in woody-scenery, iii. 184, 212; love of aspens, iii. 182, 185; love of symmetry, iii. 180; pleasure in utility, iii. 181, 184, 185; ideal of landscape, iii. 179-182; feelings traceable in his allusion to flowers, iii. 226; Michael Angelo compared to, by Reynolds, iii. 13; poetry of, v. [209]; Iliad and Odyssey of, v. [210], [211], [309]; his “Discord,” v. [308]; the victory over fate, sin, and death, v. [209]; heroic spirit of, v. [211], [212]; pride of, v. [217]; faith of, v. [217].
Hooker, his definition of a law, ii. 84; referred to, ii. 9, 14, 24; quotation from, on Divine Unity, ii. 50; quotation on exactness of nature, ii. 82.
Horse, Greek and Roman treatment of, v. [257]; Vandyke, first painter of, v. [258].
Humility, means a right estimate of one’s own powers, iii. 260; how symbolized by Dante, iii. 227; a test of greatness, iii. 260; inculcated by science, iii. 256; necessity of, to enjoyment of nature, iii. 269, iv. 69; grass, a type of, iii. 226, 228, v. [96]; of inventive power, v. [192]; distinguishing mark between the Christian and Pagan spirit, iii. 226.
Ideal, definition of the word, i. 28; its two senses referring to imagination or to perfection of type, ii. 102, 103; how to be attained, i. 44; form in lower animals, ii. 104; form in plants, ii. 105; of form to be preserved in art by exhibition of individuality, ii. 109, 210; the bodily, effect of intellect and moral feelings on, ii. 113-115; form, of what variety susceptible, ii. 221; of human form, destroyed by expression of corrupt passions, ii. 122, 129; of humanity, how to be restored, ii. 112, 118, 121; form to be obtained only by portraiture, ii. 119, iii. 78; form, necessity of love to the perception of, ii. 121, 130; pictures, interpreters of nature, iii. 141; general, of classical landscape, v. [244]; modern pursuit of the, iii. 44, 65, 69; Angelican, iii. 49, 57, v. [283], i. 82; false Raphaelesque, iii. 53-57.
Ideal, the true, faithful pursuit of, in the business of life, iii. 44; relation of modern sculpturesque to the, iii. 63; operation of, iii. 77; three kinds of—Purist, Naturalist, and Grotesque (see below), iii. 71.
Ideal, true grotesque, iii. 92-107; limited expression of, iii. 99, 100.