Landscape, Greek, iii. 178-187, v. [211]-213; effect of on Greek mind, iv. 351; of fifteenth century, iii. 201; mediæval, iii. 201, 209, 219, iv. 77-79; choice of, influenced by national feeling, i. 125; novelty of, iii. 143-151; love of, iii. 280, 294; Scott’s view of, iii. 257; of Switzerland, iv. 132, 290 (see Mountains, Alps, &c.); of Southern Italy, v. [235]; Swiss moral influences of, contrasted with those of Italy, iv. 135-136; colors of, iv. 40, 345; lowland and mountain, iv. 363; gradation in, i. 182; natural, how modified by choice of inventive artists, iv. 24, 26 (note); dependent for interest on relation to man, v. [193], [196]; how to manufacture one, iv. 291.
Landscape Painters, aims of great, i. 44, iv. 23; choice of truths by, i. 74-76; in seventeenth century, their vicious and false style, i. 5, 185, 328, 387; German and Flemish, i. 90; characteristics of Dutch, v. [253], [259]; vulgarity of Dutch, v. [277]; English, i. 83, 92-95.
Landscape Painting, modern, i. 424; four true and two spurious forms of, v. [194], [195]; true, dependent for its interest on sympathy with humanity (the “dark mirror”), v. [195]-201, iii. 248, 250, 259, 325, iv. 56; early Italian school of, i. 81-85, 165, ii. 217; emancipation of, from formalism, iii. 312; Venetian school of, expired 1594, iii. 317, v. [214], [219]; supernatural, ii. 219-222; Purist ideal of, iii. 70-76; delight in quaint, iii. 313; preservation of symmetry in, by greatest men, ii. 74; northern school of, iii. 323; doubt as to the usefulness of, iii. 144, v. [193]; symbolic, iii. 203; topographical, iv. 16; Dutch school of, i. 92; modern love of darkness and dark color, the “service of clouds,” iii. 248-251.
Landscape Painting, Classical, v. [242]-248; absence of faith in, v. [242]; taste and restraint of, v. [242]; ideal of, v. [244].
Landscape Painting, Dutch, v. [277]-281.
Landscape Painting, Heroic, v. [194]-198.
Landscape Painting, Pastoral, v. [253]-260.
Language of early Italian Pictures, i. 10; of Dutch pictures, i. 10; distinction between ornamental and expressive, i. 10; painting a, i. 8; accuracy of, liable to misinterpretation, iii. 5.
Law, David’s delight in the, v. [146]; helpfulness or consistence the highest, v. [156].
Laws of leaf-grouping, v. [25], [26], [32]; of ramification, v. [49]-62; of vegetation, how expressed in early Italian sculpture, v. [46].