Mountaineer, false theatrical idea of, iv. 321; regarded as a term of reproach by Dante, iii. 241; same by Shakspere, iv. 371; his dislike of his country, iii. 182; hardship of, iv. 335; his life of, “gloom,” iv. 320.
Mountains (see also Banks, Crests, Débris, &c.), uses and functions of, iv. 91; influences of, on artistic power, iv. 356; influence on purity of religion, doctrine, and practice, iv. 351; monkish view of, iv. 377, iii. 196; structure of, i. 300, iv. 157; materials of, i. 271, iv. 90; principal laws of, i. 270, 302; spirit of, i. 271; false color of (Salvator and Titian), i. 158; multiplicity of feature, i. 299; fulness of vegetation, iv. 291; contours of, i. 298, iv. 141, 157, 182, 276, 309; curvature of, i. 296, iv. 186, 192, 282, 287; appearances of, i. 281, 283; foreground, beauty of, i. 99, iv. 99; two regions in, iv. 172; superior beauty of, iv. 91, 346, 348; false ideal of life in, iv. 319; decomposition, iv. 103, 137, 169, 309; sanctity of, iii. 196; lessons from decay of, iv. 315; regularity and parallelism of beds in, iv. 207; exaggeration in drawing of, ii. 208, iv. 175, 190; love of, iii. 250, 259, 288, iv. 376; mentions of, in Scripture, iii. 196, iv. 377; Moses on Sinai, iv. 378; Transfiguration, iv. 381; construction of Northern Alpine, iv. 286, iv. 324; glory, iv. 344, 345; lift the lowlands on their sides, iv. 92; mystery of, unfathomable, iv. 155, 174; material of Alpine, a type of strength in weakness, iv. 239; Dante’s conception of, iii. 229, 230, 239; Dante’s repugnance to, iii. 240; influence of the Apennines on Dante, iii. 231; mediæval feeling respecting, iii. 191, 229; symbolism of, in Dante, iii. 240; not represented by the Greeks, iii. 145; scenery not attempted by old masters, i. 278; influence of, iv. 344, 356; the beginning and end of natural scenery, iv. 344.
Mountains, central, their formation and aspect, i. 275-287.
Mountain gloom, iv. 317-343; life in Alpine valleys, iv. 320; love of horror, iv. 328-332; Romanism, iv. 333; disease, iv. 335; instance, Sion in the Valais, iv. 339.
Mountains, inferior, how distinguished from central, i. 290; individual truth in drawing of, i. 304.
Mystery, of nature, i. 37, iv. 67, 80; never absent in nature, iv. 58; noble and ignoble, iv. 70, 73, 74; of execution, necessary to the highest excellence, i. 37, iv. 62; in Pre-Raphaelitism, iv. 61; sense of delight in, iv. 69; Turnerian, essential, iv. 56-67; wilful, iv. 68-81.
Mythology, Renaissance paintings of, iii. 62; Apollo and the Python, v. [322]; Calypso, the concealer, v. [211]; Ceto, deep places of the sea, v. [138], [304]; Chrysaor, angel of lightning, v. [140]; Danae’s golden rain, v. [140]; Danaïdes, sieves of, v. [140]; Dragon of Hesperides, v. [302], [308], [309]; Eurybia, tidal force of the sea, v. [138], [304]; Fates, v. [301]; Garden of Hesperides, v. [300]-316; Goddess of Discord, Eris, v. [305]-310; Gorgons, storm-clouds, v. [138], [304]; Graiæ, soft rain-clouds, 138, 304; Hesperides, v. [303], [310]; Nereus, god of the sea, v. [138], [303]; Minerva’s shield, Gorgon’s head on, v. [140]; Muses, v. [163]; Pegasus, lower rain-clouds, v. [140]; Phorcys, malignant angel of the sea, v. [138], [303]; Thaumas, beneficent angel of the sea, v. [138], [304].
Nature, infinity of, i. 64, 66, 164-168, 198, 219, 224, iii. 121 (drawing of leafage), iv. 29, 267, 303, i. 77; variety of, i. 55, 169, 291, v. [2]-5; gradation in, ii. 47, iv. 122, 287; curvature in, ii. 46, 60, iv. 271, 272; colors of, i. 70, 169, 352, iii. 35; finish of, iii. 112, 121, 122; fineness of, iv. 304; redundancy of, iii. 122, v. [99]; balance of, v. [64]; inequality of, v. [22]; pathetic treatment of, v. [177]; always imaginative, ii. 158; never distinct, never vacant, i. 193; love of, intense or subordinate, classification of writers, iii. 285; love of, an indication of sensibility, iii. 285; love of (moral of landscape), iii. 285-307; want of love of in old masters, i. 77, iii. 325; lights and shadows in, i. 180, 311, iv. 34; organic and inorganic beauty of, i. 286, ii. 96; highest beauty rare in, i. 65, iv. 131; sympathy with, iii. 194, 306, ii. 91, 93, iv. 16-67; not to be painted, i. 64; imagination dependent on, ii. 191; how modified by inventive painters, v. [181]; as represented by old masters, i. 77, 176; treatment of, by old landscape painters, i. 75; feeling respecting, of mediæval and Greek knight, iii. 177, 192, 193, 197, v. [5]; drawing from (Encyclopædia Britannica), iv. 295. See Beauty, Deity, Greek, Mediæval, Mystery, also Clouds, Mountains, etc.
Neatness, modern love of, iii. 109, iv. 3-6; vulgarity of excessive, v. [271].
Nereid’s guard, the, v. [298]-313.