Pleasures, higher and lower, ii. 15-18; of sense, ii. 12; of taste, how to be cultivated, ii. 23.
Poetry, the suggestion by the imagination of noble ground for noble emotion, iii. 10, v. [163]; use of details in, iii. 8; contrasted with history, iii. 7-9; modern, pathetic fallacy characteristic of, iii. 168.
Poets, too many second-rate, iii. 156; described, v. [163]; two orders of (creative and reflective), iii. 156 (note), 160; great, have acuteness of, and command of, feeling, iii. 163; love of flowers by, v. [91]; why not good judges of painting, iii. 133.
Poplar grove, gracefulness of, Homer’s love of, iii. 91, 182, 185.
Popularity, i. 2.
Porphyry, characteristics of, iv. 108-112.
Portraits, recognition, no proof of real resemblance, i. 55.
Portraiture, use of, by painters, ii. 119, iii. 78, 89, 91, iv. 358; necessary to ideal art, ii. 119; modern foolishness, and insolence of, ii. 122; modern, compared with Vandyke’s, v. [273] (note); Venetians painted praying, v. [220].
Power, ideas of, i. 13, 14; ideas of, how received, i. 32; imaginative, iii. 39; never wasted, i. 13; sensations of, not to be sought in imperfect art, i. 33; importance technical, its relation to expressional, iii. 29.
Precipices, how ordinarily produced, i. 290, iv. 148; general form of, iv. 246; overhanging, in Inferior Alps, iv. 241; steepness of, iv. 230; their awfulness and beauty, iv. 241, 260; action of years upon, iv. 147; rarity of high, among secondary hills, i. 301.