Sky, truth of, i. 204, 264; three regions of, i. 217, cannot be painted i. 161, iv. 38; pure blue, when visible, i. 256; ideas of, often conventional, i. 206; gradation of color in, i. 210; treated of by the old masters as distinct from clouds, i. 208; prominence of, in modern landscape, iii. 250; open, of modern masters, i. 214; lessons to be taught by, i. 204, 205; pure and clear noble painting of, by earlier Italian and Dutch school, very valuable, ii. 43, i. 84, 210; appearance of, during sunset, i. 161; effect of vapor upon, i. 211; variety of color in, i. 225; reflection of, in water, i. 327; supreme brightness of, iv. 38; transparency of, i. 207; perspective of, v. [114]; engraving of, v. [108], [112] (note).
Snow, form of, on Alps, i. 286, 287; waves of, unexpressible, when forming the principal element in mountain form, iv. 240; wreaths of, never properly drawn, i. 286.
Space, truth of, i. 191-203; deficiency of, in ancient landscape, i. 256; child-instinct respecting, ii. 39; mystery throughout all, iv. 58.
Spiritual beings, their introduction into the several forms of landscape art, v. [194]; rejected by modern art, v. [236].
Spenser, example of the grotesque from description of envy, iii. 94, 95; description of Eris, v. [309]; description of Hesperides fruit, v. [311].
Spring, our time for staying in town, v. [89].
Stones, how treated by mediæval artists, iv. 302; carefully realized in ancient art, iv. 301; false modern ideal, iv. 308; true drawing of, iv. 308. See Rock.
Style, greatness of, iii. 23-43; choice of noble subject, iii. 26; love of beauty, iii. 31; sincerity, iii. 35; invention, iii. 38; quotation from Reynolds on, iii. 13; false use of the term, i. 95; the “grand,” received opinions touching, iii. 1-15.
Sublimity, the effect on the mind of anything above it, i. 41; Burke’s treatise on, quoted, i. 17; when accidental and outward, picturesque, iv. 2, 6, 7.
Sun, first painted by Claude, iii. 320; early conventional symbol for, iii. 320; color of, painted by Turner only, v. [315].