System, establishment of, often useless, iii. 2; of chiaroscuro, of various artists, iv. 42.
Taste, definition of, i. 26; right, characteristics of, ii. 25; a low term, indicating a base feeling for art, iii. 64, 65; how developed, ii. 21; injustice and changefulness of public, i. 418; purity of, how tested, ii. 25; classical, its essence, v. [243]; present fondness for unfinished works, i. 420, ii. 82.
Temperate, right use of the word, ii. 13.
Tennyson, rich coloring of, iii. 257; subdued by the feelings under which he writes, iii. 160; instances of the pathetic fallacy in, iii. 167, 267; sense of beauty in, v. [332]; his faith doubtful, iii. 253.
Theoretic Faculty, first perfection of, is Charity, ii. 90; second perfection of, is justice of moral judgment, ii. 96; three operations of, ii. 101; how connected with vital beauty, ii. 91; how related to the imagination, ii. 157; should not be called æsthetic, ii. 12; as concerned with moral functions of animals, ii. 97, 98.
Theoria, meaning of, ii. 12, 18; derivation of, ii. 23; the service of Heaven, ii. 140; what sought by Christian, ii. 18.
Thought, definition of, i. 29; value of, in pictures, i. 10; representation of the second end of art, i. 45-47; how connected with knowledge, i. 47; art, in expression of individual, i. 44; choice of incident, expressive of, i. 29; appreciation of, in art, not universal, i. 46.
Thoughts, highest, depend least on language, i. 9; various, suggested in different minds by same object, iii. 283, 284.
Tone, meaning of, right relation of shadows to principal light, i. 140; truth of, i. 140-154; a secondary truth, i. 72; attention paid to, by old masters, i. 75, 141; gradation more important than, i. 149; cause of want of, in pictures, i. 141.
Topography, Turnerian, iv. 16-33; pure, preciousness of, iv. 10, 17; slight exaggeration sometimes allowed in, iv. 32; sketch of Lausanne, v. [185].