Torrents, beneficent power of, iv. 285; power of, in forcing their way, iv. 258, 259, 318; sculpture of earth by, iv. 262; mountains furrowed by descent of, i. 297, iv. 312; curved lines of, i. 370, iv. 312.
Transparency, incompatible with highest beauty, ii. 77; appearance of, in mountain chains, i. 281; wanting in ancient landscape, not in modern, i. 215, 234; of the sky, i. 207; of bodies, why admired, ii. 77; ravelling, best kind of, iii. 293.
Tree, aspen, iv. 77, 78; willow, v. [68]; black spruce, v. [78].
Tree boughs, falsely drawn by Claude and Poussin, i. 389, 391, v. [65]; rightly drawn by Veronese and Durer, v. [66], [67]; complexity of, i. 389; angles of, i. 392; not easily distinguished, i. 70; diminution and multiplication of, i. 388-389; appearance of tapering in, how caused, i. 385; loveliness of, how produced, v. [64]; subtlety of balance in, v. [64]; growth of, v. [61]; nourishment of, by leaves, v. [41]; three conditions of branch-aspect—spring, caprice, and fellowship, v. [63]-71.
Trees, outlines of, iii. 114; ramifications of, i. 386, v. [58], [60], [62]; the most important truth respecting (symmetrical terminal curve), i. 400; laws common to forest, i. 385; poplar, an element in lovely landscape, i. 129, iii. 186; superiority of, on mountain sides, iv. 348, v. [78]-79; multiplicity of, in Swiss scenery, iv. 289, 290; change of color in leafage of, iv. 261; classical delight in, iv. 76, iii. 184; examples of good and bad finish in (plates), iii. 116, 117; examples of Turner’s drawing of, i. 394; classed as “builders with the shield” and “with the sword,” v. [8]; laws of growth of, v. [17], [49], [72]; mechanical aspect of, v. [40]; classed by leaf-structure—trefoil, quatrefoil, and cinqfoil, v. [19]; trunks of, v. [40], [56]; questions concerning, v. [51]; how strengthened, v. [41]; history of, v. [52]; love of, v. [4]; Dutch drawing of, bad, v. [68], [71]; as drawn by Titian and Turner, i. 392, 394; as rendered by Italian school, i. 384.
Trees, pine, v. [8]-30, 79, 92; Shakspere’s feeling respecting, iv. 371, v. [83]; error of painters in representing, iv. 346 (note); perfection of, v. [80]-83; influence on Swiss and northern nations, v. [84].
Truth, in art, i. 21, 46, 47, 74, iii. 35; Greek idea of, v. [267]; blindness to beauty of, in vulgar minds, v. [268]; half, the worst falsehood, v. [268]; standard of all excellence, i. 417; not easily discerned, i. 50, 51, 53; first quality of execution, i. 37; many-sided, the author’s seeming contradiction of himself, v. [271] (note); essential to real imagination, ii. 161, 188; essential to invention, v. [191]; highest difficulty of illustrating the, i. 410; laws of, in painting, iii. vii. (preface); ideas of, i. 23, 24; infinity essential to, i. 239; sometimes spoken through evil men, ii. 137; imaginative preciousness of, iv. 30; individual, in mountain drawing, i. 305; wisely conveyed by grotesque idealism, iii. 96; no vulgarity in, iii. 82; dominion of, universal, iii. 167; error of confounding beauty with, ii. 30, iii. 32 (note); pictures should present the greatest possible amount of, iii. 139; sacrifice of, to decision and velocity, i. 39; difference between imitation and, i. 21, 22; absolute, generally attained by “colorists,” never by “chiaroscurists,” iv. 42, 48; instance of imaginative (the Two Griffins), iii. 100.
Truths, two classes of, of deception and of inner resemblance, iii. 126; most precious, how attained, iv. 38; importance of characteristic, i. 59, 62; of specific form most important, i. 72; relative importance of, i. 58; nature’s always varying, i. 55; value of rare, i. 64; particular, more important than general, i. 58; historical, the most valuable, i. 71; the finer, importance of rendering, i. 316; accurate, not necessary to imitation, i. 21, 22; geological, use of considering, i. 303; simplest, generally last believed, iii. 300; certain sacred, how conveyed, iii. 289, 300; choice of, by artists, the essence of “style,” iii. 33, iv. 46; as given by old masters, i. 75; selected by modern artists, i. 76.
Types—light, ii. 75; purity, ii. 75-79, v. [156]; impurity, v. [156]; clouds, v. [110], [114]; sky, ii. 40-42; mountain decay, iv. 315; crags and ravines, iv. 215; rocks, ii. 79, iv. 102, 117; mountains, iv. 343; sunlight, v. [332]; color, v. [331] (note), 332; mica flake, iv. 239; rainbow, v. [332]; stones, weeds, logs, thorns, and spines, v. [161]; Dante’s vision of Rachel and Leah, iii. 216; mythological, v. [140], [300], [301]; beauty, ii. 30, 86, v. [145]; symmetry, Divine justice, ii. 72, 74; moderation, ii. 81-85; infinity, ii. 41, iv. 79; grass, humility and cheerfulness, iii. 226, 228; rush, humility, iii. 228; buds, iii. 206, v. [20], [53], [74]; laws of leaf growth, v. [31], [32], [33], [53], [74]; leaf death, v. [74], [95]; trees, v. [52], [78], [80]; crystallization, v. [33].
Ugliness, sometimes permitted in nature, i. 64; is a positive thing, iii. 24; delight in, Martin Schöngauer, iv. 329, 333; of modern costume, v. [273] (note), iii. 254, 255; of modern architecture, iii. 253, v. [347].