Chapter XII: Peace (4)

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.

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.

Unbelief, characteristic of all our most powerful men, iii. 253;
modern English, "God is, but cannot rule," v. 347.

Unity, type of Divine comprehensiveness, ii. 50, 52, 56, 152, 153;
in nature, i. 398;
apparent proportion, a cause of, ii. 57, 64;
instinct of, a faculty of the associative imagination, ii. 151.

Utility, definition of, ii. 4;
of art, ii. 3;
of details in poetry, iii. 8;
of pictures, iii. 125, 142;
of mountains, iv. 91.

Valleys, Alpine beauty of, iv. 311, 316;
gloom in, iv. 326;
English, iv. 297;
French, i. 129, iv. 297.

Variety, necessity of, arises out of that of unity, ii. 53-55;
love of, ii. 55;
when most conspicuous, i. 213;
in nature, i. 55, 65, 169, 198, 219, 224, 291.

Vapor, v. 109, 120, 127, 129.

Vegetables, ideal form in, ii. 107.

Vegetation, truth of, i. 384, 408;
process of form in, v. 78;
in forest-lands, v. 133;
appointed service of, v. 2;
in sculpture, v. 35.

Velocity in execution, i. 37, ii. 187 (note);
sacrifice of truth to, i. 38.

Venetian art ("The Wings of the Lion"), v. 209, 214;
conquest of evil, v. 214, seq., 217, 229;
scenery, v. 214, 217;
idea of beauty, v. 294;
faith, v. 219;
religious liberty, v. 214;
mind, perfection of, v. 227;
contempt of poverty, v. 289;
unworthy purposes of, v. 227;
reverence, the Madonna in the house, v. 223-228.

Virtue, effect of, on features, ii. 117;
set forth by plants, iii. 228;
of the Swiss, v. 84, 85.

Vulgarity of mind, v. 261-276;
consists in insensibility, v. 274-275;
examples of, v. 269, 270;
seen in love of mere physical beauty, iii. 67;
in concealment of truth and affectation, iii. 82, 83;
inconceivable by the greatest minds, iii. 82;
of Renaissance builders, v. 176;
"deathful selfishness," v. 277;
among Dutch painters, v. 277-285;
how produced by vicious habits, v. 262. See Gentlemen.

War, a consequence of injustice, iii. 328;
lessons to be gathered from the Crimean, iii. 329;
at the present day of what productive, iii. 326;
modern fear of, iii. 256.

Water, influence of, on soil, i. 273;
faithful representation of, impossible, i. 325-326;
effect produced by mountains on, iv. 93;
functions of, i. 325;
laws of reflection in, i. 329, 336;
clear, takes no shadow, i. 331;
most wonderful of inorganic substances, i. 325;
difference in the action of continuous and interrupted, i. 369;
in shade most reflective, i. 330;
painting of, optical laws necessary to, i. 336;
smooth, difficulty of giving service to, i. 355, 356;
distant, effect of ripple on, i. 335;
swift execution necessary to drawing of, i. 350;
reflections in, i. 326;
motion in, elongates reflections, i. 335-336;
execrable painting of, by elder landscape masters, i. 328;
as painted by the modern, i. 348-354;
as painted by Turner, i. 355-383;
as represented by mediæval art, iii. 209;
truth of, i. 325-383. See Sea, Torrents, Foam.

Waves, as described by Homer and Keats, iii. 168;
exaggeration of size in, ii. 209;
grander than any torrent, iv. 347;
breakers in, i. 377;
curves of, i. 375.

Wordsworth, his insight into nature (illustration of Turner), i. 177;
love of plants, ii. 91;
good foreground described by, i. 83-84;
skies of, i, 207;
description of a cloud by, ii 67;
on effect of custom, iii 293;
fancy and imagination of, ii. 196-200;
description of the rays of the sun, i. 220.

Work, the noblest done only for love, v. 346.

End of Project Gutenberg's Modern Painters, Volume V (of 5), by John Ruskin