Claude, summary of his qualities, v. 244; painting of sunlight by, iii. 318, v. 315; feeling of the beauty of form, i. 76, iii. 318, v. 244; narrowness of, contrasted with vastness of nature, i. 77; aërial effects of, iii. 318, v. 244; sincerity of purpose of, iii. 317, v. 244; never forgot himself, i. 77, v. 244; true painting of afternoon sunshine, iii. 321, v. 245, 315; effeminate softness of, v. 244; landscape of, iii. 318, i. xxxviii. preface, v. 244; seas of, i. 77, 345, v. 244, 245; skies of, i. 208, 227; tenderness of perception in, iii. 318; transition from Ghirlandajo to, iv. 1; absence of imagination in, ii. 158; waterfalls of, i. 300; treatment of rocks by, iv. 253, 308, iii. 322; tree drawing of, iii. 118, 333; absurdities of conception, iii. 321; deficiency in foreground, i. 179, 399; distances of, i. 278; perspective of, i. 409. Pictures referred to-- Morning, in National Gallery (Cephalus and Procris), i. 317; Enchanted Castle, i. 208; Campagna at Rome, i. xl. preface; Il Mulino, i. xxxix. preface, v. 245, ii. 149; Landscape, No. 241, Dulwich Gallery, i. 208; Landscape, No. 244, Dulwich Gallery, i. 284; Landscape in Uffizii Gallery, i. 339; Seaport, St. Ursula, No. 30, National Gallery, i. 208; Queen of Sheba, No. 14, National Gallery, i. 409; Italian Seaport, No. 5, National Gallery, i. 230; Seaport, No. 14, National Gallery, i. 22; Marriage of Isaac and Rebecca, i. 176, 194, 208, 278, 388; Moses at the Burning Bush, iii. 320; Narcissus, i. 388; Pisa, iv. 1; St. George and the Dragon, v. 246; Worship of the Golden Calf, v. 246; Sinon before Priam, i. 169, 279; Liber Veritatis, No. 5, iv. 308; Liber V., No. 86, iv. 220; L. V., No. 91, iv. 253, 254; L. V., No. 140, iii. 117; L. V., No. 145, iii. 321; L. V., No. 180, iii. 321. Conegilano, Cima da, entire realization of foreground painting, iii. 128; painting in church of the Madonna dell' Orto, i. 82. Constable, landscape of, iii. 126; simplicity and earnestness of, i. 94; aspen drawing of, iv. 78; Helmingham Park, Suffolk, iii. 119; Lock on the Stour, iii. 118; foliage of, i. 406, iii. 119; landscape of, iv. 38. Correggio, choice of background, iii. 316; painting of flesh by, iii. 97; leaf drawing of, v. 35; power of, to paint rain-clouds, v. 136 (note); love of physical beauty, iii. 33; morbid gradation, ii. 47; morbid sentimentalism, ii. 174; mystery of, iv. 62; sensuality of, ii. 125, 136; sidelong grace of, iii. 28; tenderness of, iii. 42. Pictures referred to-- Antiope, iii. 63, v. 36, 90, 136; Charioted Diana, ii. 126; Madonna of the Incoronazione, ii. 125; St. Catherine of the Giorno, ii. 126.