GENERAL INDEX. A ACADEMY, the advantages of, i. 9, 10, 11. Academy Royal, Observations on its foundation, i. 5, 6, 7. particulars of the origin of, xxxvii. — Accident, how far favourable to Painters, ii. 103. iii. Action, the principal requisite in a subject for History- Affectation, a hateful quality, i. 111. 258. iii. 133. Agamemnon. See Timanthes. Allegorical Painting, defence of, i. 214. Some by Ru- Amsterdam, Pictures at, ii. 354, 355. 369, 370.- The Stadthouse, ii. 354.- Wharf-Office, ii. 356. -Surgeons'-Hall, ibid. Mr. Hope's Cabinet, ii. Anachronisms in Church-pictures, how far excusable, Analogy of the several Arts; utility to be derived from, ii. 111. Angelo Michael. - See M. Antique, the Model to be copied, iii. 48. Antwerp, Pictures at, ii. 277–336. Apollo, Statue of, criticism on, ii. 19, 20. Drapery of, remarks on, ii. 28. Apostles, Statues of, in St. John Lateran's Church, de- Architecture, hints as to the principles of, ii. 136, & seq. Arts, one cannot be engrafted on another, ii. 334. what is the object and intention of them all, i. 142. B BACK-GROUND, in Pictures, rules as to, iii. 70. 152. Bacon, an observation of his on Painting disputed, i. 61. Baroccio, his defect in colouring, iii. 178. Bassano, his excellencies, i. 218. See iii. 207. Basso Relievo, improvement of the Moderns in, ii. 33. 238. the foundation of, i. 59, 60, 61. ii. 237, its varieties, i. 62. ....... of form alone, one great excellence in Bellino, Titian's first Master, Anecdotes of, iii. 204. Bellori, his fanciful Idea of a Painter, iii. 220, &c. Bishop's Ancient Statues; an error in, corrected, ii. 200. Bologna, peculiarly worthy the attention of travelling Boucher, Anecdote of, ii. 105. Bourdon, Sebast, his Return of the Ark praised, ii. 168. Brussels, Pictures at, ii. 259-270. Caracci, Annibal, his exactness in copying from Models, i. 19. ........ ..... 210. one of his best Pictures, ii. 387. his character, iii. 89. 210. Agostino, and Antonio; Anecdotes of, iii. ...... Lodovico; the excellence of his style, in what Carelessness, discouraged, i. 74. Carlo Dolci, a tolerable picture of his, ii. 388. |