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GENERAL INDEX.

A

ACADEMY, the advantages, of, i. 9, 10, 11.

Academy Royal, Observations on its foundation, i. 5, 6, 7.
peculiar advantages of, i. 10.

particulars of the origin of, xxxvii--xl,

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& n.

Accident, how far favourable to Painters, ii. 103: iii. 82.
To Architects, ii. 103.

Action, the principal requisite in a subject for History-
painting, iii. 104.-See iii. 124.

Affectation, a hateful quality, i. 111, 258: iii. 133.
. . . contrast to Simplicity, i. 259.

Agamemnon,-See Timanthes.

Albert Durer,-See D.

Allegorical Painting, defence of, i. 214. Some by Reu-
bens, condemned, ii. 256.

not adapted to Christian Churches,

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ii. 305; 355.
Amsterdam Pictures at, ii. 354, 355; 369, 370-The Stadf-
house, ii. 354-Wharf-Office, ii. 356-Surgeon's-
Hall, ibid. Mr. Hope's Cabinet, ii. 358. Mr.
Gart's, ii. 363.
Anachronisms in Church-pictures, how far excusable,

ii. 314.

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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-
fects of, ii. 30.

Architecture, hints as to the principles of, i. iì. 136, & seq.
Artist, the qualifications of, iii. 82; 86-See Study; Imi-
tation, &c.

Arts, one cannot be engrafted on another, ii. 334.

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what is the object and intention of them all, ii. 142.

B

BACK GROUND, in Pictures, rules as to, iii. 71; 152; 154.
Bacon, an observation of his on Painting, disputed, i. 61.
Bad Pictures, in what respect useful, i. 272: ii. 379:
iii. 163.

Baroccio, his defect in colouring, iii. 178.

Bassano, his excellencies, i. 218.-See iii. 207.

Basso Relievo, improvement of the Moderns in, ii.
33-
Beauty, ideal; what, and the notion of it how to be
pursued and acquired, i. 59: iii. 30, &c.; 100; 103;

179; 223.

ii.

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the foundation of, i. 59, 60, 61: .
237, 238.

its varieties, i. 62.

of form alone, one great excellence in

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Sculpture, ii. 16: iii. 113.-See Nature.

Bellino, Titian's first Master, Anecdotes of, iii. 204.

Bellori, his fanciful Idea of a Painter, iii. 220, &c.
Bernini, a fault of his Statue of David in point of ex-
pression, i. 87.

his general faults, ii. 27.

Bishop's Ancient Statues; an error in, corrected, ii. 200.
Black, its effect in Painting, iii. 65.

Bologna, peculiarly worthy the attention of travelling
Painters, i. 39.-See Schools of Painting

John de.--See Rape of the Sabines.

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Boucher, Anecdote of, ii. 105.

Bourdon, Sebast. his Return of the Ark praised, ii, 168.
Brueghel, (Old) his merits and defects, ii. 408.

Bruges, Pictures at, ii. 249--252.

Brussells, Pictures at, ii. 259--270.

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CANDLE-LIGHT; See Colouring.

Caracci, Annibal; his exactness in copying from Models,

i. 19.

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iii. 210.

i. 122.

one of his best Pictures, ii. 387.

his character, iii. 90; 210.

Augustino, and Antonio; Anecdotes of,

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Lodovico; the excellence of his style, in
what pieces exemplified, i. 38.

how he employed the ornamental style,

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Carelessness, discouraged, i. 74.

Carlo Dolci, a tolerable picture of his, ii. 388.

Carlo Maratti, his opinion as to Drapery, i. 99.

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Carlo Maratti, his style of painting, artificial, i. 183.

his want of capacity, i. 171.

his defect in colouring, i. 273.

Character, locality of, fault of introducing, i. 103.

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ii. 270.

Children, Sir J. Reynolds's opinion of their natural grace-
fulness, i. lxxxviii.

Chorus in a Tragedy, Dryden's observations on, iii. 266.
Chromatick part of Painting;-See Colouring.
Churches, arguments in favour of ornamenting them
with Paintings and Sculpture, ii. 338, &c.
Cignani, Carlo, his Ascension of the Virgin, condemned,

ii. 385.

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Cologne, Pictures at, ii. 406--409.

Colouring, the new method of, noticed, i. lvi, Ivii, & n.
See Reynolds, Sir Joshua, & V.

art of, not to be attained solely by copying, i.33.

the third part of Painting, iii. 56.

rules with respect to, i. 88: iii. 58, &c.—As
to the reflection of Colours, iii. 65-Their union,
ibid.-Breaking, ibid.-The interposition of Air,
iii. 67. The relation of distances, ibid. Of bodies
distanced, ibid.-Contiguous and separated, iii. 68.
-Opposite colours not to be joined, ibid.-Diver-
sity of Tints and Colours, ibid.-Practical Rules, iii.
70.-Vivacity of colours, iii. 71.-See Light.

cautions as to excellence in, i. 101: iii. 178,
-See Style, Splendour of; Rubens.

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ii. 157.

perfect, unfriendly to Painting and Poetry,

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essentially requisite in flower-painting, i. 107.
advantage of candle-light to, ii. 155.-See

Colouring, of old pictures, how to be considered, i. 33.
. of the Venetian School, faults of, i, 96; ex-
cellencies of, iii. 175, 6.

of Le Brun, and Carlo Maratti, defects of,

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. harmony of; the various modes of producing,

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in the Roman, Bolognian, and Venetian style, iii.
155, 6; 160.

of modern Painters, defects of, iii. 162.
compared to expression in Poetry, iii. 272.
Composition; what, iii. 108.-See Invention; Genius ;

Whole.

of a single figure, iii. 134.

number of colours to be used, iii. 142.

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onnoisseurs, mock, ridicule on, ii. 223.-See iii. 165.
Contrast, to be managed skilfully, i. 265: iii. 43--46.
Copying, the use and abuse of, i. 31, 32, 33.

practice of, how to be regulated and made the
means of instruction, i. 35--39: ii. 147; 211.-See
Raffaelle: Imitation.

Liberty of, allowed in the Dusseldorp gallery,
ii. 375.

Correctness, the essential beauty of Sculpture, ii. 18.

of design, the natural foundation of Grace,

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ii. 18.

Correggio, contrasted with Rubens, ii. 123.
his character, iii. 89; 178; 207.

Coxcis, his Christ mocked by the Jews, praised, ii. 264.
Coypell, his Picture of the Deity, censured, i. 256.
Crayer Gasp. de, a large picture of his in the Dusseldorp
gallery, condemned, ii. 378.

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