« EelmineJätka »
Analogy of the several Arts ; utility to be derived from,
Drapery of, remarks on, ii. 28.
fects of, ii. 30.
what is the object and intention of them all, ii. 142.
BACK GROUND, in Pictures, rules as to, iii. 71; 152; 154.
pursued and acquired, i. 59 : iii. 30, &c.; 100; 103;
the foundation of, i. 59, 60, 61: ii.
its varieties, i. 62.
of form alone, one great excellence in
Bellori, his fanciful Idea of a Painter, iii. 220, &c.
pression, i. 87.
i. his general faults, ii. 27.
Painters, i. 39.-See Schools of Painting
.· John de...See Rape of the Sabines.
CANDLE-LIGHT; See Colouring.
one of his best Pictures, ii. 387.
Augustino, and Antonio; Anecdotes of,
. . Lodovico; the excellence of his style, in
how he employed the ornamental style,
: . his mode of colouring, iii. 155..
Anecdotes of, iii. 210.
Carlo Maratti, his style of painting, artificial, i. 183.
his want of capacity, i. 171.
his defect in colouring, i. 273.
perfect, unfriendly to Painting and Poetry,
Children, Sir J. Reynolds's opinion of their natural grace-
fulness, i. lxxxviii.
with Paintings and Sculpture, ii. 338, &c.
. art of, not to be attained solely by copying, 1.33.
rules with respect to, 1. 88: iü. 58, &c.--As
cautions as to excellence in, i. 101 : iii. 178.
essentially requisite in flower-painting, i. 107.
Colouring, of old pictures, how to be considered, i. 33.
... of the Venetian School, faults of, i, 96; ex-
of Le Brun, and Carlo Maratti, defects of,
of a single figure, iii. 134.
harmony of; the various modes of producing,
of modern Painters, defects of, iii. 162.
compared to expression in Poetry, iii. 272.
practice of, how to be regulated and made the
Liberty of, allowed in the Dusseldorp gallery,
Correctness, the essential beauty of Sculpture, ii. 18.
. of design, the natural foundation of Grace,
his character, iii. 89; 178; 207.
gallery, condemned, ii. 378.
Criticism, false, instances of; See Connoisseurs; Bacon:
• true; ground of, i. 113: iii. 166.
DANOOT, Mr. his Cabinet of Paintings at Brussels,
Defects in great Painters, to be pardoned; not imitated,
or admired, i. 166.
by Michael Angelo, praised,
as in air or water, iii, 61.
assisted by sketches, ii. 85.–See Sketches and
.. the Second part of Painting, iii. 38.
its value and effect, ii. 61; 309,
but under certain restrictions, i. 16: ii. 66.
false; instances of, ii. 66; 78: iii. 76.-See