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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, dea

fects of, ii. 30.
Architecture, hints as to the principles of, i. ii. 136, & seg.
Artist, the qualifications of, iii. 82; 86-See Study; Imia

tation, &c.
Arts, one cannot be engrafted on another, ii. 334.

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

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

its varieties, i. 62.

of form alone, one great excellence in
Sculpture, ii. 16: iii. 113.- See Nature.
Bellino, Titian's first Master, Anecdotes of, iii. 204:

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Bellori, his fanciful Idea of a Painter, iii. 220, &c.
Bernini, a fault of his Statue of David in point of exa

pression, i. 87.

i. 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.
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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one of his best Pictures, ii. 387.
his character, iii. 90 ; 210.

Augustino, and Antonio; Anecdotes of,
iii. 210.

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

how he employed the ornamental style,
i. 122,

: . his mode of colouring, iii. 155..

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Anecdotes of, iii. 210.
Carelessness, discouraged, i. 74.
Carlo Dolci, a tolerable picture of his, ii. 388.
Carlo Maratti, his opinion as to Drapery, i.

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go.

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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.

perfect, unfriendly to Painting and Poetry,

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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.
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, 1.33.
. the third part of Painting, iii. 56.

rules with respect to, 1. 88: iü. 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.

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

ii. 157

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,

i. 273.

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of a single figure, iii. 134.
number of colours to be used, iii. 142.

harmony of; the various modes of producing,
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.
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

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

. of design, the natural foundation of Grace,
ii. 18.
Correggio, contrasted with Rubens, ii. 123.

his character, iii. 89; 178; 207.
Coxcis, his Christ mocked by the Fews, 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.

.

Criticism, false, instances of; See Connoisseurs; Bacon:
Dupiles ; Felibien ; Fielding ; Plato; Pliny.

• true; ground of, i. 113: iii. 166.
Cuyp, a good Picture of his at Mr. Hope's, Amsterdam,

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ii. 359

D

DANOOT, Mr. his Cabinet of Paintings at Brussels,

ii. 265.

Defects in great Painters, to be pardoned; not imitated,

or admired, i. 166.
Deity, personification of, iii. 179.-See Coypell.

by Michael Angelo, praised,
ii. 223; by Rubens, ii. 305.
Dense bodies, how to be painted, as distinct from pellucid

as in air or water, iii, 61.
Design, in Painting; a matter of Judgment, in which
facility is apt to produce incorrectness, ii. 83:

assisted by sketches, ii. 85.–See Sketches and
Copies, ii. 86.-See Copying.

.. the Second part of Painting, iii. 38.
De Vos, Simon, an excellent portrait-painter, ii. 303.
Dexterity in Painting, what, ii. 48.

its value and effect, ii. 61; 309,
310: iii. 77 ; 164.
Diligence, requisite to perfection in painting, i. 13--16;
40; 46: ii. 80, 81 ; 215: iii. 81.

but under certain restrictions, i. 16: ii. 66.

false; instances of, ii. 66; 78: iii. 76.-See
Genius.
Discobolus, Statue of, compared with the Apollo, ii. 21.

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