« EelmineJätka »
Criticism, false, instances of; See Connoisseurs; Bacon:
Dupiles; Felibien; Fielding; Plato; Pliny.
true; ground of, ii. 113: iii. 166.
Cuyp, a good Picture of his at Mr. Hope's, Amsterdam,
DANOOT, Mr. his Cabinet of Paintings at Brussels,
Defects in great Painters, to be pardoned; not imitated,
Deity, personification of, iii. 179.-See Coypell.
ii. 223; by Rubens, ii. 305.
Dense bodies, how to be painted, as distinct from pellucid
Design, in Painting; a matter of Judgment, in which
assisted by sketches, ii. 85.-See Sketches and
the Second part of Painting, iii. 38.
De Vos, Simon, an excellent portrait-painter, ii. 303.
Dexterity in Painting, what, ii. 48.
by Michael Angelo, praised,
310: i. 77; 164.
but under certain restrictions, i. 16: ii. 66.
its value and effect, ii. 61; 309,
Discobolus, Statue of, compared with the Apollo, ii. 21.
Discourses, Sir Joshua Reynolds's; reason and origin of,
Disposition, or Economy of the whole, in painting,
Anecdotes of, iii. 211.
Dow Gerard, pictures by, ii. 362; 365.
his Mountebank, in the Dusseldorp gallery,
Drapery, art of disposing in painting, i. 90: ii. 361; 392;
in Sculpture; remarks on, ii. 26, &c.
Dress, unfriendly to true taste, in the Painter or Sculptor,
of Taste in, i. 230: its effect on painting, i. 232.
iii. 41; 124.
Dupiles, instance of his false criticism, i. 255.
ECKHOUT, an imitator of Rembrandt, ii. 365.
Engravings, observations on their differing from the paint.
Examples, See Copying; Imitation.
Excellencies superior, the greater object of attention,
i. 116; 141; 156: in what they consist, i. 120:
various, union of, how far practicabłe, i.
contrary, absurd to suppose them to exist
choice of, how to be made, i. 121; 156.
Exhibition of Paintings; merit of the Royal Academy in
contriving and promoting, ii. 182.
Exhibitions of the Royal Academy, the average produce
from 1780 to 1796, ib.
the year of the greatest receipt from them,
Expression, in Historical Paintings, how to be regulated,
. . in Sculpture, in what it consists, and why in
FACILITY, in drawing, how to be acquired, i. 41: iii. 78.
Falconet, his Criticism on the Agamemnon of Timanthes,
Fame, love of, in Painters, how to be regulated, i. 141.
Felibien, a false criticism of his, i. 269.
Feti, Domenico, a slight resemblance between his paint-
Field of a picture, what, and how to be coloured, iii. 71.
Fielding, his Compliment to Garrick, censured, ii. 131.
Figures, what number of, necessary in historical pieces,
disposition of, iii. 42.-See Principal Figure.
Finishing, in Painting, how far to be studied or neglected,
First thoughts, never to be forgotten, ii. 115.
Floris, his Fall of the Angels, at St. Michael's Chapel,
Formality, to be avoided in painting, iii. 46.
Forman, Helena, (or Eleanor) portrait of, by Rubens, ii.
Frank, Francis, his Christ among the Doctors, ii. 286.
Fresnoy, Charles Alphonse Du, life of, iii. 15, &c.
GAINSBOROUGH, reasons for praising, ii. 149.
eulogy on, and anecdotes of, ii. 152, &c.
cause of the striking resemblance of his
Gart, Mr. his Cabinet at Amsterdam, ii. 363--367.
Genius, not to be relied on, to the exclusion of diligence,
the child of Imitation in Painting, i. 151.
assisted by Knowledge, i. 160.
by judicious imitation, compared to Co-
a just notion of, how necessary, i. 186.
of a Painter, what, and how to be considered,
. to be directed to the expression of
mechanick, instances of, ii. 89.-See Dexterity.
Georgione, a rival of Titian, iii. 204.
Ghent, pictures at, ii. 253--259.
Ghirlandaio, Domenico, Michael Angelo's Master, iii.
Giordano, See Luca Giordano.
Guilio, See Julio.
Gothick ornaments, See Ornaments.
Grace and Majesty in Painting, iii. 52; 136.—See Cor-
Grapes, a bunch of, Titian's rule of light and shade, iii.
Groups, of introducing more than one in a picture, i. 83: