« EelmineJätka »
Discourses, Sir Joshua Reynolds's ; reason and origin of,
ii. 184. See Sir Joshua Reynolds.
Domenichino, his Susanna, in the Dusseldorp gallery,
Anecdotes of, iii. 211.
his Mountebank, in the Dusseldorp gallery,
. in Sculpture ; remarks on, ii. 26, &c.
i. 211: ii. 35: how to be remedied, iii. 154.
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.
ings they copy, in light and shade, ii. 316; 320; 323.
Excellencies superior, the greater object of attention,
i. 116; 141; 156: in what they consist, i. 120 ;
various, union of, how far practicable, i.
contrary, absurd to suppose them to exist
choice of, how to be made, i. 121; 156.
: . subordination of, i. 122.
contriving and promoting, ii. 182.
from 1780 to 1796, ib.
of the greatest receipt from them,
in Sculpture, in what it consists, and why in
FACILITY, in drawing, how to be acquired, i. 41: iïi. 78.
ings and Correggio's, ii. 387.
Field of a picture, what, and how to be coloured, iii. 71.;
disposition of, iii. 42.-See Principal Figure.
ii. 54, &c.; 66, &c.
Antwerp, ii. 271: his Nativity, praised, ii. 289.
ii. 173.--See Colouring.
336 ; 345.
Pictures by, iii. 20, 21.
GAINSBOROUCH, reasons for praising, ii. 149.
eulogy on, and anecdotes of, ii. 152,&c.
.. the peculiarity of his manner examined,
cause of the striking resemblance of his
Genius, not to be relied on, to the exclusion of diligence,
what it is generally considered to be, i. 152.
what it is; exemplified by the progress of art,
by judicious imitation, compared to Co.
a just notion of, how necessary, i. 186.
to be directed to the expression of
mechanick, instances of, ii. 89.-See Dexterity.
64; 158, 9, 160.
rules for disposing, iii. 43, 4.
Guido, anecdotes of, iii. 131; 211; 227.
his neatness and delicacy of colouring, iii. 158.
HAGUE, pictures at, ii. 343--353
at the House in the wood, all bad, li.
at Greffier Fagel's, ii. 351.
. at M. Van Hecherens, ii. 352.
Hemissen, J: de, many of his pictures attributed to
Lionardo de Vinci, ii. 145.
locality of character, how far a defect
distinction between that and Portrait
various styles of; the grand and the
how far they can be united,
causes of its decline in England, ii.
requisites to be observed in, iii. 107--
See Figures ; Subjects, choice of.
Painting, i. 86.