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Discourses, Sir Joshua Reynolds's ; reason and origin of,

ii. 184. See Sir Joshua Reynolds.
Disposition, or Economy of the whole, in painting;

ni. 155.

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Domenichino, his Susanna, in the Dusseldorp gallery,
ii. 385. :

Anecdotes of, iii. 211.
Dow Gerard, pictures by, ii. 362; 365.

his Mountebank, in the Dusseldorp gallery,
condemned, ii. 382.
Drapery, art of disposing in painting, i.go: ii. 361 ; 392 ;
494: iii. 49; 52; 135.

. in Sculpture ; remarks on, ii. 26, &c.
Drawings, See Sketches.
Dress, unfriendly to true taste, in the Painter or Sculptor,

i. 211: ii. 35: how to be remedied, iii. 154.

of Taste in, i. 230 : its effect on painting, i. 232.
Dumb Persons, how far action is to be learnt from them,

iii. 41; 124•

Dupiles, instance of his false criticism, i. 255.
Durer, Albert ; cause of his defects, i. 71: iii. 213-
Dusseldorp gallery, pictures in, ii. 375--405.
Dutch School, See Schools of Painting.


ECKHOUT, an imitator of Rembrandt, ii. 365.
Engravings, observations on their differing from the paint.

ings they copy, in light and shade, ii. 316; 320; 323.
Enthusiasm, danger of, i. 35; 55: good effect of, ii. 157
Euripides, a saying of his, i. 142.
Examples, See Copying ; Imitation.
Excellencies inferior, when necessary, i. 106, 7.

Excellencies superior, the greater object of attention,

i. 116; 141; 156: in what they consist, i. 120 ;

iii. 75.

various, union of, how far practicable, i.
112--122 : iii. 167.

contrary, absurd to suppose them to exist
together, i. 118.

choice of, how to be made, i. 121; 156.

: . subordination of, i. 122.
Exhibition of Paintings ; merit of the Royal Academy in

contriving and promoting, ii. 182.
Exhibitions of the Royal Academy, the average produce
of, from 1769 to 1780, i. xxxix, & n.

from 1780 to 1796, ib.

of the greatest receipt from them,
Expression, in Historical Paintings, how to be regulated,

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i. 87

in Sculpture, in what it consists, and why in
general indistinct, ii. 20, &c.


FACILITY, in drawing, how to be acquired, i. 41: iïi. 78.

-See Dexterity.
Falconet, his Criticism on the Agamemnon of Timanthes,

ii. 286.
Fame, love of, in Painters, how to be regulated, i. 141.
Feet, rules as to drawing, iii. 45.
Felibien, a false criticism of his, i. 269.
Feti, Domenico, a slight resemblance between his paint.

ings and Correggio's, ii. 387.

Field of a picture, what, and how to be coloured, iii. 71.;

-See Back-ground.
Fielding, his Compliment to Garrick, censured, ii.

Figure, single, how to be painted, iii. 49; 133.
Figures, what number of, necessary in historical pieces,
i. 96: iii. 44; 129; 259.

disposition of, iii. 42.-See Principal Figure.
Finishing, in Painting, how far to be studied or neglected,

ii. 54, &c.; 66, &c.
First thoughts, never to be forgotten, ii. 115.
Floris, his Fall of the Angels, at St. Michael's Chapel,

Antwerp, ii. 271: his Nativity, praised, ii. 289.
Flowers, utility of painting, and the best painters of, i. 1073,

ii. 173.--See Colouring.
Formality, to be avoided in painting, iii. 46.
Forman, Helena, (or Eleanor) portrait of, by Rubens, ii.

336 ; 345.
Frank, Francis, his Christ among the Doctors, ii. 286.
Fresco, principal works of modern art are painted in,


Fresnoy, Charles Alphonse Du, life of, iii. 15, &c.

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,
ii. 169.

cause of the striking resemblance of his
portraits, ii. 174.
Gart, Mr. his Cabinet at Amsterdam, ii. 363--367.

Genius, not to be relied on, to the exclusion of diligence,

i. 44.
. the child of Imitation in Painting, i. 151.

what it is generally considered to be, i. 152.

what it is; exemplified by the progress of art,
i. 153; 192.--See Taste.
assisted by Knowledge, i. 160.

by judicious imitation, compared to Co.
rinthian brass, i. 173.

a just notion of, how necessary, i. 186.
of a Painter, what, and how to be considered,

ii. 4°.

to be directed to the expression of
any subject, as a whole in its general effect, ii. 43,
&c.; 61, &c.; 416--419: iii. 97.

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, iü.

Giordano, See Luca Giordano.
Guilio, See Julio.
Gotliick 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.

64; 158, 9, 160.
Groups, of introducing more than one in a picture, i. 83:
iii. 58.

rules for disposing, iii. 43, 4.
Guido, in what respects he failed, and why, i. 118: ii.

Guido, anecdotes of, iii. 131; 211; 227.

his neatness and delicacy of colouring, iii. 158.

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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.
Halls Frank, peculiar excellence of his portraits, i. 178.
Hamilton, Capt.Sir J. Reynolds's early portraits of i, x, &n.
Hands, rules as to drawing, to correspond with the head,

ji. 145:

Hemissen, J: de, many of his pictures attributed to

Lionardo de Vinci, ii. 145.
Historical Painting;

locality of character, how far a defect
in, i. 103: ii. 300 ; 361 : iii. 110.--See Hogarth. .

distinction between that and Portrait
painting, i, 106; 139; ii. 249; 332 ; 364: iii,

various styles of; the grand and the
ornamental, i. 108.

how far they can be united,

causes of its decline in England, ii.
338, &c.

requisites to be observed in, iii. 107--

See Figures ; Subjects, choice of.
Historical Truth; what deviations from, justifiable in

Painting, i. 86.

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