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

his neatness and delicacy of colouring, iii, 158.

HAGUE, pictures at, ii.


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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,
ii. 145,

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Hemissen, J. de, many of his pictures attributed to
Lionardo de Vinci, ii. 145.

Historical Painting;



at the House in the wood, all bad, ii.

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


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338, &c.

painting, i, 106; 139: ii. 249; 332; 364: iii,


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

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.
Historical Truth; what deviations from, justifiable in
Painting, i. 86.

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Hogarth, his failure in Historical Painting, and the reason,

ii. 163.

Holbein, his excellence in portraits, ii. 346; 347: iii.

Honthorst, Ger; his St. Sebastian, ii. 254.

Hope, Mr. his Cabinet of Paintings at Amsterdam, ii.
358--363.-See ii. 374·

Hudson, Mr. Sir J. Reynolds's Master, i. viii. & n.


IDLER, No. 76: ii. 221.-No. 79 ii. 229.-No. 82:
ii. 235.

Imagination, how far to be preferred to, or regulated by,
reason, ii. 116.-See Genius; Imitation.

Imitation, the means and not the end of Art, ii. 15.

the pleasure produced by, how to be accounted
for, ii. 46, &c.; 119: iii. 168; 254.

in painting; the subject of improper censure,
i. 148.

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absolutely necessary to à Painter, i. 150;
158: and continually, i. 182.-See Painting.

avoiding, often the effect of presumption,
i. 184: iii. 79.

excellence the proper object of; i: 151.

within what bounds, and how, to be practised,

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i. 161, &c.-See Raffaelle.

not to be confined to the works of one Master,
i. 167: ii. 147.

in what case to be considered as plagiarism,
i. 174.

.... of finished Artists, in inferior branches of
Painting, useful, i. 177.

Imitators, servile, names of, i. 170: liberal, i, 170, &c,
Industry, See Diligence.

Inspiration, falsely attributed to the Science of Painting,

i. 53; 147.

Intellectual pleasure, necessary to happiness in a state of
society, ii. 5.-See Painting.

Invention, what, i. 28; 80: iii. 108; 256.

how to be acquired, i. 156; 159.

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method, necessary to, ii. 100.

the first part of painting, iii. 35; 256.
Jordaens, his excellency in painting horses, ii. 316; 351
-his Crucifixion, condemned, ii. 330.

his Merry-making, in the Dusseldorp gallery,
praised, ii. 377.

his character as a Painter, ii. 394-

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Jordano, See Luca Giordano.

Julio Romano, his peculiar merits, iii. 88; 173; 202.
anecdotes of, iii. 202.


KOEBERGER, his Entombing of Christ, praised, ii. 262.
his Altar of the Archers at the Cathedral of
Antwerp, ii. 278.

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another picture of, ii. 326.

Know thyself, a precept necessary to Painters, iii. 80.


LA FAGE, his genius, mechanick, ii. 89.

Lairesse, his Death of Cleopatra, ii. 361.

defects of his manner, ii. 411.

Landscape-Painting; practices of various Painters re-

lating to, i. 105.

Landscapes, Gainsborough's models of, ii. 154.

mythological figures in, improper, ii. 164,
instances of the poetical style in, well exe,
cuted, ii. 168.

Lanfranc, anecdotes of, iii. 212,
Language of Painters, what, i. 94.

Laocoon, statue of, why naked, i. 212, 213.

remarks on, ii. 22.

Le Brun, defect of his colouring, i. 273: good portraits

by, ii. 410.

Light, masses of; the properest colours for, i. 273, 4, 5:

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iii. 151.

in a picture, where to be thrown, ii. 389.

not more than one principal one in a picture, iii,

62; 145.

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choice of, in colouring, iii. 69.

.. and shade; conduct of the tints of, iii. 58; 146--

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... to be adapted to the situation, a picture is to be
placed in, iii. 73, 4.

breadth of; its excellence, iii. 151,
Love of Art, the first requisite to excellence, ii. 157.
See Study of Painting.

Literary Club, its institution, and the names of its deceased
and present Members, i, lxxxiii--v, & n.
Luca Giordano; excellencies and defects of, ii. 88; 385,
his and his father's portraits, ii. 388.


MANNER PECULIAR, a defect in Painters, i. 165.
Maratti Carlo, See C.

Massaccio; excellencies and anecdotes of, ii. 93.

Matsis Quintin, See Q.
Mechanical excellence, in what respects of importance,

See Dexterity.

i. 104 ii. 193; 370, &c.
Mechlin, pictures at, ii. 270.
Metastasio, anecdote of, ii. 84.
Method, not always friendly to Study, ii, 76.
Metsu, one of his best pictures, ii. 365.

Michael Angelo, his grand style in painting, ì. 126.
comparison between him and Raffaelle,
i. 127. Their respect for each other, ii. 216.


cause of his superior excellence, i. 196;
231: iii. 88; 173.

effects, on various Schools of Painting,
by adopting the grandeur of his style, ii. 200.
his caprices; defence of, ii. 205.

study of his works recommended; and

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rules for pursuing this study, ii. 208.

Fresnoy's character of him, iii. 201.

Minutiæ, See Finishing.
Mirror, its use to painters, iii. 72.

Models, living; rules as to drawing from, i. 17: ii: 102:

iii. 131.

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rules as to adjusting, i. 102.
Moonlight; Rubens's mode of Painting, i. 279.
Moser, Geo. Michael, Sir Joshua Reynolds's Eulogy on,
i. xlvi--xlviii, & n.

Mudge, Rev. Zach. his Character, i. xxxiv--xxxv, &n.


NATURE, forms of; not to be too closely and servilely
copied, i. 52, 54; 204: ii. 307: iii. 33, See Taste;



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