« EelmineJätka »
Guido, anecdotes of, iii. 131; 211; 227.
his neatness and delicacy of colouring, iii, 158.
HAGUE, pictures at, ii.
at Greffier Fagel's, ii. 351.
at M. Van Hecherens, ii. 352.
Halls Frank, peculiar excellence of his portraits, i. 178.
Hemissen, J. de, many of his pictures attributed to
at the House in the wood, all bad, ii.
locality of character, how far a defect
painting, i, 106; 139: ii. 249; 332; 364: iii,
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.
Hogarth, his failure in Historical Painting, and the reason,
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.
Hudson, Mr. Sir J. Reynolds's Master, i. viii. & n.
IDLER, No. 76: ii. 221.-No. 79 ii. 229.-No. 82:
Imagination, how far to be preferred to, or regulated by,
Imitation, the means and not the end of Art, ii. 15.
the pleasure produced by, how to be accounted
in painting; the subject of improper censure,
absolutely necessary to à Painter, i. 150;
avoiding, often the effect of presumption,
excellence the proper object of; i: 151.
within what bounds, and how, to be practised,
i. 161, &c.-See Raffaelle.
not to be confined to the works of one Master,
in what case to be considered as plagiarism,
.... of finished Artists, in inferior branches of
Imitators, servile, names of, i. 170: liberal, i, 170, &c,
Inspiration, falsely attributed to the Science of Painting,
i. 53; 147.
Intellectual pleasure, necessary to happiness in a state of
Invention, what, i. 28; 80: iii. 108; 256.
how to be acquired, i. 156; 159.
method, necessary to, ii. 100.
the first part of painting, iii. 35; 256.
his Merry-making, in the Dusseldorp gallery,
his character as a Painter, ii. 394-
Jordano, See Luca Giordano.
Julio Romano, his peculiar merits, iii. 88; 173; 202.
KOEBERGER, his Entombing of Christ, praised, ii. 262.
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,
Lanfranc, anecdotes of, iii. 212,
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:
in a picture, where to be thrown, ii. 389.
not more than one principal one in a picture, iii,
choice of, in colouring, iii. 69.
.. and shade; conduct of the tints of, iii. 58; 146--
... to be adapted to the situation, a picture is to be
breadth of; its excellence, iii. 151,
Literary Club, its institution, and the names of its deceased
MANNER PECULIAR, a defect in Painters, i. 165.
Massaccio; excellencies and anecdotes of, ii. 93.
Matsis Quintin, See Q.
i. 104 ii. 193; 370, &c.
Michael Angelo, his grand style in painting, ì. 126.
cause of his superior excellence, i. 196;
effects, on various Schools of Painting,
study of his works recommended; and
rules for pursuing this study, ii. 208.
Fresnoy's character of him, iii. 201.
Minutiæ, See Finishing.
Models, living; rules as to drawing from, i. 17: ii: 102:
rules as to adjusting, i. 102.
Mudge, Rev. Zach. his Character, i. xxxiv--xxxv, &n.
NATURE, forms of; not to be too closely and servilely