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

ü. 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. viñ. & n.

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


i. 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. 108; 254..

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

absolutely nécessary 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,
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,

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i. 174

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

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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.
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.
Jordano, Şee Luca Giordano,
Julio Romano, his peculiar merits, iii. 88; 173; 202.

anecdotes of, iii. 202.


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KOEBERGER, his Entombing of Christ, praised, ii. 262.

. his Altar of the Archers at the Cathedral of
Antwerp, ii. 278.

another picture of, ii. 326.
Know thyself, a precept necessary to Painters, iii. 80.

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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

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by, ii. 410.

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

jii. 151.

in a picture, where to be thrown, ii. 389.
not more than one principal one in a picture, it.

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62; 145

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choice of, in colouring, iii. 69.

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

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.

Massáccio; excellencies and anecdotes of, ii. 93.
Matsis Quintin, See Q.
Mechanical excellence, in what respects of importance,

i. 104: ii. 193; 370, &c. See Dexterity.
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, i. 126.

comparison between him and Raffaelle,
i. 127.-Their respect for each other, ii. 216:

... cause of his superior excellence, i. 1996;
231: iii. 88; 173.

effects, on various Schools of Painting,
by adopting the grandeur of his style, ili 200.

his caprices; defence of, ii. 205.

study of his works-recommended ; and
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: üi: 102:

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jii. 131.

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

į. 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;



Nature, in what respects certain Arts excell by deyia

ating from it, ii. 121.-Instanced in Poetry, ii. 222.-
Painting, ii. 127; 229.-Theatrical performances,
ii. 130.--Gardening, ii. 135.

imperfections of; how to be remedied by the
Painter, i. 58: iii. 47; 130; 222.

habits of; to be distinguished from those of
fashion; not only in dress, i. 64,65,66;-but man.
ners, i. 67. See iii. 40.

never to be lost sight of, ii. 103. See Rules.
-1.41; 47; 90; 179:
Night, See Colouring.


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OPERA, Italian ; defended, ii. 124.
Orange, Prince of; his Picture Gallery at the Hague,

ii. 343; 350...
Orford, Lord, his encomium on Sir J.Reynolds, i.1,li,& n.
Orion, Mr. his Cabinet of Paintings at Brussels, ii. 268,
Ornaments; form the peculiar characteristicks of taste
and style, in all arts, i. 226.

requisite in painting, in a moderate degree,
i. 263: iii. 52; 135; 258.


... Gothick; to be avoided, iii. 54.
Ornamental Style, See Style.
Otho Venius, Rubens's Master, anecdotes of, ii. 250.
Outline; should be firm and determined, i. 75--flowing,

iii. 39. See iii. 117.

PAINTERS, must be the most useful writers on their own

Art, ii. 186.

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