Guido, anecdotes of, iii. 131; 211; 227. , his neatness and delicacy of colouring, iii. 158. H HAGUE, pictures at, ii. 343--353- 351. at the House in the wood, all bad, ii, at Greffier Fagel's, ii. 351. at M. Van Hecherens, ii. 352. Halls Frank, peculiar excellence of his portraits, i. 178. ii. 145: Hemissen, J, de, many of his pictures attributed to Historical Painting; locality of character, how far a defect various styles of; the grand and the ornamental, i. 108. how far they can be united, ibid. causes of its decline in England, ii. 338, &c. requisites to be observed in, iii. 107-- 110. See Figures; Subjects, choice of. Historical Truth; what deviations from, justifiable in Painting, i. 86. Hogarth, his failure in Historical Painting, and the reason, ii. 163. Holbein, his excellence in portraits, ii. 346; 347: iii. 213. 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. I 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 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 Painting, useful, i. 177. Imitators, servile, names of, i. 170: liberal, i, 170, &c, Inspiration, falsely attributed to the Science of Painting, Intellectual pleasure, necessary to happiness in a state of Invention, what, i. 28; 80: iii. 108; 256. method, necessary to, ii. 100. the first part of painting, iii. 35; 256. Jordaens, his excellency in painting horses, ii. 316; 351 his Merry-making, in the Dusseldorp gallery, praised, ii. 377. his character as a Painter, ii. 394- Jordano, See Luca Giordano. Julio Romano, his peculiar merits, iii. 88; 173; 202. K 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. 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. Le Brun, defect of his colouring, i. 273: good portraits by, ii. 410. Light, masses of; the properest colours for, i. 273, 4, 5: iii. 151. in a picture, where to be thrown, ii. 389. . not more than one principal one in a picture, iii, 62; 145. . . . . 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, Love of Art, the first requisite to excellence, ii. 157. See Study of Painting. Literary Club, its institution, and the names of its deceased Luca Giordano; excellencies and defects of, ii. 88; 385, M MANNER PECULIAR, a defect in Painters, i. 165. Massaccio; excellencies and anecdotes of, ii. 93. Matsis Quintin, See Q. Mechanical excellence, in what respects of importance, Mechlin, pictures at, ii. 270. Metastasio, anecdote of, ii. 84. Method, not always friendly to Study, ii, 76. Michael Angelo, his grand style in painting, i. 126. comparison between him and Raffaelle, ⚫ cause of his superior excellence, i. 196; 231: iii. 88; 173. 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. Mirror, its use to painters, iii. 72. Models, living; rules as to drawing from, i. 17: ii. 102: iii. 131. rules as to adjusting, i. 102. Moser, Geo. Michael, Sir Joshua Reynolds's Eulogy on, Mudge, Rev. Zach. his Character, i. xxxiv--xxxv, & n. N NATURE, forms of; not to be too closely and servilely |