-

Nature, in what respects certain Arts excell by deyi-
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.
-iii. 41; 47; 90; 179:

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.

P

PAINTERS, must be the most useful writers on their own

Art, ii. 186.

Painters, ancient; their diligence in the Art, i. 15.
their advantages, from the simplicity

of manners in their time, i. 68.

fects, iii. 140--144.

Chronological List of.

Painting, low state of that Art, in England, in 1750,
i. xxii; xxiii.

Painting, Art of; should be employed to reach the mind,
i. 70-and hence derives its value, i. 80: ii. 6:
iii. 177 what intellectual qualities of the mind.
affected by, i. 247.

its various departments, and their merits,

is intrinsically imitative, i. 148.-See

Imitation in what sense it is not an imitation of

Nature, ii. 119: : iii. 174--177.

false opinions relating to, ii. 117.

causes of its decline, ii. 213.

Invention; the first part of Painting,

iii. 35.-Design, the second, iii. 38.-Colouring,

the third, iii. 56. See Poetry.

Parmegiano, his first work and his last compared, ii. 194.
anecdotes of, iii. 209.

Passions, rules as to expressing, iii. 53; 137; 139.

mixed; undescribable in painting, i. 119.

Pasticcio, what; and its uses, ii. 100.

Paul Veronese, See V.

Pellegrino Tibaldi, founder of the Bolognese School; his

merits, ii. 199.

Perrault, the Architect, defended, ii. 142.
Perspective; how to be regulated in painting, iii. 46;

Peters, Mr. of Antwerp, his Cabinet of Paintings, ii. 304.
Philopamen, anecdote of, i, 44.

Philosophy, assistant to Taste, i. 241.

Philostratus, his rules for painting, iii. 231..

Picture-cleaners, instances of their spoiling pictures, ii.
255; 259; 261; 279; 305; 328; 359; 399::

Pieta, what painting so called, ii. 288, &c.
Pietro Genoese, a bad painter, ii. 395,
Pietro Perugino, Raffaelle's Master, iii. 201..
Place of a picture, See Light and Shade.
Plato, his opinion of Painting censured, ii. 118.
Pliny, instance of his false criticism, i. 119.

Poetry, its advantages over painting, is 247.

. how its excellence consists in a deviation from
Nature, ii. 122.

comparison between that and painting, at length,
iii. 27; 96; 176; 234, &c.

Politeness, general principle of the signs of, i. 226.
Polydore, anecdotes of, iii. 203..

Pope's Homer, a remark of Dr. Johnson on, ii. 201
Portrait Painting.

resemblance, the chief excellence in, iii. 73.
See Gainsborough,

historical, observations on, i. 339.

See ii. 354; 388. See Historical Painting,

Pott, Henry, pictures by, ii. 347.

Poussin, N. his opinion as to colouring, i. 101-his defect

in, i. 273:

his correct style of painting, i. 136-change of

his style, i. 137,

his love of the antique, i. 136,

his favourite subjects; and manner of treating
them, i. 138.

defects in certain pictures of his, arising from
false reasoning, i. 207; 250. See Rembrandt.
Poussin, perhaps sometimes guilty of affectation, i. 258.
Practical Instructions relative to Painting, i. 265, &c.: i
100, & V.

Practice, how to precede, or be combined with. Theory,
iii. 33: 100.

Prejudice, how to be indulged or counteracted, i. 235;
iii. 168,

Pride, an enemy to good Painting, iii. 79.

Principal light and figure, rule as to disposing, i, 268, &c,
figure, in particular, ili, 42; 125,

the colouring of, iii. 72; 161.

Principal circumstance in a picture, to extend not only to
figure, but to colour, drapery, &c. iii. 144.

Properties of objects; what they are as relates to Painting,

ii. 47.

Proportions of the human figure relative to Painting and
Sculpture, iii. 114.

Prudence, rules of, relative to a Painter, iii. 75; 80; 101.

Q

QUELLINUS, Erasmus, a painting by, ii. 304.

Quintin Matsis, his famous painting in the Chapel of the
Circumcision at Antwerp, ii, 288.

R

RAFFAELLE, his improvements, in consequence of study-
ing the works of Michael Angelo, i. 9.

his Dispute of the Sacrament; an instance of

his exactness in following his model, i. 18.

his style in Painting, i. 124: ii. 384.-See
Michael Angelo.

his method of imitating others, i. 168: ii. 89;

his excellence in drawing, and defect in
painting, ii. 49.

compared with Titian, ii. 52.

to what excellence he owes his reputation,

ii. 56: iii. 88; 173.

his noble self-confidence, ii. 81.

his Holy Family, in the Dusseldorp gallery,

anecdotes of, iii. 201..

the reason why his works are not impressive

in the first view, i. xii.

Rape of the Sabines; John de Bologna's, anecdote of,

Relief, in painting; its excellencies and defects, i. 276.

See iii. 64.

Rembrandt, his faults, contrasted with those of Poussin,

i. 250-of Vanderwerf, ii. 392.

a defect in his picture of Achilles, i. 280.
his Susannah, at the Hague, ii. 344 other

pictures, ii. 346.