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

their advantages, from the simplicity
of manners in their time, i. 68.

their peculiar excellencies, ii. 409;
402.

their probable excellencies and de-
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: \i. 6:
iii. 177-what intellectual qualities of the mind
affected by, i. 247

its various departments, and their merits,
i. 72, &c.

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,
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, üi. 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

.

jil.

Perrault, the Architect, defended, ii.

144.
Perspective; how to be regulated in painting, iii. 40;

119, 120.

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in Sculpture, See Sculpture.
Peters, Mr. of Antwerp, his Cabinet of Paintings, ü. 304.
Philopemen, anecdote of i. 44.
Philosophy, assistant to Taste, i. 241.
Philostratus, his rules for painting, iii. 231..
Picture-cleaners, instances of their spoiling pictures, ü.

255; 259 ; 261; 279; 305; 328; 350; 399:-
Pieta, what painting so called, ils 288, &c.
Pietro, Genocse; 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, i, 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, ü. 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

anecdotes of, 347, & n.

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

in, i. 273:

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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. 26.5, &c. : iy

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, in. 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
QUELLỊNUS, Erasmus, a painting by, ii. 304.
Quintin Matsis, his famous painting in the Chapel of the

Circumcision at Antwerp, ii, 288.

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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;
97:

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,

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ii. 384.

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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,

ii. 24.

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Rubens's, ii. 337
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.

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Rembrandt, his pictures at Surgeon's Hall, Amsterdam,

ii. 356, 7.

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may be considered as belonging either to the
Dutch or Flemish School, ii. 372.

. character of his style, ii. 392.
Repose, in painting, what, i. 250.
its advantages, i. 252: iii. 45; 129.

;
REYNOLDS, SIR JOSHUA.
• . his birth, i. iv.

,
his early inclinations to, and essays towards
drawing, vi, vii.

placed as a pupil to Mr. Hudson, viii.
removes to Devonshire, ix.
his first celebrated portrait, x.
death of his father, xi.

goes to Rome, xii.
.. his plan of a discourse on the history of his
mind, respecting his art, xii.

the impression made on his mind by the
first view of Raffaelle's paintings, xiv. &c.

copies made by him at Rome, xix, & n.

the method taken by him to discover the
principles on which the great colourists wrought, xxi:
ii. 147, 8.

his Caricatura on Travesty of Raffaelle's
School of Athens, xxi.

returns to London, xxii.

soon attracts the publick notice by his ex.
cellence in Portrait Painting, xxiii, xxiv.

'several of his most excellent Portraits enu.
merated, xxiv, & n.

commencement of his acquaintance with
Dr. Johnson, xxv.

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