« EelmineJätka »
Painters, ancient; their diligence in the Art, i. 15.
their advantages, from the simplicity
their peculiar excellencies, ii. 409;
their probable excellencies and de-
Chronological List of.
i. xxii; xxiii.
i. 70-and hence derives' its value, i. 80: \i. 6:
its various departments, and their merits,
is intrinsically imitative, i. 148.-See
false opinions relating to, ii. 117.
Invention; the first part of Painting,
anecdotes of, üi. 209.
mixed; undescribable in painting, i. 119.
Perrault, the Architect, defended, ii.
in Sculpture, See Sculpture.
255; 259 ; 261; 279; 305; 328; 350; 399:-
· how, its excellence consists in a deviation from
comparison between that and painting, at length,
iii. 27 ; 96; 176; 234, &c.
resemblance, the chief excellence in, iii. 73.
historical, observations on, i. 339.
anecdotes of, 347, & n.
Poussin, N. his opinion as to colouring, i. 101-his defect
in, i. 273:
his correct style of painting, i. 136_change of
his favourite subjects; and manner of treating
defects in certain pictures of his, arising from
100, & V.
Practice, how to precede, or be combined with Theory,
iii. 33; 100.
figure, in particular, ili, 42; 125,
figure, but to colour, drapery, &c. iii. 144.
Sculpture, iii. 114.
Circumcision at Antwerp, ii, 288.
RAFFAELLE, his improvements, in consequence of study-
his Dispute of the Sacrament; an instance of
his style in Painting, i. 124: ii. 384.-See
his method of imitating others, i. 168: ii. 89;
his excellence in drawing, and defect in
to what excellence he owes his reputation,
his noble self-confidence, ii. 81.
anecdotes of, iii. 201.
the reason why his works are not impressive
Rubens's, ii. 337
See iii. 64.
a defect in his picture of Achilles, i. 280.
his Susannah, at the Hague, ii. 344 : other
Rembrandt, his pictures at Surgeon's Hall, Amsterdam,
ii. 356, 7.
may be considered as belonging either to the
. character of his style, ii. 392.
placed as a pupil to Mr. Hudson, viii.
goes to Rome, xii.
the impression made on his mind by the
copies made by him at Rome, xix, & n.
the method taken by him to discover the
his Caricatura on Travesty of Raffaelle's
returns to London, xxii.
soon attracts the publick notice by his ex.
'several of his most excellent Portraits enu.
commencement of his acquaintance with