« EelmineJätka »
ACADEMY, the advantages of, i. 9, 10, 11.
peculiar advantages of, i. 10.
Accident, how far favourable to Painters, ii. 103: iii. 82:
to Architects, ii. 103. Action, the principal requisite in a subject for History
painting, iii. 104.–See iii. 1 24. Affectation, a hateful quality, i. III; 258 : ' iii. 133.
. contrast to Simplicity, i. 259. Agamemnon,-See Timanthes. Albert Durer,--See D. Allegorical Painting, defence of, i. 214. Some by Reubens, condemned, ii. 256.
. . not adapted to Christian Churches, ii. 305; 355 Amsterdam, Pictures at, ii. 354,355 ; 369, 370—The Stadt
house, ii. 354—Wharf-Office, ii. 356mSurgeon'sHall, ibid.-Mr. Hope's Cabinet, ii. 358.—Mr.
Gari's, ii. 363. Anachronisms in Church-pictures, how far excusable,
Analogy of the several Arts; utility to be derived from,
Angelo Michael,-See M.
Drapery of, remarks on, ii. 28.
fects of, ii. 30. Architecture, hints as to the principles of, ii. 136, & seq. Artist, the qualifications of, iii. 82; 86~See Study, Imi
tation, &c. Arts, one cannot be engrafted on another, ii, 334.
what is the object and intention of them all, i. 142.
BACK GROUND, in Pictures, rules as to, iij. 71; 152; 154. Bacon, an observation of his on Painting disputed, i. 61. Bad Pictures, in what respect useful, i. 272: ii. 379;
iii. 163. Baroccio, his defect in colouring, iii. 178. Bassano, his excellencies, i. 218.-Sec iii. 207. Basso Relievo, improvement of the Moderns in, ii. 33. Beauty, ideal; what, and the notion of it how to be
pursued and acquired, i. 59: ¡ii. 30, &c ; 100; 103 ; 179; 223;
the foundation of, i. 59, 60, 61: ii,
its varieties, i. 62.
of form aļone, one great excellence in Sculpture, ii. 16: iii. 113.-See Nature. Bellino, Titian's first Master, Anecdotes of, iii. 204.
Bellori, his fanciful Idea of a Painter, iii. 220, &c. Bernini, a fault of his Statue of David in point of expression, i. 87
his general faults, ii. 27.
John de.-See Rape of the Sabines.
CANDLE-LIGHT; See Colouring.
one of his best Pictures, ii. 387.
. his character, iii. 90; 210. . Augustino, and Antonio; Anecdotes of, iii.
..... Lodovico; the excellence of his style, in what pieces exemplified, i. 38.
how he employed the ornamental style, i. 122.
his mode of colouring, iii. 155:
1. Anecdotes of, iii. 210. Carelessness, discouraged, i. 74. Carlo Dolci, a tolerable picture of his, ii. 388. Carlo Maratti, his opinion as to Drapery, i. 90.
Carlo Maratti, his style of painting, artificial, i. 183.
his want of capacity, i. 171.
. his defect in colouring, i. 273Character, locality of, fault of introducing, i. 103.
perfect, unfriendly to Painting and Poetry, ji. 270. Children, Sir J. Reynolds's opinion of their natural grace
fulness, i. lxxxviii. Chorus in a Tragedy, Dryden's observations on, iii. 266. Chromatick part of Painting ;-See Colouring. Churches, arguments in favour of ornamenting them
with Paintings and Sculpture, ii. 338, &c. Cignani, Carlo, his Ascension of the Virgin, condemned,
Cologne, Pictures at, ïi. 406-409.
art of, not to be attained solely by copying, i. 33. . the third part of Painting, iii. 56.
. rules with respect to, i. 88: iii. 58, &c.-As to the reflection of Colours, Hi. 65-Their union, ibid.—Breaking, ibid.—The interposition of Air, iii. 67.--The relation of distances, ibid.-Of bodies distanced, ibid.-Contiguous and separated, iii. 68. -Opposite colours not to be joined, ibid.—Diversity of Tints and Colours, ibid.-Practical Rules, iii. 70.-Vivacity of colours, iii. 71.-See Light.
cautions as to excellence in, 'i. 101: iii. 178. -See Style, Splendour of: Rubens,
essentially requisite in flower-painting, i. 107. • advantage of candle-light to, ii. 155.--See