Colouring, of old pictures, how to be considered, i. 33. of the Venetian School, faults of, i. 96; ex- cellencies of, iii. 175, 6. . of Le Brun, and Carlo Maratti, defects of, i. 273. . of a single figure, iii. 134. number of colours to be used, iii. 142. harmony of; the various modes of producing, of modern Painters, defects of, iii. 162. compared to expression in Poetry, iii. 272. Whole. Connoisseurs, mock, ridicule on, ii. 223.-See iii. 165. practice of, how to be regulated and made the Liberty of, allowed in the Dusseldorp gallery, ii. 375. Correctness, the essential beauty of Sculpture, ii. 18. ii. 18. Correggio, contrasted with Rubens, ii. 123. his character, iii. 89; 178; 207. Coxcis, his Christ mocked by the Jews, praised, ii. 264. Coypell, his Picture of the Deity, censured, i. 256. Crayer Gasp. de, a large picture of his in the Dusseldorp Criticism, false, instances of; See Connoisseurs; Bacon; true; ground of, ii. 113: iii. 166. Cuyp, a good Picture of his at Mr. Hope's, Amsterdam, ii. 359. D DANOOT, Mr. his Cabinet of Paintings at Brussels, Defects in great Painters, to be pardoned; not imitated, Deity, personification of, iii. 179.-See Coypell. . by Michael Angelo, praised, ii. 223; by Rubens, ii. 305. Dense bodies, how to be painted, as distinct from pellucid; as in air or water, iii. 61. Design, in Painting; a matter of Judgement, in which .assisted by sketches, ii. 85.-See Sketches and . the Second part of Painting, iii. 38. De Vos, Simon, an excellent portrait-painter, ii. 303. Dexterity in Painting, what, ii. 48. . its value and effect, ii. 61; 309, 310: iii. 77; 164. Diligence, requisite to perfection in painting, i. 13--16; .but under certain restrictions, i. 16: ii. 66. . false; instances of, ii. 66; 78: iii. 76.-See Discobolus, Statue of, compared with the Apollo, ii. 21. Discourses, Sir Joshua Reynolds's; reason and origin of, Disposition, or Economy of the whole, in painting, iii. 155. Domenichino, his Susanna, in the Dusseldorp gallery, ii. 385. Anecdotes of, iii. 211. Dow, Gerard, pictures by, ii. 362; 365. . his Mountebank, in the Dusseldorp gallery, condemned, ii. 382. Drapery, art of disposing in painting, i. 90: ii. 361; 392; in Sculpture; remarks on, ii. 26, &c. Drawings, See Sketches. Dress, unfriendly to true taste, in the Painter or Sculptor, ... of Taste in, i. 230: its effect on painting, i. 232. iii. 41; 124. Dupiles, instance of his false criticism, i. 255. Durer, Albert; cause of his defects, i. 71: iii. 213. Dutch-School, See Schools of Painting. E ECKHOUT, an imitator of Rembrandt, ii. 365. ings they copy, in light and shade, ii. 316; 320; 323. Examples, See Copying: Imitation. Excellencies inferior, when necessary, i. 106, 7. Excellencies superior, the greater object of attention, iii. 75. various, union of, how far practicable, i. choice of, how to be made, i. 121; 156. subordination of, i. 122. Exhibition of Paintings; merit of the Royal Academy i Exhibitions of the Royal Academy, the average produce from 1780 to 1796, ib. the year of the greatest receipt for them. Expression, in Historical Paintings, how to be regulated, . in Sculpture, in what it consists, and why in F FACILITY, in drawing, how to be acquired, i. 41: iii, 78. Falconet, his Criticism on the Agamemnon of Timanthes, Fame, love of, in Painters, how to be regulated, i. 141. Felibien, a false criticisin of his, i. 269. Feti, Domenico, a slight resemblance between his paint Field of a picture, what, and how to be coloured, iii. 71, -See Back-ground. Fielding, his Compliment to Garrick, censured, ii. 131. Figures, what number of, necessary in historical pieces, disposition of, iii. 42.-See Principal Figure. First thoughts, never to be forgotten, ii. 115. Floris, his Fall of the Angels, at St. Michael's Chapel, Formality, to be avoided in painting, iii. 46. Forman, Helena, (or Eleanor) portrait of, by Rubens. ii. 336; 345. Frank, Francis, his Christ among the Doctors, ii. 286. i. 123. Fresnoy, Charles Alphonese Du, life of, iii. 15, &c. G GAINSBOROUGH, reasons for praising, ii. 149. eulogy on, and anecdotes of, ii. 152, &c. cause of the striking resemblance of his portraits, ii. 174. Gart, Mr. his Cabinet at Amsterdam, ii. 363--367. |