« EelmineJätka »
Colouring, of old pictures, how to be considered, i. 33.
of the Venetian School, faults of, i. 96 ; excellencies of, iii. 175, 6.
..of Le Brun, and Carlo Maratti, defects of,
of a single figure, iii. 134.
harmony of; the various modes of producing, in the Roman, Bolognian, and Venetian style, üi.
155, 6; 160.
. of modern Painters, defects of, iii. 162.
compared to expression in Poetry, iii. 272. Composition; what, iii. 108.-See Invention; Genius;
Whole. Connoisseurs, mock, ridicule on, ii. 223.-See iii. 165. Contrast, to be managed skilfully, i. 265: iii. 43–46. Copying, the use and abuse of, i. 31, 32, 33.
practice of, how to be regulated and made the means of instruction, i. 35--39: ii. 147; 211.-See Raffaelle : Imitation.
Liberty of, allowed in the Dusseldorp gallery,
Correctness, the essential beauty of Sculpture, ii. 18.
. of design, the natural foundation of Grace, 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
gallery, condemned, ii. 378.
Criticism, false, instances of; See Connoisseurs, Bacon;
Dupiles ; Felibien ; Fielding ; Plato; Pliny.
. . true; ground of, ii. 113: iii. 166.
Daroot, Mr. his Cabinet of Paintings at Brussels,
Defects in great Pairiters, to be pardoneil; not imitated,
or admired, i. 166.
by Michael Angelo, praised,
as in air or water, iji. 61.
assisted by sketches, ii. 85.–See Sketches and
the Second part of Painting, iii. 38.
its value and effect, ii. 61; 309,
but under certain restrictions, i. 16: ii. 66.
. false ; instances of, ïi. 66; 78: iii. 76.-Sce
Discourses, Sir Joshua Reynolds's; reason and origin of,
ii. 184. See Sir Joshua Reynolds.
Domenichino, his Susanna, in the Dusseldorp gallery,
Anecdotes of, iii. 211.
... his Mountebank, in the Dusseldorp gallery,
in Sculpture; remarks on, i. 26, &c.
i. 211: ii. 35: how to be remedied, iii. 154.
of Taste in, i. 230: its effect on painting, i. 232.
iii. 41 ; 124.
ECKHOUT, an imitator of Rembrandt, ii. 365.
ings they copy, in light and shade, ii. 316; 320; 323.
Excellencies superior, the greater object of attention,
i. 116; 141 ; 156: in what they consist, i. 120:
various, union of, how far practicable, i.
contrary, absurd to suppose them to exist
choice of, how to be made, i. 121 ; 156.
subordination of, i. 122.
contriving and promoting, ii. 182.
from 1780 to 1796, ib.
the year of the greatest receipt for them.
... in Sculpture, in what it consists, and why in
FACILITY, in drawing, how to be acquired, i. 41: iii, 78.
ings and Correggio's, ii. 387.
Field of a picture, what, and how to be coloured, iii. 71
disposition of, iii. 42.-See Principal Figure.
ii. 54, &c.; 66, &c,
Antwerp, ii. 271: his Nativity, praised, ii. 289.
ii. 173.-See Colouring.
Fresnoy, Charles Alphonese Du, life of, iii. 15, &c.
Pictures by, iii. 20, 21.
GAINSBOROUGH, reasons for praising, ii. 149.
eulogy on, and anecdotes of, ii. 152, &c.
cause of the striking resemblance of his