Genius, not to be relied on, to the exclusion of diligence,

i. 44.

the child of Imitation in Painting, i. 151.

what it is generally considered to be, i. 152.

what it is; exemplified by the progress of art.

i. 153; 192.-See Taste.

assisted by Knowledge, i. 160.

by judicious imitation, compared to Có-

rinthian brass, i. 173.

ii. 42.

a just notion of, how necessary, i. 186.

of a Painter, what, and how to be considered,

to be directed to the expression of

any subject, as a whole in its general effect, ii. 43,
&c.; 61, &c.; 416--419: iii. 97.

mechanick, instances of, ii. 89.-See Dexterity.

Georgione, a rival of Titian, iii. 204.

Ghent, pictures at, ii. 253--259.

Ghirlandaio, Domenico, Michael Angelo's Master, iii.

199.

Giordano, See Luca Giordano.

Guilio, See Julio.

Gothick ornaments, See Ornaments.

Grace and Majesty in Painting, iii. 52; 136.-See Cor-

rectness.

Grapes, a bunch of, Titian's rule of light and shade, iii.
64; 158, 9, 160.

Groups, of introducing more than one in a picture, i. 83:
iii. 58.

rules for disposing, iii. 43, 4.
Guido, in what respects he failed, and why, i. 118: ii-

395.

Guido, anecdotes of, iii. 131; 211; 227.

his neatness and delicacy of colouring, iii. 158.

H

HAGUE, pictures at, ii. 343--353.

35I.

at the House in the wood, all bad, ii,

at Greffier Fagel's, ii. 351.

at M. Van Hecherens, ii. 352.

Halls Frank, peculiar excellence of his portraits, i. 178.
Hamilton, Capt. SirJ.Reynolds's early portraits of, i. x, & n.
Hands, rules as to drawing, to correspond with the head,

ii. 145.

Hemissen, J. de, many of his pictures attributed to
Lionardo de Vinci, ii. 145.

Historical Painting;

locality of character, how far a defect
in, i. 103: ii. 300; 361: iii. 110.--See Hogarth.

distinction between that and Portrait
painting, i. 106; 139: ii. 249; 332; 364: iii.
134.

various styles of; the grand and the

See Figures; Subjects, choice of

Historical Truth; what deviations from, justifiable in

Painting, i. 86,

Hogarth, his failure in Historical Painting, and the reason,
ii. 163.

Holbein, his excellence in portraits, ii. 346; 347: iii.

213.

Honthorst, Ger; his St. Sebastian, ii. 254.

Hope, Mr. his Cabinet of Paintings at Amsterdam, ii.
358--363-See ii. 374.

Hudson, Mr. Sir J. Reynolds's Master, i. viii. & n.

I

IDLER, No. 76: ii. 221.-No 79: ii. 229.-No. 82:

ii. 235.

Imagination, how far to be preferred to, or regulated by,

reason, ii. 116.-See Genius: Imitation.

Imitation, the means and not the end of Art, ii. 15.

the pleasure produced by, how to be accounted

for, ii. 46, &c; 119: iii. 108; 254.

in painting; the subject of improper censure,
i. 148.

absolutely necessary to a Painter, i. 150:
158: and continually. i. 182-See Painting.

avoiding, often the effect of presumption,
i. 184: iii. 79.

excellence the proper object of, i. 151.

within what bounds, and how, to be practised,

i. 161, &c.-See Raffaelle.

not to be confined to the works of one Master,
i. 167: ii. 147.

i. 174.

in what case to be considered as plagiarism,

of finished Artists, in inferior branches of
Painting, useful, i. 177.

Imitators, servile, names of, i. 170: liberal, i. 170, &c.
Industry,-See Diligence.

Inspiration, falsely attributed to the Science of Painting,

i. 53; 147.

Intellectual pleasure, necessary to happiness in a state of
society, ii. 5.-See Painting.

Invention, what, i. 28; 80: iii. 108; 256.

how to be acquired, i. 156; 159.

method, necessary to, ii. 100.

the first part of painting, iii. 35; 256.

Jordeans, his excellency in painting horses, ii. 316; 35t
-his Crucifixion, condemned, ii. 330.

his Merry-making, in the Dusseldorp gallery,

praised, ii. 377.

his character as a Painter, ii. 394.

Jordano,-See Luca Giordano.

Julio Romano, his peculiar merits, iii. 88; 173; 202.

KOEBERGER, his Entombing of Christ, praised, ii, 262.

another picture of, ii. 326.

Know thyself, a precept necessary to Painters, iii. 8o.

L

LA FAGE, his genius, mechanick, ii. 89.
Lairesse, his Death of Cleopatra, ii. 361.

defects of his manner, ii. 411.

Landscape-Painting; practices of various Painters re-

lating to, i. 105.

Landscapes, Gainsborough's models of, ii. 154.

mythological figures in, improper, ii. 164.

instances of the poetical style in, well exe-

cuted, ii. 168.

Lanfranc, anecdotes of, iii. 212.

Language of Painters, what, i. 94.

Laocoon, statue of, why naked, i. 212, 213.

remarks on, ii. 22.

Le Brun, defect of his colouring, i. 273; good portraits
by, ii. 410.

Light, masses of; the properest colours for, i. 273, 4, 5:

iii. 151.

in a picture, where to be thrown, ii. 389.

not more than one principal one in a picture, iii.

62; 145,

choice of, in colouring, iii. 69.

and shade; conduct of the tints of, iii. 58; 146--

149.

.

to be adapted to the situation a picture is to be
placed in, iii. 73, 4.

breadth of; its excellence, iii. 151.
Love of Art, the first requisite to excellence, ii, 157.
See Study of Painting.

Literary Club, its institution, and the names of its deceased
and present Members, i. lxxxiii--v, & n.

Luca Giordano; excellencies and defects of, ii. 88; 385.
. his and his father's portraits, ii. 388.

M

MANNER PECULIAR, a defect in Painters, i. 165.

Maratti Calo, See C.