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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 Co-
sinthian brass, i. 173.

a just notion of, how necessary, i. 186.
of a Painter, what, and how to be considered,

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ji. 42.

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, ii.

Giordano, See Luca Giordano.
Guilio, See Julio.
Gothick ornaments, See Ornaments.
Grace and Majesty in Painting, iii. 52 ; 136. -See Core

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.


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

his neatness and delicacy of colouring, iii. 158.


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

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, & 1.
Hands, rules as to drawing, to correspond with the head,

ii. 145

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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: ii. 110.-See Hogarıb.

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

various styles of; the grand and the
ornamental, i. 108.

how far they can
be united, ibid.

causes of its decline in England, ii.
338, &c.

requisites to be observed in, iii. 107--

See Figures ; Subjects, choice of
Historical Truth; whạt 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.

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.

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IDLEP, No. 76: ii. 221.—No 79: ii. 229.-No. 82:

ji. 235.

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

reason, ii. 116.-Sce 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: 111. 79.

excellence the proper object of, i. 151.

within what bounds, and how, to be practised,
j. 161, &c.-See Raffaelle.

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

in what case to be considered as plagiarism,
i. 174

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

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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; 351
--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.

anecdotes of, ii. 202.

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

his Altar of the Archers at the Cathedral of
Antwerp, ii. 278.

another picture of, ii. 326.
Know thyself, a precept necessary to Painters, iii. 80.


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:

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iii. 151.

in a picture, where to be thrown, ii. 389.
not more than one principal one in a picture, iii.

62; 145)

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.... choice of, in colouring, iii. 69.

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

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. Ixxxiii--v, &n.
Luca Giordano; excellencies and defects of, ii. 88; 385.

his and his father's portraits, ii. 388.


MANNER PECULIAR, a defect in Painters, i. 165.
Maratti Cailo, See C.

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