.

Massaccio; excellencies and anecdotes of, ii. 93.
Matsis Quintin, 'See 2.
Mechanical excellence, in what respects of importance,

i. 104: ii. 193; 370, &c. See Dexterity.
Mechlin, pictures at, ii. 270.
Metastasio, anecdote of, ii. 84.
Method, not always friendly to Study, ii. 76.
Metsų, one of his best pictures, ii. 365.
Michael Angelo, his grand style in painting, i. 126.

comparison between him and Raffaelle,
i. 127.-Their respect for each other, ii. 216.

cause of his superior excellence, i. 196 ;
231: iii. 88; 173.

effects, on various Schools of Painting,
by adopting the grandeur of his style, ii. 200.

his caprices; defence of, ii. 205.

..study of his works recommended ; and
rules for pursuing this study, ii. 208.

..Fresnoy's character of him, iii. 201.
Minutiæ, See Finishing.
Mirror, its use to painters, iii. 72.
Models, living; rules as to drawing from, i. 17: ii. 102:

.

iii. 131

. rules as to adjusting, i. 102.
Moonlight; Rubens's mode of Painting, i. 279.
Moser, Geo. Michael, Sir Joshua Reynolds's Eulogy on,

i. xlvi--xlviii, & n.
Mudge, Rev. Zach. his Character, i. xxxiv, xxxv, & n.

N
NATURE, forms of ; not to be too closely and servilely

copied, i.52, 54; 204: . 307: iii. 33, See Taste ;
Beauty.
VOL. III.

A A

Nature, in what respects certain Arts excell by devi-

ating from it, ii. 121.-Instanced in Poetry, ii. 222.-
Painting, ii. 127; 229.-Theatrical performances,
ii. 130.-Gardening, ii. 135.

iinperfections of; how to be remedied by the Painter,
i. 58 : iii. 47 ; 130; 222.
: habits of; to be distinguished from those of fashion ;
not only in dress, i. 64, 65, 66 ;-but manners, i. 67.

1

See iii. 40.

• never to be lost sight of, ii. 103. See Rules.
-iii. 41; 47 ; 49; 179.
Night, SeeColouring.

OPERA, Italian ; defended, ii. 124.
Orange, Prince of; his Picture Gallery at the Hague,

ii. 343 ; 350.
Orford, Lord, his encomium on Sir J. Reynolds, i. 1, li,& n.
Orion, Mr. his Cabinet of Paintings at Brussels, ii. 268.
Ornaments; form the peculiar characteristicks of taste
and style, in all arts, i. 226.

requisite in Painting, in a moderate degree,
i. 263: iii. 52; 135; 258.

i. Gothick; to be avoided, iii. 54.
Ornamental Style, See Style.
Otho Venius, Rubens's Master, anecdotes of, ii. 250.
Outline; should be firm and determined, i. 75-flowing,

iii. 39. See iii. 117.

P

PAINTERS, must be the most useful writers on their own

Art, ii. 186.

.

Painters, ancient ; their diligence in the Art, i. 15.

their advantages, from the simplicity
of manners in their time, i. 68.

their peculiar excellencies, ii. 402;
409.

their probable excellencies and defects,
iii. 140--144.

Chronological List of.
Painting, low state of that Art, in England, in 1750,

i. xxii, xxii.
Painting, Art of; should be employed to reach the mind,

i. 70-and hence derives its value, i. 80: i. 6:
iii. 177-what intellectual qualities of the mind
affected by, i. 247

its various departments, and their merits,
i. 72, &c.

is intrinsically imitative, i. 148.- See
Imitation in what sense it is not an imitation of
Nature, ii. 119: iii. 174--177.

false opinions relating to, ii. 117
. causes of its decline, ii. 213.

.

Perrault, the Architect, defended, ii. 142.
Perspective; how to be regulated in painting, iii. 40 ; 119,
120.

..in Sculpture, See Sculpture.
Peters, Mr. of Antwerp, his Cabinet of Paintings, ii. 304.
Philopoemen, anecdote of, i. 44.
Philosophy, assistant to Taste, i. 241.
Philostratus, his rules for painting, iii. 231.
Picture-cleaners, instances of their spoiling pictures, ii.

255; 259; 261 ; 279; 305 ; 328 ; 350 ; 399.
Pieta, what painting so called, ii. 288, &c.
Pietro Genoese, a bad Painter, ii. 395.
Pietro Perugino, Raffaelle's Master, iii. 201.
Place of a picture, See Light and Shade.
Plato, his opinion of Painting censured, ii. 118.
Pliny, instance of his false criticism, i. 119.
Poetry, its advantages over painting, i. 247.

how its excellence consists in a deviation from
Nature, ii. 122.
. . comparison between that and painting, at length,

iii. 27 ; 96; 176 ; 234, &c.
Politeness, general principle of the signs of, i. 226.
Polydore, anecdotes of, iii. 203.
Pope's Homer, a remark of Dr. Johnson on, ii. 201.
Portrait Painting.

resemblance, the chief excellence in, iii. 73
See Guinsborough.

.

Poussin, N. his opinion as to colouring, i. 101–his defect

in, i. 273.

.

his correct style of painting, i. 136-change
of his style, i. 137

his love of the antique, i. 136.

. his favourite subjects; and manner of treating
them, i. 138.

defects in certain pictures of his, arising from
false reasoning, i. 207 ; 250. See Rembrandt.
Poussin, perhaps sometimes guilty of affectation, i. 258.
Practical Instructions relative to Painting, i. 265, &c. : ii.

100, & V.

Practice, how to precede, or be combined with Theory,

iii. 33 ; 100.
Prejudice, how to be indulged or counteracted, i. 235:

iii. 168.
Pride, an enemy to good Painting, iii. 79.
Principal light and figure, rule as to disposing, i. 268, &c.

figure, in particular, iii. 42; 125.

the colouring of, iii. 72; 161.
Principal circumstance in a picture, to extend not only to

figure, but to colour, drapery, &c. iii. 144.
Properties of objects ; what they are as relates to Painting,

ii. 47
Proportions of the human figure relative to Painting and

Sculpture, iii. 114.
Prudence, rules of, relative to a Painter, iii. 75; 80; 101.

.

Q

QUELLINUS, Erasmus, a painting by, ii. 304.
Quintin Matsis, his famous painting in the Chapel of the

Circumcision at Antwerp, ii. 288.