« EelmineJätka »
Massaccio; excellencies and anecdotes of, ii. 93.
i. 104: ii. 193; 370, &c. See Dexterity.
comparison between him and Raffaelle,
cause of his superior excellence, i. 196 ;
effects, on various Schools of Painting,
his caprices; defence of, ii. 205.
..study of his works recommended ; and
..Fresnoy's character of him, iii. 201.
. rules as to adjusting, i. 102.
i. xlvi--xlviii, & n.
copied, i.52, 54; 204: . 307: iii. 33, See Taste ;
Nature, in what respects certain Arts excell by devi-
ating from it, ii. 121.-Instanced in Poetry, ii. 222.-
iinperfections of; how to be remedied by the Painter,
See iii. 40.
• never to be lost sight of, ii. 103. See Rules.
OPERA, Italian ; defended, ii. 124.
ii. 343 ; 350.
requisite in Painting, in a moderate degree,
i. Gothick; to be avoided, iii. 54.
iii. 39. See iii. 117.
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
their peculiar excellencies, ii. 402;
their probable excellencies and defects,
Chronological List of.
i. xxii, xxii.
i. 70-and hence derives its value, i. 80: i. 6:
its various departments, and their merits,
is intrinsically imitative, i. 148.- See
false opinions relating to, ii. 117
Invention ; the first part of Painting,
the third, iii. 56. See Poetry.
. anecdotes of, iii. 209.
.... mixed ; undescribable in painting, i. 119.
merits, ii. 199
Perrault, the Architect, defended, ii. 142.
..in Sculpture, See Sculpture.
255; 259; 261 ; 279; 305 ; 328 ; 350 ; 399.
how its excellence consists in a deviation from
iii. 27 ; 96; 176 ; 234, &c.
resemblance, the chief excellence in, iii. 73
historical, observations on, i. 339. See ii.
anecdotes of, 347, &'n.
Poussin, N. his opinion as to colouring, i. 101–his defect
in, i. 273.
his correct style of painting, i. 136-change
his love of the antique, i. 136.
. his favourite subjects; and manner of treating
defects in certain pictures of his, arising from
100, & V.
Practice, how to precede, or be combined with Theory,
iii. 33 ; 100.
figure, in particular, iii. 42; 125.
the colouring of, iii. 72; 161.
figure, but to colour, drapery, &c. iii. 144.
Sculpture, iii. 114.
QUELLINUS, Erasmus, a painting by, ii. 304.
Circumcision at Antwerp, ii. 288.