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RAFFAELLE, his improvements, in consequence of study.
ing the works of Michael Angelo, i. g.

. . his Dispute of the Sacrament; an instance of
his exactness in following his model, i. 18.

. . his style in Painting, i. 124: ïi. 384.-See
Michael Angelo.

his method of imitating others, i. 168: ii. 89;
97:

his excellence in drawing, and defect in
painting, ii. 49.

. compared with Titian, ii. 52.

to what excellence he owes his reputation,
ii. 56: iji. 88; 173.

his noble self-confidence, ii. 81.

. his Holy Family, in the Dusseldorp gallery,
ii. 384.

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anecdotes of, iii. 201.

the reason why his works are not impressive
in the first view, i. xii.
Rape of the Sabines; John dé Bologna's, anecdote of

ji. 24.

Rubens's, ii. 227.
Relief, in painting; its excellencies and defects, i. 276.

See iii. 64,
Rembrandt; his faults, contrasted with those of Poussin,
i. 250-of Vanderwerf, ii, 392.

. a defect in his picture of Achilles, i. 280.

his Susannab, at the Hague, ii. 344. Other
pictures, ii. 346.

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Rembrandt, his pictures at Surgeon's Hall, Amsterdam,
ji. 356, 7.

may be considered as belonging either to the
Dutch or Flemish School, ii. 372.

. character of his style, ii. 392.
Repose, in painting, what, i. 250.

its advantages, i. 252: iii. 45; 129.
Reynolds, SIR JOSHUA

. his birth, i. iv.

his early inclinations to, and essays towards
drawing, vi, vii.

placed as a pupil to Mr. Hudson, viii.
removes to Devonshire, ix.
his first celebrated portrait, X.
. death of his father, xi.
... goes to Rome, xii.

. his plan of a discourse on the history of his
mind, respecting his art, xii.

. the impression made on his mind by the
first view of Raffaelle's paintings, xiv. &c.

copies made by him at Rome, xix, & n.

. the method taken by him to discover the
principles on which the great colourists wrought, xxi.
ii. 147, 8.

. his Caricatura on Travesty of Raffaelle's
School of Athens, xxi.

returns to London, xxii.

soon attracts the publick notice by his ex-
cellence in Portrait Painting, xxiii, xxiv.

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several of his most excellent Portraits enu-
merated, xxiv, & n.

commencement of his acquaintance with
Dr. Johnson, xxv.

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REYNOLDS, adyantage of that acquaintance to Sir Joshua
Reynolds, xxviii--xxxi.

. Mr. Burke's sentiments on that subject, xxxii.

and on Sir Joshua's early acquaintance with
Mr. Mudge, xxxij..v; xcvii.

appointed President of the Royal Academy
and knighted, xl.

· reason of his composing his Lectures or Dis-
courses, ib.

• an injurious calumny respecting them refuted,
xl--xlv, & n.

present to him from the Empress of Russia,
xlv, & n.

number of pieces exhibited by him at the
Royal Academy, xlvi, & n.

. his eulogy on Mr. Moser, xlvi-- xlviii, & n.

. his ingenious account of his progress in his
profession, and of his defects, xlix--Ivi.

. remarks thereon, lvii--Ix.
. on his colouring, Ix--Ixi, &n.

account of his painting for the windows in
New College Chapel, lxviii--lxx, & n.

his landscapes, lxi.

list of his Historical and Miscellaneous Pieces,
with the prices and purchaser's names, lxii--\xx, & n.

. his fondness for the Metropolis, lxiii--lxviii.
goes to the Netherlands, Ixix--lxxiii.

his Commentary on Dufresnoy-a supplement
to his Discourses, lxxiii, iv.

appointed principal Painter to his . Majesty,
Ixxiy.

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REYNOLDS, presented with the freedom of the Painter's
Company, lxxv.

· his prices for painting portraits, lxxv.

compared with Vandyck's, lxxvi.
his pupils, lxxvi, & n.
. his personal character, lxxvi, &c.

account of Portraits of himself, and the En-
gravings made from them, lxxvii--Ixxxi.

his acquaintance with Gainsborough, and that
Painter's conduct towards him, lxxviii, lxxix, & n.

the elegant society at his house, lxxxii; c.
his love of literature and learned men, lxxxii.

in conjunction with Dr. Johnson, founds the
LITERARY CLUB, Ixxxiii.

his simplicity of manners, lxxxi.

his turn for humour, and nice observation of
characters, lxxxvii.

. his observation of children, lxxxviii.

occasion of his deafness, lxxxviii, &. n.
Goldsmith's character of him, lxxxix, & n.

comparison between him and Lælius, xc-
xcvii, &n.

. his domestick habits, xcvii, &c.

his detestation of modern reformers, cii.

. the last two portraits of gentlemen, painted
by him, cvi, cvii, & n.

the last female portrait, cvi.
loses the sight of one eye, cvi, cvii.
is attacked by a disorder in his liver, cviii, ix.
of which he dies, cix.
buried in St. Paul's, cx.
particulars of the funeral, cx-cxvi, & n.

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REYNOLDS, his will, cxvii, & n.

sale of his pictures, cxviii, & n.
.. Dr. Johnson's and Mr. Burke's eulogies on
him, cxix, &c.

... Dr. J. Warton's encomium on his Discourses,

cxxii, iii, & n.
Reynolds, John, Sir Joshua's uncle, his portrait of, i. iv,&n.
Rigaud, defects of his portraits, i. 256.
Rockox, portraits of, by Rubens and Vandyck, ii. 325.

326.
Romano, See Julio Romano.
Rombouts, a good picture by; at Ghent, ii, 258.
Roose, N. a Painter of no great merit, ii. 257.
Rubens, uniforinity of his style of Painting, i. 134 ;
defects of it, ibid. & 135: ii. 290.
his excellence in painting Animals, ii, 294; 402.

. in colouring, See iii. and the
criticisms on all his paintings, hereafter particularised.

. . facility of invention and execution ; his pecu-
liar characteristick, iii. 164; 213.

his method of painting large piętures, ii. 265, 6;
272: iii. 106,

his particular excellence in farge pictures, ii,
290; 302, 3; 256.

. his style of painting in the Luxemburgh, on
what principles laudable, i. 213. See Style: Splen-

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his pictures at Brussels ; at the Unshod Carme-
lites, ii. 260, 261--at the Capuchins, ii. 261-at Mr.
Orion's, ii. 269-at: Mechlin ; his Last Supper, ii.
270, &c.-at the Church of St. John, ii. 27
Augustins’, ii. 277-at Antwerp; Cathedral-Cha-

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