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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;

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,

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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

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.

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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dour of


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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