GENERAL INDE X.

A

ACADEMY, the advantages of, i. 9, 10, 11.

Academy Royal, Observations on its foundation, i. 5, 6, 7.

& n.

peculiar advantages of, i. 10.

particulars of the origin of, xxxvii-xl.

Accident, how far favourable to Painters, ii. 103: iii. 82:
to Architects, ii. 103.

Action, the principal requisite in a subject for History-
painting, iii. 104. See iii. 124.

Affectation, a hateful quality, i. 111; 258: iii. 133.
contrast to Simplicity, i. 259.

Agamemnon,-See Timanthes,

Albert Durer,See D.

Allegorical Painting, defence of, i. 214. Some by Reu-

bens condemned, ij. 256.

ii. 305; 355.

not adapted to Christian Churches,

Amsterdam, Pictures at, ii. 354, 355; 369, 370-The Stadt-
house, ii. 354-Wharf-Office, ii. 356-Surgeon's-
Hall, ibid.-Mr. Hope's Cabinet, ii. 358-Mr.
Gart's, ii. 363.

Anachronisms in Church-pictures, how far excusable,
ji, 314,

340

Analogy of the several Arts; utility to be derived from,

ii. III.

Angelo Michael,-See M.

Antique, the Model to be copied, iii. 48.
Antwerp, Pictures at, ii. 277-336.

Apollo, Statue of, criticism on, ii. 19, 20.
Drapery of, remarks on, ii. 28.

Apostles, Statues of, in St. John Lateran's Church, de-
fects of, ii. 30.

Architecture, hints as to the principles of, ii. 136, & seq.
Artist, the qualifications of, iii. 82; 86-See Study, Imi-
tation, &c.

Arts, one cannot be engrafted on another, ii. 334-

.... what is the object and intention of them all, i. 142.

B

BACK GROUND, in Pictures, rules as to, iii. 71; 152; 154.
Bacon, an observation of his on Painting disputed, i. 61.
Bad Pictures, in what respect useful, i. 272: ii. 379:
iii. 163.

Baroccio, his defect in colouring, iii. 178.

Bassano, his excellencies, i. 218.-See iii. 207.

Basso Relievo, improvement of the Moderns in, ii. 33.
Beauty, ideal; what, and the notion of it how to be
pursued and acquired, i. 59: iii. 30, &c; 100; 103;
179; 223.

237, 238.

the foundation of, i. 59, 60, 61: ii.

its varieties, i. 62.

.... of form alone, one great excellence in
Sculpture, ii. 16: iii. 113-See Nature.

Bellino, Titian's first Master, Anecdotes of, iii. 204.

Bellori, his fanciful Idea of a Painter, iii. 220, &c.
Bernini, a fault of his Statue of David in point of ex-
pression, i. 87.

Bishop's Ancient Statues; an error in, corrected, ii. 200.
Black, its effect in Painting, iii. 65.

Bologna, peculiarly worthy the attention of travelling
Painters, i. 39.-See Schools of Painting.

John de.-See Rape of the Sabines.

Boucher, Anecdote of, ii. 105.

Bourdon, Sebast, his Return of the Ark praised, ii. 168.
Brueghel, (Old) his merits and defects, ii. 408.

Bruges, Pictures at, ii. 249–252.

Brussels, Pictures at, ii. 259-270.

C

CANDLE-LIGHT; See Colouring.

Caracci, Annibal, his exactness in copying from Models,

i. 19.

....

210.

one of his best Pictures, ii. 387.

his character, iii. 90; 210.

Augustino, and Antonio; Anecdotes of, iii.

.... Lodovico; the excellence of his style, in what
pieces exemplified, i. 38.

his mode of colouring, iii. 155.

Anecdotes of, iii. 210.

Carelessness, discouraged, i. 74.

Carlo Dolci, a tolerable picture of his, ii. 388.

Carlo Maratti, his opinion as to Drapery, i. 90.

Carlo Maratti, his style of painting, artificial, i. 183.
his want of capacity, i. 171.

........ his defect in colouring, i. 273.

Character, locality of, fault of introducing, i. 103.

.......

270.

perfect, unfriendly to Painting and Poetry, ii.

Children, Sir. J. Reynold's opinion of their natural grace-
fulness, i. lxxxviii.

Chorus in a Tragedy, Dryden's observations on, iii. 266.
Chromatick part of Painting;-See Colouring.

Churches, arguments in favour of ornamenting them
with Paintings and Sculpture, ii. 338, &c.

Cignani, Carlo, his Ascension of the Virgin, condemned,
fi. 385.

Cologne, Pictures at, ii. 406-409.

Colouring, the new method of, noticed, i. lvi, lvii, & n.
See Reynolds, Sir Joshua, & V.

....

art of, not to be attained solely by copying, i. 33.
the third part of Painting, iii. 56.

rules with respect to, i. 88: iii. 58, &c.—As
to the reflection of Colours, iii. 65-Their union,
ibid.-Breaking, ibid.-The interposition of Air,
iii. 67. The relation of distances, ibid.-Of bodies
distanced, ibid.-Contiguous and separated, iii. 68.
-Opposite colours not to be joined, ibid.-Diver-
sity of Tints and Colours, ibid-Practical Rules, iii.
70.-Vivacity of Colours, iii. 71.-See Light.

cautions as to excellence in, i. 101: iii. 178.
-See Style, Splendour of; Rubens,

essentially requisite in flower-painting, i. 107.
advantage of candle-light- to, ii. 155.-See

ii. 157.