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ACADEMY, the advantages, of, i. 9, 10, 11.
Academy Royal, Observations on its foundation, i. 5, 6, 7.
particulars of the origin of, xxxvii--xl,
Accident, how far favourable to Painters, ii. 103: iii. 82.
Action, the principal requisite in a subject for History-
Affectation, a hateful quality, i. 111, 258: iii. 133.
Albert Durer,-See D.
Allegorical Painting, defence of, i. 214. Some by Reu-
not adapted to Christian Churches,
ii. 305; 355.
Analogy of the several Arts; utility to be derived from,
Angelo Michael,-See M.
Antique, the Model to be copied, iii. 48.
Apostles, Statues of, in St. John Lateran's Church, de-
Architecture, hints as to the principles of, i. iì. 136, & seq.
Arts, one cannot be engrafted on another, ii. 334.
what is the object and intention of them all, ii. 142.
BACK GROUND, in Pictures, rules as to, iii. 71; 152; 154.
Baroccio, his defect in colouring, iii. 178.
Bassano, his excellencies, i. 218.-See iii. 207.
Basso Relievo, improvement of the Moderns in, ii.
the foundation of, i. 59, 60, 61: .
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.
his general faults, ii. 27.
Bishop's Ancient Statues; an error in, corrected, ii. 200.
Bologna, peculiarly worthy the attention of travelling
John de.--See Rape of the Sabines.
Boucher, Anecdote of, ii. 105.
Bourdon, Sebast. his Return of the Ark praised, ii, 168.
Bruges, Pictures at, ii. 249--252.
Brussells, Pictures at, ii. 259--270.
CANDLE-LIGHT; See Colouring.
Caracci, Annibal; his exactness in copying from Models,
one of his best Pictures, ii. 387.
his character, iii. 90; 210.
Augustino, and Antonio; Anecdotes of,
Lodovico; the excellence of his style, in
how he employed the ornamental style,
Carelessness, discouraged, i. 74.
Carlo Dolci, a tolerable picture of his, ii. 388.
Carlo Maratti, his opinion as to Drapery, i. 99.
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.
Children, Sir J. Reynolds's opinion of their natural grace-
Chorus in a Tragedy, Dryden's observations on, iii. 266.
Cologne, Pictures at, ii. 406--409.
Colouring, the new method of, noticed, i. lvi, Ivii, & n.
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
cautions as to excellence in, i. 101: iii. 178,
perfect, unfriendly to Painting and Poetry,
essentially requisite in flower-painting, i. 107.
Colouring, of old pictures, how to be considered, i. 33.
of Le Brun, and Carlo Maratti, defects of,
. harmony of; the various modes of producing,
in the Roman, Bolognian, and Venetian style, iii.
of modern Painters, defects of, iii. 162.
of a single figure, iii. 134.
number of colours to be used, iii. 142.
onnoisseurs, mock, ridicule on, ii. 223.-See iii. 165.
practice of, how to be regulated and made the
Liberty of, allowed in the Dusseldorp gallery,
Correctness, the essential beauty of Sculpture, ii. 18.
of design, the natural foundation of Grace,
Correggio, contrasted with Rubens, ii. 123.
Coxcis, his Christ mocked by the Jews, praised, ii. 264.