Imágenes de páginas



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

Academy Royal, Observations on its foundation, i. 5, 6, 7.
peculiar advantages of, i. 10.

particulars of the origin of, xxxvii--xl,

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& n.

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, ii. 256.

not adapted to Christian Churches,


ii. 305; 355.
Amsterdam Pictures at, ii. 354, 355; 369, 370-The Stadf-
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,

ii. 314.

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

ii. 111.

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, i. iì. 136, & seq.
Artist, the qualifications of, iii. 82; 86-See Study; Imi-
tation, &c.

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

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


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.
Beauty, ideal; what, and the notion of it how to be
pursued and acquired, i. 59: iii. 30, &c.; 100; 103;

179; 223.



the foundation of, i. 59, 60, 61: .
237, 238.

its varieties, i. 62.

of form alone, one great excellence in

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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.

his general faults, ii. 27.

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.

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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.

Brussells, Pictures at, ii. 259--270.


CANDLE-LIGHT; See Colouring.

Caracci, Annibal; his exactness in copying from Models,

i. 19.

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iii. 210.

i. 122.

one of his best Pictures, ii. 387.

his character, iii. 90; 210.

Augustino, and Antonio; Anecdotes of,

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

how he employed the ornamental style,

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Carelessness, discouraged, i. 74.

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

Carlo Maratti, his opinion as to Drapery, i. 99.

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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.

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ii. 270.

Children, Sir J. Reynolds'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,

ii. 385.

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Cologne, Pictures at, ii. 406--409.

Colouring, the new method of, noticed, i. lvi, Ivii, & 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.

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ii. 157.

perfect, unfriendly to Painting and Poetry,

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

Colouring, of old pictures, how to be considered, i. 33.
. of the Venetian School, faults of, i, 96; ex-
cellencies of, iii. 175, 6.

of Le Brun, and Carlo Maratti, defects of,

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. harmony of; the various modes of producing,


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in the Roman, Bolognian, and Venetian style, iii.
155, 6; 160.

of modern Painters, defects of, iii. 162.
compared to expression in Poetry, iii. 272.
Composition; what, iii. 108.-See Invention; Genius ;


of a single figure, iii. 134.

number of colours to be used, iii. 142.

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onnoisseurs, mock, ridicule on, ii. 223.-See iii. 165.
Contrast, to be managed skilfully, i. 265: iii. 43--46.
Copying, the use and abuse of, i. 31, 32, 33.

practice of, how to be regulated and made the
means of instruction, i. 35--39: ii. 147; 211.-See
Raffaelle: Imitation.

Liberty of, allowed in the Dusseldorp gallery,
ii. 375.

Correctness, the essential beauty of Sculpture, ii. 18.

of design, the natural foundation of Grace,

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ii. 18.

Correggio, contrasted with Rubens, ii. 123.
his character, iii. 89; 178; 207.

Coxcis, his Christ mocked by the Jews, praised, ii. 264.
Coypell, his Picture of the Deity, censured, i. 256.
Crayer Gasp. de, a large picture of his in the Dusseldorp
gallery, condemned, ii. 378.

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