Portrait Painting.

resemblance, the chief excellence in, iii.
-See Gainsborough.

historical observations on, i. 109.

ii. 256. 277, 278.—See Historical Painting.
Pott, Henry, picture by, ii. 252.

anecdote of, ii. 252, and n.

Poussin, N. his opinion as to colouring, i. 101.-
his defect in, i. 209.

his correct style of painting, i. 106.-

change of his style, i. 107.

his love of the antique, i. 107.

his favourite subjects; and manner

of treating them, i. 107.

defects in certain pictures of his,
arising from false reasoning, i. 160. 193.-See
Rembrandt.

i. 208.

perhaps sometimes guilty of affectation,

Practical Instructions relative to painting, i. 203,
&c. ii. 76.

Practice, how to precede, or be combined with
Theory, iii. 29. 96.

Prejudice, how to be indulged or counteracted, i.
181. iii. 148.

Pride, an enemy to good painting, iii. 74.

Prince de Ligne, his cabinet of paintings at
Brussels, ii. 199.

Principal light and figure, rule as to disposing, i. 205.
figure, in particular, iii. 37. 115.

the colouring of, iii. 67. 142,
Principal circumstance in a picture, to extend not
only to figure, but to colour, drapery, &c. iii.
129, 130.

Procaccini, Camillo, his Holy Family admirable,
ii. 278.

Properties of objects; what they are as relates to
Painting, ii. 38.

Proportions of the human figure relative to Paint-
ing and Sculpture, iii. 106–109.

Prudence, rules of, relative to a Painter, iii. 70. 75.

QUELLINUS, Erasmus, a painting by, ii. 223.
Quintin Matsys, his famous painting in the chapel
of the Circumcision at Antwerp, ii. 213.—his
Portrait, ii. 242.

Ꭱ

RAFFAELLE, his improvements, in consequence of
studying the works of Michael Angelo, i. 8.
his Dispute of the Sacrament; an in-
stance of his exactness in following his model,
i. 15.

his style in painting, i. 98. ii. 275.
-See Michael Angelo.

his method of imitating others, i. 132.
ii. 68. 74.

his excellence in drawing, and de-
fect in painting, ii. 39.

compared with Titian, ii. 41.

to what excellence he owes his re-
putation, ii. 44. iii. 83. 152.

his Holy Family, in the Dusseldorp
gallery, ii. 275.

anecdotes of, iii. 175.

Rape of the Sabines; John de Bologna's, anecdote

of, ii. 21.

Rubens', ii. 197, 198.

Relief, in painting; its excellencies and defects, i.

211.-See iii. 59.

Rembrandt, his faults, contrasted with those of
Poussin, i. 193.-of Vanderwerf, ii. 281.

a defect in his picture of Achilles, i.214.

his Portrait, at M. Danoot's, its ad-
mirable colour and effect, ii. 197.-At Mr.
Orion's, ii. 200. Pictures at M. Dasch's, ii.
244.

his Susannah, at the Hague, ii. 250.
-other pictures, ii. 251. 280.

Rembrandt, his pictures at Surgeon's Hall, Am-
sterdam, ii. 258.

may be considered as belonging either
to the Dutch or Flemish School, ii. 267.
character of his style, ii. 280.

Repose, in painting, what, i. 193.

its advantages, i. 194. iii. 40. 118.

Rigaud, defects of his portraits, i. 197.

Rockox, Portraits of, by Rubens and Vandyck, ii.

237.

Romano.-See Giulio Romano.

Rombouts, a good picture by, at Ghent, ii. 192.
Roose, N. a painter of no great merit, ii. 192.
Rubens, uniformity of his style in painting, i.
105. defects of it, ibid. 106. ii. 215.

287.

his excellence in painting animals, ii. 217.

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

facility of invention and execution; his
peculiar characteristic, iii. 145. 184.

his method of painting large pictures, ii.
197, 198. 202. iii. 100.

his particular excellence in large pictures,
ii. 215. 222, 223.

his style of painting in the Luxembourg,
on what principles laudable, i. 164.

Rubens, his pictures at Brussels; at the Unshod
Carmelites, ii. 194, 195.-at the Capuchins,
ii. 195.—at Mr. Orion's, ii. 200.—at Mechlin,
his Last Supper, ii. 201. Anecdote of, ii. 202.
-at the Church of St. John, ii. 204. Augus-
tins, ii. 205.—at Antwerp Cathedral:-Chapel
of the Arquebuse Company; his Descent of
the Cross, ii. 207-209.-and pictures con-
nected therewith, ii. 210, 211. Christ coming
out of the Sepulchre, ii. 211.—at the School-
master's Chapel, ii. 212.—at the Altar of the
Gardener's, ii. 214, 215.—the Great Altar,
ii. 215.—the Church of St. Walburge; Eleva-
tion of the Cross, ii. 215. 219.-the Unshod
Carmelites, ii. 220, 221;-the Great Car-
melites, ii. 222.-St. Michael's Church, ii.
222, 223.-The Jacobins, ii. 224, 225.-
St. Augustin; The Altar of the Choir, ii. 226.
iii. 116.-Recollets; The Celebrated Cruci-
fixion, ii. 232-236; and other pictures, ii.
236, 237.-Capuchins, ii. 238, 239.-Annun-
ciation Nuns; St. Justus, ii. 239.-St. James's
Church, ii, 241.-The Academy of Painters ;
Holy Family, ii. 242.—in M. Peters' Cabinet,
ii. 243. Mr. Dasch's; Seleucus and Strato-
nice, ii. 244.-Mr. Haverend's; the celebrated
Chapeau de Paille, ii. 244.-other Cabinets,
ii. 244, &c.—at the Hague, ii. 249.—in the
Dusseldorp Gallery, ii. 269.-his Fallen
Angels, particularly excellent, ii. 285.—at
Cologne, &c. ii. 289. 293.

his Christ's Charge to Peter, ii. 193.

his St. Bavon praised, ii. 189.-St. Rock,
ii. 193.

Sketches and pictures by him, ii. 197.

his Chair, at the Academy of Painting,
Antwerp, ii. 243.

Rubens, censurable pictures by him, ii. 188. 191,
192. 236, 237. 242, 243. 292.

Portrait, by himself, ii. 198. and Wife, 287.
his general character; excellencies and
defects, ii. 294. iii. 184.

Ruckhorst, an altar by, ii. 240.-his Ascension, ii.

241.

Rules of Art, implicit obedience to; necessary in
young Students, i, 9.

requisite to works of genius, i. 122.
not to be too servilely followed, i.
203. iii. 29. 73.

the reason of them to be considered, i.
215. iii. 29. 150. 156-161.

formed on the works of those who have
studied Nature most successfully; and there-
fore teach the art of seeing Nature, iii. 156, &c.
Ruysdaal, excellence of his landscapes, ii. 268.
Ryckaert, a Town pillaged by Soldiers, ii. 200.

S

SALVATOR ROSA, his characteristic style, i. 104.
his Jacob's Dream praised, ii.

126.

Schools of Painting, how to be classed; Roman,
Florentine, Bolognese, French, Venetian,
Flemish, Dutch, i. 72.-their various princi-
ples, iii. 151.

Venetian; excellencies and defects of,
i. 72. 75. iii. 132. 139.

subjects of, i. 76.

Dutch, peculiar merits of, ii. 265, &c. iii.
131. 156.--Painters of, their names, ii. 267.
Dutch and Flemish; excellencies and de-
fects of, ii. 121.-how to be distinguished,
ii. 267.