INDEX

TO THE ART OF PAINTING, &c.

ACCIDENT, how far favourable to Painters, 68.

Action, the principal requisite in a subject for History-paint-
ing, 86, See 100.

Affectation, a hateful quality, 107.

Albert Durer. See D.

Angelo, Michael,-See M.

Artist, the qualifications of, 68, 71. See Study, Imitation, &c.

B

Back Ground, in Pictures, rules as to, 58, 121, 122.

Bad Pictures, in what respect useful, 129.

Baroccio, his defect in colouring, 139,

Bassano, his excellencies, 163.

Beauty, ideal; what, and the notion of it how to be pursued

and acquired, &c. 26, 83, 85, 134, 140, 175.

of form alone, one great excellence in Sculpture, 92.

Bellino, Titian's first Master, Anecdotes of, 161.
Bellori, his fanciful Idea of a Painter, &c. 173.
Black, its effect in Painting, 53.

C

Caracci, Annibal, his character, 74, 165.

Augustino, and Antonio; Anecdotes of, 165, &c.
Lodovice, his mode of colouring, 123.
Anecdotes of, 165.

Chorus in a Tragedy, Dryden's observations on, 207
Colouring, the third part of Painting, 46.

rules with respect to, 47, &c.-As to the reflection
of Colours, 53.-Their union, 54.-Breaking, ibid.-The
interposition of Air, 55.-The relation of di tances, ibid.
-Of bodies distanced, 56.-Contiguous and separated,
ibid.-Opposite colours not to be joined, ibid.-Diversity
of Tints and Colours, ibid.-Practical Rules 57,-Vivacity
of Colours, 58,-See Light.

cautions as to excellence in, 139.

of the Venetian School, excellencies of, 137.
of a single figure, 108.

number of colours to be used, 113.

harmony of; the various modes of producing, in
the Roman, Bolognian, and Venetian style, 123, 126.
of modern Painters, defects of, 128.

compared to expression in Poetry, 211.

Composition, what, 89.-See Invention; Genius; Whole.

Connoisseurs, mock, ridicule on, 130.

Contrast, to be managed skilfully, 35,-39.

Correggio, his character, 73, 139, 163.

Criticism, true; ground of, 131.

Deity, personification of, 140.

D

Dense bodies, how to be painted, as distinct from pellucid;

as in air or water, 50.

Design, the second part of Painting, 32.

Dexterity in Painting, its value and effect, 64, 129.

Diligence, requisite to perfection in Painting, 67.

false; instances of, 62, 63.-See Genius.

Disposition, or Economy of the whole, in Painting, 122, 123.

Domenichino, Anecdotes of, 166.

Drapery, art of disposing, in painting, 41, 43, 108.

Drawings,-See Sketches.

Dress, unfriendly to true taste, in the Painter or Sculptor, how to be remedied, 122.

Dumb Persons, how far action is to be learnt from them, 34, 100.

Durer, Albert, cause of his defects, 167.

Dutch School,-Schools of Painting.

E

Excellencies, superior, the greater object of attention, 62. various, union of, how far practicable, 131.

F

Facility in drawing, how to be acquired, 64.

Feet, rules as to drawing, 38.

Field of a picture, what, and how to be coloured, 58.-See Back ground.

Figure, single, how to be painted, 41, 107.

Figures, what number of, necessary in historical pieces, 37, 104, 202.

disposition of, 35,-See Principal Figure.

Formality, to be avoided in Painting, 38.

Fresnoy, Charles Alphonse Du, life of, 13, &c.
Pictures by, 17.

G

Genius of a Painter, to be directed to the expression of an
subject, as a whole in its general effect, 80, 81.
Georgione, a rival of Titian, 161.

Ghirlandaio, Domenico, Michael Angelo's Master, 157.
See Julio.

Giulio,

Gothic ornaments,-See Ornaments.

Grace and Majesty in Painting, 43, 109.

Grapes, a bunch of, Titian's rule of light and shade, 53, 119. Groups, of introducing more than one in a picture, 48.

rules for disposing, 35, 36,

Guido, anecdotes of, 106, 166, 177, 178.

his neatness and delicacy of colouring, 125.

H

Historical Painting; locality of character, how far a defect in, 90.

--

distinction between that and Portrait painting, 107. requisites to be observed in, 88-90.

See Figures; Subjects, choice of.

Holbien, his excellence in portraits, 167.

I

Imitation, the pleasure produced by, how to be accounted for,

198.

avoiding, often the effect of presumption, 65.

Invention, what, 88, 200.

the first part of painting, 29, 199.

Julio Romano, his peculiar merits, 72, 135, 160. anecdotes of, 160.

K

Know thyself, a precept necessary to Painters, 66.

Lanfranc, anecdotes of, 167.

L

Light, masses of, the properest colours for, 120..

not more than one principal one in a picture, 51; 115. choice of, in colouring, 57.

and shade; conduct of the tints of, 48, 116-118. to be adapted to the situation a picture is to be placed in, 60, 61.

breadth of; its excellence, 119.

M

Michael Angelo, cause of his superior excellence, 72, 136.