Michael Angelo, Fresnoy's character of him, 158.
Mirror, its use to painters, 59.

Models, living; rules as to drawing from, 106.

N

Nature, forms of, not to be too closely and servilely copied,

28.

imperfections of, how to be remedied by the Painter,

39, 105, 174.

habits of; to be distinguished from those of fashion; not only in dress, 34; but manners, 39.

Rules.

never to be lost sight of, 34, 39, 40, 140. See

Ornaments, requisite in Painting, in a moderate degree, 43, 108, 201.

Gothic; to be avoided, 45.

Outline; flowing, 32, 96.

P

Painters, ancient; their probable excellencies and defects, 112-115..

· Alphabetical List of, 259-273.

Chronological List of, 228-257.

Painting, Art of; should be employed to reach the mind; and hence derives its value, 138.

139.

in what sense it is not an imitation of Nature, 136–

Invention; the first part of Painting, 29,-Design, the second, 32,-Colouring, the third, 46. See Poetry. Parmegiano, anecdotes of, 164.

Passions, rules as to expressing, 44, 109, 111.
Paul Veronese, See V.

Perspective; how to be regulated in painting, 33, 97.
Philostratus, his rules for painting, 181.

Pietro Perugino, Raffaëlle's Master, 158.

Place of a picture, See Light and Shade.

Poetry, comparison between that and Painting, at length, 23, 80, 138, 184, &c.

Polydore, anecdotes of, 160.

Portrait Painting.

resemblance, the chief excellence in, 60.

Practice, how to precede, or be combined with Theory, 28, 83.

Prejudice, how to be indulged or counteracted, 182.
Pride, an enemy to good Painting, 65.
Principal figure, in particular, 34, 101.

the colouring of, 59, 127.

Principal circumstance in a picture, to extend not only to figure, but to colour, drapery, &c. 108.

Proportions of the human figure relative to Painting and Sculpture, 93.

Prudence, rules of, relative to a Painter, 62, 66, 83.

Raffaelle, anecdotes of, 159.

R

Relief, in painting; its excellencies and defects, 52.
Repose, in painting, its advantages, 37, 104.

Rubens, facility of invention and execution, his peculiar characteristic, 129, 167.

his method of painting large pictures, 87.

his pictures in the Church of St. Augustine at Antwerp, 103.

his general character; excellencies and defects, 167. Rules of Art, not to be too servilely followed, 28, 64, 129, the reason of them to be considered, 28, 135, 136,

142.

formed on the works of those who have studied Nature most successfully; and therefore teach the art of seeing Nature, 140, &c.

S

Schools of Painting, their various principles, 141.

Venetian excellencies and defects of, 117, 123.

Dutch; peculiar merits of, 116, 123.

Sculpture; wherein, and in what manner, its principles and those of Painting agree or differ; what is within its power of performing, and what ought to be its great purpose, 49. Sketches, to be painted in colours, rather than drawn with the crayon, 87.

their utility, 68, 87.

Study of Painting; hints for the course of, 130, 134. method of, remarks on, 87, 143.

Style in Painting; principles of, 102, 103, 124. Subjects, choice of; how to be regulated, 29, 62, 85. in what cases to be treated faithfully, 30.

T

Tintoret, his excellencies and defects, 163.
Titian; his excellence of colouring, 73.

compared with Rubens, 103.

his rule for light and shade, 52, 119.
anecdotes of, 161.

V

Vandervelde, his excellency in colouring, 125.
Vandyck, a Pupil of Rubens, 168.

Variety, in figures in Historical Painting, 34.
of attitude, 35.

Veronese, Paul; his excellencies and defects, 162.

125.

his picture of The Marriage at Cana praised,

Viola, G. anecdotes of, 167.

Virtue, necessary to the perfection of Taste, 188.

Unity of the limbs and drapery with the head of a figure,

34, 43, 99.

W

Watteau, his excellency in colouring, 124.

White, its effect in painting, 53.

Whole, what is meant by, 65; 104.

ESSAYS,

HISTORICAL AND CRITICAL,

ON

ENGLISH CHURCH MUSIC.

ΨΑΛΩ ΔΕ ΚΑΙ ΤΩ ΝΟΙ.