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.
... perfect, unfriendly to Painting and Poetry,
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.
Chromatic 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.

Cologne, Pictures at, ii. 406-409.

Colouring, the new method of, noticed, i. lvi, lvii, & n.
See Reynolds, Sir Joshua, and V.

........ art of, not to be attained solely by copying, 1.33.
the third part of Painting, iii. 56.

........ rules with respect to, i. 88. iii. 57, &c. - As
to the reflection of Colours, iii. 64. Their union,

---

- -

ibid. Breaking, ibid. — The interposition of Air,
iii. 66. The relation of distances, ibid.-Of bodies
distanced, ibid.-Contiguous and separated, iii. 67.
- Opposite colours not to be joined, ibid.-Diver-
sity of Tints and Colours, ibid.-Practical Rules,
iii. 69.- Vivacity of Colours, iii. 70. See Light.

cautions as to excellence in, i. 101. iii. 178.

-See Style, Splendour of; Rubens.

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

ii. 157.

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,

.....

i. 273.

of a single figure, iii. 134.

number of colours to be used, iii. 142.

................ harmony of; the various modes of producing,
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;

Whole.

Connoisseurs, mock, ridicule on, ii. 223.

See iii. 165.

Contrast, to be managed skilfully, i. 265. iii. 42—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.

ii. 375.

Liberty of, allowed in the Dusseldorp gallery,

Correctness, the essential beauty of Sculpture, ii. 18.
of design, the natural foundation of Grace,

ii. 18.

Correggio, contrasted with Rubens, ii. 123.

his character, iii. 88. 178. 207.

Coxis, 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 Dussel-
dorp gallery, condemned, ii. 378.

Criticism, false, instances of. See Connoisseurs; Bacon;
Dupiles; Felibien; Fielding; Plato; Pliny.

true, ground of, ii. 113. iii. 166.

Cuyp, a good Picture of his at Mr. Hope's, Amsterdam,

ii. 359.

D

DANOOT, Mr. his Cabinet of Paintings at Brussels,
ii. 265.

Defects in great Painters, to be pardoned; not imitated,
or admired, i. 166.

Deity, personification of, iii. 179.-See Coypell.

by Michael Angelo, praised,

ii. 223. by Rubens, ii. 305.

Dense bodies, how to be painted, as distinct from pel-
lucid; as in air or water, iii. 60.

Design, in Painting; a matter of Judgement, in which
facility is apt to produce incorrectness, ii. 83.

assisted by sketches, ii. 85. See Sketches, and

Copies, ii. 86. See Copying.

.........

---

the Second part of Painting, iii. 38.

De Vos, Simon, an excellent portrait-painter, ii. 303.
Dexterity in Painting, what, ii. 48.

310. iii. 76. 164.

its value and effect, ii. 61. 309,

Diligence, requisite to perfection in Painting, i. 13—16.
40. 46. ii. 80, 81. 215. iii. 80.

.....

but under certain restrictions, i. 16. ii. 66.
false; instances of, ii. 66. 78. iii. 75. See

Genius.

Discobolus, Statue of, compared with the Apollo, ii. 21.

Discourses, Sir Joshua Reynolds's; reason and origin of,
ii. 184. See Sir Joshua Reynolds.

Disposition, or Economy of the whole, in painting,

iii. 155.

Domenichino, his Susanna, in the Dusseldorp gallery,

ii. 385.

...........

Anecdotes of, iii. 211.

Dow, Gerard, pictures by, ii. 362. 365.

......... his Mountebank, in the Dusseldorp gallery,
condemned, ii. 382.

Drapery, art of disposing in painting, i. 90. ii. 361.
392. 424. iii. 49. 52. 135.

...

in Sculpture; remarks on, ii. 26, &c,
Drawings. See Sketches.

Dress, unfriendly to true taste, in the Painter or Sculp-
tor, i. 211. ii. 35: how to be remedied, iii. 154.

........

of Taste in, i. 230: its effect on painting, i. 232.
Dumb Persons, how far action is to be learnt from them,
iii. 41. 124.

Dupiles, instance of his false criticism, i. 255.

Durer, Albert; cause of his defects, i. 71. iii. 213.

Dusseldorp gallery, pictures in, ii. 375-405.

Dutch School. See Schools of Painting.

E

ECKHOUT, an imitator of Rembrandt, ii. 365.
Engravings, observations on their differing from the
paintings they copy, in light and shade, ii. 316.

320. 323.

Enthusiasm, danger of, i. 35. 55: good effect of, ii. 157.
Euripides, a saying of his, i. 142.

Examples. See Copying; Imitation.

Excellencies inferior, when necessary, i. 106, 7.

Excellencies superior, the greater object of attention,
i. 116. 141. 156: in what they consist, i. 120.
iii. 74.

various, union of, how far practicable, i.
112-122. iii. 167.

contrary, absurd to suppose them to exist

together, i. 118.

choice of, how to be made, i. 121. 156.

subordination of, i. 122.

Exhibitions of Paintings; merit of the Royal Academy
in contriving and promoting, ii. 182.

Exhibitions of the Royal Academy, the average produce
of, from 1769 to 1780, i. xxxix, & n.

ib.

from 1780 to 1796, ib.

the year of the greatest receipt for them,

Expression in Historical Paintings, how to be regulated,
i. 87.

in Sculpture, in what it consists, and why in
general indistinct, ii. 20, &c.

F

FACILITY in drawing, how to be acquired, i. 41. iii. 77.
-See Dexterity.

Falconet, his Criticism on the Agamemnon of Timanthes,
ii. 286.

Fame, love of, in Painters, how to be regulated, i. 141.
Feet, rules as to drawing, iii. 45.

Felibien, a false criticism of his, i. 269.

Feti, Domenico, a slight resemblance between his paint-
ings and Correggio's, ii. 387.