Landscapes, Gainsborough's models of, ii. 154. mythological figures in, improper, ii. 164. 1 .... instances of the poetical style in, well Lanfranc, anecdotes of, iii. 212. Language of Painters, what, i. 94. Laocoon, statue of, why naked, i. 212, 213. remarks on, ii. 22. Le Brun, defect of his colouring, i. 273; good portraits Light, masses of; the properest colours for, i. 273, 4, 5. ....... in a picture, where to be thrown, ii. 389. ........ not more than one principal one in a picture, iii. choice of, in colouring, iii. 69. ........ and shade; conduct of the tints of, iii. 57. 146 -149. to be adapted to the situation a picture is to be .... breadth of; its excellence, iii. 151. Literary Club, its institution, and the names of its M MANNER PECULIAR, a defect in Painters, i. 165. Maratti, Carlo. See C. Massaccio; excellencies and anecdotes of, ii. 93. Matsis, Quintin. See Q. Mechanical excellence, in what respects of importance, i. 104. ii. 193. 370, &c. See Dexterity. Mechlin, pictures at, ii. 270. Metastasio, anecdote of, ii. 84. Method, not always friendly to Study, ii. 76. Metsu, one of his best pictures, ii. 365. Michael Angelo, his grand style in painting, i. 126. comparison between him and Raffaelle, 231. iii. 87. 173. .......... effects on various Schools of Painting, study of his works recommended; and rules for pursuing this study, ii. 208. Fresnoy's character of him, iii. 201. Minutiæ. See Finishing. Mirror, its use to painters, iii. 71. Models, living; rules as to drawing from, i. 17. ii. 102. iii. 131. rules as to adjusting, i. 102. Moser, Geo. Michael, Sir Joshua Reynolds's Eulogy on, Mudge, Rev. Zach., his character, i. xxxiv, xxxv. & n. N NATURE, forms of; not to be too closely and servilely Beauty. Nature, in what respects certain Arts excel by devi- imperfections of; how to be remedied by the habits of; to be distinguished from those of -- never to be lost sight of, ii. 103. See Rules. OPERA, Italian; defended, ii. 124. Orange, Prince of; his Picture Gallery at the Hague, Orford, Lord, his encomium on Sir J. Reynolds, i. 1, li, & n. Orion, Mr., his Cabinet of Paintings at Brussels, ii. 268. requisite in Painting, in a moderate de- gree, i. 263. iii. 51. 135. 258. Gothick; to be avoided, iii. 54. Ornamental Style. See Style. Otho Venius, Rubens's Master, anecdotes of, ii. 250. P PAINTERS, must be the most useful writers on their own Art, ii. 186. Painters, ancient; their diligence in the Art, i. 15. of manners in their time, i. 68. their peculiar excellencies, ii. 402. 409. their probable excellencies and de- fects, iii. 140-144. ............ Chronological List of, iii. 291. Painting, low state of that Art in England in 1750, - Art of; should be employed to reach the mind, its various departments, and their merits, i. 72, &c. ....... is intrinsically imitative, i. 148. - See Imitation. - in what sense it is not an imitation of Nature, ii. 119. iii. 174. 177. false opinions relating to, ii. 117. .... causes of its decline, ii. 213. Invention; the first part of Painting, . the third, iii. 55. See Poetry. Parmeglano, his first work and his last compared, ii. 194. anecdotes of, iii. 209. Passions, rules as to expressing, iii. 58. 137. 139. ............................... mixed; undescribable in Painting, i. 119. Paul Veronese. See V. Pellegrino Tibaldi, founder of the Bolognese School; his merits, ii. 199. Perrault, the Architect, defended, ii. 142. in Sculpture. See Sculpture. Peters, Mr., of Antwerp, his Cabinet of Paintings, ii. 304. Philopomen, anecdote of, i. 44. Philosophy, assistant to Taste, i. 241. Philostratus, his rules for painting, iii. 231. how its excellence consists in a deviation from comparison between that and Painting, at length, Politeness, general principle of the signs of, i. 226. Pope's Homer, a remark of Dr. Johnson on, ii. 201. resemblance, the chief excellence in, iii. 73. ..... historical observations on, i. 339. See ii. 354. 388. See Historical Painting Pott, Henry, pictures by, ii. 347. anecdotes of, ii. 347, & n. ΙΟ |