GENERAL INDEX. A ACADEMY, the advantages, of, i. 9, 10, 11. Academy Royal, Observations on its foundation, i. 5, 6, 7. peculiar advantages of, i. 10. particulars of the origin of, xxxvii--xl, Accident, how far favourable to Painters, ii. 103: iii. 82. Action, the principal requisite in a subject for History- Affectation, a hateful quality, i. 111, 258: iii. 133. Agamemnon,-See Timanthes. Albert Durer,-See D. Allegorical Painting, defence of, i. 214. Some by Reu- bens, condemned, ii. 256. ii. 305; 355. not adapted to Christian Churches, Amsterdam Pictures at, ii. 354, 355; 369, 370-The Stadt- Anachronisms in Church-pictures, how far excusable, ii. 314. Analogy of the several Arts; utility to be derived from, ii. 111. Angelo Michael,—See M. Antique, the Model to be copied, iii. 48. Apollo, Statue of, criticism on, ii. 19, 20. Drapery of, remarks on, ii. 28. Apostles, Statues of, in St. John Lateran's Church, de- Architecture, hints as to the principles of, i. i. 136, & seq. Arts, one cannot be engrafted on another, ii. 334. what is the object and intention of them all, ii. 142. B BACK GROUND, in Pictures, rules as to, iii. 71; 152; 154. iii. 163. Baroccio, his defect in colouring, iii. 178. Bassano, his excellencies, i. 218.-See iii. 207. Basso Relievo, improvement of the Moderns in, ii. 33- 179; 223. 237, 238. the foundation of, i. 59, 60, 61: ii. its varieties, i. 62. . of form alone, one great excellence in Sculpture, ii. 16: iii. 113.-See Nature. Bellino, Titian's first Master, Anecdotes of, iii. 204. Bellori, his fanciful Idea of a Painter, iii. 220, &c. his general faults, ii. 27. Bishop's Ancient Statues; an error in, corrected, ii. 200. Bologna, peculiarly worthy the attention of travelling John de.-See Rape of the Sabines. Boucher, Anecdote of, ii. 105. Bourdon, Sebast. his Return of the Ark praised, ii, 168. Bruges, Pictures at, ii. 249--252. Brussells, Pictures at, ii. 259--270. C CANDLE-LIGHT; See Colouring. Caracci, Annibal; his exactness in copying from Models, Lodovico; the excellence of his style, in what pieces exemplified, i. 38. i. 122. how he employed the ornamental style, his mode of colouring, iii. 155.. Carelessness, discouraged, i. 74. Carlo Dolci, a tolerable picture of his, ii. 388. Carlo Maratti, his opinion as to Drapery, i. 90. 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. ii. 270. Children, Sir J. Reynolds's opinion of their natural grace- Chorus in a Tragedy, Dryden's observations on, iii. 266. Churches, arguments in favour of ornamenting them Cignani, Carlo, his Ascension of the Virgin, condemned, Cologne, Pictures at, ii. 406--409. Colouring, the new method of, noticed, i. lvi, Ivii, & n. art of, not to be attained solely by copying, i.33. the third part of Painting, iii. 56. rules with respect to, i. 88: iii. 58, &c.—As cautions as to excellence in, i. 101: iii. 178. ii. 157. essentially requisite in flower-painting, i. 107. 33. Colouring, of old pictures, how to be considered, i. cellencies of, iii. 175, 6. i. 273. of Le Brun, and Carlo Maratti, defects of, 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. . of modern Painters, defects of, iii. 162. compared to expression in Poetry, iii. 272. Whole. onnoisseurs, mock, ridicule on, ii. 223.-See iii. 165. practice of, how to be regulated and made the Liberty of, allowed in the Dusseldorp gallery, ii. 375. Correctness, the essential beauty of Sculpture, ii. 18. ii. 18. Correggio, contrasted with Rubens, ii. 123. his character, iii. 89; 178; 207. Coxcis, his Christ mocked by the Jews, praised, ii. 264. Crayer Gasp. de, a large picture of his in the Dusseldorp |