Carlo Maratti, his style of Painting, artificial, i. 183. ..... ...... 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, ii. 385. Cologne, Pictures at, ii. 406-409. Colouring, the new method of, noticed, i. lvi, lvii, & 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. 57, &c.— As ... -See Style, Splendour of; Rubens. essentially requisite in flower-painting, i. 107. ii. 157. Colouring of old pictures, how to be considered, i. 33. .......... .... 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, ............ of modern Painters, defects of, iii. 162. compared to expression in Poetry, iii. 272. Whole. Connoisseurs, mock, ridicule on, ii. 223. See iii. 165. Contrast, to be managed skilfully, i. 265. iii. 42—46. practice of, how to be regulated and made the ii. 375. Liberty of, allowed in the Dusseldorp gallery, Correctness, the essential beauty of Sculpture, ii. 18. ...... ii. 18. Correggio, contrasted with Rubens, ii. 123. his character, iii. 88. 178. 207. Coxis, his Christ mocked by the Jews, praised, ii. 264. Criticism, false, instances of. See Connoisseurs; Bacon; true, ground of, ii. 113. iii. 166. Cuyp, a good Picture of his at Mr. Hope's, Amsterdam, D DANOOT, Mr. his Cabinet of Paintings at Brussels, Defects in great Painters, to be pardoned; not imitated, 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- Design, in Painting; a matter of Judgement, in which assisted by sketches, ii. 85. See Sketches, and ...... - the Second part of Painting, iii. 38. De Vos, Simon, an excellent portrait-painter, ii. 303. Diligence, requisite to perfection in Painting, i. 13-16. .... but under certain restrictions, i. 16. ii. 66. Genius. Discobolus, Statue of, compared with the Apollo, ii. 21. Discourses, Sir Joshua Reynolds's; reason and origin of, Disposition, or Economy of the whole, in painting, 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, Drapery, art of disposing in painting, i. 90. ii. 361. 392. 424. iii. 49. 52. 135. in Sculpture; remarks on, ii. 26, &c. Dress, unfriendly to true taste, in the Painter or Sculp- of Taste in, i. 230: its effect on painting, i. 232. 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. E ECKHOUT, an imitator of Rembrandt, ii. 365. 320. 323. Enthusiasm, danger of, i. 35. 55: good effect of, ii. 157. Examples. See Copying; Imitation. Excellencies inferior, when necessary, i. 106, 7. Excellencies superior, the greater object of attention, .... various, union of, how far practicable, i. ...... contrary, absurd to suppose them to exist choice of, how to be made, i. 121. 156. ... subordination of, i. 122. Exhibitions of Paintings; merit of the Royal Academy Exhibitions of the Royal Academy, the average produce Expression in Historical Paintings, how to be regulated, in Sculpture, in what it consists, and why in F FACILITY in drawing, how to be acquired, i. 41. iii. 77. Falconet, his Criticism on the Agamemnon of Timanthes, ii. 286. Fame, love of, in Painters, how to be regulated, i. 141. Felibien, a false criticism of his, i. 269. Feti, Domenico, a slight resemblance between his paint- |