Изображения страниц
PDF
EPUB

Imitators, servile, names of, i. 170: liberal, i. 170, &c.'
Industry,-See Diligence.

Inspiration, falsely attributed to the Science of Painting,

53; 147.

Intellectual pleasure, necessary to happiness in a state of
society, ii. 5.-See Painting.

Invention, what, i. 28; 80: iii. 108; 256.

[ocr errors]

how to be acquired, i. 156; 159.

method, necessary to, ii. 100.

the first part of painting, iii. 35; 256.

Jordeans, his excellency in painting horses, ii. 316; 351
-his Crucifixion, condemned, ii. 330.

. his Merry-making, in the Dusseldorp gallery,

praised, ii. 377.

his character as a Painter, ji. 394.

Jordano,-See Luca Giordano.

Julio Romano, his peculiar merits, iii. 88; 173; 202.
anecdotes of, iii. 202.

[ocr errors]

K

KOEBERGER, his Entombing of Christ, praised, ii. 262.

[ocr errors][merged small][merged small]
[ocr errors]

another picture of, ii. 326.

Know thyself, a precept necessary to Painters, iii. 80.

L

LA FAGE, his genius, mechanick, ii. 89.
Lairesse, his Death of Cleopatra, ii. 361.

defects of his manner, ii. 411.

Landscape-Painting; practices of various Painters re-

lating to, i. 105.

Landscapes, Gainsborough's models of, ii, 154.

[ocr errors][ocr errors]

mythological figures in, improper, ii. 164.

instances of the poetical style in, well exe-

cuted, ii. 168.

Lanfranc, anecdotes of, iii. 212.

Language of Painters, what, i. 94.

Laocoon, statue of, why naked, i. 212, 213.

[ocr errors][ocr errors][merged small]

Le Brun, defect of his colouring, i, 273; good portraits

by, ii. 410.

Light, masses of; the properest colours for, i. 273, 4, 5:

iii. 151.

[ocr errors]

in a picture, where to be thrown, ii. 389.

not more than one principal one in a picture, iii.

62; 145,

[ocr errors]

choice of, in colouring, iii. 69.

and shade; conduct of the tints of, iii. 58; 146--

149.

[ocr errors]

to be adapted to the situation a picture is to be
placed in, iii. 73, 4.

breadth of; its excellence, iii. 151.
Love of Art, the first requisite to excellence, ii, 157.

See Study of Painting.

Literary Club, its institution, and the names of its deceased
and present Members, i. lxxxiii--v, & n.

Luca Giordano; excellencies and defects of, ii. 88; 385.
his and his father's portraits, ii. 388.

M

MANNER PECULIAR, a defect in Painters, i. 165.

Maratti Carlo, See C.

Massaccio; excellencies and anecdotes of, ii. 93.
Matsis Quintin, See 2.

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.

[ocr errors]

comparison between him and Raffaelle,
i. 127. Their respect for each other, ii. 216.

cause of his superior excellence, i. 196;

231: iii. 88; 173.

[ocr errors]

effects, on various Schools of Painting,

by adopting the grandeur of his style, ii. 200.
his caprices; defence of, ii. 205.

[ocr errors]

. study of his works recommended; and

rules for pursuing this study, ii. 208.

[ocr errors][merged small]

Minutiæ, See Finishing.

Mirror, its use to painters, iii. 72.

Models, living; rules as to drawing from, i. 17; ii. 102:

iii. 131.

. . rules as to adjusting, i. 102.

Moonlight; Rubens's mode of Painting, i. 279.

Moser, Geo. Michael, Sir Joshua Reynolds's Eulogy on,

i. xlvi--xlviii, & n.

Mudge, Rev. Zach. his Character, i. xxxiv, xxxv, & n.

N

NATURE, forms of; not to be too closely and servilely
copied, i. 52, 54; 204: ii. 307: iii. 33, See Taste;
Beauty.

[blocks in formation]

Nature, in what respects certain Arts excell by devi-
ating from it, ii. 121.-Instanced in Poetry, ii. 222.-
Painting, ii. 127; 229.-Theatrical performances,
ii. 130.-Gardening, ii. 135.

.. imperfections of; how to be remedied by the Painter,
i. 58 iii. 47; 130; 222.

... habits of; to be distinguished from those of fashion;
not only in dress, i. 64, 65, 66;-but manners, i. 67.
See iii. 40.

[ocr errors]

never to be lost sight of, ii. 103. See Rules.

—iii. 41; 47; 49; 179.

Night, SeeColouring.

[ocr errors]

OPERA, Italian; defended, ii. 124.

Orange, Prince of; his Picture Gallery at the Hague,

ii. 343; 350.

Orford, Lord, his encomium on Sir J. Reynolds, i. 1, li, & n.
Orion, Mr. his Cabinet of Paintings at Brussels, ii. 268.
Ornaments; form the peculiar characteristicks of taste
and style, in all arts, i. 226.

[ocr errors]

requisite in Painting, in a moderate degree,

i. 263: iii. 52; 135; 258.

[ocr errors]

Gothick; to be avoided, iii. 54.

Ornamental Style, See Style.

Otho Venius, Rubens's Master, anecdotes of, ii. 250.
Outline; should be firm and determined, i. 75-flowing,
iii. 39. See ii. 117.

P

PAINTERS, must be the most useful writers on their own

Art, ii. 186.

Painters, ancient; their diligence in the Art, i. 15.
́. their advantages, from the simplicity

of manners in their time, i. 68.

[merged small][merged small][ocr errors][merged small][merged small][merged small]

Painting, low state of that Art, in England, in 1750,

i. xxii, xxiii.

Painting, Art of; should be employed to reach the mind,
i. 70-and hence derives its value, i. 80: ii. 6:
iii. 177-what intellectual qualities of the mind
affected by, i. 247.

[ocr errors][merged small][merged small]

is intrinsically imitative, i. 148.-See

Imitation in what sense it is not an imitation of
Nature, ii. 119: iii. 174--177.

[ocr errors]
[ocr errors]
[merged small][ocr errors][merged small]

Invention; the first part of Painting,

iii. 35.-Design, the second, iii. 38.-Colouring,

the third, iii. 56. See Poetry.

Parmegiano, his first work and his last compared, ii. 194.

[ocr errors]

anecdotes of, iii. 209.

Passions, rules as to expressing, iii. 53; 137; 139.

mixed; undescribable in painting, i. 119.

Pasticcio, what; and its uses, ii. 100.

Paul Veronese, See V.

Pellegrino Tibaldi, founder of the Bolognese School; his

merits, ii. 199.

« ПредыдущаяПродолжить »