Painters, ancient; their diligence in the Art, i. 15. of manners in their time, i. 68. 409. their peculiar excellencies, ii. 402. .... 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, i. 70. ..... is intrinsically imitative, i. 148.- See Imitation in what sense it is not an imitation of false opinions relating to, ii. 117. causes of its decline, ii. 213. Invention; the first part of Painting, iii. 35.- Design, the second, iii. 38. - Colouring, Parmegiano, his first work and his last compared, ii. 194. Passions, rules as to expressing, iii. 53. 137. 139. Paul Veronese. See V. Pellegrino Tibaldi, founder of the Bolognese School; his merits, ii. 199. Perrault, the Architect, defended, ii. 142. 119, 120. ........ 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. Poussin, N. his opinion as to colouring, i. 101.—his de- fect in, i. 273. his correct style of painting, i. 136.- change of his style, i. 137. his love of the antique, i. 136. .... his favourite subjects; and manner of treat- .... defects in certain pictures of his, arising from Poussin, perhaps sometimes guilty of affectation, i. 258. Practice, how to precede, or be combined with Theory, Prejudice, how to be indulged or counteracted, i. 235. Pride, an enemy to good Painting, iii. 78. Principal light and figure, rule as to disposing, i. 268, &c. ............ the colouring of, iii. 71. 161. Principal circumstance in a picture, to extend not only Proportions of the human figure relative to Painting and Prudence, rules of, relative to a Painter, iii. 74. 79. 101. Q QUELLINUS, Erasmus, a painting by, ii. 304. Quintin Matsis, his famous painting in the Chapel of The R RAFFAELLE, his improvements, in consequence of ..... his Dispute of the Sacrament; an instance ...... 89.97. his method of imitating others, i. 168. ii. his excellence in drawing, and defect in ..... compared with Titian, ii. 52. ................................ to what excellence he owes his reputation, ..... ... his noble self-confidence, ii. 81. ii. 384. his Holy Family, in the Dusseldorp gallery, anecdotes of, iii. 201. the reason why his works are not impres- sive in the first view, i, xii. Rape of the Sabines; John de Bologna's, anecdote of, ..... Rubens's, ii. 227. Relief, in painting; its excellencies and defects, i. 276. Rembrandt, his faults, contrasted with those of Poussin, .... a defect in his picture of Achilles, i. 280. ..... - Rembrandt, his pictures at Surgeons' Hall, Amsterdam, ii. 356, 357. ............................. may be considered as belonging either to ...... its advantages, i. 252. iii. 44. 129. his birth, i. iv. .............. his early inclinations to, and essays towards placed as a pupil to Mr. Hudson, viii. ... removes to Devonshire, ix. his first celebrated portrait, x. death of his father, xi. goes to Rome, xii. his plan of a discourse on the history of his mind, respecting his art, ib. .......... the impression made on his mind by the copies made by him, at Rome, xix, & n. ..........his Caricatura on Travesty of Raffaelle's ...................................... returns to London, xxii. ...................................... soon attracts the publick notice by his excel- .............. several of his most excellent Portraits enu- ......... commencement of his acquaintance with |