REYNOLDS, advantage of that acquaintance to Sir Joshua
Reynolds, xxviii-xxxi.

... Mr. Burke's sentiments on that subject, xxxii.
and on Sir Joshua's early acquaintance with
Mr. Mudge, xxxiii-xxxv. xcvii.

... appointed President of the Royal Academy,
and knighted, xl.

.................... reason of his composing his Lectures or
Discourses, ib.

........................................ an injurious calumny respecting them re-
futed, xl-xlv. & n.

...................................... present to him from the Empress of Russia,
xlv. & n.

number of pieces exhibited by him at the
Royal Academy, xlvi. & n.

his eulogy on Mr. Moser, xlvi-xlviii. & n..
........... his ingenious account of his progress in his
profession, and of his defects, xlix—lvi. ·

...... remarks thereon, lvii-lx.

.............. on his colouring, lx, lxi. & n.

account of his painting for the windows in

New College Chapel, lxviii—lxx. & n.

his landscapes, Ixi.

list of his Historical and Miscellaneous
Pieces, with the prices and purchasers' names,
lxii-lxx. & n.

............ his fondness for the Metropolis, lxiii-lxviii.
goes to the Netherlands, lxix—lxxiii.
.............. his Commentary on Dufresnoy -a supple-
ment to his Discourses, lxxiii, lxxiv.

lxxiv.

appointed principal Painter to his Majesty,

REYNOLDS, presented with the freedom of the Painters'

Company, lxxv.

his prices for painting portraits, lxxv.

compared with Vandyck's, lxxvi.
his pupils, lxxvi. & n.

his personal character, lxxvi, &c.

....... account of Portraits of himself, and the
Engravings made from them, lxxvii—lxxxi.
.................................. his acquaintance with Gainsborough, and that
Painter's conduct towards him, lxxviii, lxxix. & n.
.... the elegant society at his house, lxxxii. c.

... his love of literature and learned men, lxxxii.
............. in conjunction with Dr. Johnson, founds the
LITERARY CLUB, lxxxiii.

....

his simplicity of manners, lxxxi.

..... his turn for humour, and nice observation of
characters, lxxxvii.

............. his observation of children, lxxxviii.

occasion of his deafness, lxxxviii. & n.
Goldsmith's character of him, lxxxix. & n.
comparison between him and Lælius, xc-

xcvii. & n.

.....

his domestick habits, xcvii, &c.

his detestation of modern reformers, cii.
the last two portraits of gentlemen, painted

by him, cvi, cvii. & n.

the last female portrait, cvi.

loses the sight of one eye, cvi, cvii.

is attacked by a disorder in his liver, cviii, ix.
of which he dies, cix.

..... buried in St. Paul's, cx.

.............

particulars of the funeral, ex-cxvi. & n.

REYNOLDS, his will, cxvii. & n.

sale of his pictures, cxviii. & n.

............ Dr. Johnson's and Mr. Burke's eulogies on
him, cxix, &c.

Dr. J. Warton's encomium on his Discourses,

cxxii, cxxiii. & n.

Reynolds, John, Sir Joshua's uncle, his portrait of, i. iv. & n.
Rigaud, defects of his portraits, i. 256.

Rockox, portraits of, by Rubens and Vandyck, ii. 325,

326.

Romano. See Julio Romano.

Rombouts, a good picture by, at Ghent, ii. 258.
Roose, N. a painter of no great merit, ii. 257.
Rubens, uniformity of his style of Painting, i. 134.
defects of it, ibid. & 135. ii. 290.

......... his excellence in painting Animals, ii. 294. 402.
in colouring. See iii. and the criti-

cisms on all his paintings, hereafter particularised.
facility of invention and execution; his peculiar
characteristick, iii. 164. 213.

his method. of painting large pictures, ii. 265,
266. 272. iii. 106.

........

his particular excellence in large pictures, ii.
256. 290. 302, 303.

....... his style of painting in the Luxemburgh, on
what principles laudable, i. 213. See Style, Splen-
dour of

his pictures at Brussels; at the Unshod Carme-
lites, ii. 260, 261.-at the Capuchins, ii. 261. —at
Mr. Orion's, ii. 269.-at Mechlin; his Last Supper,
ii. 270, &c.—at the Church of St. John, ii. 275.
Augustins, ii. 277.at Antwerp; Cathedral.-

Chapel of the Arquebuse Company; his Descent of
the Cross, ii. 279-283.- and pictures connected
therewith, ii. 284, 285. at the Schoolmaster's
Chapel, ii. 286.at the Altar of the Gardener's,
ii. 289. the Great Altar, ii. 291.- the Church
of St. Walberge; Elevation of the Cross, ii. 291 —
297. the Unshod Carmelites, ii. 299-301.-
the Great Carmelites, ii. 301. St. Michael's
Church, ii. 302. 304. The Jacobins, ii. 305.-
St. Augustin; The Altar of the Choir, ii. 308. iii. 127.
-Recollects; The Celebrated Crucifixion, ii. 317-
323.; and other pictures, ii. 323, &c.-Capuchins,
ii. 326. Annunciation Nuns; St. Justus, ii. 328.-
St. James's Church, ii. 330.-in M. Peters's Cabi-
net, ii. 334. Mr. Dash's; Seleucus and Stratonice,
ii. 335. other Cabinets, ii. 336, &c.-at the
Hague, ii. 343.—in the Dusseldorp Gallery, ii. 375.
406.- his Fallen Angels, particularly excellent,
ii. 400.at Cologne, ii. 406. at Aix-la-Cha-
pelle, ii. 410.at Louvain, ii. 412.

-

Rubens, his Christ's Charge to Peter, ii. 175.

his St. Bavon praised, ii. 253.-St. Rock, ii. 258.
sketches and Pictures by him, at Mr. Danoot's
at Brussels, ii. 265.

........

censurable pictures by, ii. 251. 257. 259. 324.
326, 327. 332. 334. 336. 406. 410. 413.

......... his Chair, at the Academy of Painting, Ant-
werp, ii. 338.

his Portrait, by himself, ii. 266. 331. 403.
......... his general character; excellencies and defects,

ii. 413. iii. 213.

different effects of his paintings, in different cir-
cumstances, i. lxvii. & n.

Rules of Art, implicit obedience to; necesary in young
Students, i. 11.

requisite even to works of Genius, i. 155.
.....not to be too servilely followed, i. 264. iii.
33. 77. 164.

the reason of them to be considered, i. 281.

iii. 33. 171. 182.

formed on the works of those who have
studied Nature most successfully; and therefore
teach the art of seeing Nature, iii. 179, &c.
Rysdale, excellence of his landscapes, ii. 373.

S

Salvator Rosa, his characteristick style, i. 132.
his Jacob's Dream, praised, ii. 168.

Schools of Painting, how to be classed; Roman, Flo-
rentine, Bolognese, French, Venetian, Flemish,
Dutch, i. 91. their various principles, iii. 181.
.... Venetian; excellencies and defects of, i. 92. 96.
iii. 147. 156.

........

..... subjects of, i. 97

Dutch, peculiar merits of, ii. 369, &c. iii. 146.
156.- Painters of, their names, ii. 371.

Dutch and Flemish; excellencies and defects
of, i. 102. ii. 160.- how to be distinguished,
ii. 372.

English; difficulties in the way of establishing,

ii. 149.

modern Roman; its degeneracy, ii. 150. 233.
Bolognese, foundation of, ii. 199.

Schutz, his Martyrdom of St. George, ii. 277.

Sculpture; wherein, and in what manner, its principles