Colouring, of old pictures, how to be considered, i. 33.

of the Venetian School, faults of, i. 96; ex-

cellencies of, iii. 175, 6.

. of Le Brun, and Carlo Maratti, defects of,

i. 273.

. 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.
155, 6; 160.

of modern Painters, defects of, iii. 162.

compared to expression in Poetry, iii. 272.
Composition; what, iii. 108.-See Invention; Genius;

Whole.

Connoisseurs, mock, ridicule on, ii. 223.-See iii. 165.
Contrast, to be managed skilfully, i. 265: iii. 43-46.
Copying, the use and abuse of, i. 31, 32, 33.

practice of, how to be regulated and made the
means of instruction, i. 35--39: ii. 147; 211.-See
Raffaelle: Imitation.

Liberty of, allowed in the Dusseldorp gallery,

ii. 375.

Correctness, the essential beauty of Sculpture, ii. 18.
of design, the natural foundation of Grace,

ii. 18.

Correggio, contrasted with Rubens, ii. 123.

his character, iii. 89; 178; 207.

Coxcis, his Christ mocked by the Jews, praised, ii. 264.

Coypell, his Picture of the Deity, censured, i. 256.

Crayer Gasp. de, a large picture of his in the Dusseldorp
gallery, condemned, ii. 378.

Criticism, false, instances of; See Connoisseurs; Bacon;
Dupiles; Felibien; Fielding; Plato; Pliny.

true; ground of, ii. 113: iii. 166.

Cuyp, a good Picture of his at Mr. Hope's, Amsterdam,

ii. 359.

D

DANOOT, Mr. his Cabinet of Paintings at Brussels,
ii. 265.

Defects in great Painters, to be pardoned; not imitated,
or admired, i. 166.

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 pellucid;

as in air or water, iii. 61.

Design, in Painting; a matter of Judgement, in which
facility is apt to produce incorrectness, ii. 83.

.assisted by sketches, ii. 85.-See Sketches and
Copies, ii. 86. See Copying.

. the Second part of Painting, iii. 38.

De Vos, Simon, an excellent portrait-painter, ii. 303.

Dexterity in Painting, what, ii. 48.

. its value and effect, ii. 61; 309,

310: iii. 77; 164.

Diligence, requisite to perfection in painting, i. 13--16;
40; 46: ii. 80, 81; 215: iii. 81.

.but under certain restrictions, i. 16: ii. 66.

. false; instances of, ii. 66; 78: iii. 76.-See
Genius.

Discobolus, Statue of, compared with the Apollo, ii. 21.

Discourses, Sir Joshua Reynolds's; reason and origin of,
ii. 184. See Sir Joshua Reynolds.

Disposition, or Economy of the whole, in painting,

iii. 155.

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,

condemned, ii. 382.

Drapery, art of disposing in painting, i. 90: ii. 361; 392;
424: iii. 49; 52; 135.

in Sculpture; remarks on, ii. 26, &c.

Drawings, See Sketches.

Dress, unfriendly to true taste, in the Painter or Sculptor,
i. 211: ii. 35: how to be remedied, iii. 154.

... of Taste in, i. 230: its effect on painting, i. 232.
Dumb Persons, how far action is to be learnt from them.

iii. 41; 124.

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.

Dutch-School, See Schools of Painting.

E

ECKHOUT, an imitator of Rembrandt, ii. 365.
Engravings, observations on their differing from the paint-

ings they copy, in light and shade, ii. 316; 320; 323.
Enthusiasm, danger of, i. 35; 55: good effect of, ii. 157.
Euripides, a saying of his, i. 142.

Examples, See Copying: Imitation.

Excellencies inferior, when necessary, i. 106, 7.

Excellencies superior, the greater object of attention,
i. 116; 141; 156: in what they consist, i. 120:

iii. 75.

various, union of, how far practicable, i.
112--122: iii. 167.

choice of, how to be made, i. 121; 156.

subordination of, i. 122.

Exhibition of Paintings; merit of the Royal Academy i
contriving and promoting, ii. 182.

Exhibitions of the Royal Academy, the average produce
of, from 1769 to 1780, i. xxxix, & n.

from 1780 to 1796, ib.

the year of the greatest receipt for them.

Expression, in Historical Paintings, how to be regulated,
i. 87.

. in Sculpture, in what it consists, and why in
general indistinct, ii. 20, &c.

F

FACILITY, in drawing, how to be acquired, i. 41: iii, 78.
See Dexterity.

Falconet, his Criticism on the Agamemnon of Timanthes,
ii. 286.

Fame, love of, in Painters, how to be regulated, i. 141.
Feet, rules as to drawing, iii. 45.

Felibien, a false criticisin of his, i. 269.

Feti, Domenico, a slight resemblance between his paint
ings and Correggio's, ii. 387.

Field of a picture, what, and how to be coloured, iii. 71,

-See Back-ground.

Fielding, his Compliment to Garrick, censured, ii. 131.
Figure, single, how to be painted, iii. 49; 133.

Figures, what number of, necessary in historical pieces,
i. 96; iii. 44; 129; 259.

disposition of, iii. 42.-See Principal Figure.
Finishing, in Painting. how far to be studied or neglected,
ii. 54, &c.; 66, &c.

First thoughts, never to be forgotten, ii. 115.

Floris, his Fall of the Angels, at St. Michael's Chapel,
Antwerp, ii. 271: his Nativity, praised, ii. 289.
Flowers, utility of Painting, and the best painters of, i. 107:
ii. 173. See Colouring.

Formality, to be avoided in painting, iii. 46.

Forman, Helena, (or Eleanor) portrait of, by Rubens. ii.

336; 345.

Frank, Francis, his Christ among the Doctors, ii. 286.
Fresco, principal works of modern art are painted in,

i. 123.

Fresnoy, Charles Alphonese Du, life of, iii. 15, &c.
Pictures by, iii. 20, 21.

G

GAINSBOROUGH, reasons for praising, ii. 149.

eulogy on, and anecdotes of, ii. 152, &c.
the peculiarity of his manner examined,

cause of the striking resemblance of his

portraits, ii. 174.

Gart, Mr. his Cabinet at Amsterdam, ii. 363--367.