Massaccio; excellencies and anecdotes of, ii. 93. Mechanical excellence, in what respects of importance, Mechlin, pictures at, ii. 270. Metastasio, anecdote of, ii. 84. Method, not always friendly to Study, ii. 76. Michael Angelo, his grand style in painting, i. 126. comparison between him and Raffaelle, . effects, on various Schools of Painting, study of his works recommended; and rules for pursuing this study, ii. 208. ... Fresnoy's character of him, iii. 201. 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 Nature, in what respects certain Arts excell by devi- ... imperfections of; how to be remedied by the Painter, . habits of; to be distinguished from those of fashion; ⚫ never to be lost sight of, ii. 103. See Rules. OPERA, Italian; defended, ii. 124. Orange, Prince of; his Picture Gallery at the Hague, Orford, Lord, his encomium on Sir J.Reynolds, i. 1, li, & n. requisite in Painting, in a moderate degree, i. 263: iii. 52; 135; 258. :. Gothick; to be avoided, iii. 54. Ornamental Style, See Style. Otho Venius, Rubens's Master, anecdotes of, ii. 250. Р PAINTERS, must be the most useful writers on their own Art, ii. 186. Painters, ancient; their diligence in the Art, i. 15. of manners in their time, i. 68. Painting, low state of that Art, in England, in 1750, Painting, Art of; should be employed to reach the mind, its various departments, and their merits, is intrinsically imitative, i. 148.-Sce Imitation-in what sense it is not an imitation of iii. . false opinions relating to, ii. 117 ⚫ causes of its decline, ii. 213. Invention; the first part of Painting, 35.-Design, the second, iii. 38.-Colouring, Parmegiano, his first work and his last compared, ii. 194. 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. Perrault, the Architect, defended, ii. 142. Perspective; how to be regulated in painting, iii. 40; 119, Peters, Mr. of Antwerp, his Cabinet of Paintings, ii. 304. Philosophy, assistant to Taste, i. 241. Philostratus, his rules for painting, iii. 231. Picture-cleaners, instances of their spoiling pictures, ii. Pieta, what painting so called, ii. 288, &c. Poetry, its advantages over painting, i. 247. 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, 347, & n. Poussin, N. his opinion as to colouring, i. 101-his defect 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 treating them, i. 138. .. defects in certain pictures of his, arising from false reasoning, i. 207; 250. See Rembrandt. Practice, how to precede, or be combined with Theory, Prejudice, how to be indulged or counteracted, i. 235: iii. 168. Pride, an enemy to good Painting, iii. 79. Principal light and figure, rule as to disposing, i. 268, &c. the colouring of, iii. 72; 161. Principal circumstance in a picture, to extend not only to Properties of objects; what they are as relates to Painting, ii. 47 Proportions of the human figure relative to Painting and Prudence, rules of, relative to a Painter, iii. 75; 80; 101. QUELLINUS, Erasmus, a painting by, ii. 304. Quintin Matsis, his famous painting in the Chapel of the |