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Carlo Maratti, his opinion as to Drapery, i. 351.
his style of Painting, artificial, i. 403.
his want of capacity, i. 396.

his defect in colouring, i. 454.

Character, locality of, fault of introducing, i. 358.

perfect, unfriendly to Painting and Poetry, ii. 152.
Chorus in a Tragedy, Dryden's observations on, ii. 408.
Chromatic part of Painting. See Colouring.

Churches, arguments in favour of ornamenting them with Paint-
ings and Sculpture, ii. 188. &c.

Cignani, Carlo, his Ascension of the Virgin, condemned, ii. 213.
Cologne, Pictures at, ii. 224-226.

Colours, how arranged on Sir Joshua's Palette - remarks on
Colours and Colouring by Sir Joshua, extracted from his own
memoranda, i. 89, 90.

Colouring, Art of, not to be attained solely by copying, i. 319, 320.
The various methods of Colouring adopted by Sir Jo-

shua, 87, 88. 211, 212.

the third part of Painting, ii. 274.

reflection of Colours, ii. 278.

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Rules with respect to, i. 349. ; ii. 274. &c.—As to the
Their union, 278.-Breaking,
The interposition of air, 280. The relation of dis-
tances, 280. - Of bodies distanced, 280.
separated, 280.

278.

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- Contiguous and
Opposite colours not to be joined, 280.
Diversity of Tints and Colours, 280. - Practical Rules, 282.-
Vivacity of Colours, 282. See Light.

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Cautions as to excellence in, i. 357.; ii. 351. See Style,

Splendour of; Rubens.

essentially requisite in flower-painting, i. 360.
Advantage of candle-light to, ii. 84, 85.

of old Pictures, how to be considered, i. 320.

of the Venetian School, faults of, i. 354.-Excellencies

of, ii. 349, 350.

of Le Brun and Carlo Maratti, defects of, i. 454.
of a single figure, ii. 324.

number of Colours to be used, ii. 329.

harmony of; the various modes of producing, in the

Roman, Bolognian, and Venetian style, ii. 337. 340.
of modern Painters, defects of, ii. 341.

compared to expression in Poetry, ii. 412.
Composition, what, ii. 307. See Invention, Genius, Whole.
Connoisseurs, Mock, ridicule on, ii. 124. 343.

Contrast, to be managed skilfully, i. 449. ; ii. 265–267.
Copying, Sir Joshua's idea of, i. 73.

the use and abuse of, i. 318,

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320.

practice of, how to be regulated and made the means
of instruction, i. 321-324. ; ii. 79. 115. See Raffaelle; Imitation.
· liberty of, allowed in the Dusseldorp Gallery, ii. 208.

Correctness, the essential beauty of Sculpture, ii. 336.
of design, the natural foundation of Grace, ii. 9.

Correggio, contrasted with Rubens, ii. 235.

his character, ii. 294. 351. 372.

Coxis, his Christ mocked by the Jews, praised, ii. 149.

Coypell, his Picture of The Deity, censured, i. 445.

Crayer, Gasp. de, a large Picture of his in the Dusseldorp Gallery,
condemned, ii. 210.

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

true, ground of, ii. 61. 344.

Cuyp, a good Picture of his at Mr. Hope's, Amsterdam, ii. 199.

D

Danoot, Mr., his Cabinet of Paintings at Brussels, ii. 149.
Defects in great Painters, to be pardoned, not imitated or ad-
mired, i. 393.

Deity, personification of, ii. 352. See Coypell.

Rubens, ii. 171.

by Michael Angelo, praised, ii. 124.-by

Dense bodies, how to be painted, as distinct from pellucid; as in
air or water, ii. 276.

Design, in Painting, a matter of judgment, in which facility is
apt to produce incorrectness, ii. 45.

assisted by sketches, ii. 46. See Sketches and Copies, ii. 46.

See Copying.

the second part of Painting, ii. 262.

De Vos, Simon, an excellent Portrait-painter, ii. 170.

Dexterity in Painting, what, ii. 25.

342.

its value and effect, ii. S2. 173, 174. 286.

Diligence, requisite to perfection in Painting, i. 309–311. 324.
327.; ii. 43, 44. 117. 289.

but under certain restrictions, i. 311.; ii. 35.

false, instances of, ii. 35. 42. 286. See Genius.
Discobolus, Statue of, compared with the Apollo, ii. 11.
Discourses. First discourse of Sir Joshua delivered on the open-
ing of the Royal Academy, i. 185.

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Delivery of the last discourse, in which Sir Joshua
took his leave of the Academy, i. 256.

Remarks on the admiration of Michael Angelo, er-
pressed by Sir Joshua throughout his discourses, i. 259.

Sir Joshua Reynolds's, reason and origin of, ii. 100
See Sir Joshua Reynolds.

Disposition, or economy of the whole, în Painting, ii. 337.

Domenichino, his Susanna, in the Dusseldorp Gallery, ii. 213.
Anecdotes of, ii. 375.

Dow, Gerard, Pictures by, ii. 201. 203.

his Mountebank, in the Dusseldorp Gallery, con-

demned, ii. 212.
Drapery, art of disposing in Painting, i. 350.; ii. 201. 217. 234.
269. 271. 324.

in Sculpture, remarks on, ii. 14. &c.

Drapery Painters.-Sir Joshua employs several Artists of this de-
scription, i. 124, 125.

Drawings. See Sketches.

Dress, unfriendly to true taste, in the Painter or Sculptor, i. 419. ;
ii. 19. How to be remedied, ii. 336.

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of Taste in, i. 430.

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- Its effect on Painting, i. 431.
Dumb Persons, how far action is to be learned from them, ii. 264.
317.

Dupiles, instance of his false criticism, i. 444.

Durer, Albert, cause of his defects, i. 341. ; ii. 375.

Dusseldorp Gallery, Pictures in, ii. 208-224.

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Eckhout, an imitator of Rembrandt, ii. 203.

Engravings, observations on their differing from the Paintings they
copy, in light and shade, ii. 177-180.

Enthusiasm, danger of, i. 321. 331.-Good effect of, ii. 85.
Euripides, a saying of his, i. 379.

Examples. See Copying; Imitation.

Excellencies inferior, when necessary, i. 360, 361.

superior, the great object of attention, i. 365. 379.

387.-In what they consist, i. 367. ; ii. 285.

ii. 344.

i. 366.

various, union of, how far practicable, i. 363-368.;

contrary, absurd to suppose them to exist together,

choice of, how to be made, i. 367. 387.

subordination of, i. 368.

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Exhibitions. First Public Exhibition of the Works of British
Artists, i. 143.

Preface to the Catalogue of the second Exhibition by
Dr. Johnson, i. 145.

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Attention of Sir Joshua to the Annual Exhibitions-
his remarks on the character of British Exhibitions, i. 179, 180.
Receipts of the Exhibitions of the Royal Academy at

different periods, i. 234.

Exhibitions.

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- Application of those receipts by the Members of

the Academy, i. 336,

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Pictures which attracted most attention at the first
Exhibition of the Royal Academy, i. 195.

Merit of the Royal Academy in contriving and pro-
moting, ii. 98.
Expression in Historical Paintings, how to be regulated, i. 349.
in Sculpture, in what it consists, and why in general
indistinct, ii. 10. &c.

F

Facility in drawing, how to be acquired, i. 324.; ii. 387. See
Dexterity.

Falconet, his Criticism on the Agamemnon of Timanthus, i. 461,

462.

Fame, love of, in Painters, how to be regulated, i. 379.
Feet, rules as to drawing, ii. 266.

Felibien, a false criticism of his, i. 452.

Feti, Domenico, a slight resemblance between his Paintings and
Correggio's, ii. 214.

Field of a Picture, what, and how to be coloured, ii. 280. See
Back-ground.

Fielding, his complaint to Garrick, censured, ii. 71.

Figure, single, how to be painted, ii. 268. 323.

Figures, what number of, necessary in historical pieces, i. 354.;
ii. 265. 321. 404.

disposition of, ii. 265. See Principal Figure.
Finishing.-Sir Joshua's opinion with respect to high finishing, i.

121.

35. &c.

in Painting, how far to be studied or neglected, ii. 29.

First thoughts never to be forgotten, ii. 62.

Florence. Stay of Reynolds at that capital-proceeds to Bo-
logna, Parma, Modena, Milan, Padua, and Venice, i. 104.
Floris, his Fall of Angels, at St. Michael's Chapel, Antwerp, ii.
271.-His Nativity, praised, ii. 162.

Flowers, utility of Painting, and the best Painters of, i. 360.;
ii. 94. See Colouring.

Formality, to be avoided in Painting, ii. 266.

Forman, Helena (or Eleanor), Portrait of, by Rubens, ii. 188.

192.

Frank, Francis, his Christ among the Doctors, ii. 161.

Fresco, principal works of modern art are painted in, i. 369.
Fresnoy, Charles Alphonse Du, Life of, ii. 247. &c.

Sir Joshua employed in com.

posing the notes to Mason's translation of Du Fresnoy's Art of

Painting, i. 243.

Fresnoy, Pictures by, ii. 250.

G

Gainsborough, reasons for praising, ii. 80.

ii. 95.

Eulogy on, and anecdotes of, ii. 82. &c.
The peculiarity of his manner examined, ii. 92.
cause of the striking resemblance of his Portraits,

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his works appear to

Gaudy, William, an Artist of Devonshire -
have influenced the style of Sir Joshua Reynolds's opinion of
his Pictures, i. 51.
Garrick.-Sir Joshua's celebrated Portrait of Garrick between
Tragedy and Comedy — another Picture of Garrick on a larger
scale contemplated -observations on Garrick to the Bishop of
St. Asaph by Reynolds- other remarks of Sir Joshua on
Foote's abuse of Garrick, i. 156, 157.

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Death of observations of Sir Joshua on his continuing
to act till a very late period of his life, i. 230, 231.

Gart, Mr., his Cabinet at Amsterdam, ii. 202.

Genius, Sir Joshua's idea of, i. 35, 36. 39, 40.

not to be relied on, to the exclusion of diligence, i. 326.
the child of Imitation in Painting, i. 385.

what is generally considered to be, i. 385.

what it is, exemplified by the progress of Art, i. 386. 408.
See Taste.

assisted by knowledge, i. 390.

brass, i. 397.

judicious imitation, compared to Corinthian

a just notion of, how necessary, i. 404, 405.

of a Painter, what, and how to be considered, ii. 21.
to be directed to the expression of any sub-
ject, as a whole in its general effect, ii. 22. 32. 220. 3C0. &c.
mechanic, instances of, ii. 48. See Dexterity.

Genoa.-Extracts from Sir Joshua's journal at that city compara-
tively slight and unimportant, i. 194.

Georgione, a rival of Titian, ii. 370.

Ghent, Pictures at, ii. 142-146.

Ghirlandaio, Domenico, Michael Angelo's master, ii. 367.

Giordano. See Luca Giordano.

Guilio. See Julio.

Gloucester, Dean of, his estimation of Raphael
servations on this subject, i. 226, 227.

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Goldsmith.-Sir Joshua's constant attention to him, i. 196.
his "Deserted Village," inscribed to Sir Joshua -

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