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Practical Instructions relative to Painting, i. 449, 450. ; ii. 55.
Practice, how to precede or be combined with Theory, ii. 259.

302.

Prejudice, how to be indulged or counteracted, i. 432.; ii. 345.
Pride, an enemy to good Painting, ii. 288.

Principal light and figure, rule as to disposing, i. 451. &c.
figure, in particular, ii. 264. 318.

the colouring of, ii. 283. 340.

Principal circumstance in a Picture, to extend not only to figure,
but to colour, drapery, &c. ii. 330.

Properties of objects, what they are as relates to Painting, ii. 25.
Proportions of the human figure relative to Painting and Sculp-
ture, ii. 311.

Prudence, rules of, relative to a Painter, ii. 285. 288. 303.

Q

Quellinus, Erasmus, a Painting by, ii. 170.

Quintin Matsis, his famous Painting in the Chapel of The Circum-
cision at Antwerp, ii. 162.

R

Raffaelle, his improvements, in consequence of studying the
works of Michael Angelo, i. 307.

his Dispute of the Sacrament, an instance of his ex-
actness in following his model, i. 312.

Angelo.

ii. 25.

293. 348.

his style in Painting, i. 369. ; ii. 213. See Michael

his method of imitating others, i. 394. ; ii. 48. 53.
his excellence in drawing, and defect in painting,

compared with Titian, ii. 27.

to what excellence he owes his reputation, ii. 30.

his noble self-confidence, ii. 44.

his Holy Family, in the Dusseldorp Gallery, ii. 213.
anecdotes of, ii. 368.

Rape of the Sabines, John de Bologna's anecdote of, ii. 13.

Rubens's, ii. 149.

Relief, in painting, its excellencies and defects, i. 456. See
ii. 278.

Rembrandt, his faults, contrasted with those of Poussin, i. 217. -
of Vanderwerf, ii. 441.

ii. 193.

a defect in his Picture of Achilles, i. 458.

-

his Susannah, at the Hague, ii. 192.-Other Pictures,

Rembrandt, his Pictures at Surgeons' Hall, Amsterdam, ii. 198.
may be considered as belonging either to the Dutch

or Flemish School, ii. 199.

character of his style, ii. 217.

Repose, in Painting, what, i. 441.

its advantages, i. 442.; ii. 226. 321.

Reynolds, Sir Joshua, his birthplace; account of his family, i. 33.
classical attainments of-the profession for which he
was originally intended - his own feelings on this subject —
his opinion with respect to innate propensities for any particular
pursuit his opinion on this head consistent with that of Dr.
Johnson, i. 35.

early efforts of, in design and perspective—his admi-
ration of Raphael first excited by reading Richardson's Treatise
on Painting, i. 38.

his first acquaintance with the family of Mount Edg-
cumbe-introduction to Captain Keppel, who offers him a
passage to the Mediterranean on board his own vessel, the Cen-
turion, i. 54.

his voyage to Lisbon, Gibraltar, Algiers, and Minorca
- accident which he met with at Port Mahon, i. 55.

arrives at Rome -

observations on the nature of an
artist's visit to the Sistine Chapel results which may be ex-
pected from it, i. 56, 57, 58.

-

his disappointment on first beholding the works of Ra-
phael, in the Vatican, i. 61, 62, 63, 64, 65.

mode of study pursued by him at Rome, i. 73, 74, 75,
76, 77, 78.

his supposed inconsistency in recommending the study
of the works of Michael Angelo and Raphael, and devoting
himself so exclusively to portraiture-grounds for doubting
the alleged inconsistency, 79, 80.

defended for recommending to the students a diligent
study of the principles of Roman art, i. 81, 82, 83.

remarks of, on some of the works of Correggio and
Titian, at the Colonna Palace the process which he adopted
in copying them, i. 87, 88.

-

remarks of, on the benefit to be derived from studying

the works of the Ancient Masters, i. 91.

-

other re-

his remarks on the peculiarities of Raphael
marks contained in the same memoranda on the character of
the Modern French and Italian Schools objections to some
of these remarks on the proper mode of representing drapery —
the truth of these objections considered, i. 99, 100.

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allusion to the caricatures which he painted while at
Rome, i. 100, 101.

declines placing himself under Pompeo Battoni, at that

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time in high estimation at Rome, and confines himself closely
to the study of the Ancient Masters, i. 101, 102, 103.
Reynolds, Sir J., remarks of, on the Cupola at Parma, i. 105.
his return to England, by way of Lyons and Paris-
arrival at Paris Pictures which he painted there, i. 112, 113,

114.

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-

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establishes himself in London his Portrait of Marchi,
a young artist, whom he brought with him from Rome, attracts
considerable attention Hudson's observations on seeing this
picture, i. 115.

his Portrait of Commodore Keppel very highly appre-
ciated by the public- this fine work materially contributes to
establish the reputation of the artist, i. 118, 119.

his employment increases so rapidly that he finds it
necessary to engage several artists as drapery painters, i. 124,
125.

memoranda of, on popular prejudice

-

should be attended to by the Painters, i. 122, 123.

how far it

remarks committed to paper, at the time when he drew
up his contributions to the "Idler," and which afterwards served
him as hints for his discourses, i. 134, 135, 136, 137, 138.

-

-

moves from Newport Street to Leicester Square-
builds a gallery and painting room, raises his price, and en-
gages an additional number of drapery painters — his remarks
on the means by which a fortune is acquired - description of
his painting room and painting apparatus sets up his carriage
its ornaments described - remarks on the talents of coach-
painters at that period, i. 138, 139, 140.

-

-

table and customary guests observations on writers
and painters, i. 141, 142.

tions

-

-

industry of his attachment to his professional occupa-
usual mode of spending his evenings, i. 160.

income of-expense of his establishment in Leicester
Square remarks of Mr. Farrington on the influence of his
example, and on the change which was observable at that period
in the habits and manners of artists, and of society in general,
i. 161, 162, 163.

his Picture of Ugolino - how first suggested, i. 197.
his Picture of the Children in the Wood, accidentally
suggested, i. 198.

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letter to Mr. Pocock on the subject of Painting, i. 220.
chosen mayor of the borough of Plympton, his native
place - satisfaction which he expressed on that occasion - pre-
sents his portrait to the Corporation lines suggested by the
vicar of a neighbouring parish for inscription to be placed on
the picture Sir Joshua's objection to having them attached to
it, i. 222.

-

Reynolds, Sir Joshua, busily employed in making designs for the
window in New College Chapel, University of Oxford-descrip-
tion of the several compartments decorated subjects painted
upon them
- light and shadow of the Nativity suggested by the
celebrated Notte" of Correggio — execution of the window
entrusted to Mr. Jarvis, the glass-painter — design for the Na-
tivity, with many other admirable performances, unfortunately
burnt at Belvoir Castle, the seat of His Grace the Duke of
Rutland - original idea of decorating New College Chapel -
suggestions of Reynolds on the subject adopted — correspond-
ence on this head, i. 239, 240, 241.

-

-

liberality of observations on the charges of avarice and
parsimony which have occasionally been made against him
instances of his liberality and good feeling-farther observ-
ation on the subject, i. 231, 232, 233.

his tour to the Netherlands

-

- second tour to that

country - remarks on the difference of effect observed by him
in Rubens's Pictures, i. 242, 243.

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admiration excited by the first view of his splendid pic-
ture of the "Death of Dido," and of the "Thais," exhibited
with it, at Somerset House - similar feeling excited by the ex-
hibition of his Portrait of Mrs. Siddons as the Tragic Muse of
the "Fortune Teller," and of the "Infant Hercules". - Barry's
observations on the last-mentioned work, i. 244, 245.

-

his uncertainty with respect to the choice of a subject, on
receiving a commission from the Empress of Russia · decides
on painting the "Infant Hercules"— allegorical allusion in-
tended to be conveyed by this performance- letter and present
from the Empress to Sir Joshua - observations of Reynolds on
taking leave of the "Infant Hercules "— powerful effect of the
Sleeping Girl," exhibited in 1787, i. 245, 246, 247.

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his health begins to decline - remarks on his healthy
and robust appearance at the age of sixty-eight — attacks on the
character of Sir Joshua as an artist, i. 248, 249.

-

his collection of pictures, drawings, and prints, offered to
the Royal Academy, i. 260.-Amount for which it sold after his
death, i. 290.. Ralph's exhibition · the catalogue composed
by Sir Joshua, i. 260.

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his sight first affected while painting the portrait of Lady
Beauchamp - he loses the sight of his left eye. his alarm lest
the remaining eye should fail him - final resolution to give up
painting - alarming symptoms of inflammation above the eye
which had perished— other symptoms, connected with his gene-
ral health, supposed by his friends to be imaginary — his
own conviction on the subject—his fortitude and patience under
his afflictions-his death at his house in Leicester Square, on
the 23d February, 1792, i. 260, 261, 262.

Reynolds, Sir Joshua, funeral arrangements on his decease—his
body conveyed to the Royal Academy procession from thence
to St. Paul's Cathedral, where he was buried general regret
expressed at his loss, i. 265, 266, 267, 268. - Detailed account
of the funeral ceremony, i. 295, 296, 297, 298.

-

-

his person described observations on his manners
- general deportment, i. 272.

his character-professional habits and acquirements
remarks on his works, on his practice, and indefatigable
industry, i. 273-277.

works of, historical and miscellaneous -list of them,
with the prices and names of the purchasers, i. 283-288.
pictures of, list of the number exhibited by him at
different periods, with the years in which they were exhibited,
i. 288, 289, 290.

principles by which he was regulated throughout his
career - allusion to a work from which he gleaned many valu-
able hints for his discourses, i. 291, 292.

-

remarks of, on general subjects, i. 293, 294.

-

remarks on the disadvantages of his early education,
and on the means which he employed to remedy them on the
uncertainty of his mode of proceeding with his pictures — its
cause, and ultimate results, i. 207–211.

remarks of, on various subjects, tending to illustrate his
peculiar habit of observation and of noting whatever he thought
worth retaining, i. 293–295.

portraits of him, general list of, including those which
were painted of him by others, as well as the portraits which he
painted of himself, i. 299.

Rigaud, defects of his Portraits, i. 444.

Rockox, portraits of, by Rubens and Vandyk, ii. 181, 182.

Romano. See Julio Romano.

Rombouts, a good Picture by, at Ghent, ii. 145.

Romney, the successful competitor of Reynolds

remarks of

Lord Thurlow connected with these artists- Sir Joshua's in-
difference to his temporary loss of popularity

1

Romney's rea-

son for not exhibiting at Somerset House, i. 173-175.
Roose, N., a Painter of no great merit, ii, 145.

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Rubens, uniformity of his style of Painting, i. 375. - - defects of
it, i. 375.; and ii. 163.

his excellence in painting Animals, ii. 165. 222.
in colouring, and the criticisms on all his
Paintings hereafter particularized.

facility of invention and execution, his peculiar charac-
teristic, ii. 342. 375.

his method of painting large Pictures, ii. 149, 150. 153. 306.

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