Massaccio; excellencies and anecdotes of, ii. 93.
Matsis, Quintin, See Q.

Mechanical excellence, in what respects of importance
i. 104: ii. 193; 370, &c. See Dexterity.

Mechlin, pictures at; ii. 270.

Metastasio, anecdote of, ii. 84.

Method, not always friendly to Study, ii. 76.
Metsu, one of his best pictures, ii. 365.

Michael Angelo, his grand style in painting; i. 126.

comparison between him and Raffaelle,

i. 127. Their respect for each other, ii. 216.

cause of his superior excellence, i. 196;

231 iii. 88; 173.

effects on various Schools of Painting,
by adopting the grandeur of his style, ii. 200.
his caprices; defence of, ii. 205.

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
copied, i. 52, 54; 204: ii. 307: iii. 33, See Taster
Beauty.

VOL. III.

A A

Nature, in what respects certain Arts excell by devi-
ating from it, ii. 121.-Instanced in Poetry, ii. 222.
Painting, ii. 127; 229.-Theatrical performances,
ii. 130.-Gardening, ii. 135.

...... imperfections of; how to be remedied bythe Painter,
i. 58 iii. 47; 130; 222.

...... habits of; to be distinguished from those of fashion;
not only in dress, i. 64, 65, 66 ;-but manners, i. 67.
-See iii. 40.

never to be lost sight of, ii. 103. See Rules.

-iii. 41; 47; 49; 179.

Night, See Colouring.

O

OPERA, Italian; defended, ii. 121.

Orange, Prince of; his Picture Gallery at the Hague,

ii. 343; 350.

Orford, Lord, his encomium on Sir J. Reynolds, i. 1, li, &n.
Orion, Mr. his Cabinet of Paintings at Brussels, ii. 268.
Ornaments; from the peculiar characteristicks of taste
and style, in all arts, i. 226.

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.
Outline; should be firm and determined, i. 75-flowing,
iii. 39. See iii. 117.

PAINTERS, must be the most useful writers on their own

Art, ii. 186.

Painters, ancient; their diligence in the Art, i. 15.

. their advantages from the simplicity

of manners in their time, i. 68.

409.

iii. 140~144.

their peculiar excellencies, ii. 402 $

their probable excellencies and defects,

........ Chronological List of.

Painting, low state of that Art, in England, in 1750,
i. xxii, xxiii.

Painting, Art of; should be employed to reach the mind,

i. 70-and hence derives its value, i. 80: ii. 6t
iii. 177 what intellectual qualities of the mind
affected by, i. 247.

i. 72, &c.

its various departments, and their merits,

is intrinsically imitative, i. 148.-See
Imitation-in what sense it is not an imitation of
Nature, ii. 119: iii. 174-177.

.... false opinions relating to, ii. 117.

causes of its decline, ii. 213.

Invention; the first part of Painting,

iii. 35.-Design, the second, iii. 38.—Colouring,
the third, iii. 56. See Poetry.

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

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.
Philopomen, anecdote of, i. 44.

Philosophy, assistant to Taste, i. 241.

Philostratus, his rules for painting, iii. 231.

Picture-cleaners, instances of their spoiling pictures, ii.
255; 259; 261; 279; 305; 328; 350; 399.

Pieta, what painting so called, ii. 288, &c.
Pietro Genoese, a bad Painter, ii. 395.
Pietro Perugino, Raffaelle's Master, iii, 201.
Place of a picture, See Light and Shade.
Plato, his opinion of Painting censured, ii. 118.
Pliny, instance of his false criticism, i. 119..
Poetry, its advantages over painting, i. 247.

...... how its excellence consists in a deviation from
Nature, ii. 122.

comparison between that and Painting, at length,
iii. 27; 96; 176; 234, &c.

Politeness, general principle of the signs of, i. 226.
Polydore, anecdotes of, iii. 203.:

Pope's Homer, a remark of Dr. Johnson on, ii. 201.
Portrait Painting.

.. resemblance, the chief excellence in, iii. 73-
See Gainsborough.

.. 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.
Poussin, perhaps sometimes guilty of affectation, i. 258.
Practical Instructions relative to Painting, i. 265, &c. : ii,
100, & V.

Practice, how to precede, or be combined with Theory,

iii. 33; 100.

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.
figure, in particular, iii. 42; 125,

...... the colouring of, iii. 72; 161.

Principal circumstance in a picture, to extend not only to
figure, but to colour, drapery, &c. iii. 144.

Properties of objects; what they are as relates to Painting,

ii. 47.

Proportions of the human figure relative to Painting and
Sculpture, iii. 114.

Prudence, rules of, relative to a Painter, iii. 75; 80; 101.

Q

QUELLINUS, Erasmus, a painting by, ii. 304.

Quintin Matsis, his famous painting in the Chapel of the
Circumcision at Antwerp, ii. 288.