GENERAL INDEX. ACADEMY.. - A Academies in England prior to the establishment of the Royal Academy, i. 147, 148. of the Incorporated Society of Artists - 193. Establishment of the Royal Academy, i. 187- Public dinner at the Royal Academy often peculiarly i. 233. - - 183. Removal of the Royal Academy to Somerset House, - Misunderstanding of Sir Joshua with some of the - the occasion, i. 249–256. the advantages of, i. 307, 308. Academy Royal, observations on its foundation, i. 305, 306. Accident, how far favourable to Painters, ii. 56. 290. -to Artists, Action, the principal requisite in a subject for History-Painting, Affectation, a hateful quality, i. 362, 445.; ii. 323. contrast to Simplicity, i. 445. Agamemnon. See Timanthes. Albert Durer. See D. Allegorical Painting, defence of, i. 420. Some by Rubens con- 197. not adapted to Christian Churches, ii. 171. - Amsterdam, Pictures at, ii. 197. 205. The Stadthouse, 197.- - Surgeons'-Hall, 198. - Mr. Gart's, 202. - Anachronisms in Church-pictures, how far excusable, ii. 176. Antique, the model to be copied, ii. 268. Antwerp, Pictures at, ii. 156-188. Apelles Sir Joshua's estimate of the character of Apelles as a Remarks connected with this subject, and with Grecian Apollo, Statue of, criticism on, ii. 9, 10. Drapery of, remarks on, ii. 15. Apostles, Statues of, in St. John Lateran's Church, defects of, Architecture, hints as to the principles of, ii. 74. & seq. Artists.-British Artists of eminence who flourished before the 173. of eminence contemporary with Sir Joshua, i. 169– Artist, the qualifications of, ii. 290. 292. See Study, Imitation, Art.-Art in England, at early periods, exclusively in the hands Character of early British Art, i. 8, 9. Italian Art in the age of Leo the Tenth- its probable Advantages which might have been expected from the in- Works of Art collected by Henry the Eighth in the palace Number of Works of Art in that collection at the period Stimulus given to British Art by the arrival of Rubens Destruction and sale of Works of Art in the royal collee- Revival of Art under Charles the Second and his succes- Effect produced on British Art by the works of Sir Joshua Art.-A relish for the higher excellencies of Art supposed by The grand style of Art, recommended by Sir Joshua, sup- One cannot be engrafted on another, ii. 186. What is the object and intention of them all, i. 379, 380. - B Back-ground, in Pictures, rules as to, ii. 282. 335. 336. Barry.-Letter from Sir Joshua to Barry while a student at Part of another letter on the subject of Art, supposed to Hostile feeling of Barry towards Sir Joshua-its pro- His letter to the Marchioness of Thomond on receiving Basso Relievo, improvement of the Moderns in, ii. 17. - - Beauty, ideal, what; and the notion of it how to be pursued and the foundation of, i. 333, 334.; ii. 132, 133. of form alone, one great excellence in Sculpture, ii. 8. 311. See Nature. Bellino, Titian's first Master, Anecdotes of, ii. 370. Bernini, a fault of his Statue of David in point of expression, i. 349. his general faults, ii. 14. Bishop's Ancient Statues, an error in, corrected, ii. 109. Bologna, peculiarly worthy the attention of travelling Painters, John de. See Rape of the Sabines. Boucher, Anecdote of, ii. 58. Bourdon, Sebast, his Return to the Ark praised, ii. 91. Boydell, Alderman, attention paid to him at the Royal Aca- -- British Institution. Exhibition of Sir Joshua's Works at that Brueghel (Old), his merits and defects, ii. 226. Brussels, Pictures at, ii. 146-152. Burke, Edmund.—Sir Joshua's high opinion of him, i. 185. and Sir Joshua, i. 212-218. Appointed one of Sir Joshua's executors Excess of feeling which he displayed on addressing the his eulogium of Sir Joshua, i. 269–271. Candle-light. See Colouring. C Caracci, Annibal, his exactness in copying from Models, i. 315. one of his best Pictures, ii. 214. his character, ii. 295. 374. Agostino and Antonio, anecdotes of, ii. 374. Ludovico; the excellence of his style, in what pieces ex- emplified, i. 323. 368. how he employed the ornamental style, i. his mode of colouring, ii. 337. Carelessness, discouraged, i. 342. Carlo Dolci, a tolerable Picture of his, ii. 215. |