Изображения страниц
PDF
EPUB

GENERAL INDEX.

ACADEMY..

-

A

Academies in England prior to the establishment

of the Royal Academy, i. 147, 148.

of the Incorporated Society of Artists -
-causes of its
failure instrumental in contributing to the formation of the
Royal Academy, i. 152, 158.

193.

Establishment of the Royal Academy, i. 187-

Public dinner at the Royal Academy often peculiarly
interesting, i. 181,

i. 233.

-

-

183.

Removal of the Royal Academy to Somerset House,

-

Misunderstanding of Sir Joshua with some of the
members of the Royal Academy - his resignation of the Pre-
sidency statements of this affair by Malone, Farrington, and
Northcote facts connected with the subject - actual grounds
of Sir Joshua's resignation letter from Sir Wm. Chambers
to Sir Joshua-thanks of the Royal Academy unanimously vo-
ted to Sir Joshua - final resolutions of the Council-deputation
of the members of the Academy to Sir Joshua -he resumes
the President's chair. complimentary effusions of the press on

-

the occasion, i. 249–256.

the advantages of, i. 307, 308.

Academy Royal, observations on its foundation, i. 305, 306.
peculiar advantages of, i. 308.

Accident, how far favourable to Painters, ii. 56. 290. -to Artists,
ii. 56.

Action, the principal requisite in a subject for History-Painting,
ii. 305. 317.

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-
demned, ii. 144.

197.

not adapted to Christian Churches, ii. 171.

-

Amsterdam, Pictures at, ii. 197. 205. The Stadthouse, 197.-
Wharf-Office, 198.
- Mr. Hope's Ca-

[blocks in formation]

-

Surgeons'-Hall, 198.

- Mr. Gart's, 202.

-

Anachronisms in Church-pictures, how far excusable, ii. 176.
Analogy of the several Arts, utility to be derived from, ii. 60.
Angelo, Michael. See M.

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
Painter, i. 92.

Remarks connected with this subject, and with Grecian
Sculpture, i. 93-96.

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,
ii. 16.

Architecture, hints as to the principles of, ii. 74. & seq.

Artists.-British Artists of eminence who flourished before the
time of Sir Joshua, i. 25, 26.

173.

of eminence contemporary with Sir Joshua, i. 169–

Artist, the qualifications of, ii. 290. 292. See Study, Imitation,
&c.

Art.-Art in England, at early periods, exclusively in the hands
of foreigners, i. 1, 2.

Character of early British Art, i. 8, 9.

Italian Art in the age of Leo the Tenth- its probable
influence on that of Great Britain effectually prevented by the
change in the national religion of this country, i. 12.

Advantages which might have been expected from the in-
troduction of Venetian Art into England - how they were ap-
preciated by Sir Joshua, i. 13.

Works of Art collected by Henry the Eighth in the palace
of Whitehall, i. 16, 17.

Number of Works of Art in that collection at the period
alluded to- the collection materially increased by Charles the
First, i. 19.

Stimulus given to British Art by the arrival of Rubens
and Vandyke in England, i. 20, 21.

Destruction and sale of Works of Art in the royal collee-
tion by the Puritans, i. 22, 23.

Revival of Art under Charles the Second and his succes-
sors — its character and progress from that period till the time
of Sir Joshua, i. 24, 25.

Effect produced on British Art by the works of Sir Joshua
Reynolds-probable causes of the change which they effected –
reasons adduced why the Art of Painting had not made greater
progress under those who preceded Sir Joshua, i. 27, 28,

Art.-A relish for the higher excellencies of Art supposed by
Reynolds to be an acquired taste this opinion condemned and
defended, i. 67-73.

[ocr errors]

The grand style of Art, recommended by Sir Joshua, sup-
posed to be inapplicable to Portrait Painting and to other po-
pular branches of the profession in England - grounds for
doubting the correctness of this supposition, i. 79,-81.
Arts Society of. - Painters selected for ornamenting the great
room of the Society in the Adelphi Sir Joshua one of the
members -
he declines contributing, and Barry alone is em-
ployed on the work, i. 228, 229.

One cannot be engrafted on another, ii. 186.

What is the object and intention of them all, i. 379, 380.
Astley, Sir Joshua's acquaintance with, at Rome whimsical
anecdote of Astley, i. 111, 112.

-

B

Back-ground, in Pictures, rules as to, ii. 282. 335. 336.
Bacon, an observation of his on Painting disputed, i. 335.
Bad Pictures, in what respect useful, i. 453.; ii. 210. 342.
Baroccio, his defeat in colouring, ii. 351.

Barry.-Letter from Sir Joshua to Barry while a student at
Rome, i. 175-177

[ocr errors]

Part of another letter on the subject of Art, supposed to
be the joint production of Edmund Burke and Sir Joshua-
grounds for believing that Sir Joshua contributed to it, i. 212
-219.

Hostile feeling of Barry towards Sir Joshua-its pro-
bable causes, i. 229.

His letter to the Marchioness of Thomond on receiving
her ladyship's present of Reynolds's chain, i. 292.
Bassano, his excellencies, i. 423. See ii. 372.

Basso Relievo, improvement of the Moderns in, ii. 17.
Beattie, Doctor, admitted, with Sir Joshua, to the honorary de
gree of Doctor of Civil Law of the University of Oxford - Sir
Joshua's allegorical portrait of him — indignation of Goldsmith
on seeing it, i. 222, 223.

-

-

Beauty, ideal, what; and the notion of it how to be pursued and
acquired, i. 333. ; ii. 257. 304. 351. 382.

the foundation of, i. 333, 334.; ii. 132, 133.
its varieties, i. 335.

of form alone, one great excellence in Sculpture,

ii. 8. 311. See Nature.

Bellino, Titian's first Master, Anecdotes of, ii. 370.
Bellori, his fanciful idea of a Painter, ii. 381. &c.

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.
Black, its effect in Painting, ii. 278.

Bologna, peculiarly worthy the attention of travelling Painters,
i. 323. See Schools of Painting.

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-
demy dinner
remarks of Mr. Farrington on his liberal and
judicious encouragement of British engravings — Reynolds's
contributions to the Boydell Gallery, i. 183, 184.

--

British Institution. Exhibition of Sir Joshua's Works at that
gallery number of Pictures exhibited the exhibition pre-
ceded by a grand commemoration dinner, which was honoured
with the presence of his Royal Highness the Prince Regent -
arrangements on the occasion-powerful impression excited by
this splendid display of Art. accounts of the exhibition by the
Morning Post and Observer, i. 277-281.

[ocr errors]

Brueghel (Old), his merits and defects, ii. 226.
Bruges, Pictures at, ii. 140-142.

Brussels, Pictures at, ii. 146-152.

Burke, Edmund.—Sir Joshua's high opinion of him, i. 185.
Anonymous letter to Barry, supposed to be by Burke

and Sir Joshua, i. 212-218.

Appointed one of Sir Joshua's executors
rangements for the funeral of Reynolds, i. 265.

[blocks in formation]

Excess of feeling which he displayed on addressing the
company assembled, i. 268.

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.
Anecdotes of, ii. 374.

Carelessness, discouraged, i. 342.

Carlo Dolci, a tolerable Picture of his, ii. 215.

« ПредыдущаяПродолжить »