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Guido, anecdotes of, iii. 131; 211; 227.
his neatness and delicacy of colouring, iii. 158.
HAGUE, pictures at, ii. 343--353
at the House in the wood, all bad, li.
at Greffier Fagel's, ii. 351.
. at M. Van Hecherens, ii. 352.
Hemissen, J: de, many of his pictures attributed to
Lionardo de Vinci, ii. 145.
locality of character, how far a defect
distinction between that and Portrait
various styles of; the grand and the
how far they can be united,
causes of its decline in England, ii.
requisites to be observed in, iii. 107--
See Figures ; Subjects, choice of.
Painting, i. 86.
Hogarth, his failure in Historical Painting, and the reason,
Holbein, his excellence in portraits, ii. 346; 347 : iii.
358--363.-See ii. 374.
IDLER, No. 76: ii. 221.-No. 79: ii. 229.-No. 82:
Imagination, how far to be preferred to, or regulated by,
reason, ii. 116. -See Genius; Imitation.
the pleasure produced by, how to be accounted
in painting; the subject of improper censure,
absolutely nécessary to à Painter, i. 150;
avoiding, often the effect of presumption,
. excellence the proper object of; i: 151.
within what bounds, and how, to be practised,
not to be confined to the works of one Master,
in what case to be considered as plagiarism,
.. of finished Artists, in inferior branches of
Imitators, servile, names of, i. 170: liberal, i, 170, &c.
i. 53; 147:
society, ii. 5.-See Painting.
how to be acquired, i. 156; 159.
the first part of painting, iii. 35; 256.
his Merry-making, in the Dusseldorp gallery,
his character as a Painter, ii. 394.
anecdotes of, iii. 202.
KOEBERGER, his Entombing of Christ, praised, ii. 262.
. his Altar of the Archers at the Cathedral of
another picture of, ii. 326.
La Fage, his genius, mechanick, ii. 89.
defects of his manner, ii. 411.
lating to, i. 105.
Landscapes, Gainsborough's models of, ii. 154,
mythological figures in, improper, ii. 164,
instances of the poetical style in, well exe,
remarks on, ii. 22.
by, ii. 410.
Light, masses of; the properest colours for, i. 273, 4, 5:
in a picture, where to be thrown, ii. 389.
choice of, in colouring, iii. 69.
and shade; conduct of the tiņts of, iii. 58; 146--
to be adapted to the situation, a picture is to be
breadth of ; its excellence, iii. 151,
See Study of Painting.
and present Members, i, lxxxiii--v, & n,
his and his father's portraits, ii. 388.
MANNER PECULIAR, a defect in Painters, i. 165.
Massáccio; excellencies and anecdotes of, ii. 93.
i. 104: ii. 193; 370, &c. See Dexterity.
comparison between him and Raffaelle,
... cause of his superior excellence, i. 1996;
effects, on various Schools of Painting,
his caprices; defence of, ii. 205.
study of his works-recommended ; and
Fresnoy's character of him, iii. 201.
rules as to adjusting, i: 102.
į. xlvi--xlviii, & n.
copied, i. 52, 54; 204: ii. 307 : iii. 33, See Taste;