Landscapes, Gainsborough's models of, ii. 154.

......

mythological figures in, improper, ii. 164.
instances of the poetical style in, well

executed, ii. 168.

Lanfranc, anecdotes of, iii. 212.

Language of Painters, what, i. 94.

Laocoon, statue of, why naked, i. 212, 213.

remarks on, ii. 22.

Le Brun, defect of his colouring, i. 273; good portraits
by, ii. 410.

Light, masses of; the properest colours for, i. 273, 4, 5.
iii. 151.

............ in a picture, where to be thrown, ii. 389.

not more than one principal one in a picture, iii.
61. 145.

...... choice of, in colouring, iii. 69.

and shade; conduct of the tints of, iii. 57. 146
-149.

to be adapted to the situation a picture is to be
placed in, iii. 72, 4.

breadth of; its excellence, iii. 151.
Love of Art, the first requisite to excellence, ii. 157.
-See Study of Painting.

Literary Club, its institution, and the names of its
deceased and present Members, i. lxxxiii-v. & n.
Luca Giordano; excellencies and defects of, ii. 88. 385.
his and his father's portraits, ii. 388.

M

MANNER PECULIAR, a defect in Painters, i. 165.
Maratti, Carlo. See C.

1

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. 87. 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.

Mirror, its use to painters, iii. 71.

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 Taste;
Beauty.

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

.................... imperfections of; how to be remedied by the
Painter, i. 58. iii. 46. 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. Şee Rules.
iii. 41. 46. 48. 179.

OPERA, Italian; defended, ii. 124.

Orange, Prince of; his Picture Gallery at the Hague,
ii. 343. 350.

Orford, Lord, his encomium on Sir J. Reynolds, i. 1, lí,

& n.

Orion, Mr., his Cabinet of Paintings at Brussels, ii. 268.
Ornaments; form the peculiar characteristicks of taste
and style, in all arts, i. 226.

.... requisite in Painting, in a moderate de-
gree, i. 263. iii. 51. 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.-flow-
ing, iii. 39. See iii. 117.

P

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.

........

their peculiar excellencies, ii. 402.

their probable excellencies and de-

fects, iii. 140-144.

Chronological List of, iii. 291.

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

Art of; should be employed to reach the mind,
i. 70. and hence derives its value, i. 80. ii. 6.
iii. 177.—what intellectual qualities of the mind
affected by, i. 247.

its various departments, and their

merits, i. 72, &c.

...... 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.

the third, iii. 55. See Poetry.

Colouring,

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 V.

Pellegrino Tibaldi, founder of the Bolognese School; his

Perrault, the Architect, defended, ii. 142.

Perspective; how to be regulated in painting, iii. 40.

119, 120.

....... in Sculpture. See Sculpture.

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, ii. 347, & n.

ΙΟ