Imitators, servile, names of, i. 170: liberal, i. 170, &c.' Inspiration, falsely attributed to the Science of Painting, 53; 147. Intellectual pleasure, necessary to happiness in a state of Invention, what, i. 28; 80: iii. 108; 256. how to be acquired, i. 156; 159. method, necessary to, ii. 100. the first part of painting, iii. 35; 256. Jordeans, his excellency in painting horses, ii. 316; 351 . his Merry-making, in the Dusseldorp gallery, praised, ii. 377. his character as a Painter, ji. 394. Jordano,-See Luca Giordano. Julio Romano, his peculiar merits, iii. 88; 173; 202. K KOEBERGER, his Entombing of Christ, praised, ii. 262. another picture of, ii. 326. Know thyself, a precept necessary to Painters, iii. 80. L LA FAGE, his genius, mechanick, ii. 89. defects of his manner, ii. 411. Landscape-Painting; practices of various Painters re- 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- cuted, ii. 168. Lanfranc, anecdotes of, iii. 212. Language of Painters, what, i. 94. Laocoon, statue of, why naked, i. 212, 213. 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. 62; 145, choice of, in colouring, iii. 69. and shade; conduct of the tints of, iii. 58; 146-- 149. to be adapted to the situation a picture is to be breadth of; its excellence, iii. 151. See Study of Painting. Literary Club, its institution, and the names of its deceased Luca Giordano; excellencies and defects of, ii. 88; 385. M MANNER PECULIAR, a defect in Painters, i. 165. Maratti Carlo, See C. Massaccio; excellencies and anecdotes of, ii. 93. Mechanical excellence, in what respects of importance, Mechlin, pictures at, ii. 270. Metastasio, anecdote of, ii. 84. Method, not always friendly to Study, ii. 76. Michael Angelo, his grand style in painting, i. 126. comparison between him and Raffaelle, 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. . study of his works recommended; and rules for pursuing this study, ii. 208. 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 Nature, in what respects certain Arts excell by devi- .. imperfections of; how to be remedied by the Painter, ... habits of; to be distinguished from those of fashion; never to be lost sight of, ii. 103. See Rules. —iii. 41; 47; 49; 179. Night, SeeColouring. 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, li, & n. 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. P PAINTERS, must be the most useful writers on their own Art, ii. 186. Painters, ancient; their diligence in the Art, i. 15. of manners in their time, i. 68. Painting, low state of that Art, in England, in 1750, i. xxii, xxiii. Painting, Art of; should be employed to reach the mind, is intrinsically imitative, i. 148.-See Imitation in what sense it is not an imitation of 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 V. Pellegrino Tibaldi, founder of the Bolognese School; his merits, ii. 199. |