Criticism, false, instances of; See Connoisseurs; Bacon:
Dupiles; Felibien; Fielding; Plato; Pliny.

. true; ground of, i. 113: iii. 166.

Cuyp, a good Picture of his at Mr. Hope's, Amsterdam,
ii. 359.

D

DANOOT, Mr. his Cabinet of Paintings at Brussels,

ii. 265.

Defects in great Painters, to be pardoned; not imitated,
or admired, i. 166.

Deity, personification of, iii. 179.-See Coypell.

ii. 223; by Rubens, ii. 305.

Dense bodies, how to be painted, as distinct from pellucid

as in air or water, iii. 61.

Design, in Painting; a matter of Judgment, in which
facility is apt to produce incorrectness, ii. 83.

assisted by sketches, ii. 85.-See Sketches and

Copies, ii. 86.-See Copying.

the Second part of Painting, iii. 38.

De Vos, Simon, an excellent portrait-painter, ii. 303.

Dexterity in Painting, what, ii. 48.

.. its value and effect, ii. 61; 309,

310: iii. 77; 164.

Diligence, requisite to perfection in painting, i. 13--16;
40; 46: ii. 80, 81; 215: iii. 81.

but under certain restrictions, i. 16: ii. 66.

false; instances of, ii. 66; 78: iii. 76.-See

Discobolus, Statue of, compared with the Apollo, ii. 21.

3

Discourses, Sir Joshua Reynolds's; reason and origin of,
ii. 184. See Sir Joshua Reynolds.

Disposition, or Economy of the whole, in painting,

iii. 155.

Domenichino, his Susanna, in the Dusseldorp gallery,

Dow Gerard, pictures by, ii. 362; 365.

his Mountebank, in the Dusseldorp gallery,

condemned, ii. 382.

Drapery, art of disposing in painting, i. 90: ii. 361; 392;
424: iii. 49; 52; 135.

in Sculpture; remarks on, ii. 26, &c.

Drawings, See Sketches.

Dress, unfriendly to true taste, in the Painter or Sculptor,
i. 211: ii. 35: : how to be remedied, iii. 154.

of Taste in, i. 230: its effect on painting, i. 232.
Dumb Persons, how far action is to be learnt from them,

iii. 41; 124.

Dupiles, instance of his false criticism, i. 255-

Durer, Albert; cause of his defects, i. 71: iii. 213.

Dusseldorp gallery, pictures in, ii. 375--405.

Dutch School, See Schools of Painting.

E

ECKHOUT, an imitator of Rembrandt, ii. 365.

Engravings, observations on their differing from the paint-
ings they copy, in light and shade, ii. 316; 320; 323.
Enthusiasm, danger of, i. 35; 55: good effect of, ii. 157
Euripides, a saying of his, i. 142.

Examples, See Copying; Imitation.

Excellencies inferior, when necessary, i. 106,

7.

Excellencies superior, the greater object of attention,
i. 116; 141; 156: in what they consist, i. 120:

iii. 75.

various, union of, how far practicable, i.
112--122: iii. 167.

contrary, absurd to suppose them to exist

together, i. 118.

choice of, how to be made, i. 121; 156.

subordination of, i. 122.

Exhibition of Paintings; merit of the Royal Academy in
contriving and promoting, ii. 182.

Exhibitions of the Royal Academy, the average produce
of, from 1769 to 1780, i. xxxix, &n.

Expression, in Historical Paintings, how to be regulated,
i. 87.

. in Sculpture, in what it consists, and why in
general indistinct, ii. 20, &c.

F

FACILITY, in drawing, how to be acquired, i. 41: iii. 78.
-See Dexterity.

Falconet, his Criticism on the Agamemnon of Timanthes,
ii. 286.

Fame, love of, in Painters, how to be regulated, i. 141.
Feet, rules as to drawing, iii. 45.

Felibien, a false criticism of his, i. 269.

Feti, Domenico, a slight resemblance between his paint-
ings and Correggio's, ii. 387.

Field of a picture, what, and how to be coloured, iii. 71.)

-See Back-ground.

Fielding, his Compliment to Garrick, censured, ii. 131.
Figure, single, how to be painted, iii. 49; 133.

Figures, what number of, necessary in historical pieces,
i. 96: iii. 44: 129; 259.

disposition of, iii. 42.—See Principal Figure.

Finishing, in Painting, how far to be studied or neglected,
ii. 54, &c.; 66, &c.

First thoughts, never to be forgotten, ii. 115.

Floris, his Fall of the Angels, at St. Michael's Chapel,
Antwerp, ii. 271: his Nativity, praised, ii. 289.
Flowers, utility of painting, and the best painters of, i. 107:
ii. 173.-See Colouring.

Formality, to be avoided in painting, iii. 46.

Forman, Helena, (or Eleanor) portrait of, by Rubens, ii.

336; 345-

Frank, Francis, his Christ among the Doctors, ii. 286.
Fresco, principal works of modern art are painted in.

i. 123.

Fresnoy, Charles Alphonse Du, life of, iii. 15, &c.
Pictures by, iii. 20, 21.

G

GAINSBOROUGH, reasons for praising, ii. 149.

eulogy on, and anecdotes of, ii. 152, &c.
the peculiarity of his manner examined,

cause of the striking resemblance of his

portraits, ii. 174.

Gart, Mr. his Cabinet at Amsterdam, ii. 363--367.

Genius, not to be relied on, to the exclusion of diligence,

i. 44.

the child of Imitation in Painting, i. 151.

what it is generally considered to be, i. 152.

what it is; exemplified by the progress of art,
i. 153; 192.-See Taste.

by judicious imitation, compared to Co-

rinthian brass, i. 173.

a just notion of, how necessary, i. 186.

of a Painter, what, and how to be considered,

any subject, as a whole in its general effect, ii. 43,
&c.; 61, &c.; 416--419: iii. 97.

mechanick, instances of, ii. 89.-See Dexterity.

Georgione, a rival of Titian, iii. 204.

Ghent, pictures at, ii. 253--259.

Ghirlandaio, Domenico, Michael Angelo's Master, iii.

199-

Giordano, See Luca Giordano.

Guilio, See Julio.

Gothick ornaments, See Ornaments.

Grace and Majesty in Painting, iii. 52; 136.-See Cor-

rectness.

Grapes, a bunch of, Titian's rule of light and shade, iii.
64; 158, 9, 160.

Groups, of introducing more than one in a picture, i. 83:
iii. 58.

rules for disposing, iii. 43, 4·

Guido, in what respects he failed, and why, i. 118: ii.

395.