Excellencies superior, the greater object of attention, various, union of, how far practicable, i. choice of, how to be made, i. 121; 156. subordination of, i. 122. Exhibition of Paintings; merit of the Royal Academy in Exhibitions of the Royal Academy, the average produce 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. Falconet, his Criticism on the Agamemnon of Timanthes, Fame, love of, in Painters, how to be regulated, i. 141. Felibien, a false criticism of his, i, 269. Feti, Domenico, a slight resemblance between his paint- 2 Field of a picture, what, and how to be coloured, iii. 71, -See Back-ground. Fielding, his Compliment to Garrick, censured, ii. 131. Figures, what number of, necessary in historical pieces, disposition of, iii. 42.-See Principal Figure. First thoughts, never to be forgotten, ii. 115. Floris, his Fall of the Angels, at St. Michael's Chapel, 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. Fresnoy, Charles Alphonese Du, life of, iii. 15, &c. } G GAINSBOROUGH, reasons for praising, ii. 149. eulogy on, and anecdotes of, ii. 152, &c. 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. assisted by Knowledge, i. 160. by judicious imitation, compared to Co- a just notion of, how necessary, i. 186. ii. 42. of a Painter, what, and how to be considered, to be directed to the expression of any subject, as a whole in its general effect, ii. 43, 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. Groups, of introducing more than one in a picture, i. 83: rules for disposing, iii. 43, 4. Guido, in what respects he failed, and why, i. 118: ii. 395. Guido, anecdotes of, iii. 131; 211; 227. his neatness and delicacy of colouring, iii. 158. H HAGUE, pictures at, ii. 343--353-. 35I. .. at the House in the wood, all bad, ii, , at Greffier Fagel's, ii. 351. at M. Van Hecherens, ii. 352. ફેંગ .ii. 145. Historical Painting; locality of character, how far a defect Hogarth, his failure in Historical Painting, and the reason, Holbein, his excellence in portraits, ii. 346; 347: iii. 213. Honthorst, Ger; his St. Sebastian, ii. 254. Hope, Mr. his Cabinet of Paintings at Amsterdam, ii. Hudson, Mr. Sir J. Reynolds's Master, i. viii. & n. 1 IDLER, No. 76: ii. 221.-No 79: ii. 229.-No. 82: ii. 235. Imagination, how far to be preferred to, or regulated by, reason, ii. 116. See Genius: Imitation. -- Imitation, the means and not the end of Art, ii. 15. the pleasure produced by, how to be accounted in painting; the subject of improper censure, absolutely necessary to a Painter, i. 150: avoiding, often the effect of presumption, excellence the proper object of, i. 151. i. 161, &c.-See Raffaelle. 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 Painting, useful, i. 177. |