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

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various, union of, how far practicable, i.

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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.

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Expression, in Historical Paintings, how to be regulated,

i. 87.

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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.

2

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.

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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 Alphonese Du, life of, iii. 15, &c. }
Pictures by, iii. 20, 21.

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GAINSBOROUGH, reasons for praising, ii. 149.

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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.

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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.

assisted by Knowledge, i. 160.

by judicious imitation, compared to Co-

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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,
&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.

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.

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at M. Van Hecherens, ii. 352.
Halls Frank, peculiar excellence of his portraits, i. 178.
Hamilton, Capt. SirJ.Reynolds's early portraits of, i. x, & n.
Hands, rules as to drawing, to correspond with the head,

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.ii. 145.
Hemissen, J. de, many of his pictures attributed to
Lionardo de Vinci, ii. 145.

Historical Painting;

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locality of character, how far a defect
in, i. 103: ii. 300; 361: iii. 110.-See Hogarth.
distinction between that and Portrait
painting, i. 106; 139: ii. 249; 332; 364: iii.
134.

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Hogarth, his failure in Historical Painting, and the reason,
ii. 163.

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.
358--363-See ii. 374.

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.

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Imitation, the means and not the end of Art, ii. 15.

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the pleasure produced by, how to be accounted
for, ii. 46, &c.; 119: iii. 108; 254.

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in painting; the subject of improper censure,
i. 148.

absolutely necessary to a Painter, i. 150:
158 and continually. i. 182.-See Painting.

avoiding, often the effect of presumption,
i. 184: iii. 79.

excellence the proper object of, i. 151.
within what bounds, and how, to be practised,

i. 161, &c.-See Raffaelle.

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not to be confined to the works of one Master,
i. 167: ii. 147.

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in what case to be considered as plagiarism,

of finished Artists, in inferior branches of

Painting, useful, i. 177.

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