Amsterdam, Pictures at, ii. 197. 205. The Stadthouse, 197. -

Wharf-Office, 198. — Surgeons'-Hall, 198. — Mr. Hope's Ca-

binet, 199. — Mr. Gart's, 202.
Anachronisms in Church-pictures, how far excusable, ii. 176.
Analogy of the several Arts, utility to be derived from, ii. 60.
Angelo, Michael.

See M.
Antique, the model to be copied, ji. 268.
Antwerp, Pictures at, ji. 156–188.
Apelles. —Sir Joshua's estimate of the character of Apelles as a
Painter, i. 92.

Remarks connected with this subject, and with Grecian
Sculpture, i. 93–96.
Apollo, Statue of, criticism on, ii. 9, 10.

Drapery of, remarks on, ii. 15.
Apostles, Statues of, in St. John Lateran's Church, defects of,

ii. 16.
Architecture, hints as to the principles of, ii. 74. 8. seq.
Artists. - British Artists of eminence who flourished before the
time of Sir Joshua, i. 25, 26.

of eminence contemporary with Sir Joshua, i. 1694
Artist, the qualifications of, ii. 290. 292. See Study, Imitation,

Art.- Art in England, at early periods, exclusively in the hands
of foreigners, i. 1, 2.

Character of early British Art, i. 8, 9.

Italian Art in the age of Leo the Tenth - its probable
influence on that of Great Britain effectually prevented by the
change in the national religion of this country, i. 12.

Advantages which might have been expected from the in-
troduction of Venetian Art into England - how they were ap-
preciated by Sir Joshua, i. 13.

Works of Art collected by Henry the Eighth in the palace
of Whitehall, i. 16, 17.

Number of Works of Art in that collection at the period
alluded to the collection materially increased by Charles the
First, i. 19.

Stimulus given to British Art by the arrival of Rubens
and Vandyke in England, i. 20, 21.

Destruction and sale of Works of Art in the royal collec-
tion by the Puritans, i. 22, 23.

Revival of Art under Charles the Second and his succes-

- its character and progress from that period till the time
of Sir Joshua, i. 24, 25.

Effect produced on British Art by the works of Sir Joshua
Reynolds--probable causes of the change which they effected
reasons adduced why the Art of Painting had not made greater
progress under those who preceded Sir Joshua, i. 27, 28,

sors -

Art.-A relish for the higher excellencies of Art supposed by

Reynolds to be an acquired taste - this opinion condemned and
defended, i. 67—73.

The grand style of Art, recommended by Sir Joshua, sup-
posed to be inapplicable to Portrait Painting and to other po-
pular branches of the profession in England - grounds for

doubting the correctness of this supposition, i. 79,–81.
Arts, Society of Painters selected for ornamenting the great

room of the Society in the Adelphi - Sir Joshua one of the
members — he declines contributing, and Barry alone is em-
ployed on the work, i. 228, 229.

One cannot be engrafted on another, ii. 186.

What is the object and intention of them all, i. 379, 380.
Astley, Sir Joshua's acquaintance with, at Rome — whimsical

anecdote of Astley, i. 111, 112.


- its pro-

Back-ground, in Pictures, rules as to, ii. 282. 335. 336.
Bacon, an observation of his on Painting disputed, 335.
Bad Pictures, in what respect useful, i. 453. ; ii. 210. 342.
Baroccio, his defeat in colouring, ii. 351.
Barry.—Letter from Sir Joshua to Barry while a student at
Rome, i. 175—177

Part of another letter on the subject of Art, supposed to
be the joint production of Edmund Burke and Sir Joshua -
grounds for believing that Sir Joshua contributed to it, i. 212

Hostile feeling of Barry towards Sir Joshua
bable causes, i. 229.

His letter to the Marchioness of Thomond on receiving
her ladyship's present of Reynolds's chain, i. 292.
Bassano, his excellencies, i. 423. See ii. 372.
Basso Relievo, improvement of the Moderns in, ii. 17.
Beattie, Doctor, admitted, with Sir Joshua, to the honorary de-

gree of Doctor of Civil Law of the University of Oxford Sir
Joshua's allegorical portrait of him — indignation of Goldsmith

on seeing it, i. 222, 223.
Beauty, ideal, what; and the notion of it how to be pursued and
acquired, i. 333. ; ii. 257. 304. 351. 382.

the foundation of, i. 333, 334. ; ii. 132, 133.
its varieties, i. 335.

of form alone, one great excellence in Sculpture,
ii. 8. 311. See Nature.
Bellino, Titian's first Master, Anecdotes of, ii. 370.
Bellori, his fanciful idea of a Painter, ii. 381. &c.

Bernini, a fault of his Statue of David in point of expression, i.

his general faults, ii. 14.
Bishop's Ancient Statues, an error in, corrected, ii. 109.
Black, its effect in Painting, ii. 278.
Bologna, peculiarly worthy the attention of travelling Painters,
i. 323. See Schvols of Painting.

John de. See Rape of the Sabines.
Boucher, Anecdote of, ii. 58.
Bourdon, Sebast, his Return to the Ark praised, ii. 91.
Boydell, Alderman, attention paid to him at the Royal Aca-

demy dinner remarks of Mr. Farrington on his liberal and
judicious encouragement of British engravings — Reynolds's
contributions to the Boydell Gallery, i. 183, 184.
British Institution. — Exhibition of Sir Joshua's Works at that

gallery — number of Pictures exhibited -- the exhibition pre-
ceded by a grand commemoration dinner, which was honoured
with the presence of his Royal Highness the Prince Regent -
arrangements on the occasion — powerful impression excited by
this splendid display of Art - accounts of the exhibition by the

Morning Post and Observer, i. 277–281.
Brueghel (Old), his merits and defects, ii. 226.
Bruges, Pictures at, ii. 140—142.
Brussels, Pictures at, ii. 146-152.
Burke, Edmund.—Sir Joshua's high opinion of him, i. 185,

Anonymous letter to Barry, supposed to be by Burke
and Sir Joshua, i. 212—218.

Appointed one of Sir Joshua's executors makes ar-
rangements for the funeral of Reynolds, i. 265.

Excess of feeling which he displayed on addressing the
company assembled, i. 268.

his eulogium of Sir Joshua, i. 269–271.


Candle-light. See Colouring.
Caracci, Annibal, his exactness in copying from Models, i. 313.

one of his best Pictures, ii. 214.

his character, ii. 295. 374.
Agostino and Antonio, anecdotes of, ii. 374.

Ludovico; the excellence of his style, in what pieces ex-
emplified, i. 323.

how he employed the ornamental style, i.

his mode of colouring, ii. 337.

Anecdotes of, ii. 374.
Carelessness, discouraged, i. 342.
Carlo Dolci, a tolerable Picture of his, ii. 215.

Carlo Maratti, his opinion as to Drapery, i. 351.

his style of Painting, artificial, i. 403.
his want of capacity, i. 396.

his defect in colouring, i. 454.
Character, locality of, fault of introducing, i. 358.

perfect, unfriendly to Painting and Poetry, ii. 152.
Chorus in a Tragedy, Dryden's observations on, ii. 408.
Chromatic part of Painting. See Colouring.
Churches, arguments in favour of ornamenting them with Paint-

ings and Sculpture, ii. 188. &c.
Cignani, Carlo, his Ascension of the Virgin, condemned, ii. 213.
Cologne, Pictures at, ii. 224–226.
Colours, how arranged on Sir Joshua's Palette - - remarks on

Colours and Colouring by Sir Joshua, extracted from his own

memoranda, i. 89, 90.
Colouring, Art of, not to be attained solely by copying, i. 319, 320.

The various methods of Colouring adopted by Sir Jo-
shua, 87, 88. 211, 212.

the third part of Painting, ij. 274.

Rules with respect to, i. 349. ; ii. 274. &c.— As to the
reflection of Colours, ii. 278. Their union, 278.--Breaking,
278. — The interposition of air, 280. The relation of dis.
tances, 280. — Of bodies distanced, 280. —

- Contiguous and
separated, 280. - Opposite colours not to be joined, 280.
Diversity of Tints and Colours, 280. — Practical Rules, 282.
Vivacity of Colours, 282.

See Light.
Cautions as to excellence in, i. 357. ; ii. 351. See Style,
Splendour of ; Rubens.

essentially requisite in flower-painting, i. 360.
Advantage of candle-light to, ii. 84, 85.
of old Pictures, how to be considered, i. 320.

of the Venetian School, faults of, i. 354.-Excellencies
of, ii. 349, 350.

of Le Brun and Carlo Maratti, defects of, i. 454.
of a single figure, ii. 324.
number of Colours to be used, ii. 329.

harmony of; the various modes of producing, in the
Roman, Bolognian, and Venetian style, ii. 337. 340.

of modern Painters, defects of, ii. 341.

compared to expression in Poetry, ii. 412.
Composition, what, ü. 307. See Invention, Genius, Whole.
Connoisseurs, Mock, ridicule on, ii. 124. 343.
Contrast, to be managed skilfully, i. 449. ; ii. 265–267.
Copying, Sir Joshua's idea of, i. 73.

the use and abuse of, i. 318, 320.

practice of, how to be regulated and made the means
of instruction, i. 321–324. ; ii. 79. 115. See Raffaelle; Imitation.

liberty of, allowed in the Dusseldorp Gallery, ii. 208.

Correctness, the essential beauty of Sculpture, ii. 336.

of design, the natural foundation of Grace, ii. 9.
Correggio, contrasted with Rubens, ii. 235.

his character, ii. 294. 351. 372.
Coxis, his Christ mocked by the Jews, praised, ii. 149.
Coypell, his Picture of The Deity, censured, i. 445.
Crayer, Gasp. de, a large Picture of his in the Dusseldorp Gallery,

condemned, ii. 210.
Criticism, false, instances of. See Connoisseurs ; Bacon ; Dupiles ;
Felibien; Fielding ; Plato ; Pliny.

true, ground of, ii. 61. 344.
Cuyp, a good Picture of his at Mr. Hope's, Amsterdam, ii. 199.


Danoot, Mr., his Cabinet of Paintings at Brussels, ii. 149.
Defects in great Painters, to be pardoned, not imitated or ad-

mired, i. 393.
Deity, personification of, ii. 352.

See Coypell.

by Michael Angelo, praised, ii. 124.—by
Rubens, ii. 171.
Dense bodies, how to be painted, as distinct from pellucid; as in

air or water, ii. 276.
Design, in Painting, a matter of judgment, in which facility is
apt to produce incorrectness, ii. 45.

assisted by sketches, ii. 46. See Sketches and Copies, ii. 46.
See Copying.

the second part of Painting, ii. 262.
De Vos, Simon, an excellent Portrait-painter, ii. 170.
Dexterity in Painting, what, ii. 25.

its value and effect, ii. 32. 173, 174. 286.
Diligence, requisite to perfection in Painting, i. 309–311. 324.

ii. 43, 44. 117. 289.

but under certain restrictions, i. 311.; ii. 35.

false, instances of, ii. 35. 42. 286. See Genius.'
Discobolus, Statue of, compared with the Apollo, ii. 11.
Discourses. First discourse of Sir Joshua delivered on the open-
ing of the Royal Academy, i. 185.

Delivery of the last discourse, in which Sir Joshua
took his leave of the Academy, i. 256.

Remarks on the admiration of Michael Angelo, ex-
pressed by Sir Joshua throughout his discourses, i. 259.

Sir Joshua Reynolds's, reason and origin of, ii. 100,
See Sir Joshua Reynolds.
Disposition, or economy of the whole, in Painting, ii. 337.


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