Amsterdam, Pictures at, ii. 197. 205. Wharf-Office, 198. - - Surgeons'-Hall, 198. — Mr. Hope's Ca- - Anachronisms in Church-pictures, how far excusable, ii. 176. Antique, the model to be copied, ii. 268. Antwerp, Pictures at, ii. 156-188. Apelles-Sir Joshua's estimate of the character of Apelles as a Remarks connected with this subject, and with Grecian 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, Architecture, hints as to the principles of, ii. 74. & seq. Artists.-British Artists of eminence who flourished before the 173. of eminence contemporary with Sir Joshua, i. 169— Artist, the qualifications of, ii. 290. 292. See Study, Imitation, &c. Art.-Art in England, at early periods, exclusively in the hands Character of early British Art, i. 8, 9. Italian Art in the age of Leo the Tenth-its probable Advantages which might have been expected from the in- ww Works of Art collected by Henry the Eighth in the palace Number of Works of Art in that collection at the period Stimulus given to British Art by the arrival of Rubens Destruction and sale of Works of Art in the royal collec- Revival of Art under Charles the Second and his succes- Effect produced on British Art by the works of Sir Joshua Art.-A relish for the higher excellencies of Art supposed by defended, i. 67-73. - The grand style of Art, recommended by Sir Joshua, sup- members - - One cannot be engrafted on another, ii. 186. What is the object and intention of them all, i. 379, 380. B Back-ground, in Pictures, rules as to, ii. 282. 335. 336. Barry.-Letter from Sir Joshua to Barry while a student at Part of another letter on the subject of Art, supposed to Hostile feeling of Barry towards Sir Joshua- its pro- His letter to the Marchioness of Thomond on receiving Basso Relievo, improvement of the Moderns in, ii. 17. Beattie, Doctor, admitted, with Sir Joshua, to the honorary de- - Beauty, ideal, what; and the notion of it how to be pursued and 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. Bernini, a fault of his Statue of David in point of expression, i. 349. his general faults, ii. 14. Bishop's Ancient Statues, an error in, corrected, ii. 109. Bologna, peculiarly worthy the attention of travelling Painters, 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- - - British Institution. - Exhibition of Sir Joshua's Works at that - 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. and Sir Joshua, i. 212-218. - Appointed one of Sir Joshua's executors makes ar- Excess of feeling which he displayed on addressing the his eulogium of Sir Joshua, i. 269–271. 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. 368. how he employed the ornamental style, i. his mode of colouring, ii. 337. 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 defect in colouring, i. 454. Character, locality of, fault of introducing, i. 358. perfect, unfriendly to Painting and Poetry, ii. 152. Churches, arguments in favour of ornamenting them with Paint- Cignani, Carlo, his Ascension of the Virgin, condemned, ii. 213. Colours, how arranged on Sir Joshua's Palette - remarks on Colouring, Art of, not to be attained solely by copying, i. 319, 320. shua, 87, 88. 211, 212. the third part of Painting, ii. 274. - - Rules with respect to, i. 349. ; ii. 274. &c.-As to the tances, 280. Cautions as to excellence in, i. 357. ; ii. 351. See Style, Splendour of; Rubens. essentially requisite in flower-painting, i. 360. 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. 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. compared to expression in Poetry, ii. 412. Contrast, to be managed skilfully, i. 449.; ii. 265-267. the use and abuse of, i. 318, - 320. practice of, how to be regulated and made the means Correctness, the essential beauty of Sculpture, ii. 336. 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, Criticism, false, instances of. See Connoisseurs; Bacon; Dupiles; true, ground of, ii. 61. 344. Cuyp, a good Picture of his at Mr. Hope's, Amsterdam, ii. 199. D Danoot, Mr., his Cabinet of Paintings at Brussels, ii. 149. Deity, personification of, ii. 352. See Coypell. Rubens, ii. 171. by Michael Angelo, praised, ii. 124.-by Dense bodies, how to be painted, as distinct from pellucid; as in Design, in Painting, a matter of judgment, in which facility is 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. 342. its value and effect, ii. 32. 173, 174. 286. Diligence, requisite to perfection in Painting, i. 309–311. 324. but under certain restrictions, i. 311.; ii. 35. First discourse of Sir Joshua delivered on the open- Delivery of the last discourse, in which Sir Joshua Remarks on the admiration of Michael Angelo, ex- Sir Joshua Reynolds's, reason and origin of, ii. 100, |