Domenichino, his Susanna, in the Dusseldorp Gallery, ii. 213.
Anecdotes of, ii. 375.

Dow, Gerard, Pictures by, ii. 201. 203.

his Mountebank, in the Dusseldorp Gallery, con-

demned, ii. 212.
Drapery, art of disposing in Painting, i. 350.; ii. 201. 217. 234.
269. 271. 324.

in Sculpture, remarks on, ii. 14. &c.

Drapery Painters.-Sir Joshua employs several Artists of this de-
scription, i. 124, 125.

Drawings. See Sketches.

Dress, unfriendly to true taste, in the Painter or Sculptor, i. 419. ;
ii. 19. How to be remedied, ii. 336.

-

of Taste in, i. 430. — Its effect on Painting, i. 431.
Dumb Persons, how far action is to be learned from them, ii. 264.
317.

Dupiles, instance of his false criticism, i. 444.

Durer, Albert, cause of his defects, i. 341.; ii. 375.

Dusseldorp Gallery, Pictures in, ii. 208—224.

Dutch School.

See Schools of Painting.

E

Eckhout, an imitator of Rembrandt, ii. 203.

Engravings, observations on their differing from the Paintings they
copy, in light and shade, ii. 177-180.

Enthusiasm, danger of, i. 321. 331.-Good effect of, ii. 85.
Euripides, a saying of his, i. 379.

Examples. See Copying; Imitation.

Excellencies inferior, when necessary, i. 360, 361.

superior, the great object of attention, i. 365. 379.

387. In what they consist, i. 367. ; ii. 285.

ii. 344.

i. 366.

various, union of, how far practicable, i. 363—368.;

contrary, absurd to suppose them to exist together,

choice of, how to be made, i. 367. 387.

subordination of, i. 368.

Exhibitions. - First Public Exhibition of the Works of British
Artists, i. 143.

Preface to the Catalogue of the second Exhibition by
Dr. Johnson, i. 145.

Attention of Sir Joshua to the Annual Exhibitions
his remarks on the character of British Exhibitions, i. 179, 180.
Receipts of the Exhibitions of the Royal Academy at
different periods, i. 234,

Exhibitions. Application of those receipts by the Members of
the Academy, i. 336,

-

339.

Pictures which attracted most attention at the first
Exhibition of the Royal Academy, i. 195.

Merit of the Royal Academy in contriving and pro-
moting, ii. 98.
Expression in Historical Paintings, how to be regulated, i. 349.
in Sculpture, in what it consists, and why in general
indistinct, ii. 10. &c.

F

Facility in drawing, how to be acquired, i. 324.; ii. 387. See
Dexterity.

Falconet, his Criticism on the Agamemnon of Timanthus, i. 461,

462.

Fame, love of, in Painters, how to be regulated, i. 379.

Feet, rules as to drawing, ii. 266.

Felibien, a false criticism of his, i. 452.

Feti, Domenico, a slight resemblance between his Paintings and
Correggio's, ii. 214.

Field of a Picture, what, and how to be coloured, ii. 280. See
Back-ground.

Fielding, his complaint to Garrick, censured, ii. 71.

Figure, single, how to be painted, ii. 268. 323.

Figures, what number of, necessary in historical pieces, i. 354. ;
ii. 265. 321. 404.

disposition of, ii. 265. See Principal Figure.
Finishing.-Sir Joshua's opinion with respect to high finishing, i.

121.

35. &c.

in Painting, how far to be studied or neglected, ii. 29.

First thoughts never to be forgotten, ii. 62.

Florence. Stay of Reynolds at that capital-proceeds to Bo-
logna, Parma, Modena, Milan, Padua, and Venice, i. 104.
Floris, his Fall of Angels, at St. Michael's Chapel, Antwerp, ii.
271.-His Nativity, praised, ii. 162.

Flowers, utility of Painting, and the best Painters of, i. 360.;
ii. 94. See Colouring.

Formality, to be avoided in Painting, ii. 266.

Forman, Helena (or Eleanor), Portrait of, by Rubens, ii. 188.

192.

Frank, Francis, his Christ among the Doctors, ii. 161.

Fresco, principal works of modern art are painted in, i. 369.
Fresnoy, Charles Alphonse Du, Life of, ii. 247. &c.

Sir Joshua employed in com-

posing the notes to Mason's translation of Du Fresnoy's Art of

Painting, i. 243.

Fresnoy, Pictures by, ii. 250.

G

Gainsborough, reasons for praising, ii. 80.

ii. 95.

Eulogy on, and anecdotes of, ii. 82. &c.

The peculiarity of his manner examined, ii. 92.
cause of the striking resemblance of his Portraits,

-

Gaudy, William, an Artist of Devonshire - his works appear to
have influenced the style of Sir Joshua- Reynolds's opinion of
his Pictures, i. 51.
Garrick.-Sir Joshua's celebrated Portrait of Garrick between
Tragedy and Comedy - another Picture of Garrick on a larger
scale contemplated-observations on Garrick to the Bishop of
St. Asaph by Reynolds. other remarks of Sir Joshua on
Foote's abuse of Garrick, i. 156, 157.

-

Death of observations of Sir Joshua on his continuing
to act till a very late period of his life, i. 230, 231.

Gart, Mr., his Cabinet at Amsterdam, ii. 202.

Genius, Sir Joshua's idea of, i. 35, 36. 39, 40.

not to be relied on, to the exclusion of diligence, i. 326.
the child of Imitation in Painting, i. 385.

what is generally considered to be, i. 385.

what it is, exemplified by the progress of Art, i. 386. 408.
See Taste.

assisted by knowledge, i, 390.

brass, i. 397.

judicious imitation, compared to Corinthian

a just notion of, how necessary, i. 404, 405.

of a Painter, what, and how to be considered, ii. 21.
to be directed to the expression of any sub-
ject, as a whole in its general effect, ii. 22. 32. 230. 300. &c.
mechanic, instances of, ii. 48. See Dexterity.

Genoa.-Extracts from Sir Joshua's journal at that city compara-

tively slight and unimportant, i. 194.

Georgione, a rival of Titian, ii. 370.

Ghent, Pictures at, ii. 142-146.

Ghirlandaio, Domenico, Michael Angelo's master, ii. 367.

Giordano. See Luca Giordano.

Guilio. See Julio.

-

Gloucester, Dean of, his estimation of Raphael Sir Joshua's ob-
servations on this subject, i. 226, 227.

Goldsmith.-Sir Joshua's constant attention to him, i. 196.

his "Deserted Village," inscribed to Sir Joshua

Print from Sir Joshua's Picture of "Resignation," dedicated to
Goldsmith, i. 198.

Sir Joshua much affected at his death
- acts as his
executor, and manages his affairs-Portrait of Goldsmith by Sir
Joshua-indignation of Dr. Johnson on hearing Goldsmith
undervalued, i. 199.

-

Carelessness of manner, and apparent inaptitude for
conversation-probable causes of these awe excited by the
appearance of Goldsmith in company - means which he em-
ployed to dispel it, i. 200.

Gothic ornaments. See Ornaments.

Grace and Majesty in Painting, ii. 271. 325.

See Correctness.

Grapes, a bunch of, Titian's rule of light and shade, ii. 278. 334.

339, 340.

Groups, of introducing more than one in a Picture, i. 346.; ii. 274.
rules for disposing, ii. 364, 265.

Guido, in what respect he failed, and why, i. 365.; ii. 219.
anecdotes of, ii. 322. 374. 385.

his neatness and delicacy of colouring, ii. 339.

H

Hague, Pictures at, ii. 191-196.

at the House in the Wood, all bad, ii. 195.

at Greffier Fagel's, ii. 195.

at M. Van Hecheren's, ii. 196.

Hals, Frank, peculiar excellence of his Portraits, i. 400.
Hands, rules as to drawing, to correspond with the head, ii. 26.
Hemissem, J. de, many of his Pictures attributed to Lionardo da
Vinci, ii. 145.

Historical painting, locality of character, how far a defect in,

i. 358. ; ii. 308.

See Hogarth.

distinction between that and Portrait Paint-
ing, i. 360. 378. ; ii. 140. 185. 202. 324.

various styles of, the grand and the orna-

mental, i. 361.

i. 361.

how far they can be united,

causes of its decline in England, ii. 188.
requisites to be observed in, ii. 307, 308.
See Figures; Subjects, Choice of.

Historical Truth, what deviations from justifiable in Painting,
i. 348.

Hogarth, his failure in Historical Painting, and the reason,
ii. 88.

Holbein, his excellence in Portraits, ii. 193. 375.

Honthorst, Ger., his St. Sebastian, ii. 143.

Hope, Mr., his Cabinet of Paintings at Amsterdam, ii. 199–202.

208.

-

progress

Hudson, Reynolds placed under-mode of instruction
which Reynolds made while under his tuition - his jealousy-
he dismisses his pupil, i. 40-43.

journey to Italy, i. 113.

death of, i. p. 127.

I

Idler, No. 76., ii. 123. No. 79., 127.

No. 82., 131.

contributions to by Reynolds, being his first literary pro-
ductions, i. 133.

Imagination, how far to be preferred to or regulated by reason,
ii. 63. See Genius; Imitation.

Imitation. How far it is desirable to imitate the works of others,
Sir Joshua's remarks on some of the Portrait Painters of his
time, i. 116-118.

the means and not the end of Art, ii. 8.

the pleasure produced by, how to be accounted for,
ii. 24. 64. 307. 401.

in Painting, the subject of improper censure, i. 383.
absolutely necessary to a Painter, i. 81. 85.; and con-
tinually, i. 402. See Painting.

avoiding, often the effect of presumption, i. 403.; ii. 288.
excellence the proper object of, i. 384.

within what bounds, and how, to be practised, i. 390.
See Raffaelle,

ii. 79.

ful,

not to be confined to the works of one Master, i. 394. ;

in what case to be considered as plagiarism, i. 398.
of finished Artists, in inferior branches of Painting, use-
399, 400.

Imitators, servile, names of, i. 395.; liberal, 396. &c.
Industry. See Diligence.

Inspiration, falsely attributed to the Science of Painting, i. 330.

382.

Intellectual pleasure, necessary to happiness in a state of society,
ii. 2. See Painting.

Invention, what, i. 317. 345.; ii. 307. 402.

how to be acquired, i. 387. 389.

method, necessary to, ii. 54.

the first part of Painting, ii. 260. 402.

J

Jarvis, reason given by Sir Joshua why his Pictures were rarely
seen, i. 226.