Johnson, Doctor, Sir Joshua's first acquaintance with him, i. 127 son and Roubiliac, i. 128, 129. How much Sir Joshua profited by his acquaintance with - becomes a frequent visitor at Reynolds's house — his i. 158. his observations on the character of Reynolds, i. 133. his letter to Sir Joshua on hearing of his illness, another letter on the subject of his Portrait, i. 201. his remarks on a second and third Picture painted of - his scrupulous veracity. observations of Sir Joshua Sir Joshua often applied to by him for contributions for - Remarks on what the two friends mutually gained - 207. Sir Joshua appointed one of Johnson's executors ii. 209. Jordano. his Merry-making, in the Dusseldorp Gallery, praised, his character as a Painter, ii. 218. See Luca Giordano. Julio Romano, his peculiar merits, ii. 294. 348. 369. Anecdotes of, ii. 369. K Koeberger, his Entombing of Christ, praised, ii. 148. ii. 157. his Altar of the Archers at the Cathedral of Antwerp, another picture of, ii. 182. Know thyself, a precept necessary to Painters, ii. 288. L La Fage, his genius, mechanic, ii. 48. Landscape-Painting, practices of various painters relating to, i. 359. Landscapes, Gainsborough's models of, ii. 83. ii. 91. mythological figures in, improper, ii. 89. instances of the poetical style in, well executed, Lanfranc, anecdotes of, ii. 375. Language of Painters, what, i. 353. Laocoon, statue of, why naked, i. 420. remarks on, ii. 11. Le Brun, defect of his colouring, i. 454.- good portraits by, ii. 226. Light, masses of, the properest colours for, i. 454, 455. ; ii. 335. not more than one principal one in a picture, ii. 277. 330. and shade, conduct of the tints of, ii. 274. 331. 333. to be adapted to the situation a picture is to be placed in, breadth of, its excellence, ii. 335. See Study of Liotard. Sir Joshua's opinion of his style of art, i. 121. - - other meetings at the British and St. James's Cof- Luca Giordano, excellencies and defects of, ii. 48. 214. his and his father's portraits, ii. 215. M Manner Peculiar, a defect in Painters, i. 393. Maratti, Carlo. See C. Massaccio, excellencies and anecdotes of, ii. 50. Matsis, Quintin. VOL. II. See Q. ΙΙ Mechanical excellence, in what respects of importance, i. 358. ; ii. 105. 205. See Dexterity. Mechlin, Pictures at, ii. 152. Metastasio, anecdote of, ii. 45. Method, not always friendly to Study, ii. 41. Metsu, one of his best Pictures, ii. 203. Michael Angelo, his grand style in Painting, i. 370. comparison between him and Raffaelle, i. 371.— Their respect for each other, ii. 118. 294. 348. cause of his superior excellence, ii. 106. 128. effects on various Schools of Painting by adopt- ing the grandeur of his style, ii. 109. his caprices, defence of, ii. 112. study of his works recommended; and rules for pursuing this study, ii. 114. Fresnoy's character of him, ii. 368. Minutiæ. See Finishing. Mirror, its use to Painters, ii. 283. Models, living, rules as to drawing from, i. 312.; ii. 56. 322. Moonlight, Rubens's mode of painting, i. 457. N Nature, forms of, not to be too closely and servilely copied, i.415. in what respects certain arts excel by deviating from it, imperfections of, how to be remedied by the Painter, habits of, to be distinguished from those of fashion; not - never to be lost sight of, ii. 56. See Rules-ii. 264. Night. See Colouring. - Northcote, his early impressions on seeing the productions of macaw - leaves Sir Joshua- their parting described, i. 225, 226. Orange, Prince of, his Picture Gallery at the Hague, ii. 191. 195. Ornaments, form the peculiar characteristics of taste and style in requisite in Painting, in a moderate degree, i. 448.; ii. 270. 325. 404. Gothic, to be avoided, ii. 272. Ornamental Style. See Style. Otho Venius, Rubens's Master, anecdotes of, ii. 141. Outline, should be firm and determined, i. 342.-flowing, ii. 262. 313. P Painter, must be the most useful writers on their own Art, -- ancient, their diligence in the art, i. 311. their advantages from the simplicity of manners in their time, i. 339. 330. their peculiar excellencies, ii. 222. 226. their probable excellencies and defects, ii. 328- Chronological List of, iii. 291. Art of, should be employed to reach the mind, i. 340.; 341. &c. - its various departments, and their merits, i. is intrinsically imitative, i. 383. ·See Imitation. false opinions relating to, ii. 63. causes of its decline, ii. 116. Invention, the first part of Painting, ii. 260. Design, the second, ii. 262. See Poetry. Parmegiano, his first work and his last compared, ii. 105. anecdotes of, ii. 373. Passions, rules as to expressing, ii. 272. 325. 327. mixed, undescribable in Painting, i. 366. Pasticcio, what, and its uses, ii. 55. Paul. St. Paul's Cathedral - Proposition of Sir Joshua to have it ornamented with Pictures - Artists selected for that purpose Pellegrino Tibaldi, founder of the Bolognese School, his merits, Perrault, the architect, defended, ii. 78. Perspective, how to be regulated in Painting, ii. 263. 314, 315. in Sculpture. Peters, Mr., of Antwerp, his Cabinet of Paintings, ii. 186. Philosophy, assistant to Taste, i. 436. Philostratus, his rules for Painting, ii. 387. Picture-cleaners, instances of their spoiling Pictures, ii. 144. 146, Pieta, what Painting so called, ii. 162. &c. Pietro Genoese, a bad Painter, ii. 219. Plato, his opinion of Painting censured, ii. 64. how its excellence consists in a deviation from Nature, comparison between that and Painting at length, ii. 255. Politeness, general principle of the signs of, i. 427. Pope.-Enthusiasm of Reynolds on first seeing this poet, i. 44. historical observations on, ii. 188. 197. 215. See Historical Painting. Pott, Henry, Pictures by, ii. 193. anecdotes of, ii. 193. and n. Poussin, N., his opinion as to colouring, i. 357. i. 454. his correct style of Painting, i. 376. style, i. 377. i. 377. his love of the antique, i. 376. his favourite subjects, and manner of treating them, defects in certain Pictures of his, arising from false Poussin, perhaps sometimes guilty of affectation, i. 445. |