ACADEMY.-Academies in England prior to the establishment of the Royal Academy. i. 147, 148.
of the Incorporated Society of Artists-causes of its failure instrumental in contributing to the formation of the Royal Academy, i. 152, 153.
Establishment of the Royal Academy, 1. 187- Public dinner at the Royal Academy often peculiarly interesting, i. 181,-183.
Removal of the Royal Academy to Somerset House,
Misunderstauding of Sir Joshua with some of the members of the Royal Academy-his resignation of the Pre- sidency-statements of this affair by Malone, Farrington, and Northcote-facts connected with the subject-actual grounds of Sir Joshua's resignation-letter from Sir William Chambers to Sir Joshua-thanks of the Royal Academy unanimously vo- ted to Sir Joshua-final resolutions of the Council-deputation of the members of the Academy to Sir Joshaa-he resumes the President's chair-complimentary effusicus of the press on the occasion, i. 249-256.
the advantages of, i. 307, 308.
Academy Royal, observations on its foundation, i. 305, 306. peculiar advantages of, i. 308. Accident, how far favourable to Painters, ii. 56. 290.—to Artists, ii. 56.
Action, the principal requisite in a subject for History-Painting, ii. 305. 317.
Affectation, a hateful quality, i. 362, 445.; ii. 323.
contrast to Simplicity, i. 445.
Agamemnon. See Timanthes.
Albert Durer. See D.
Allegorical Painting, defence of, i. 420. Some by Rubens con- demned, ii. 144.
not adapted to Christian Churches, ii. 171.
Amsterdam, Pictures at, ii. 197. 205.-The Stadthouse, 195.— Wharf-Office, 198.-Surgeons'-Hall, 198.-Mr. Hope's Ce 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, Michel. See M.
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 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. & seq.
Artists. British Artists of eminence who flourished before the time of Sir Joshua, i. 25, 26.
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 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.
Stimulous 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- sors-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 effect- ed-reasons adduced why the Art of Painting had not made greater progress under those who preceded Sir Joshua, i. 27, 28.
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.
Back-ground, in Pictures, rules as to, ii. 282. 335. 336. Bacon, an observation of his on Painting disputed, i. 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. 174-177.
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. 2.2 -219.
Hostile feeling of Barry towards Sir Joshua-its pro- 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 Gold- smith on seeing it, i. 222, 223
Beauty, ideal, what; and the notion of it how to oe 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, See Nature.
Bellino, Titian's first Master, Anecdotes of, ii. 370. Bellori, his fanciful idea of a Painter, ii. 381. &c.
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