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arcello ..........

45 2

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Page :No. Velasquez, Diego ........

452 3 Velvet Brueghel..........................

................... 448 1 Venusto, Marcello

438 4 Verocchio, Andrea ................

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428 23 Veronese, Paul ...................

306 20 Alessandro ..............

452 4 Verzelli, Giov. Antonio da .................................. 436 9 Vicenzo da San Geminiano ...

432 6 Vinci, Lionardo da. See L. Viola, Il ............

........ 444 11 Volterra, Daniel da ......

436 18 Vos, Martin de ...........

442 10 Vouet, Simon .............

......... 446 3 Vroom. See Wroon.

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GENERAL INDEX.

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, i. 187–

· 193.

- Public dinner at the Royal Academy often peculiarly
interesting, i. 181, - 183.

- Removal of the Royal Academy to Somerset House,
i. 233.

- Misunderstanding 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 Wm. 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 Joshua — he resumes
the President's chair -- complimentary effusions 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.
197.

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173.

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, 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. f. seg.
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.
- 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-
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 effected -
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. 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
-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 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.

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