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The Precepts which Sir Joshua REYNOLDS has illustrated, are marked in the following Table with one or more Asterisks, according to the number of his Notes.

I. Of the beautiful *** .. .... Page 26 II. Of theory and practice** ......... III. Of the subject *,.............

Invention, the first part of painting ** .. IV. Disposition, or economy of the whole .. 31 V. The subject to be treated faithfully * . ... 32 VI. Every foreign ornament to be rejected *** 32 VII. Design or Position, the second part of

painting ** is soooo'o'o's....... 34 VIII. Variety in the figures .......... 36 IX. Conformity of the Limbs and drapery to

the head *, ................. 37 X. Action of mutes to be imitated * ...... 37. XI.. The principal Figure*........... XII. Groups of figures .............

XIII. Diversity of attitude in groups * .... 38 XIV. A balance to be kept in the picture . . . 39 XV. Of the number of figureg ** .... Page 40 XVI. The joints of the feet ........... 41 XVII. The motion of the hands with the head 41 XVIII. What things are to be avoided in the

distribution of the piece .......... 41 XIX. Nature to be accommodated to genius * 42 XX. The antique the model to be copied .... XXI. How to paint a single figure* ..... XXII. Of drapery * .............. XXIII. Of picturesque ornament ....... 47 XXIV. Ornament of gold and jewels * .... XXV. Of the model ............ XXVI. Union of the piece ........ XXVII. Grace and majesty * ........ XXVIII. Every thing in its proper place : . . 48 XXIX. The passions *** ........... XXX. Gothic ornament to be avoided ...: XXXI. Colouring, the third part of painting * 52 XXXII. The conduct of the tints of light and

shadow ................... 53 XXXIII. Dense and opaque bodies with trans- : ;

lucent ones ........................ 56 XXXIV. There must not be two equal lights

in the picture **.i.re...icci... XXXV. Of white and black ......... XXXVI. The reflection of colours :..... XXXVII. The union of colours *. ...... XXXVIII,. Of the interposition of air ....62

XXXIX. The relation of distances . . . . . 62 XL. Of bodies which are distanced ...... 63 XLI. Of contiguous and separated bodies .. 63 XLII. Colours very opposite to each other

never to be joined ............ 63 XLIII. Diversity of tints and colours ... , XLIV. The choice of lighti....... XLV. Of certain things relating to the prac

tical part .................. XLVI. The field of the picture * ....... XLVII. Of the vivacity of colours * ..... XLVIII. Of shadows ............ 66 XLIX. The picture to be of one piece . i. 67 L. The looking-glass the painter's best master 67 LI. An half figure, or a whole one before others* 67 LII. A portrait ................. LIII. The place of the picture ...... LIV. Large lights ............... LV. The quantity of light and shade to

be adapted to the place of the picture 69 LVI. Things which are disagreeable in painting

to be avoided .............. 69 LVII. The prudential part of a painter .... LVIII. The idea of a beautiful picture . ... 70 LIX. Advice to a young painter ** .... LX. Art must be subservient to the painter 72 LXI. Diversity and facility are pleasing* ... 72 LXII. The original must be in the head, and

the copy on the cloth - ........ 73 LXIII. The compass to be in the eyes * . . 74 LXIV. Pride, an enemy to good painting * 74 LXV. Know thyself ............. 75 LXVI. Perpetually practice, and do easily;

what, you have conceived ........: 76 LXVII. The morning most proper for work 76 LXVIII. Every day do something ...... 77 LXIX. The method of catching natural pas

sions .................... 77 LXX. Of the table-book ** .......... 78 LXXI. The method of studies for a young

painter ****.................82 LXXII. Nature and experience perfect art * . 85

APPENDIX.

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