Beauty, ideal; of form alone, one great excellence
in Sculpture, ii. 14. iii. 106.-See Nature.
Bellino, Titian's first Master, iii. 177.

Bellori, his fanciful idea of a Painter, iii. 192, &c.
Bernini, a fault of his Statue of David in point of
expression, i. 69.

his general faults, ii. 24.

Bishop's Ancient Statues; an error in, corrected,

ii. 151.

Black, its effect in Painting, iii. 60.

Bologna, peculiarly worthy the attention of travel-
ling Painters, i. 31.-See Schools of Painting.
John de.-See Rape of the Sabines.

Boucher, Anecdote of, ii. 80.

Bourdon, S. his Return of the Ark praised, ii. 126.
Brueghel, (Old.) his merits and defects, ii. 299.
Bruges, Pictures at, ii. 186-189.
Brussels, Pictures at, ii. 193-200.

C

CANDLE-LIGHT.-See Colouring.

Caracci, Annibale, his exactness in copying from
Models, i. 15.

one of his best Pictures, ii. 277.
his character, iii. 85. 181, 182.
Agostino, and Antonio; Anecdotes of,
iii. 182.

Lodovico; the excellence of his style, in
what pieces exemplified, i. 30. iii. 181.

how he employed the orna-

mental style, i. 96.

his mode of colouring, iii. 138.
Anecdotes of, iii. 182.

Caravaggio, the altar in the Augustines, the Vir-
gin and Christ, with some saints; a black pic-
ture, ii. 225.

Carelessness, discouraged, i. 58.

Carlo Dolci, a tolerable picture of his, ii. 277.
Carlo Maratti, his opinion as to Drapery, i. 71.
his style of artificial, i. 72.

his want capacity, i. 134.

Character, locality of, fault of introducing, i. 81.
perfect, unfriendly to Painting and

Poetry, ii. 201.

Chorus in a Tragedy, Dryden's observations on,
iii. 225, 226.

Chromatic part of Painting.-See Colouring.

Churches, arguments in favour of ornamenting
them with Paintings and Sculpture, ii. 246, &c.
Cignani, Carlo, his Ascension of the Virgin con-
demned, ii. 275.

Cologne, Pictures at, 289–292.

Colouring art of, not to be attained solely by copy-
ing, i. 26.

the third part of Painting, iii. 52.

rules with respect to, i. 70. iii. 53, &c.
-As to the reflection of Colours, iii. 60.-
Their union, ibid.-Breaking, ibid.-The in-
terposition of Air, iii. 62.--The relation of
distances, iii. 63.-Of bodies distanced, ibid. —
Contiguous and separated, ibid.-Opposite
colours not to be joined, ibid.-Diversity of
Tints and Colours, iii. 64.-Practical Rules,
iii. 65. Vivacity of Colours, iii. 66.-See
Light.

cautions as to excellence in, i. 155, iii.
156.-See Style, Splendour of; Rubens.
essentially requisite in flower-painting,

i. 83.

advantage of candle-light to, ii. 117.
Colouring of old pictures, how to be considered, i. 26.
of the Venetian School, faults of, i. 75;
excellencies of, iii. 153, 154.

Colouring of Le Brun, and Carlo Maratti, defects

of, i. 209.

of a single figure, iii. 121.

number of colours to be used, iii. 128.
harmony of; the various modes of pro-
ducing, in the Roman, Bolognian, and Vene-
tian style, iii. 138, 139. 142.

230.

of modern Painters, defects of, iii. 143.
compared to expression in poetry, iii.

Composition, what, iii. 101.--See Invention ; Genius ;
Whole.

Connoisseurs, mock, ridicule on, ii. 168.-See iii.

146.

Contrast, to be managed skilfully, i. 203. iii. 38--42.
Copying, the use and abuse of, i. 25, &c.

practice of, how to be regulated and
made the means of instruction, i. 27-31. ii.
111. 158.--See Raffaelle; Imitation.

Liberty of, allowed in the Dusseldorp

gallery, ii. 269.

Correctness, the essential beauty of Sculpture, ii 17.
of design, the natural foundation of grace,

ii. 18.

Corregio, his character, iii. 84. 155. 179. 180.
Coxis, his Christ mocked by the Jews praised, ii.

197.

Coypel, his picture of The Deity censured, i. 197.
Crayer, Gasp. de, a large picture of his in the Dus-
seldorp gallery condemned, ii. 271.

Criticism, false, instances of. See Connoisseurs ;
Bacon; Du Piles; Felibien; Fielding; Plato;
Pliny.

true, ground of, iii. 146.

Cuyp, a good Picture of his at Mr. Hope's, Am-
sterdam, ii. 259.

D

DANOOT, Mr. his Cabinet of Paintings at Brussels,
ii. 197.

Dasch, Mr. his Cabinet of Paintings at Antwerp,
ii. 244.

Defects in great Painters to be pardoned; not
imitated, or admired, i. 131.
Deity, personification of, iii. 156.—See Coypell.
by Michel Angelo

praised, ii. 153. by Rubens, ii, 224.

Dense bodies, how to be painted, as distinct from
pellucid; as in air or water, iii. 56.

Design, in Painting; a matter of judgment, in
which facility is apt to produce incorrectness,
ii. 63.

assisted by sketches, ii. 85.-See Sketches,
and Copies, ii. 65.—See Copying.

the second part of Painting, iii. 34.

De Vos, Simon, an excellent portrait-painter, ii.

223.

Dexterity in Painting, what, ii. 38.

its value and effect, ii. 47.

226, 227. iii. 73. 145.

Diligence, requisite to perfection in Painting, i.
11. 13. 31. 36. ii. 61. 62. 162. iiì. 76.

ii. 51.

but under certain restrictions, i. 13.

false; instances of, ii. 51. 60. iii. 71.-
See Genius.

Discobolus, Statue of, compared with the Apollo,
ii. 18.

Discourses, Sir Joshua Reynolds's; reason and
origin of, ii. 140.

Disposition, or Economy of the whole, in painting,

iii. 138.

Domenichino, his Susanna, in the Dusseldorp gal-

lery, ii. 275.

Anecdotes of, iii. 183.

Dow, Gerard, pictures by, ii. 261. 263.

his Mountebank, in the Dusseldorp

gallery condemned, ii. 274.

Drapery, art of disposing in painting i. 71, ii. 260,
280. 301. iii. 45. 47. 123.

in Sculpture; remarks on ii. 22, &c.
Drawings. See Sketches.

Dress, unfriendly to true taste, in the Painter or
Sculptor, i. 163. ii. 28: how to be remedied,
iii. 137, 138.

of Taste in, i. 177: its effect on painting,
i. 179.

Dumb Persons, how far action is to be learned from
them, iii. 37. 114.

Du Piles, instance of his false criticism, i. 196.
Durer, Albert; cause of his defects, i. 56. iii. 183,
184.

Dusseldorp gallery, pictures in, ii. 269–289.
Dutch School. See Schools of Painting.

E

ECKHOUT, an imitator of Rembrandt, ii. 263.
Engravings, observations on their differing from the
paintings they copy, in light and shade, ii.

231. 234. 236.

Enthusiasm, danger of, i. 30. 44. good effect of,

ii. 118.

Euripides, a saying of his, i. 111.

Examples. See Copying; Imitation.

Excellencies inferior, when necessary, i. 83.

superior, the greater object of atten-

tion, i. 92. 95. 110. 123: in what they consist,
iii. 70.