258 
PAINTING. 
\ 
INDEX to the Article PAINTING. 
Albert Du rer, founder of the German 
fehool, 227. 
Alberti, one of the revivers of architectu¬ 
ral painting, 253. 
Alexander theGreat, his patronage ofApelles, 
211. 
Andrea del Sarto, curious anecdote of, 243. 
Antique, the extent of that word, 214; ever 
to be rtudied, 235. 
Apelles, the prince of painters, 210; his 
character, by Fufeli, 211 ; fuppofed to 
have excelled in portrait, 249. 
Apollodorus of Athens, 210. 
Architectural painting, 253. 
Ariftides of Thebes, a Grecian painter, co- 
temporary with Apellts, 211. 
Babylon, curious ancient paintings there, 
208. 
Barbier, an architectural painter, 253. 
Barry, his character as a painter, 233. 
Blanchard (Jacques), called the French Ti¬ 
tian, 229. 
Bologna, fehool of, 227. 
Bourdon, a good French painter, 230. 
Brill (Paul), a landfcape-painter, 252. 
Bjicifh Inftitution, 233,4. 
Brunellefchi, one of the revivers of architec¬ 
tural painting, 253. 
Bularchus’s battle-picture, 209. 
Cadet de Vaux, his account of milk for paint, 
* 55 - 
Caracci, founders of the Bolognian fehool, 
227. 
Carlo Maratti, 239. 
Catalogues, deferiptive, utility of, 234. 
Caylus, count, his method of encauftic- 
painting, 216. 
Charles 1 . a great encourager of painting, 231, 
Charles II. his tafle bad, ibid. 
Chiaro-fcuro, or light and (hade, 237. 
Cimabue, the reviver of the art at Flo¬ 
rence, 241 j head of the Florentine fehool, 
222. 
Claude Gelee, or de Lorraine, an excellent 
painter of landfcape, 252. 
Colour-making, ought to be taught at the 
Royal Academy, 221 ; direClions for mix¬ 
ing colours, 253, 4; with milk, 255 ; 
with fifh-oil, 257. 
Colouring of the ancients, 214 ; with what 
materials, 217 ; and how applied, 220 ; of 
the Venetian fehool in particular, 225 ; 
one of the mod: effential parts of a picture, 
235; general directions, 236; why our 
colouring does not equal that of the an¬ 
cients, 237; directions for the young 
painter, 246, 7. 
Compofition, a branch of painting unknown 
to the ancients, i 14 j one of the chief ex¬ 
cellencies of Raphael, 224. 
Copying, 214; particularly of making a 
fmall copy of a large picture, 241, 2. 
Corregio, the father of the Lombard fehool, 
226. 
Coftume, how far to be followed, 2395 ab- 
furd departure from, 240. 
Coufin, an early French painter, 229. 
Davy (Dr. fir Humphry), his experiments 
on the colours ufed by the ancients, 217 ; 
imitated by, or compared with, thofe of the 
moderns, 220. 
Dominichino, his mode of beginning to work, 
241. 
Drapery, or clothing of figures, 238 ; dif- 
feient in painting from what it is in feulp- 
ture, 239. 
Drawing, the mod important part of the art, 
234 ; the different ftyles of, 235 ; the 
Flemilh dyle bad, 236. 
Dughet (Gafpar), a painter of landfcape, 252. 
Dutch fehool, its peculiar character, 228, 
229. 
Egyptian painting, 207 ; farther examined, 
208 ; their mummies, 216. 
Encaudic, or wax-painting, 215; re-difeo- 
vered by count Caylus, 216; Muntz’s 
method, 216, 17. 
Englidr fehool of painting, 230 ; injured by 
the reformation, 231 ; can hardly be faid 
to be founded till the time of fir Jofhua 
Reynolds, 232 ; prefent date, 2335 cha¬ 
racter of by a French writer, 234. 
Etrufcan vafes, their antiquity examined, 
212. 
Fabius PiCtor, the fird recorded Roman 
painter, 212. 
Fifh-oil, to be ufed in making paint, 
25 6 - 7- . . 
Flemilh fehool of painting, 228 ; its cha¬ 
racter, 229, 236. 
Florentine fehool, 222. 
French fehool, 229; quite altered fince the 
revolution, 230. 
Frefco-painting, 215, 220, 
Fufeli, a living painter, 233. 
-, his character of Apelles, ail. 
Galaton, his painting of Homer, &c. 240. 
German fehool, 227. 
Giorgione del Caftel Franco, 223, 236. 
Giotto, the fuccefl’or of Cimabue, 221. 
Goethe, hisjud remarks on the colouring 
of the Venetian fehool, 225. 
Grace, the peculiar mark of the Lombard 
fehool, 226. 
Greeks, their early practice of painting, 208; 
but earlier of fculpture, 209, 213 ; both 
advance to perfection, 210, li ; and at 
length decline, 212; not yet recovered, 
213; not fond of landfcape, 251. 
Guido, his Ikill in drapery, 239 ; his ana- 
chronifms, 240. 
Haydon, 222, 232. 
Hayman, an Englilh painter, 232. 
Henry VIII. an encourager of painting, 230. 
Hilton, a living artid, 233. 
Hogarth, a painter of a peculiar character, 
232. 
Holbein, 227. 
Homer, the fountain of wits, 240. 
Houfe-painting, in water-colours, 253 ; in 
oil, 254; with milk, 255 ; with fiih-oil, 
2 57- 
Hudfon, made lome improvement in por¬ 
trait-painting, 232. 
Imitation, 242; curious anecdotes, 242, 3. 
Italy, roufed by the Greeks to the cultiva¬ 
tion of the arts, 213 ; excelled them, 
214; landfcape-painters, 252. 
John de Laer, a Dutch painter, 229. 
Julio Romano, deceived as to his own work, 
242, 3 _ 
King’s white, 254. 
Knelier, a fuccefsful painter during five 
reigns, 231. 
Laguerre, a French painter much employed 
in England, 23r. 
Lambert, an Englilh painter of landfcape, 
223. 
Landfcape-painting, 251; praCtifed by the 
Romans, but not by the Greeks, 251, 2. 
Laocoon, that performance criticifed, 241, 
Le Brun, a famous painter, 229; head of the 
French fehool, 230. 
I.e Sueur, a French painter of merit, 229; 
his hard fate, 230. 
Lely, fir Peter, fucceeds Vandyke in Eng¬ 
land, 231. 
Leonardi da Vinci, the great ornament of 
the Florentine fehool, 222 ; compared 
with Michael Angelo, 223. 
Lombard fehool, 226 ; fecond Lombard 
fehool, 227. 
Louis XIV. patronifes the arts, 230. 
Loutherbourg, a battle and landfcape painter, 
233. 
Lucas Van Leyden, 227 ; his Laft Judg¬ 
ment, 228. 
Ludius, a landfcape-painter in the time of 
Auguftus, 251. 
Malvafia, his notices of the revival of painti 
ing in Italy, 221. 
Maffaccio, an eminent artift of the fehool of 
Florence, 222. 
Mengs, a German painter, 229 ; his cha¬ 
racter of the French fehool, 230. 
Michael Angelo, 223 ; compared with Leo¬ 
nardo da Vinci, 223 ; with Raphael, 225; 
adored by Reynolds, 234; his ftyle of 
drawing, 235. 
Mignard, curious anecdote of, 243. 
Milk-paint, for economical purpofes, 255 j 
its advanlages, 256. 
Molyn, a Dutch landfcape-painter, 252. 
Morland, his flying colours, 247. 
Mofaic-work known to the Arabians and 
Perfians, 208. 
Mofes, abfurdly reprefented with horns on 
his head, 240. 
Muntz’s method of encauftic-painting, 21S. 
Naked figures, too common in painting, 241. 
Oil-painting not known to theancients,2i7; 
its advantages, 222; hiftory of the difeo- 
very, 223 ; firft pradtifed in the Fiemifh 
fehool, 228. 
Opie, charadter of, 233. 
Outline, nature of, 234; its importance ex¬ 
plained, 235. 
Pacuvius, a painter and poet, 212. 
Painters, line of, from Cofimo Rofelli to 
fir Joljiua Reynolds, 234; qualifications 
requifite for a painter, 244 ; hints for the 
benefit of, 245 ; materials, 246, 253. 
Painting and poetry compared, 207; early 
ufe of painting, 207 ; Egyptian, 207, 8 ; 
Grecian, 208 j forbidden to be pra&ifed 
by flaves, 210, 243; Roman, 212; heid 
by them difgraceful, 213 ; revives in 
Italy, ibid, how far the Ikill of the an¬ 
cients extended, 214; their different kinds 
of painting, as frefco, dry ftucco, and en- 
cauftic, 215; colours ufed by the an¬ 
cient painters, 217; how they applied 
them, 220; revival of painting, 221; 
fchools of painting, 222; its encourage¬ 
ment hindered in England by tha refor¬ 
mation, and (till more by the rebellion, 
231; principles and component parts of, 
234; abfurdities in painting, 240; it 
fiourilhes only in times of the higheft ci¬ 
vilization, 243 ; not yet admitted as a 
part of polite education, 245 ; defended in 
a moral view, 246; materials for, ibid, 
different kinds of, poetically deferibed, 
248 ; portrait-painting, 249 ; landfcape, 
251; architedlure, 253 ; economical paint¬ 
ing in water-colours, 253, 4 ; in oil, 254 ; 
with milk, 255; with fifh-oil, 257 ; books 
on painting, ibid. 
Palladio, to be chiefly ftudied by architedls 
and painters on architecture, 253. 
Pamphilus of Amphipolis, 210. 
Pananus, a very early Greek painter, 209. 
Parrhaflus,his fuccefsful conteft with Zeuxis, 
210 . 
Pafticci, a peculiar kind of imitation, 243. 
Paul Veronefe, Ikilful in drapery, 239; not 
in coftume, 2403 in archite&ure, 253. 
Pericles, 
