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EXPRESSION The force with which any object is reprefented.

EFFECT-Arifes from the management of light, but the word is fometimes applied to the general view of the picture.

SPIRIT-The general effect of a mafterly performance.

MANNER-Synonimous with execution.

PICTURESQUE-That peculiar kind of beauty agreeable in a

picture.

PICTURESQUE GRACE-An agreeable form given in a picture to a clownish figure.

REPOSE, OF QUIETNESS-Applied to a picture when the whole is harmonious.

TO TAKE DOWN, KEEP DOWN, or BRING DOWN -Signify throwing a degree of fhade on a glaring light.

A MIDDLE TINT-A medium between a ftrong light and a strong fhade: the phrafe not at all expreffive of colour.

CATCHING LIGHTS-Strong lights which ftrike on fome particular parts of an object, the rest of which is in fhadow.

STUDIES The fketched ideas of a painter not wrought into a whole.

FREEDOM

FREEDOM The refult of quick execution.

EXTREMITIES-Hands and feet.

AIR-Expreffes chiefly the graceful action of the head, but often means a graceful attitude.

CONTRAST-The oppofition of one part to another.

INTRODUCTION

INTRODUCTION

TO THE

CHRONOLOGICAL LIST, &c.

THE following hiftorical and chronological lift (as to the main

of it) I took the pains to make fome years ago for my own use. I have been pretty careful in it, fo that I believe there are not many mistakes. Where I could find no account of the time of a master's birth, his place in the lift will fhew whereabouts it probably was. The double dates are the different accounts of authors, the most considerable is that of Correggio; I have been determined to put him fo low upon the authority of a manuscript of Father Refta, a late connoiffeur at Rome, and who befides his infinite diligence in these matters, and a particular regard, and even fondnefs for Correggio, hath had very great opportunities of being rightly informed, confidering the diftance of time. The account of the degrees in which fome of the most eminent of the fe mafters excelled, is fcattered up and down in the preceding difcourfe; but of this you may fee farther at the end of a small book of Mr. de Piles, printed anno 1708. Cours de Peinture par Principes.

He

He has made a scale, the highest number of which is eighteen, and denotes the highest degree to which any one hath arrived that we know of; then he fuppofes the art to confift of Compofition, Design, Colouring, and Expreffion, of each of which he makes a feparate column, and in thefe puts his number, according as he judges the mafter, whofe name he applies them to has merited. The thing is curious and ufeful; but fome confiderable parts of Painting being omitted, it gives not a juft idea of the mafters. For example; according to this fcale, Rembrandt feems to be equal to Giulio Romano, and fuperior to Michelangelo and Parmeggiano. Whereas had he brought Invention, Greatnefs, Grace, &c. into the account, it would have fet the matter right, fuppofing he had allotted the juft degrees, which neither he, nor any one else can do fo as to please univerfally.

Hiftorical

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