Dighton, W. E., Hayfield in a Shower, ii. 229; Haymeadow Corner, ii. 229.
Dolci, Carlo, finish for finish’s sake, iii. 113; softness and smoothness, iii. 113; St. Peter, ii. 204.
Domenichino, angels of, ii. 222; landscape of, iii. 317; Madonna del Rosario, and Martyrdom of St. Agnes, both utterly hateful, i. 88, ii. 222.
Drummond, Banditti on the Watch, ii. 230.
Durer, Albert, and Salvator, v. [230], [240]; deficiency in perception of the beautiful, iv. 332; education of, v. [231]-232; mind of, how shown, v. [284]; decision of, iv. 79, ii. 227; tree-drawing, v. [67]; finish of, iii. 42, 122; gloomily minute, i. 90; hatred of fog, iv. 56; drawing of crests, iv. 201; love of sea, v. [234]. Pictures referred to—Dragon of the Apocalypse, iv. 217; Fall of Lucifer, iv. 201; The Cannon, v. [234]; Knight and Death, iii. 93, v. [235], [237]; Melancholia, iv. 48, iii. 96, v. [235], [238]; Root of Apple-tree in Adam and Eve, iii. 116, v. [65]; St. Hubert, v. [97], [234]; St. Jerome, v. [234].
Etty, richness and play of color of, ii. 203; Morning Prayer, ii. 229; Still Life, ii. 229; St. John, ii. 229.
Eyck, Van, deficiency in perception of the beautiful, iv. 333.
Fielding, Copley, faithful rendering of nature, i. 97; feeling in the drawing of inferior mountains, i. 307; foliage of, i. 406; water of, i. 348; moorland foreground, i. 188; use of crude color, i. 98; love of mist, iv. 75; rain-clouds of, i. 248; sea of, i. 351; truth of, i. 248. Picture referred to—Bolton Abbey, i. 100.
Flaxman, Alpine stones, iv. 308; Pool of Envy (in his Dante), iv. 308.
Francia, architecture of the Renaissance style, i. 103; finish of, iii. 122; treatment of the open sky, ii. 43; Madonnas of, ii. 224; Nativity, iii. 48.