Punch, instance of modern grotesque from, iv. 388.
Pyne, J. B. drawing of, i. 314.
Raffaelle, chiaroscuro of, iv. 47; completion of detail by, i. 82, iii. 122; finish of, ii. 83; instances of leaf drawing by, v. [35]; conventionalism of branches by, v. [38]; his hatred of fog, iii. 126, iv. 56; influence of hills upon, iv. 357; influenced by Masaccio, iii. 315; introduction of portraiture in pictures by, ii. 120; composition of, v. [182]; lofty disdain of color in drawings of, v. [320] (note); landscape of, ii. 217; mountain distance of, iv. 355; subtle gradation of sky, ii. 47, 48; symbolism of, iii. 96. Pictures referred to— Baldacchino, ii. 44; Charge to Peter, iii. 53, 315; Draught of Fishes, i. preface, xxx., ii. 204; Holy Family—Tribune of the Uffizii, iii. 313; Madonna della Sediola, ii. 44, iii. 51; Madonna dell’ Impannata, ii. 44; Madonna del Cardellino, ii. 44; Madonna di San Sisto, iii. 56; Massacre of the Innocents, ii. 130, 179; Michael the Archangel, ii. 223; Moses at the Burning Bush, iii. 115; Nativity, iii. 341; St. Catherine, i. preface, xxxi., i. 34, 139, ii. 98, 224; St. Cecilia, ii. 136, 218, iii. 15, 54; St. John of the Tribune, ii. 44; School of Athens, iii. 26; Transfiguration, iii. 54 (note).
Rembrandt, landscape of, i. 192; chiaroscuro of, iii. 35, iv. 42-47; etchings of, i. 405 (note); vulgarity of, iii. 257. Pictures referred to— Presentation of Christ in the Temple, ii. 42; Spotted Shell, ii. 203; Painting of himself and his wife, v. [252].
Rethel, A. Pictures referred to— Death the Avenger, iii. 98; Death the Friend, iii. 98.
Retsch. Pictures referred to— Illustrations to Schiller’s Fight of the Dragon, ii. 171.
Reynolds, Sir Joshua, swiftest of painters, v. [191]; influence of early life of, on painting of, v. [289]; lectures quoted, i. 7, 44, iii. 4; tenderness of, iv. 67 (note). Picture referred to— Charity, iii. 97.
Roberts, David, architectural drawing of, i. 118; drawings of the Holy Land, i. 118; hieroglyphics of the Egyptian temples, i. 119; Roslin Chapel, i. 120.
Robson G., mountain scenery of, i. 95, iii. 325.
Rosa, Salvator, and Albert Durer, v. [230]-240; landscape of, i. 390; characteristics of, v. [237], [285]; how influenced by Calabrian scenery, v. [236]; of what capable, v. [236]; death, how regarded by, v. [237]; contrast between, and Angelico, v. [285]; leaf branches of, compared with Durer’s, v. [67], [68]; example of tree bough of, v. [45]; education of, v. [235], [236]; fallacies of contrast with early artists, v. [46]; narrowness of, contrasted with freedom and vastness of nature, i. 77; perpetual seeking for horror and ugliness, ii. 128, 137, v. [46]-67; skies of, i. 227, 230; vicious execution of, i. 39, ii. 83; vigorous imagination of, ii. 159; vulgarity of, iii. 33, iii. 317, 257. Pictures referred to— Apollo and Sibyl, v. [79]; Umana Fragilita, v. [237]; Baptism of Christ, ii. 176 (note); Battles by, ii. 127; Diogenes, ii. 159; finding of Œdipus, iii. 115, v. [65]; Landscape, No. 220, Dulwich Gallery, i. 231, 240, 294, 312; Landscape, No. 159, Dulwich Gallery, i. 254; Sea-piece (Pitti Palace), i. 345; Peace burning the arms of War, i. 390; St. Jerome, ii. 159; Temptation of St. Anthony, ii. 45, (note); Mercury and the Woodman (National Gallery), i, 157.