Richardson, Jonathan; Egerton, Thomas [Oth.]; Egerton, John [Oth.]; Debrett, John [Oth.]; Faulder, Robert [Oth.]; Miller, W. [Oth.]; Cuthell, J. [Oth.]; Barker, James [Oth.]; Jeffery, Edward [Oth.]: The Works Of Jonathan Richardson: Containing I. The Theory Of Painting. II. Essay On The Art Of Criticism, (So far as it relates to Painting). III. The Science Of A Connoisseur : The Whole intended as a Supplement to the Anecdotes of Painters and Engravers ([London]: Sold by T. and J. Egerton; J. Debrett; R. Faulder, and W. Miller; J. Cuthell; J. Barker; and E. Jeffrey, 1792)

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Expression—The force with which any obje& is represented.
Effect—Arises from the management of light, but the word is
sometimes applied to the general view of the picture.
Spirit—The general effect of a masterly performance.
Manner—Synonimous with execution.
Picturesque—That peculiar kind of beauty agreeable in a
pidure.
Picturesque Grace—An agreeable form given in a piHure to
a clownish figure.
Repose, or Quietness—Applied to a piQure when the whole
is harmonious.
To TAKE DOWN, KEEP DOWN, Or BRING DOWN-——Signify
throwing a degree of shade on a glaring light.
A MIDDLE tint—A medium between a strong light and a strong
shade: the phrase not at all expressive of colour.
CATCHING LIGHTS—-Strong lights which strike on some particular
parts of an objed, the rest of which is in shadow.
Studies—The Fetched ideas of a painter not wrought into a
whole.
Freedom-