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Schools, English; difficulties in the way of esta-
blishing, ii. 113.

175.

modern Roman; its degeneracy, ii. 160.

- Bolognese, foundation of, ii. 150.

Schut, his Martyrdom of St. George, ii. 212. A
Pieta, ii. 241. other pictures, ii. 243.

Sculpture; wherein, and in what manner, its prin-
ciples and those of painting agree or differ;
what is within its power of performing, and
what ought to be its great purpose, ii. 11, &c.
-See iii, 59.

an art of more simplicity and uniformity
than painting, ii. 12.

has only one style, ii. 12.

the character of; to afford the delight
resulting from the contemplation of perfect
beauty, ii. 14.

ineffectual attempts to improve, ii. 22.
-in drapery, ib.-in making different plans
in the same bas-relievo, ii. ib.-in perspec-
tive, ii. 28.

dress of, ii. 29.

causes of its decline in England, ii, 247.
Seghers, his Adoration of the Magi, ii. 186.—
Christ scourged, ii. 191.-Marriage of the Vir-
gin, ii. 221.-other pictures, ii. 240.

Self-confidence, necessary to an Artist, ii. 62, 298.
Simplicity in Painting; what, and its effects, i.
195, &c.

in the Ancients, atose from penury, i.

201.-See Style, the Grand.

Sketches, to be painted in colours, rather than
drawn with the crayon, i. 33. iii. 100.

their beauty poetical, i. 217.

reason of the effect of, ii. 44, 45.

their utility, iii, 77, 78.100.—See Design.

Snyders; observations on the nature of his paint-
ings, ii. 253.

Stein, Jan, his excellence; and in what to be
imitated, ii. 268.

Study of Painting; hints for the course of, i. 20.
25. ii. 70. 76. 141. &c. iii. 144. 150.

purpose of, to form the mind, ii. 52.

method of, remarks on, ii. 57, &c. iii. 82. 144.
Study of variety; diligence, and a passion for the
art requisite to, i. 58. 124.

Studio, anecdote of, a painter so nicknamed, ii. 45.
Style, in Painting; what, and how to be acquired,

i. 30.

the Grand; in what it consists, i. 32, &c.-
the chief requisites of, and means of attain-
ing, i. 45—54.—principles of, i. 97–103. ii.
228, 229. iii. 116. 118. 138.-(See Michel
Angelo.)-effect of, ii. 154.

splendour of, how far excellent or faulty, i.
74. ii. 196. 242. 276.

ornamental, how, and by whom disseminated,
i. 78.-how far worthy attention, i. 96. 202.
-See Ornaments.

composite, i. 84.-adopted by Corregio and
Parmegiano, i. 86.

perfect, what, i. 87.

distinction of, founded on general nature
and particular customs, i. 87.

original or characteristic, i. 103.-See Sal-
vator Rosa.

uniformity of, i. 105.-See Rubens.

modes of acquiring, i. 109.-See Historical
Painting.

Styles, various; how far incompatible with each
other, i. 75. 84.

Subjects, choice of, how to be regulated, i. 64. iii.
30.71.98.

Subjects, in what cases to be treated distinctly, i.
65. or minutely, i. 65.-faithfully, iii. 32.

subordinate parts of; the art used in, must

not appear, i. 67.

Summary of the general doctrines in the several
Discourses of Sir Joshua Reynolds to the
Academy, ii. 143.

Symmetry, utility of, i. 51.-See Grace; Cor-

rectness.

T

TASTE, reading and conversation with learned.
men, necessary to the formation of, i. 148.
false opinions relative to, refuted, i. 150.
distinction between that and Genius, i. 153.
capable of a real standard, i. 183.
true and false; definition and progress of,
i. 154, &c.

true; founded on enlarged and general
ideas of Nature, i. 158.-acquired by experi-
ence and a diligent study of Nature, i. 96. 78.
ii. 156.

how to be exercised; in appreciating the
value of different styles of painting; accord-
ing to their real importance, and the perfec-
tion of the several artists, i. 165, &c.

relative to the expression of the passions
in painting, i. 169, &c.-See Genius; Orna-
ment; Style; Dress.

Teniers, Old, his pictures, ii. 199.

Young, his picture of Boors shooting, at
Mr. Danoot's, painted in his best manner, ii.

198.

his excellencies, ii. 267.

Terburg, good pictures by, and portrait of, ii. 262.

Timanthes, the propriety of his hiding the face of
Agamemnon, examined, i. 216.

Tintoret, Vasari's opinion of, i. 77.

168.

his excellencies and defects, i. 179. iii.

pictures by, in the Dusseldorp gallery,

ii. 276.

Titian, an exception to the Venetian School, i. 78.
character of his portraits, i. 196.—See ii.

281.

his excellence of colouring, i. 209, 210. ii.
40, 41.-in his Bacchus and Ariadne,ži. 209.
--in his portraits, i. 210.

his defect in drawing, ii. 40.

compared with Raffaelle, ii. 41.

116, 117.

with Rubens, ii. 228-230. iii.

his St. Sebastian, excellencies and defects
of, ii. 41.

his excellence in Landscapes, ii. 46.

his rule for light and shade, iii. 59, 135.
anecdotes of, iii. 177, 178.

Torso of M. Angelo, its excellence, ii. 15.

V

VANBRUGH, defended as a poetical architect, ii.
106, 107.

Van de Hende, his patience in finishing, ii. 264.
Vander Helst, excellent picture of portraits by,
ii. 256, 257.

Vanderheyden, character of his paintings, ii. 260.
Vandervelde, his View of the Port of Amsterdam,
ii. 257.-other pictures, ii. 260.

Vanderwerf, his excellencies and defects, ii. 278.
Vandyck, the best portrait painter, i. 139.

a pupil of Rubens, iii. 185.-and his

successful imitator, ii. 278.

Vandyck, his various manners of painting, ii. 273.
pictures by, at the Prince de Ligne's, at
Brussels, ii. 199.-his Crucifixion, at Mechlin,
praised, ii. 203.—and other pictures, ii. 242,
243, 244, &c.-his Crucifixion at the Jaco-
bines, Antwerp, ii. 219.-his Christ bearing
the Cross, at the Jacobins, ii. 225.-his St.
Augustin in Ecstacy, ii. 230.-Recollets, a
Pieta, ii. 237.-Beguinage Church, a Pieta, ii.
240.-Judas betraying Christ, ii. 245.-Assump
tion of the Virgin, in Mr. Hope's Cabinet,
Amsterdam, ii. 262.-his pictures in the Dus-
seldorp gallery, ii. 271.-a bad one, ii. ibid.
-his Take up thy Bed and walk, ii. 272.—a
Pieta, ii. ibid.-a good portrait, ii. 288.

Van Balen, his Resurrection, his best work, ii.
241.

Van Eyck, Jean, not the first painter in oil, ii.
188.-Pictures by, ii. 187. and Hubert, ii.

190.

Van Heemsen, his Last Judgment, ii. 241, 242.
Van Orlay, Bernard, pictures by, ii. 193. 196.-
his Adoration of the Magi, praised, ii. 212.
Variety, necessary to study in a certain degree,

ii. 58.

in figures in Historical Painting, iii. 37.
of attitude, iii. 39.

Veronese, Paolo, reason of a peculiar defect of
his, i. 73, 74.

168. iii. 179.

his excellencies and defects, i.

his picture of The Marriage at
Cana, praised, i. 206, 207. iii. 140.

a bon-mot of his on the subject
of light and shadow, i. 213.

Vinci, Lionarda da, restored the arts at Milan, iii.

181.

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