Schools, English; difficulties in the way of esta- 175. modern Roman; its degeneracy, ii. 160. - Bolognese, foundation of, ii. 150. Schut, his Martyrdom of St. George, ii. 212. A Sculpture; wherein, and in what manner, its prin- an art of more simplicity and uniformity has only one style, ii. 12. the character of; to afford the delight ineffectual attempts to improve, ii. 22. dress of, ii. 29. causes of its decline in England, ii, 247. Self-confidence, necessary to an Artist, ii. 62, 298. in the Ancients, atose from penury, i. 201.-See Style, the Grand. Sketches, to be painted in colours, rather than 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- Stein, Jan, his excellence; and in what to be Study of Painting; hints for the course of, i. 20. purpose of, to form the mind, ii. 52. method of, remarks on, ii. 57, &c. iii. 82. 144. Studio, anecdote of, a painter so nicknamed, ii. 45. i. 30. the Grand; in what it consists, i. 32, &c.- splendour of, how far excellent or faulty, i. ornamental, how, and by whom disseminated, composite, i. 84.-adopted by Corregio and perfect, what, i. 87. distinction of, founded on general nature original or characteristic, i. 103.-See Sal- uniformity of, i. 105.-See Rubens. modes of acquiring, i. 109.-See Historical Styles, various; how far incompatible with each Subjects, choice of, how to be regulated, i. 64. iii. Subjects, in what cases to be treated distinctly, i. subordinate parts of; the art used in, must not appear, i. 67. Summary of the general doctrines in the several Symmetry, utility of, i. 51.-See Grace; Cor- rectness. T TASTE, reading and conversation with learned. true; founded on enlarged and general how to be exercised; in appreciating the relative to the expression of the passions Teniers, Old, his pictures, ii. 199. Young, his picture of Boors shooting, at 198. his excellencies, ii. 267. Terburg, good pictures by, and portrait of, ii. 262. Timanthes, the propriety of his hiding the face of 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. 281. his excellence of colouring, i. 209, 210. ii. 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 his excellence in Landscapes, ii. 46. his rule for light and shade, iii. 59, 135. Torso of M. Angelo, its excellence, ii. 15. V VANBRUGH, defended as a poetical architect, ii. Van de Hende, his patience in finishing, ii. 264. Vanderheyden, character of his paintings, ii. 260. Vanderwerf, his excellencies and defects, ii. 278. a pupil of Rubens, iii. 185.-and his successful imitator, ii. 278. Vandyck, his various manners of painting, ii. 273. Van Balen, his Resurrection, his best work, ii. Van Eyck, Jean, not the first painter in oil, ii. 190. Van Heemsen, his Last Judgment, ii. 241, 242. ii. 58. in figures in Historical Painting, iii. 37. Veronese, Paolo, reason of a peculiar defect of 168. iii. 179. his excellencies and defects, i. his picture of The Marriage at a bon-mot of his on the subject Vinci, Lionarda da, restored the arts at Milan, iii. 181. |