Rubens, his particular excellence in large Pictures, ii. 144. 163. his style of painting in the Luxemburgh, on what princi- 168. 147. - - his Pictures at Brussels; at the Unshod Carmelites, ii. - - - - - the Great - - The Jacobins, ii. 171.- St. Augustin's; The Altar of the - - at Louvain, ii. 228. - his Christ's Charge to Peter, ii. 95. his St. Bavon praised, ii. 142. - St. Rock, ii. 145. censurable Pictures by, ii. 141. 145, 146. 181, 182, 183. his Chair, at the Academy of Painting, Antwerp, ii. 186. his general character; excellencies and defects, ii. 228. 375. i. 308. 342. 346. 353. requisite even to works of Genius, i. 386. not to be too servilely followed, i. 449.; ii. 259. 287. the reason of them to be considered, i. 459. ; ii. 259. formed on the works of those who have studied Na- Ruysdaal, excellence of his landscapes, ii. 207. S Salvator Rosa, his characteristic style, i. 374. his Jacob's Dream, praised, ii. 91. - Their va- Schools of Painting, how to be classed; Roman, Florentine, Bo- 337. Venetain, excellencies and defects of, i. 351. 354.; ii. 332. subjects of, i. 355. Dutch, peculiar merits of, ii. 205. 331. 337.- .Painters ii. 87. Dutch and Flemish, excellencies and defects of, i. 358.; English, difficulties in the way of establishing, ii. 80. Bolognese, foundation of, ii. 108. Schutz, his Martyrdom of St. George, ii. 162. Sculpture, wherein, and in what manner, its principles and those ii. 6. 20. has only one style, ii. 5. the character of, to afford the delight resulting from - in drapery, ineffectual attempts to improve, ii. 14. ii. 14. dress of, ii. 19. causes of its decline in England, ii. 190. Segers, his Adoration of the Magi, ii. 140. - Marriage of the Vir- gin, ii. 169. Other Pictures, ii. 183. in the Ancients, arose from penury, i. 447. See Style, Sketches, to be painted in colours, rather than drawn with the their beauty, poetical, i. 460. reason of the effect of, ii. 30. their utility, ii. 290. 306. See Design. Snyders, observations on the nature of his Paintings, ii. 195. Study of Painting, hints for the course of, i. 315. 318. &c.; ii. purpose of, to form the mind, ii. 36. method of, remarks on, ii. 39. 293. 341. Studio, anecdote of a Painter so nicknamed, ii. 31. Style in Painting, what, and how to be acquired, i. 323. the Grand, in what it consists, i. 325. —the chief requisites splendour of, how far excellent or faulty, i. 353.; ii. 148. 185. 214. - ornamental, how and by whom disseminated, i. 356. i. 362. perfect, what, 363. - distinction of, founded on general nature and particular cus- original or characteristic, i. 373. uniformity of, i. 375. See Salvator Rosa. See Rubens. modes of acquiring, i. 378. See Historical Painting. Styles, various, how far incompatible with each other, i. 353.361. nutely, i. 346. i. 347. - - or mi- - - faithfully, ii. 261. Summary of the general doctrines in the several Discourses of Sir Symmetry, utility of, i. 336. See Grace; Correctness. T Taste, reading and conversation with learned men necessary to false opinions relative to, refuted, i. 408. distinction between that and Genius, i. 410. true and false, definition and progress of, i. 411. &c. - Taste, how to be exercised, in appreciating the value of different relative to the expression of the passions in Painting, i. 423. Teniers, Old, ii, 150. Young, anecdote of, ii. 150. his excellencies, ii. 207. Terberg, good Pictures by, ii. 202. portrait of, ii. 204. Timanthes, the propriety of his hiding the face of Agamemnon, Tintoret, Vasari's opinion of, i. 356. his excellencies and defects, i. 423.; ii. 372. Pictures by, in the Dusseldorp Gallery, ii. 214. Titian, an exception to the Venetian School, i. 356. character of his portraits, i. 444. See ii. 218. his excellence of colouring, i. 454.; ii. 26. 28. 31. 295. his defect in drawing, ii. 26. compared with Raffaelle, ii. 27. - with Rubens, ii. 174, 175. 319, 320. his St. Sebastian, excellencies and defects of, ii. 27. his excellence in Landscapes, ii. 31. his rule for light and shade, ii. 278. 334. anecdotes of, ii. 369. Torso of M. Angelo, its excellence, ii, 8. V Vanbrugh, defended as a poetical architect, ii. 76, 77. Van de Hende, his patience in finishing, ii. 203. Vander Helst, excellent pictures of portraits by, ii. 197. 199. Vander Heyden, character of his paintings, ii. 200. Vandervelde, his View of the Port of Amsterdam, ii. 198. · other - Vanderwerf, his excellencies and defects, ii. 215-218. 227. -- a pupil of Rubens. ii. 276. - and his successful imi- - his various manners of pairting, ii. 211. pictures by at the Prince de Ligne's, at Brussels, ii. 151.-his Crucifixion, at Mechlin, praised, ii. 274. and other pictures, ii. 153, 154, 155. · - his Crucifixion at the Jacobines, - - Antwerp, ii. 167.—his Christ bearing the Cross, at the Jaco- ii. 224. - Van-Eyck, Jean, not the first painter in oil, ii. 141. of attitude, ii. 265. - Venice. Remarks on the nature of a Painter's studies at Venice 452.; ii. 339. his excellencies and defects, i. 423.; ii. 371. a bon mot of his on the subject of light and Viola, G., anecdotes of, ii. 375. Virtue, necessary to the perfection of Taste, i. 426.; ii. 393. Unity in Painting, in what cases a fault, i. 441. of the limbs and drapery with the head of a figure, ii. 264. 271. 316. Voltaire, false taste shown in a statue of him, i. 434. W Watteau, his excellency in colouring, ii. 238. Wax-work, why less agreeable than painting, ii. 24. Weenix, his merit in painting dead game, ii. 202. 210. 225. defects in Portrait Painting, ii. 225. White, its effect in painting, ii. 278. Whole, what is meant by, ii. 31. See Genius; Rubens; and ii. 280. 288. 321. Wilson, defects in his Landscapes, ii. 89. |