Rubens, his particular excellence in large Pictures, ii. 144. 163.
169, 170.

his style of painting in the Luxemburgh, on what princi-
ples laudable, i. 420. See Style, Splendour of

168. 147.
151.

-

-

his Pictures at Brussels; at the Unshod Carmelites, ii.
at the Capuchins, ii. 147. -at Mr. Orion's, ii.
- at Mechlin; his Last Supper, ii. 152. &c. - at the
Church of St. John, ii. 155., Augustins, ii. 156. —at the
Chapel of the Arquebuse Company, Antwerp; his Descent
of the Cross, ii. 157. 159.; and Pictures connected there-
with, ii. 160. at the Schoolmaster's Chapel, ii. 161.
at the Altar of the Gardener's, ii. 162.—the Great Altar, ii.
164.the Church of St. Walberge; Elevation of the Cross, ii.
164. the Unshod Carmelites, ii. 167-169.
Carmelites, ii. 169.

-

-

-

-

-

the Great
St. Michael's Church, ii. 169, 170.

-

-

The Jacobins, ii. 171.- St. Augustin's; The Altar of the
Choir, ii. 173. 177. Recollets; The Celebrated Crucifixion,
ii. 177.; and other pictures, ii. 181, &c. Capuchins, ii.
182. Annunciation Nuns; St. Justus, ii. 183. St. James's
Church, ii. 184. in M. Peters's Cabinet, ii. 186. — Mr.
Dasch's; Seleucus and Stratonice, ii. 187.— other Cabinets, ii.
188, &c. at the Hague, ii. 191.—in the Dusseldorp Gal-
lery, ii. 208. 224. - his Fallen Angels, particularly excellent,
ii. 221. - at Cologne, ii. 224. at Aix-la-Chapelle, ii. 227.

-

- at Louvain, ii. 228.

-

his Christ's Charge to Peter, ii. 95.

his St. Bavon praised, ii. 142. - St. Rock, ii. 145.
sketches and pictures by him, at Mr. Danoot's, at Brus-
sels, ii. 149.

censurable Pictures by, ii. 141. 145, 146. 181, 182, 183.
185, 186, 187. 225. 227, 228.

his Chair, at the Academy of Painting, Antwerp, ii. 186.
his Portrait, by himself, ii. 150. 185. 223.

his general character; excellencies and defects, ii. 228. 375.
Rules of Art, implicit obedience to, necessary in young Students,

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-
ture most successfully, and therefore teach the art of seeing
Nature, ii. 351.

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-
lognese, French, Venetian, Flemish, Dutch, i. 351.
rious principles, ii. 352.

337.

Venetain, excellencies and defects of, i. 351. 354.; ii. 332.

subjects of, i. 355.

Dutch, peculiar merits of, ii. 205. 331. 337.- .Painters
of, their names, ii. 206.

ii. 87.

Dutch and Flemish, excellencies and defects of, i. 358.;
- How to be distinguished, ii. 206.

English, difficulties in the way of establishing, ii. 80.
modern Roman, its degeneracy, ii. 81. 129.

Bolognese, foundation of, ii. 108.

Schutz, his Martyrdom of St. George, ii. 162.

Sculpture, wherein, and in what manner, its principles and those
of painting agree or differ; what is within its power of perform-
ing, and what ought to be its great purpose, ii. 5. 276. &c.
an art of more simplicity and uniformity than Painting,

ii. 6. 20.

has only one style, ii. 5.

the character of, to afford the delight resulting from
the contemplation of beauty, ii. 7.

-

in drapery,

ineffectual attempts to improve, ii. 14.
in making different plans in the same bas relievo, ii.
17. - in perspective, ii. 18.

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.
Self-confidence, necessary to an Artist, ii. 44. 231.
Simplicity in Painting, what, and its effects, i. 443.

in the Ancients, arose from penury, i. 447. See Style,
the Grand.

Sketches, to be painted in colours, rather than drawn with the
crayon, i. 325.; ii. 306.

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.
Stein, Jean, his excellence; and in what to be imitated, ii. 207.
203, 204.

Study of Painting, hints for the course of, i. 315. 318. &c.; ii.
50. 55. 161. 342. 346.

purpose of, to form the mind, ii. 36.

method of, remarks on, ii. 39. 293. 341.
Study of variety, diligence and a passion for the art requisite to,
i. 343. 388.

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
of, and means of attaining, i. 332. 339. — principles of, i. 368-
373.; ii. 175. 319, 320. 338. (See Michael Angelo.)— Effect
of, ii. 111.

splendour of, how far excellent or faulty, i. 353.; ii. 148.

185. 214.

-

ornamental, how and by whom disseminated, i. 356.
how far worthy attention, i. 368. 448. See Ornaments.
composite, i. 361. adopted by Corregio and Parmegiano,

i. 362.

perfect, what, 363.

-

distinction of, founded on general nature and particular cus-
toms, i. 363.

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.
Subjects, choice of, how to be regulated, i. 345.; ii. 260. 286. 304.
in what cases to be treated distinctly, i. 345.

nutely, i. 346.

i. 347.

-

- or mi-

-

- faithfully, ii. 261.
subordinate parts of, the art used in must not appear,

Summary of the general doctrines in the several Discourses of Sir
Joshua Reynolds to the Academy, ii. 103.

Symmetry, utility of, i. 336.

See Grace; Correctness.

T

Taste, reading and conversation with learned men necessary to
the formation of, i. 407.

false opinions relative to, refuted, i. 408.

distinction between that and Genius, i. 410.
capable of a real standard, i. 435.

true and false, definition and progress of, i. 411. &c.
true, founded on enlarged and general ideas of Nature,
i. 415.
acquired by experience and a diligent study of Na-
ture, i. 368.; ii. 56. 113.

-

Taste, how to be exercised, in appreciating the value of different
styles of Painting, according to their real importance, and the
perfection of the several Artists, i. 420. &c.

relative to the expression of the passions in Painting, i. 423.
&c. See Genius; Ornament; Style; Dress.

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,
examined, i. 460.

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.
346. - in his Bacchus and Ariadne, i. 454. — in his portraits,
i. 455.

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
pictures, ii. 200. his excellency in colouring, ii. 339.

-

Vanderwerf, his excellencies and defects, ii. 215-218. 227.
Vandyck, the best Portrait Painter, i. 400.

--

a pupil of Rubens. ii. 276. - and his successful imi-
tator, ii. 210, 211.

- 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-
bines, ii. 172. - his St. Augustin in Ecstacy, ii. 176. Recol-
lects; a Pieta, ii. 181.-Beguinage Church; a Pieta, ii. 184. —
Judas, ii. 188. — Assumption of the Virgin, in Mr. Hope's
Cabinet, at Amsterdam, ii. 199. his Pictures in the Dussel-
dorp Gallery, ii. 209. — a bad one, ii. 209. — his Take up thy
Bed and walk! ii. 210. -a Pieta, 210. 212. — a good portrait,

ii. 224.

-

Van-Eyck, Jean, not the first painter in oil, ii. 141.
Van-Heemsen, his Last Judgment, ii. 185.
Van-Orley, Bernard, pictures by, ii. 148. 156.
Variety, necessary to study in a certain degree, ii. 40.
-in figures, in Historical Painting, ii. 264.

of attitude, ii. 265.

-

Venice. Remarks on the nature of a Painter's studies at Venice
-reasons why Sir Joshua did not make a longer stay there, i.
105, 106. — Observations on the poetry of colour, as illustrated
in the works of the best Venetian Masters, i. 107, 108. -on
the mode in which the student may instruct himself by studying
the works of the best Ancient Masters, i. 109, 110.
Veronese, Paul, reason of a peculiar defect of his, i. 352.

452.; ii. 339.

his excellencies and defects, i. 423.; ii. 371.
his Picture of the Marriage at Cana, praised, i.

a bon mot of his on the subject of light and
shadow, i. 457.

Viola, G., anecdotes of, ii. 375.

Virtue, necessary to the perfection of Taste, i. 426.; ii. 393.
how far the effect of Taste, ii. 4.

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.
Vos. See De Vos.

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.