Rules of Art, implicit obedience to; necessary in Young
Students, i. 11.

requisite even to works of Genius, i. 155.
not to be too servilely followed, i. 264;

iii. 33; 78; 164.

...

the reason of them to be considered, i. 281;

iii. 33: 171; 182.

formed on the works of those who have
studied Nature most successfully; and therefore.
teach the art of seeing Nature, iii. 179, &c.
Rysdale, excellence of his landscapes, ii. 373

SALVATOR ROSA, his characteristick style, i. 132.
• his Jacob's Dream, praised, ii. 168.

Schools of Painting, how to be classed; Roman; Flo
rentine; Bolognese; French; Venetian; Flemish ;
Dutch, i. 91 their various principles, iii. 181.
Venetian; excellencies and defects of, i. 92;

96: iii. 147; 156,

Dutch; peculiar merits of, ii. 369, &c. iii.
146; 156.-Painters of; their names, ii. 371.

. Dutch and Flemish; excellencies and defects
of, i. 102 ii. 160-how to be distinguished, il,
372.

English; difficulties in the way of establishing,
ii. 149.

modern Roman; its degeneracy, ii, 150; 233,
Bolognese, foundation of, ii. 199.

Schutz, his Martyrdom of St. George, ii. 227.

Sculpture; wherein, and in what manner, its principles

and those of painting agree or differ; what is within:
of performing ;. and what ought to be its
great purpose, ii. 12, &c. See iii, 60.

its power

an art of more simplicity and uniformity than
Painting, ii, 13; 37:

has only one style, i. 12.

. the character of; to afford the delight result-
ing from the contemplation of perfect beauty, ii. 15.
ineffectual attempts to improve, ii. 26-in.
drapery, ib.-in making different plans in the same
bas-relievo, ii. 32in perspective, ii. 341

causes of its decline in England, ii. 341.

Segers, his Adoration of the Magi, ii. 249-Marriage of the
Virgin, ii. 301-other pictures, ii. 328.
Self-confidence, necessary to an Artist, ii. 813 419..
Simplicity in Painting; what, and its effects, i 254, &c..
in the Ancients, arofe from penury, i. 262,

See Style, the Grand.

Sketches, to be painted in colours, rather than drawn
with the crayon, i. 42ċ iii. 106.

their beauty poetical, i. 284.

reason of the effect of, ii. 57.

their utility, iii. 82, 3; 106, See Design.

Snyders; observations on the nature of his paintings, ii.
350.

Stein, Jean, his excellence; and in what to be imitated,.
ii. 181; 373, See ii. 366; 368.

Study of Paintings hints for the course of, i. 24; 31: ii..
92; 100; 287, &c. ii. 163; 170..

purpose of, to form the mind, ii. 67.

method of, remarks on,ii. 73, &c. iii. 87; 163.

Study of variety, diligence and a passion for the Art, re-
quisite to, i. 75; 157.

Studio, anecdote of, a painter so nicknamed, ii. 58.
Style, in Painting; what, and how to be acquired, i. 38.

the Grand; in what it consists, i. 52, &c.-the
chief requisites of, and means of attaining, i. 57-69
-principles of, i. 123--131 : ii. 312, 313: iï. 126;
128; 157: (See Michael Angelo)-effect of, ii. 204.

splendour of, how far excellent or faulty; i. 94:
ii. 263; 332; 386.

ornamental, how and by whom disseminated, i. 100
-how far worthy attention, i. 122; 263. See
Ornaments.

composite, i. 108-adopted by Correggio and
Parmegiano, i, 110.

. distinction of, founded on general nature and par-
ticular customs, i. 112.

original or characteristick, i. 131. See Salvator
Rosa.

uniformity of, i. 134, See Rubens.

modes of acquiring, i. 140. See Historical Painting.
Styles, various; how far incompatible with each other,

95; 108.

Subjects, choice of; how to be regulated, i. 80: iii. 34 ;
75; 103.

in what cases to be treated distinctly, i, 81—or ·
minutely, i. 82-faithfully, iii. 36.

subordinate parts of; the art used in, must not

appear, i. 84.

Summary of the general doctrines in the several Dis-

courses of Sir Joshua Reynolds, to the Academy,

ii. 189.

Symmetry, utility of, i. 64, See Grace; Correctness.

T

TASTE; reading, and conversation with learned men,
necessary to the formation of, i. 190.

false opinions, relative to, refuted, i. 193, &c.
distinction between that and Genius, i. 197.
capable of a real standard, i. 239.

true and false; definition and progress of,
i. 199, &c..

true; founded on enlarged and general ideas
of Nature, i. 204-acquired by experience and a
diligent study of Nature, i. 222: ii. 103; 207.

. 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. 214, &c.

relative to the expression of the passions in
Painting, i. 219, &c.

See Genius; Ornament; Style; Dress.

Teniers, Old, ii. 267.

portrait of, ii. 368.

Timanthes, the propriety of his hiding the face of Aga-
memnon, examined, i. 282.

Tintoret, Vasari's opinion of, i. 99.

his excellencies and defects, i. 218: iii. 207.
pictures by, in the Dusseldorp gallery, ii. 386.

Titian, an exception to the Venetian School, i. 100.
character of his portraits, i. 255; See ii. 393.

his excellence of colouring, i. 274. 5: ii. 50; 53;
59: iii. 89; 166-in his Bacchus and Ariadne, i. 274
-in his portraits, i. 275.

.

his defect in drawing, ii. 50.

compared with Raffaelle, ii. 52.

with Rubens; ii. 310--312: iii. 127,

his St. Sebastian, excellencies and defects of, ii. 52.

. his excellence in Landscapes, ii. 59.

his rule for light and shade, iii. 64 ; 150%

anecdotes of, iii. 182.

Torso, of M. Angelo, its excellence, ii. 17.

V

VANBRUGH, defended as a poetical Architect, ii. 138.

140.

Van de Hende, his patience in finishing, ii. 366.

Vander Helst, excellent pictures of portraits by; ii. 354*•*
356.

Vander Heyden, character of his paintings, ii. 360.
Vandervelde, his View of the Port of Amsterdam, ii. 356——
other pictures, ii. 360-his excellency in colouring,

iii. 159.

Vanderwerf, his excellencies and defects, ii. 389--393+

411.

Vandyck, the best Portrait Painter, i. 179.

.... a pupil of Rubens, iii. 214-and his successful
Imitator, ii. 379, 380.

his various manners of painting, ii. 381.

pictures by; at the Prince de Ligne's, at