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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. 42, &c.-the
chief requisites of, and means of attaining, i. 57--69
-principles of, i. 123--131 ; ii. 312, 313: iii. 126;
128; 157: (See Michael Angelo)—effect of, ii. 204

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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. 1c8-adopted by Correggio and
Parmegiano, i. 110.

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

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

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uniformity of, i. 134, See Rubens.

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

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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.

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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.

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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 severa}
Artists, i. 214, &c.

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

See Genius; Ornament; Style; Dress.

Teniers, Old, ii. 267.

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Timanthes, the propriety of his hiding the face of Aga-
memnon, examined, i. 112.

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

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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.

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his excellence of colouring, i. 274, 5: ii. 50; 53;
59: iii. 89; 169-in his Bacchus and Ariadne, i, 274
-in his portraits, i. 275.

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his defect in drawing, ii. 50.

compared with Raffaelle, ii. 52.

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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.

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his various manners of painting, ii. 381.

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

Brussels, ii. 267-his Crucifixion, at Mechlin, praised
ii. 273, 4-and other pictures, ii. 275-his Crucifixio
at the Jacobines, Antwerp, ii. 298—his Christ bearing
the Cross, at the Jacobins, ii. 306-his St. Augustin in
ecstacy, ii. 314-Recollets; a Pieta, ii. 224-Beguinage
Church; a Pieta, ii. 329-Judas, ii. 337-Assumption
of the Virgin, in Mr. Hope's Cabinet at Amsterdam,
ii. 363-his Pictures in the Dusseldorp Gallery, ii.
377-a bad one, ii. 378-his Take up thy bed and
walk! ii. 379—a Pieta, ii. 380, 381, 382—a good,
portrait, ii. 405.

Van-Eyck, Jean, not the first painter in oil, ii. 251.
Van-Heemsen, his Last Judgment, ii. 332.
Van-Orley, Bernard, pictures by, ii. 264; 277.
Variety, necessary to study, in a certain degree, ii. 75.

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in figures in Historical Painting, iii. 41.

...of attitude, iii. 43.

Venetian mode of colouring, how far discovered, i. lvi.
lvii, & n.

Veronese, Paul; reason of a peculiar defect of his, i. 93.
his excellencies and defects, i. 218:

iii. 206.

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. his picture of The Marriage at Cana,

praised, i. 270: iii. 158.

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a bon mot of his, on the subject of light,

and shadow, i. 278.

Viola, G. anecdotes of, iii. 112.

Virtue, necessary to the perfection of Taste, i. 224:

iii. 241.

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how far the effect of Taste, ii. 8.

Unity, in Painting; in what cases a fault, i. 250.

of the limbs and drapery with the head of a figuré,
iii. 41; 52; 122.

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Voltaire, false taste shewn in a statue of him, i. 238.

Vos, See De Vos.

W

WATTEAU, his excellency in colouring, iii. 157.
Wax-work, why less agreeable than painting, ii. 46.
Weenix, his merit in painting dead game, ii. 364, 5;
378, 379; 407-his defects in portrait-painting, ii.
408.

White, its effect in painting, iii. 64.

Whole, what is meant by, ii 58. See Genius; Rubens;
and ii. 416: iii. 78; 129. See also i. liii.
Wilson, defects in his Landscapes, ii. 165.
Wouvermans, merit of his paintings, ii. 343.

. one of his best pictures at Mr. Hope's

Amsterdam, ii. 359-

END OF THE THIRD VOLUME.

Frinted by H. Baldwin and San,
New Bridge-street, London.

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