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. splendour of, how far excellent or faulty, i. 94: ornamental, how and by whom disseminated, i. 100 composite, i. 1c8-adopted by Correggio and ... distinction of, founded on general nature and par original or characteristick, i. 131. See Salvator uniformity of, i. 134, See Rubens. :... modes of acquiring, i. 140. See Historical Painting. Subjects, choice of; how to be regulated, i. 80: iii. 34; . . . . in what cases to be treated distinctly, i. 81-or subordinate parts of; the art used in, must not 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, false opinions, relative to, refuted, i. 193, &c. true and false; definition and progress of, true; founded on enlarged and general ideas how to be exercised; in appreciating the value . . relative to the expression of the passions in See Genius; Ornament; Style; Dress. Teniers, Old, ii. 267. Timanthes, the propriety of his hiding the face of Aga- 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. his excellence of colouring, i. 274, 5: ii. 50; 53; 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 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— Vander Heyden, character of his paintings, ii. 360. 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 his various manners of painting, ii. 381. pictures by; at the Prince de Ligne's, at Brussels, ii. 267-his Crucifixion, at Mechlin, praised Van-Eyck, Jean, not the first painter in oil, ii. 251. in figures in Historical Painting, iii. 41. ...of attitude, iii. 43. Venetian mode of colouring, how far discovered, i. lvi. Veronese, Paul; reason of a peculiar defect of his, i. 93. iii. 206. . his picture of The Marriage at Cana, praised, i. 270: iii. 158. 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. 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, Voltaire, false taste shewn in a statue of him, i. 238. Vos, See De Vos. W WATTEAU, his excellency in colouring, iii. 157. White, its effect in painting, iii. 64. Whole, what is meant by, ii 58. See Genius; Rubens; . one of his best pictures at Mr. Hope's Amsterdam, ii. 359- END OF THE THIRD VOLUME. Frinted by H. Baldwin and San, |