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Tassi, Agostino
Tempesta, Antonio

Testa, Pietro.
Tiarini, Alessandro
Tibaldi, Pelestrino
Timoteo Urbino.
Tintoretto, IL

Marietta
Titiano Vecelli.

Girolamo di
Trevigi, Girolamo da
Turbido, Francesco

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Uccella, Paolo ..
Udina, Giovanni da. See G.
G. M. de. See M.
Urbino, Raffaelle Sanzio d'. See R.

Timoteo. See T.

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Vecelli Francesco

Orazio .

Marco
Vecchio, Il
Veest, Ert
Velasquez, Diego
Velvet Brueghel
Venusto, Marcello
Verocchio, Andrea
Veronese Paul.

Alessandro
Verzelli, Giov. Antonio da
Vicenzo da San Geminiano.
Vinci Lionardo da, See L.
Viola, Il ...
Volterra, Daniel da
Vos, Martin de
Vouet, Simon
Vroom. See Wroon.

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GENERAL INDEX.

A

ACADEMY, the advantages of, i. 9, 10, 11.
Academy Royal, Observations on its foundation, i. 5, 6, 7.

peculiar advantages of, i. 1.
particulars of the origin of, xxxvii--xl.

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& n.

Accident, how far favourable to Painters, ii. 103: iii. 82:

to Architects, ii. 103.
Action, the principal requisite in a subject for History-

painting, iii. 104.--See iji. I 24.
Affectation, a hateful quality, i. Il; 258: iii. 133.

. contrast to Simplicity, i. 259.
Agamemnon,-See Timanthes.
Albert Durer,-See D.
Allegorical Painting, defence of, i. 214. Some by Reu-
bens, condemned, ii. 256.

not adapted to Christian Churches,
ii. 305; 355
Amsterdam, Pictures at, ii. 354,355; 369, 370—The Stadt-

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house, ii. 354-Wharf-Office, ji. 356mSurgeon's-
Hall, ibid.—Mr. Hope's Cabinet, ii. 358.-Mr.

Gart's, ij. 363
Anachronisms in Church-pictures, how far excusable,

ii, 314

Analogy of the several Arts; utility to be derived from,

ii. IlI.

Angelo Michael,--See M.
Antique, the Model to be copied, iii. 48.
Antwerp, Pictures at, ii. 277--336.
Apollo, Statue of, criticism on, ii. 19, 20,

Drapery of, remarks on, ii. 28.
Apostles, Statues of, in St. John Lateran's Church, de-

fects of, ii. 30.
Architecture, hints as to the principles of, ii. 136, & seq.
Artist, the qualifications of, iii. 82; 86-See Study, Imi,

tation, &c.
Arts, one cannot be engrafted on another, ii. 334.

what is the object and intention of them all, i. 142.

B

BACK GROUND, in Pictures, rules as to, iij. 71;152; 154,
Bacon, an observation of his on Painting disputed, i. 6ı.
Bad Pictures, in what respect useful, i. 272: ii. 379 :

iii. 163.
Baroccio, his defect in colouring, iii. 178.
Bassano, his excellencies, i. 218.- See iii. 207.
Basso Relievo, improvement of the Moderns in, ii. 33.
Beauty, ideal ; what, and the notion of it how to be

pursued and acquired, i. 59: iii. 30, &c ; 100; 103 ;
179; 223.

. the foundation of, i. 59, 60, 61: ii,
237, 238.

. its varieties, i. 62.

of forn alone, one great excellence in
Sculpture, ii. Į6: iii. 113.-See Nature.
Bellino, Titian's first Master, Anecdotes of, iii. 204,

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