pel of the Arquebuse Company; his Descent of the his Christ's Charge to Peter, ii. 175. . his St. Bavon praised, ii. 253-St. Rock, ii, 258. censurable pictures by, ii. 251; 257; 259; . his Portrait, by himself, ii. 266; 331; 403. his general character; excellencies and defects, different effects of his paintings, in different cir- Rules of Art, implicit obedience to; necessary in Young requisite even to works of Genius, i. 155. 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 S SALVATOR ROSA, his characteristick style, i. 132. his Jacob's Dream, praised, ii. 168. Schools of Painting, how to be classed; Roman; Flo- Dutch, i. 91-their various principles, iii. 181. Venetian excellencies and defects of, i. 92; 96: iii. 147; 156. subjects of, i. 97. Dutch; peculiar merits of, ii. 369, &c. iii. Dutch and Flemish; excellencies and defects English; difficulties in the way of establishing, modern Roman; its degeneracy, ii. 150; 233. Schutz, his Martyrdom of St. George, ii. 277. Sculpture; wherein, and in what manner, its principles and those of painting agree or differ; what is within has only one style, ii. 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 causes of its decline in England, ii. 341. See Style, the Grand. Sketches, to be painted in colours, rather than drawn with the crayon, i. 42: iii. 106. their beauty poetical, i. 284. reason of the effect of, ii. 57. their utility, iii. 82, 3; 106, See Design. 350. Stein, Jean, his excellence; and in what to be imitated, Study of Painting; hints for the course of, i. 24; 31: ii. 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- Studio, anecdote of, a painter so nicknamed, ii. 58. Style, in Painting; what, and how to be acquired, i. 38. ornamental, how and by whom disseminated, i. 100 composite, i. 108-adopted by Correggio and perfect, what, i. 112. 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. capable of a real standard, i. 239. . 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. Young, anecdote of, ii. 467. his excellencies, ii. 372. Terberg, good pictures by, ii. 363. portrait of, ii. 368. 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. |