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pel of the Arquebuse Company; his Descent of the
Cross, ii. 279--283-and pictures connected there-
with, ii. 284, 285-at the Schoolmaster's Chapel,
ii. 286 at the Altar of the Gardener's, ii. 289-the
Great Altar, ii. 291-the Church of St. Walburge;
Elevation of the Cross, ii. 291--297-the Unshod Car-
melites, ii. 299--301-the Great Carmelites, ii. 301
-St. Michael's Church, ii. 302--304-The Jaco-
bins, ii. 305-St. Augustin; The Altar of the Choir,
ii. 308: iii. 127-Recollets; The Celebrated Cru
cifixion, ii. 317--323; and other pictures, ii. 323;
&c. Capuchins, ii. 326-Annunciation Nuns; St.
Justus, ii. 328-St. James's Church, ii. 330-in
M. Peters's Cabinet, ii. 334-Mr. Dash's; Seleucus
and Stratonice, ii. 335-other Cabinet's, ii. 336, &c.-
at the Hague, ii. 343-in the Dusseldorp Gallery,
ii. 375--406-his Fallen Angels, particularly excel-
lent, ii. 400-at Cologne, ii. 406-at Aix La Cha-
pelle, ii. 410-at Louvain, ii. 412.

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his Christ's Charge to Peter, ii. 175.

. his St. Bavon praised, ii. 253-St. Rock, ii, 258.
sketches and pictures by him, at Mr. Danoot's
at Brussels, ii. 265.

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censurable pictures by, ii. 251; 257; 259;
324; 326, 327; 332; 334; 336; 406; 410; 413.
his Chair, at the Academy of Painting, Ant-
werp, ii. 338.

. his Portrait, by himself, ii. 266; 331; 403.

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his general character; excellencies and defects,
ii. 413: iii. 213.

different effects of his paintings, in different cir-
cumstances, i. lxvii, & n.

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

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

iii. 33; 78; 164.

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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.

S

SALVATOR ROSA, his characteristick style, i. 132.

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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.

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Venetian excellencies and defects of, i. 92; 96:

iii. 147; 156.

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subjects of, i. 97.

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

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

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

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

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
its power of performing; and what ought to be its
great purpose, ii. 12, &c. See iii. 60.

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has only one style, ii. 12,

the character of; to afford the delight result-

ing from the contemplation of perfect beauty, ii. 15.

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ineffectual attempts to improve, ii. 26-in
drapery, ib.—in making different plans in the same
bas-relievo, ii. 32-in perspective, ii. 34.

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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. 81; 419.
Simplicity in Painting; what, and its effects, i. 254, &c.
in the Ancients, arose from penury, i. 262,

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See Style, the Grand.

Sketches, to be painted in colours, rather than drawn

with the crayon, i. 42: iii. 106.

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

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

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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.

perfect, what, i. 112.

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.

... 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.

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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.

Young, anecdote of, ii. 467.

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his excellencies, ii. 372.

Terberg, good pictures by, ii. 363.

portrait of, ii. 368.

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.

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