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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 Crue
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.

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.

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.

his general character ; excellencies and defects,
ii. 413 : 1.213

different effects of his paintings, in different cira
cumstances, i. Ixvii, & n.


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

. requisite even to works of Genius, i. 155.

not to be too servilely followed, i. 264 :
33; 78; 164.

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.


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Salvator Rosa, his characteristick style, i. 132.

. 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.

Venetian : excellencies and defects of, i. 92 ; 96:
iii. 147; 156.

subjects of, i. 97.
Dutch; peculiar merits of, ii. 369, &c. ii.
146; 156.-Painters of; their names, ii. 371.

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

English; difficulties in the way of establishing,

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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

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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. Sce iii. 60.

an art of more simplicity and uniformity. than
Painting, ii. 13; 37

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
drapery, ib.-in making different plans in the same
bas-relievo, ii. 32-in perspective, ii. 34.

Dress of, ii. 35.

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,
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.
Snyders ; observations on the nature of his paintings, ii.

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.
purpose of, to form the mind, ii. 67.
method of, remarks on, ii. 73, &c. iii. 87 ; 163.


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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

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

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
• 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. 8o: 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-

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courses of Sir Joshua Reynolds, to the Academy,

ij. 189.
Symmetry, utility of, i. 64, See Grace; Correctness.


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Taste; reading, and conversation with learned men,
necessary to the formation of, i. 190.

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.
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 several
Artists, i, 214, &c.

relative to the expression of the passions in

See Genius; Ornament; Style; Dress.
Teniers, Old, ii. 267.

Young, anecdote of, ii. 457.

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.

his excellencies and defects, i. 218: iii: 207.
pictures by, in the Dusseldorp gallery, ii. 386.

219, &c.

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