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.
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 : lii. 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.
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. 372.
English; difficulties in the way of establishing,
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.
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. 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 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. • 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 Painting,
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.
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