Titian, an exception to the Venetian School, i. 100.
.... character of his portraits, i. 255; See ii. 393.
... his excellence of colouring, i. 274, 5: ii. 50; 53;

59: iii. 89; 169—in his Bacchus and Ariadne, i, 274
-in his portraits, i. 275.

his defect in drawing, ii. 50.
compared with Raffaelle, ii. 52.

with Rubens, ii. 310—312: iii. 127,
8.

his St. Sebastian, excellencies and defects of, ii. 52.
his excellence in Landscapes, ii. 59.
his rule for light and shade, iii. 64; 150.

anecdotes of, ii. 182.
Torso, of M. Angelo, its excellence, ii. 17.

V

Brussels, ii. 267-his Crucifixion, at Mechlin, praised
ii. 273, 4-and other pictures, ii. 275-his Crucifixio
at the Jacobines, Antwerp, ii. 298_his Christ bearing
the Cross, at the Jacobins, ii. 306_his St. Augustin in
ecstacy, ii. 314-Recollets; a Pieta, ii. 224—Beguinage
Church ; a Pieta, ii. 329- Judas, ii. 337— Assumption
of the Virgin, in Mr. Hope's Cabinet at Amsterdam,
ii. 363-his Pictures in the Dusseldorp Gallery, ii.
377-a bad one, ii. 378--his Take up thy bed and
walk! ii. 379—a Pieta, ii. 380, 381, 382—a good,

portrait, ii. 405.
Van-Eyck, Jean, not the first painter in oil, ii. 251.
Van-Heemsen, his Last Judgment, ii. 332.
Van-Orley, Bernard, pictures by, ii. 264; 277.
Variety, necessary to study, in a certain degree, ii. 75.

in figures in Historical Painting, iii. 41.

of attitude, iii. 43.
Venetian mode of colouring, how far discovered, i. lvi.

lvii, &n.
Veronese, Paul; reason of a peculiar defect of his, i. 93.

his excellencies and defects, i. 218:
iii. 206.

his picture of The Marriage at Cana
praised, i. 270: iii. 158.

a bon mot of his, on the subject of light,
and shadow, i. 278.
Viola, G. anecdotes of, iii. 112.
Virtue, necessary to the perfection of Taste, i. 224:

.

.

jii. 241.

. . how far the effect of Taste, ii. 8.
Unity, in Painting ; in what cases a fault, i. 250. .

of the limbs and drapery with the head of a figure,
iii. 41; 52; 122.
VOL. III.

B B

Voltaire, false taste shewn in a statue of him, i. 238.
Vos, See De Vos.

W