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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.

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VANBRUGH, defended as a poetical Architect, ii. 138----

140.
Van de Hende, his patience in finishing, ii. 366.
Vander Helst, excellent pictures of portraits by, ii. 354–

356.
Vander Heyden, character of his paintings, ii. 360.
Vandervelde, his View of the Port of Amsterdam, ii. 356

other pictures, ii. 360_his excellency in colouring,

iii. 159.

Vanderwerf, his excellencies and defects, ii. 389--393 ;

411.
Vandyck, the best Portrait Painter, i. 179.

a Pupil of Rubens, iii. 214-and his successful
Imitator, ii. 379, 380.

his various manners of painting, ii. 381.
· pictures by; at the Prince de Ligne's, at

.

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:

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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.

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

W

WATTEAU, his excellency in colouring, iii. 157.
Wax-work, why less agreeable than painting, ii. 46.
Weenix, his merit in painting dead game, ii. 364, 5;

378, 379; 407—his defects in portrait-painting, ii.

408.
White, its effect in painting, iii. 64.
Whole, what is meant by, ii 58. See Genius; Rubens ;

and ii. 416: iii. 78; 129. See also i. liii.
Wilson, defects in his Landscapes, ii. 165.
Wouvermans, merit of his paintings, ii. 343.

one of his best pictures at Mr. Hope's
Amsterdam, ii. 359.

END OF THE THIRD VOLUME,

I'vinted by H. Baldwin and S.,

New Bridge-street, London.

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