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,

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, iii. 182.

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

V

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 C rucifixio
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 Pięța, 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, iì. 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.
excellencies and defects, i. 218:

his

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:

iii. 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.

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,

Printed by H. Baldwin and Sex,
New Bridge-street, London.