Rules of Art, implicit obedience to; necessary in Young requisite even to works of Genius, i. 155. iii. 33; 78; 164. ... the reason of them to be considered, i. 281; iii. 33: 171; 182. formed on the works of those who have SALVATOR ROSA, his characteristick style, i. 132. Schools of Painting, how to be classed; Roman; Flo 96: iii. 147; 156, Dutch; peculiar merits of, ii. 369, &c. iii. . Dutch and Flemish; excellencies and defects English; difficulties in the way of establishing, modern Roman; its degeneracy, ii, 150; 233, Schutz, his Martyrdom of St. George, ii. 227. Sculpture; wherein, and in what manner, its principles and those of painting agree or differ; what is within: its power an art of more simplicity and uniformity than has only one style, i. 12. . the character of; to afford the delight result- causes of its decline in England, ii. 341. Segers, his Adoration of the Magi, ii. 249-Marriage of the See Style, the Grand. Sketches, to be painted in colours, rather than drawn 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,. Study of Paintings hints for the course of, i. 24; 31: ii.. purpose of, to form the mind, ii. 67. method of, remarks on,ii. 73, &c. iii. 87; 163. Study of variety, diligence and a passion for the Art, re- Studio, anecdote of, a painter so nicknamed, ii. 58. the Grand; in what it consists, i. 52, &c.-the splendour of, how far excellent or faulty; i. 94: ornamental, how and by whom disseminated, i. 100 composite, i. 108-adopted by Correggio and . distinction of, founded on general nature and par- original or characteristick, i. 131. See Salvator uniformity of, i. 134, See Rubens. modes of acquiring, i. 140. See Historical Painting. 95; 108. Subjects, choice of; how to be regulated, i. 80: iii. 34 ; in what cases to be treated distinctly, i, 81—or · subordinate parts of; the art used in, must not appear, i. 84. Summary of the general doctrines in the several Dis- courses of Sir Joshua Reynolds, to the Academy, ii. 189. Symmetry, utility of, i. 64, See Grace; Correctness. T TASTE; reading, and conversation with learned men, false opinions, relative to, refuted, i. 193, &c. true and false; definition and progress of, true; founded on enlarged and general ideas . how to be exercised; in appreciating the value relative to the expression of the passions in See Genius; Ornament; Style; Dress. Teniers, Old, ii. 267. portrait of, ii. 368. Timanthes, the propriety of his hiding the face of Aga- Tintoret, Vasari's opinion of, i. 99. his excellencies and defects, i. 218: iii. 207. Titian, an exception to the Venetian School, i. 100. his excellence of colouring, i. 274. 5: ii. 50; 53; . 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*•* Vander Heyden, character of his paintings, ii. 360. 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 his various manners of painting, ii. 381. pictures by; at the Prince de Ligne's, at |