Imágenes de páginas

Brussels, ii. 267-his Crucifixion, at Mechlin, praised,
ii. 273, 4—and other pictures, ii. 275-his Crucifixion,
at the Jacobines, Antwerp, ii. 298-his Christ bearing
the Cross, at the Jacobins, ii. 306—his St. Augustin in
ecstacy, ii. 314-Recollets; aPieta, ii.224—Beguinagë
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-

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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.

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his picture of The Marriage at Cana,

praised, i. 270: iii. 158.

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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.

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how far the effect of Taste, ii. 8.

Unity, in Painting; in what cases a fault, i. 250.

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

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

Vos, See De Vos.


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.

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.


Rules of Art, implicit obedience to; necessary in Young

Students, i. 11.

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requisite even to works of Genius, i. 155.

not to be too servilely followed, i. 264;

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
studied Nature most successfully; and therefore.
teach the art of seeing Nature, iii. 179, &c.
Rysdale, excellence of his landscapes, ii. 373

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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,


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Dutch; peculiar merits of, ii. 369, &c. iii,
146; 156.-Painters of; their names, ii. 371.

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Dutch and Flemish; excellencies and defects
of, i. 102 ii. 160-how to be distinguished, il,

English; difficulties in the way of establishing,

ii. 149.

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modern Roman; its degeneracy, ii, 150; 233,
Bolognese, foundation of, ii. 199.

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 of performing;. and what ought to be its
great purpose, ii. 12, &c. See iii, 60.

⚫an art of more simplicity and uniformity than
Painting, ii, 13; 37:

has only one style, ü. 1210

. 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. 341

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. 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, i 81; 419..
Simplicity in Painting; what, and its effects, in 254, &c..
in the Ancients, arofe from penury, i. 262,

See Style, the Grand.

Sketches, to be painted in colours, rather than drawn
with the crayon, i. 426 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.


Stein, Jean, his excellence; and in what to be imitated,.
ii. 181; 373, See ii. 366; 368.

Study of Paintings hints for the course of, i. 24; 31: ii..
92; 100; 287, &c. ii. 163; 170.

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purpose of, to form the mind, iis 67.

method of, remarks on,ii. 73, &c. iii. 87; 163.

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