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MODERN ITALIAN PAINTERS.-Revival of art.-Pisa.-Sienna.--Florence.-

CIMABUE.- Introduces a new style.—Miracle.-GIOTTO.—Rapid progress.

Labels. — Traditions.--- Masacci0.-Foreshortening.-His manner.-Draw-

ing.–Drapery.-Diligence.—LEONARDO.—Universal powers.-Invention of

deep tone.-Cartoon.-Want of perseverance.-Central radiance.-Last

Supper.—The principal figure.--Sublimity of conception.-Judas.-St.

James.-St. John.—The tone.--The composition.-COREGGIO.-Different

statements.-Chiaroscuro.-Practice described.-Coreggiesque.- Defects.-

Il Notte.-Emanation of light from the child.—Harmony of Coreggio.—Pic-

ture of St. Jerome.-Fra BARTOLOMEO.-Instruction of Raphael.—MICHAEL

ANGELO.-Poet, painter, sculptor, and architect.–Diligence.-Sistine chapel.

-Generalization.--Telling the story.--Purpose effected by one stroke.-

Unison of parts.-Derelictions.-Anatomical knowledge.-Elements of his

style.- Negative colour.-RAPHAEL.—Three styles.—Original style of de-

sign.-Expression.-Instructive example.-Form a vehicle of character.-

Discretion.-Principle of selection.—GIORGIONE.-Strong lights and strong

shadows. Picture of St. Mark.-IL PORDENONE.—Resembled Giorgione.-Ri-

valship.–TITIAN.—Three styles.-Colouring.–Never passed the truth of

nature.-Portrait painting.–Commencement of career.—Prevailing tone.-

Late improvement.-Later works.-Uninterrupted prosperity.--Harmony

of tints.-Balance of colour.-Landscape.—TINTORETTO.-New school of

art.-Characteristics.- Nocturnal studies.-Rapidity of execution.--Paolo

VERONESE.- Manner of Titian.- Colouring.- Excessive ornament.-- THE

Caracci.---Nickname of Ox.-Academy.- Mechanical execution.—Annibale.

–Agostino.-Pupils.-Guido.-Style.-Favourite models.-Ideal beauty.-

Carelessness and haste.-DOMINICHINO.-The St. Girolamo.-Detractors.-

ALBANI.--Subjects from Mythology.--Religious pieces.--Poussin.-Predilec-

tion for the antique.-Accuracy.-Landscapes as backgrounds.-CLAUDE

LORRAINE.-Incessant examination of nature.-SALVATOR Rosa.-Destroy-

ing a picture..

FLEMISH, DUTCH, AND SPANISH SCHOOLS.-Flemish and Dutch schools nearly

identical.—Gallery of Spanish pictures.-DURER.–Neatness.- Ingenuity.-
Colour.-Father of German school.--RUBENS.-Allegory.-Venice.---Peculiar
property.-- Prodigality of invention.-Originality.–Faults.-Universality.-

Manner. — Portraits.- Landscapes.-Honours.- REMBRANDT.- Copied na-
ture.-Change of style.-Invention.-Colouring.-Boldness and roughness
of manner.-Magic power.--Dangerous to imitate.-Exactness.-Etchings.
-CUYP.— Times of the day.-Moonlight and winter pieces.—Tenirs.-

Early neglect.-Subjects.--Style.-Relieving lights.-Power of imitation.-

Expedition.— MURILLO.- Painting banners.-- Success.-Colour.-Original-

ity.-RUYSDAEL.-Early success.-Subjects.--BOTH.-Landscape.--Figures.

-BERCHEM.-Choice of nature.-Contest with Both.--GOTTFRIED MIND.

-The Raphael of cats.-Attachment to living animals.-Miniature fig-



BRITISH PAINTERS.-Illuminated MSS.—Tapestry.--Monument 'Henry


HOLBEIN.—Portraits of Queen Elizabeth.-Miniature painters.--Style of Van-

dyke.-JAMESON.-Portrait of Charles I.--New vigour of style.-- LELY.-Por-

trait of Cromwell.--Court of Charles II.-KNELLER.-HOGARTH.-Silver-plate

engraving.-The grammar of the art.-Studying from nature.--First attempt

at satire.-Portrait painting.– Comedy in painting.--Engraving of his own

paintings. - The Distressed Poet, &c. -- Marriage à-la-Mode. – Wilson. —

Visits Italy.-Success in landscape.-Vernet's opinion.--Early academy.-

Remark of Kneller.--Process of painting.--Secrets of colour.–Retreat in

Wales. — Merits as a landscape painter. - English Claude. --- Sir Joshua

Reynolds.—Early productions.-Anecdote of Pope.-Studies with Hudson.

-Early style.-Portrait with two hats.-Rome.---First impressions.-Dis-

appointment.-New perception of art.-Return to England.-Opposition.-

Royal Academy.--First president.—Public discourses.-Style of portraiture.

--Portraits of eminent personages.—Poetic subjects.-GAINSBOROUGH.-

Early sketches.—Tom Peartree's portrait.-His first drawings.-Duchess of

Devonshire.-A certain lord.—Fidelity to nature.-Woodman.-Rustic sub-

limity.-Manner of painting.–Sketches.- Last words.-Numerous drawings.

-National air of Gainsborough's pictures.-Execution.- Children of Gains-

borough, Reynolds, and old painters.-West.-Indian teachers.-Imple-

ments.-Surprising performance.-Inventive touches in art.-Future career

considered.--Dedicated to art.- Established as portrait painter.--Arrival at

Rome.-Anecdote.—First sight of the Apollo.--Just criticism.- Portrait of

Lord Grantham.-Munificence of his countrymen.- Travels in Italy.-Re-

solve to remain in England.- Introduction to George III.-Favour of the

king.–Paintings for his majesty's chapel.-Four divisions of subject.

Elected president of academy.-Discourses.-Division of time.-Refuses

knighthood.-Christ healing the Sick.-Large pictures.-Old age.-Kind-

ness to young artists.- Numerous productions.—Best historic picture.-

BARRY.-King of Cashel.-Exhibition of picture.-Burke.-Controversy.

Studies in London.-Enthusiasm.–Visits Rome.-Opinion concerning art.

-First picture on return.-Six paintings at the Adelphi.–First, Orpheus.-

Second, Feast of Pan.—Third, Olympic Games.--Fourth, Commerce.-Fifth,

Members of the Society of Arts.-Sixth, Elysium.-Frugality and self-:

denial.-Dinner to Burke.-Infirmity of temper.-First picture.-Classic

mania. — - RUNCIMAN. - Historical style. — Paintings from Onsian. - Twelve


paintings from Ossian.-Excellence in composition.-COPLEY.-Copley

his own teacher.- Death of Chatham.--Boy and Squirrel.-Collection of

his works.-ROMNEY.-Romney compared with Reynolds.-Historic and

domestic subjects.-Simplicity of grouping.--Fuseli.—Early studies.-Ad-

vice of Lavater.-Opinion of Reynolds.—Manner of study.-Scenes from

Shakespeare.—Ghost in Hamlet.—Milton gallery.-Master of nine lan-

guages.-Profeşsorship of painting.-Lectures.-Agreeable employment.-

Eight hundred sketches.-Illustrations of the whole range of poetry.-Cos-

WAY.-Miniatures of Mrs. Cosway.-Experiments in pictures and ladies'

colleges.-NORTHCOTE.-Studies with Reynolds and in the Academy.-The

portrait and the bird.–Visits Italy.-Originality.-Exhibition of pictures.-

Habits of study.-BLAKE.-His vocation.-Song, picture, and music.-Im-

aginary visitants.—Method of engraving.–Tinting.–Portraits of imaginary

sitters.-Ghost of a flea.- Inventions for the Book of Job.-Excess of im-

agination.-Preparation of colours.—Method of painting.-OPIE.—Early

attempts. — Cornish wonder. - Originality.- Female heads.—OWEN.-Suc-

cess as portrait painter.–Fortune-teller and Lady.-LAWRENCE.-Precocious

talent.-Practises professionally at ten years of age.-Costume of the day.-

The boy artist.-Paints in oil.Studies in the Academy.-Poetic pictures.-

Picture of Hamlet.-Portrait of Curran.—Merits as portrait painter.—BIRD.

-Childish essays.—Painter of tea-trays.—Field of Chevy Chase.—Homely

and social subjects.—Selection of models.—Astonishing rapidity of exe-

cution.-Early works.-BURNET.-Studies from nature.- Pastoral scenes.-

Practice of making memoranda when sketching.--Observations on the sky

and clouds.-Characteristics of style.-Hilton.-Study of general literature.

-List of paintings.—Haydon.-First picture.-Friends.-Ardent tempera-

ment.-Royal Academy.-ETTY.-Busy desire to be a painter.–First en-

deavours.- Principles of conduct.— Draws in the Academy.--Studies with

Sir T. Lawrence.-Persevering toil.-The dawn of success.-Venice.-Di-

plomas.-Return to England.-Colossal pictures.-Present British school of

painting.--Living Scotch artists


AMERICAN PAINTERS.–First easel.-Influence of SMYBERT.-Copy from Van-

dyke.—PRATT.-Studies with West.-C. W. PEALE.-First picture.-Four
years in London.--Anecdote of Washington.-Museum.-STUART.-Stri-
king portrait from memory.-Anecdote of West.—The king's portrait.-Por-
trait of West.-General Phipps.-Return to America.-Portrait of Washing-
ton.-Continued improvement.--Indication of the individual mind in his
portraits.—Generosity.-DUNLAP.-Early efforts.—Anecdote of Gen. Wash-
ington and Mr. Van Horne.-Portrait of Gen. Washington and lady.-Por-
trait of Lord Hood.-Introduction to West.-Begins his studies.-Extreme
diffidence.-Unprofitable employment of time.-Summons to return home.
- Various pursuits.- Permanently a painter.—Large pictures. The Christ
rejected.-Bearing the Cross.-Calvary.-National academy of design.-
First exhibition.—TRUMBULL.-College researches.-Battle of Cannæ.-Im-
prisoned as a spy.-Returns home.-Revisits England.-Excellence in
miniature oil painting.–Portraits of distinguished men for historical paint-
ings.-Small paintings now in New Haven.-Second style.-MALBONE.-
Early manifestations of genius.—Commences miniature painting profes-
sionally.--Embarks for London with Allston.-Originality.-Larger com-
positions.-Miniature of Colonel Scolbay.-Allston.-First compositions.
-Figures and landscape.—Exhibition of first picture.-Gallery of the
Louvre.-The great colourists.-A wide liker.-Modelling in clay.-Friend-
ship of Coleridge.-The American Titian-First prize of British gallery.-

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Portraits.-Picture of the Dead Man revived by the Bones of the Prophet.-

Jacob's Dream.-Uriel in the Sun.-Elijah in the Wilderness.-Catalogue

of pictures.-Angel liberating Saint Peter.- Description of the Feast of
Belshazzar.—Belshazzar.--The queen.-Groups of soothsayers.-Principal
astrologer.Jew of distinction.-Jewish women.-Sacred vessels.-Golden
candlestick.-Grandee of the empire.-Literary productions of Allston.-
INMAN.—Engagement with Jarvis.—National academy.-Height of popu-
larity.—Embarks for England.—Poetic effusion.–Versatility of talent.-
COLE.-Early love of the beauties of nature.-Admiration of art and
artists.-First portraits.-Studies from nature.-First success in New York.
- Visits Europe.-Pictures painted in Florence.- Principles of the Italian

masters.-Rank of landscape painting.--Expression in landscape painting.

-Pupil of nature.-Course of Empire.–First, Savage life.-Second, Arca-

dian state. Third, Height of civilization.-Fourth, Irruption of a barbarous

enemy.–Fifth, The city in ruins.- Voyage of Life.- Description of the

series.-Cross and the World, a series of five pictures.—First, Separatio of

the Pilgrims.-Second, Trials of faith.—Third, The gardens of pleasure and

the temple of Mammon.-Fourth, The triumph of faith.-Fifth, The vanish-

ing of earthly hope.-Prometheus Bound, &c.-Second visit to Europe.-

Pictures of American scenery. - Uncommon effects. — Original style. -

C. VER BRYCK.-Drawings from the antique.-Prize.—Mobile.-Europe.-

Sonnet.-Elected member of academy.-Revisits Europe.-Return.--Poetic

temperament.—Taste for music.-High qualities of his works.--Hope and

Memory.- Place of burial..


GRECIAN SCULPTURE.-Four eras.–First period.-Image of Cybele.-DÆDALUS.

-Wooden statues.—Talus.--The Labyrinth.-Icarus.-School of art.—Dis-
coveries and improvements.-Second period.-Favourable circumstances
for art.-PHIDIAS.-General attainments.- Pericles.-Parthenon.--Statue of

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