General View of the Fine Arts, Critical and Historical

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

PAGE
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-

ures......

118--136

FRENCH AND GERMAN SCHOOLS.-SIMON VOUET.-Founder of French school.

-Le Sieur.-Le Brun.-Recent French school.-David, &c.--Present Ger-

man school.--Early Italian masters.--School of DUSSELDORF.- Plan and

characteristics. — Antique class. — Lectures.- Liberality.—Three painting

classes.- Antique school.-Exactness of drawing.-Cartoon.--Easy compre-

hension of the subject of a picture......

137-145

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

II.-

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

PAGE

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

146—241

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.-

PAGE

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..

242-307

SCULPTURE.

Materials.-Antiquity.-Simplicity of the ancients.- Portrait statues, or busts.-

Early Grecian art.-Cultivation of letters.—Homeric subjects.--Heroic me-

morials.-Multitudes of statues carried to Rome.- Modern art.-Capa-

bilities of Christian subjects for sculpture.—Perfection of style.- Mode of

imitation.-Degree of resemblance proposed.-Chief object of imitation.-

Relative effect.-Sculpture in the time of Hadrian.--Imitation of drapery.-

Conventional treatment.- Armour.- Portions of architecture, &c.-Imita-

tion complete.—Limits of representation.-Costumes.-Method of the

Greeks.-Style in sculpture.--Antique and ideal beauty.--Difference be-

tween representations of heroes and deities.-Subdued expression.-Basso

relievo.—Three styles of relief.-Mezzo relievo.-Appian way.-Roman

relievi.--Modern relief.—Mixed style of the moderns.-Style appropriate to

the precious metals....

308-325

ANCIENT SCULPTURE.-Styles of Egyptian sculpture.-Temple of the sun.-

Traits of Egyptian sculpture.—Three descriptions of remains.-Palace of

Medinet Abon.-Excavations of Philæ, &c.—Relievi.-Sculpture of the

Persians, Assyrians, and Hindoos.-Elephanta.-Canana.-Etruscan sculp-

ture.-Subterranean sepulchres.—Three epochs of Etruscan art.- Vases.... 326–332

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

PAGE

Minerva.--Statue of Jupiter Olympus.-Effect of the materials used.-Ene-

mies of Phidias.-Accusations disproved.-Masterpieces.-The Elgin mar-

bles.- Previous study requisite for their production.-Subjects of the Elgin

marbles.- Traits of style.-Favourite pupils of Phidias.-POLYCLETUS.—The

Rule.-Alto Relievo.—The art of balancing figures.-MYRON.-Athletic

forms.—PYTHAGORAS.—Third period.-PRAXITELES.-Grace and beauty -

Expression. – Diana.- Niobe.- Venus de Medici.- Scopas.—The Mauso-

leum.-Carved column.-Fourth period.-LYSIPPUS.-Softness of style.-

Numerous productions.-CHARES.-Colossus of Rhodes.-AGASANDER and

his sons.—The Laocoon.-Decline of Grecian art.-Causes of declension.-

Alexandria.-Seleucia...