A General View of the Fine Arts

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.-L'ninterrupted 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....

76—117

Flemisi, 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.-

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.
--Cryp.-Times of the day.--Moonlight and winter pieces.-TENIERS.-
Early neglect.--Subjects.-Style.--Relieving lights.-- Power of iinitation.--
Expedition.- Murillo.- Painting banners.-- Success.-Colour.-Original-
ity.-RuysdaEL.-Early success.-Subjects.-Both.-Landscape.-Figires,
-BERCHEM.-Choice of nature.-Contest with Both.-6DTTYRIED MIND.
- The Raphael of cats.- Attachment to living animals.- Miniature fig-

118136

ures.

FRENCH AND GERMAN Schools.-Simon Vocet.-Founder of French school.

---LE SIEUR. LE BRrx.-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......

137-135

BRITISH PAINTERS.--Iluminated MSS.— Tapestry.-- Monument of Henry VIII.-

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 Distreseed Poet, &c.— Marriage a-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 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.-Ro-

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 Ossian. - Twelve

PAR

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.-Professorship 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.-Ople.-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.--Haydog.–First picture.-Friends.- Ardent tempera-
ment.-Royal Academy.-Erry.-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 p rtrait 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.-Extremo
dimdence.-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-
inge.-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.-Allstov.-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.-

PAGZ

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.-olden
candlestick.-Grandee of the empire.-Literary productions of Allston.-
INNAN.- 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 mature.--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. - Unco mon 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—317

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 lladrian.-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 relieve).- 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.- Dig-
coveries and improvements.--Second period.--- Favourable circumstances
for art.-Phidias,--General attainments.-Pericles.- Parthenon.-Statue of

PACE

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 badancing figures.-MYRON.--Athletic

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

Expression. -

- Diana.- Niobe.-Venus de Medici.-Scopas.--The Mauso-

leun.--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........

333 -356

Roman SCULPTURE.-ZENODORUS.-Reign of Nero.-Antinous.—Relative stand-

ing of Greek and Roman artists.-Destruction of works of art...

357-359

Modern SCULPTURE, ITalian, &c.—Schools of Pisa.—Nicolo and Giovanni DA

Pisa.-DONATELLO.--Lorenzo GHIBERTI.-Gates of Paradise.-Convention

of artists at Florence.-Style of the 15th century.--MICHAEL ANGELO.-

Traits of his productions.-GIOVANNI DI BOLOGNA.-CELLINI.-BERNINI.-

FIAMMINGO.-Canova.-Discrepancy in antique statues.-Originality.-The-

seus.-Cupid and Psyche.-Hebe.-Painting.–Napoleon.-Washington.-

List of works.-Statue of Religion.—Temple of Passagno.—Models.-Char.

acter.--THORWALDSEN.-Christian subjects in sculpture.-Contrasted with

Canova.-French sculpture.-Age of Louis XIV.-Reign of Louis Philippe.

-German sculpture within the last thirty years...

360—372

British SCULPTURE.—Britons.-Saxons.-Normans.-Reign of Henry III.-

Henry VI.--Recent sculptors.-Scotch sculptors.-Native school.-Self-

taught artists.-NOLLEKENS.— Ten years' study abroad.-Success.-Statues,

&c.-Groups.-Fine workmanship.-FLAXMAN.- Achievements in child-

hood.—Prizes.- Early productions.-Seven years in Rome.-Incessant ap-

plication.-Best works.-Michael and Satan.--Power of invention.-Sim-

plicity.--BANKS.-Application.---Premiums.-Sent to Rome.-State of the

arts when Banks began his studies.-Advantage of his early employments.

-Unbiased opinions.-Relievo of Thetis.- Improvements in sculpture.-

CHANTREY.-Love of painting.- Estimate of pictures.-Prosperity.-Drud-

gery at the chisel.- Modern costume.-Character of busts.—Distinction in

bis profession.—Statue of Northcote......

373-387

ARCHITECTURE.

Three divisions.-Rank as a fine art.-Origin of styles.-Destruction of ancient

cities.-Recent discoveries.-Remains of Palace at Nineveh.--General char-
acteristics of Oriental architecture.-Egyptian architecture.- Most ancient
buildings.-Columns.-Entablatures. Thebes.-Description of the temple of
Karnac.–Pyramids.- Indian architecture.—Sacred temples.- Temples of
five different forms.--Persian architecture.-Ruins of Persepolis. The tomb
of Darius.-Researches of Le Brun.-Hebrew architecture.- Temple at Jeru-
salem.-Account of the temple.- Probable style.-Specimens of Hebrew

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Livros

A General View of the Fine Arts: Critical and Historical, with an Introduction