General View of the Fine Arts, Critical and Historical

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.-

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50-75

76-117

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.-TENIERS.-

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.....

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.....

BRITISH PAINTERS.-Illuminated 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 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 Ossian. -Twelve

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137-145

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.-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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146-241

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...

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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.-DEDALUS.
-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

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...

ROMAN SCULPTURE.-ZENODORUS.-Reign of Nero.-Antinous.-Relative stand-