IMMmMNmWMMttMMMMMHMMM^ MMMMMMMI 2>«£ s ^\\\"KV*V»vVY,.v--,V .o- ■..■■■■,.«:, \\\\\v>vv v\«w.\>> > ; ,. v c\ --C / AKT TOPICS IN THE HISTORY OF Sculpture, Painting and Architecture, WITH SPECIFIC REFERENCES TO MOST OF THE ENGLISH STANDARD WORKS ON ART. CHARLES S. FARRAR, A. M. fourth t'BMtion, ll«t»i»c& anif ©nlarerfc- CHICAGO: Chas. S. Farrak & Co., 21 Quixcy Street. 1806 14734(! COPYKlGHT BY CHARLES S FARRAR. 18S1, 1896. 5300 ma PREFACE. The following scheme for a branch of historical study grew out of the actual experience of guiding large classes of students in the history of art. It is believed that the best text-book for the study of any history is but a syllabus; the study of history, as well as of science, in order to result in solid edification, must involve the characteristics of real investigation, compelling the use of the judgment at every step. Especially is this true, at present, in the History of Art, where good sources of information and criticism are so various and even contra- dictory. The second edition of the work having become exhausted, it was deemed best to carefully revise the whole, in view of the many excel- lent treatises, especially on the history of Sculpture, which have come out since the earlier editions were issued, and also in view of the growth of popular interest in the history of art generally. It is remarkable that in this new wave of interest, reading is so generally developing into study — that any one book leads with such influence to the library. Such has always been the case with the scholarly few, but seldom has the reading multitude so generally been moved by the spirit of original inquiry. The part on Sculpture has been entirely rewritten and the other parts much more completely considered, and, it is hoped, with decided improvement. The topics having thus been increased in number and in detail on every important subject, and references carefully made to author- ities down to date, embracing purposely elementary works as well as the more exhaustive in history and criticism, the volume is nearly double that of the second edition. For valuable suggestions I am indebted to many; but most of all to Dr. K. A. Linderfelt, the librarian of the Public Library of the city of Milwaukee. His wide knowledge in the world of books and his helpful criticism have aided much in the work, especially in the preparation of the catalogue of reference books, furnished in the appendix. Chicago, Dec, 1890. C. S. F. CONTENTS. PART I.— HISTORY OF SCULPTURE. Page. L Introductory I II. Egyptian sculpture — Memphitic period 2 III. Egyptian sculpture — Thcban period 4 IV. Greek sculpture — Prehistoric period 5 V. Greek sculpture — Early Archaic period 7 VI. Greek sculpture — Advanced Archaic period 8 VII. Perfected Greek sculpture — The Pheidian period 12 VIII. Perfected Greek sculpture — Scholars and contemporaries of Pheidias.... 16 IX. Greek sculpture — the period of Scopas and Praxiteles, the Attic School.. 19 X. Greek sculpture — the Period of Scopas and Praxiteles, the Peloponne- sian school 23 XI. Greek sculpture — the Hellenistic period 24 XII. Sculpture among the Romans — the Graeco Roman period 29 XIII. The development of Christian sculpture, culminating in the Pisan school of the thirteenth and fourteenth centuries 33 XIV 7 . The Florentine school of sculpture of the fifteenth century 39 XV. Sculpture of the fifteenth century in upper Italy 44 XVI. Sculpture of the sixteenth century 45 XVTI. Sculpture in Italy between 1600-1850 — The Periods of the Decay and of the Third Revival 50 PART II.— HISTORY OF PAINTING. I. Painting in Egypt and Asia 53 II. Ancient Painting in Europe 55 III. Early Christian Tainting — Transition from Symbolism to Pine Art 5S IV. Italian Painting from 1200 to 1340 A. D. — Cimabue and Giotto 60 V. The Decline of Mysticism and the Rise of Realism — Masaccio 63 VI. The Second Generation of Classic Realists 67 VII. Leonardo Da Vinci — the Universal Genius 73 vi CONTENTS Page. VIII. Michael Angelo as a Painter 75 IX. Raphael Sanzio, the Common Culmination of Spiritual Elevation and Natural Beauty 7& X. Correggio, the Greatest Master of Chiaroscuro 83 XI. The Great Venetian Colorists and Modern Realists 86 XII. The Last Revival of Painting in Italy — the Eclectic and Naturalistic Schools 91 XIII. Painting in Flanders — the Early Period 95 XIV. Painting in Flanders — the Later Pcr'.od 98 XV. Painting in the Netherlands — Representation of Actual Life 103 XVI. Early Painting in Germany 107 XVII. Later Painting in Germany 112 XVIII. The Great Painters in Spain 113 XIX. The Leading Masters of the French School — the Early Period 118 XX. The Leading Masters of the French School — the Later Period 122 XXI. The Principal Masters in England 128 XXII. The Modern English School of Painting 139 XXIII. Chronological Perspective of Early Painters — five Centuries 142 XXIV. Chronological Perspective of Later Painters — three Centuries 143 PART III.— HISTORY OF ARCHITECTURE. I. Technical Terms 144 II. Egyptian Architecture 14S III. Asiatic Architecture 152 IV. Architecture of Ancient Greece 156 V. Architecture of Ancient Rome 162 VI. Early Christian, Byzantine and Romanesque Styles of Architecture 166 VII. Saracenic Architecture 172 VIII. Gothic or Pointed Architecture 175 IX. Renaissance and Modern Styles of Architecture 181 Appendix — Catalogue of Books of Reference 187 PART FIRST. History of Sculpture L— INTRODUCTORY. i. The division of the arts; nature and characteris- tics of sculpture; definitions of the various terms used in treating of sculpture — statuary, glyptics, sculpture in 'the round,' relief, etc.; the technical varieties of reliefs and intaglios. Riskin, Aratra l'entelici, Lecture 1-4; REDFORD, Ancient Sculpture, pp. 1, pp. 149-51. 8 10, 27-9. Moi.LKTT, Dictionary of Art and Arch- Wi-.stm.uott, Schools of Sculpture, pp. aeology. 1 3, 17-24. FaIRHOI.T, Dictionary of Terms in Art. (See also Worcester's, Webster's and BRANDK, Diet, of Science (see above other dictionaries lor definitions oi terms). terms.) 2. Different materials employed in sculpture, and their respective merits ; the various technical methods of the sculptor, and the successive stages in the develop ment of a statue. a HISTORY OF SCULPTURE. RrsKi.N, Aratra Pentelici, lecture 5. WlNCKELMANN, Hist. Anc. Art, Vol. 1. WkstmacOTT, Schools oi Sculpture, pp. pp. 143-52, Vol. 2, pp. 51-9, 71-6. 3-17. Knight, Pict. Gal. of Arts, Vol. 2, Text, REDFORD, Ancient Sculpture, pp. 2 26, pp. 275, 279,283,28690. 62-3. Enc. Brit. (9th ed.), Vol. 21, pp. 571-2 ; Waldstein, Essays on the Art of Phei- Vol. 16, p. 72. dias, pp. 282-8. 3. Limitations, as to subject and to manner of representation, in sculpture; polychromy, or coloring- of statues. LuEBKE, Hist, of Sculp., Vol. i, pp. 5-6. Westmacott, Schools of Sculpture, pp. 149-74. 4. Origin of art among primitive peoples ; influence of religion upon its development. Ll'F.BKE, Hist. Art, Vol. I, pp. 1-13. RUSKIN, Aratra Pentelici, Lecture 2. Jarves, Art Idea, pp. 49, 22-7; Art ElDLITZ, Nature and Function of Art, Thoughts, pp. 15-18; Art Studies, pp. pp. 121-40. 53 73. WlNCKELMANN, Hist. Anc. Art, Vol. 1. Westmacott, Schools of Sculpture, pp. pp. 133-42. 25-33. Flaxman, Lect. on Sculp., pp. 215-17. II.— EGYPTIAN SCULPTURE ; MEMPHITIC PERIOD. 1. Antiquity of civilization and art in Egypt ; pecu- liar natural features of the country, and despotic form of government; their influence upon the development of sculpture. HISTORY OF SCULPTURE. 3 Perrot & Chipiez, Hist. Anc. Egypt. Reber, Hist. Anc. Art, pp. 1-4. Art, Vol. 1, pp. 1-69. Wilkinson, Hist. Anc. Egyptians, Vol. MITCHELL, Hist. Anc. Sculp., pp. 1-8. 1, pp. 167-72. Luebke, Hist. Sculp., Vol. 1, pp. 20 1 ; Woltmann and Woermann, Hist, of Hist. Art, Vol. 1, pp. 17-21. Painting, Vol. 1, pp. 4-6. 2. The secular character of the earliest Egyptian sculpture as seen in the tombs about Memphis ; belief in the Ra ; the Ra statue (a) ; reliefs upon the walls of the tombs of Ti and Hosi at Sakkarah (b). Pkrbot & Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 9-14, Ait, Vol. 1, pp. 12S-34; Vol. 2, pp. 21 2 (a), 30-2 (b). 180-4 (a); Vol. 1, pp. 143-54; Vol. 2, Luebke, Hist. Sculp., Vol. 1, pp. 21-4 pp. 189-90, 193, 195, 214-8 (h). Van Dyke, Principles of Art, Chap. 1. 3. Portrait statues of the Memphitic period : their characteristics as compared with those of later times ; the statues of Ra-hotep and Nefert, king Chephren, Sheik- el-Beled, the seated scribe, etc., the head of Nem-hotep. Perrot & Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 17, Art, Vol. 1, p. 90; Vol. 2, pp. 187-8, 22 9. 192-214,221-5. Luebke, Hist. Sculp., Vol. 1, pp. 23-4. 4. Artistic representations of the gods during this period : relief of the god Thoth at Sinai, and the great sphinx at Gizeh (a) ; the religious belief of the Egyp- tians (b). Perrot & Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 32 3 Art, Vol. 1, pp. 66, 238, 323 33 (a); (a), 14 17 (a, b).~ Century Mag., Vol. 44 7o (1>). 23, pp. 396-7. Wilkinson, Hist. Anc. Egyptians, Vol. Luebke, Hist. Sculp., Vol. i, p. 24(a). 2, pp. 454 5'5 (b). REDFORD, Anc. Sculp., pp. 93 4(a). 4 HISTORY OF SCULPTURE. HI.— EGYPTIAN SCULPTURE ; THEBAN PERIOD. i. The tomb sculptures of Abydos, Beni- Hassan and Sioot ; introduction of colossal proportions in the Ra statues ; the shabtl statuettes. Perrot*& Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 35-9. Art, Vol. I, pp. 241-54; Vol. 2, pp. — Century Mag., Vol. 23, pp. 395-6. 226-3S. 2. Causes producing the great development of architecture and sculpture during the new empire ; relief representations of the gods, and of the souls of the de- parted, as seen in the Theban tombs. Perrot cV Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 43-6. Art, Vol. I, pp. 255-66; Vol. 2, pp. — Century Mag., Vol. 23, pp. 398-401. 239-40, 246-54. 3. The temples dedicated to the Pharaohs ; charac- ter of their sculptures ; the Ramesseion, its- historic reliefs and colossal statues of the monarch (a) ; the Memnon Colossi; temple at Ipsamboul and the Rameses Colossi (b). Perrot & Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 46-8 Art, Vol. 1, pp. 266-76, 375-84 (a), (a), 51 3 (b). 410 7; Vol. 2, pp. 240-1 (b). Luehke, Hist. Sculp., Vol. 1, pp. 26-9 (a), 3° 1 C 1 ). 4. The temples dedicated to the gods : Karnak and Luxor ; subjects of the wall reliefs ; statues of the gods HISTORY OF SCULPTURE. 5 and of Thothmes III ; the avenues of sphinxes (a) ; statue of Rameses II in the Turin museum (b). Perrot & Chipiez, Hist. Anc. Egypt. Mitchell, Hist. Anc. Sculp., pp. 48-51 Art, Vol. 1, pp. 235-75; Vol. 2, pp. (a), 52-5 (PI. 1) (a, b). — Century Mag., 241-54 (a), 256-9 (b). Vol. 23, pp. 390-1. Luebke, Hist. Sculp., Vol. 1, pp. 29- Redford, Anc. Sculp., pp. 96-7 (a. br). 30 (a). LEPSIUS, Egypt, pp. 247-50 (a"), 253-4 (a). IV —GREEK SCULPTURE ; PREHISTORIC PERIOD. 1. Greece: general aspect of the country (a); character, origin and religion of the people (b) ; conditions favorable to originality in art development among the early Greeks (c). Mitchell, Hist. Anc. Sculp., pp. 137- Perry, Creek and Roman Sculp., pp. 40 (1), c). 4 14 (b, c). RECLUS, The Earth, Vol. I, pp. 36-40, LUEBKE, Hist. Sculp., Vol. 1, pp. 61- 45-75 (a), 18 -22, 40 45 (b). 6 (c) ; Hist. Art, Vol. I, pp. 121-4, Enc. Brit., Vol. 11, pp. 80-2 (a), 89- 167 75 (c). 93 (b). Knight, Pict. Gal. Arts, Vol. 2, Text Am. Enc, Vol. 8, pp. 1S5 6 (a), 186- p. 179(c). 8 (b). WlNCKELMANN. Anc. Art, Vol. 1, pp. Smith, Hist, of Greece, pp. i-io(a), 11- 286 98 (c). 38(1)). WESTMACOTT, Schools of Art, pp. 74- Cox, Gen. Hist, of Greece, pp. 1 5 (a), 86(c). 5 20(b). Zf.ri it, Hist. Dev. of Arts, pp. 153 66(b). Grote, Hist, of Greece, Vol. 1 (b), Vol. Tune, Art in Greece, pp. 10 19(a), 19- 2,])]). 211 39 (a, b). 65 (b, c) ; Phil, of Art, pp. 119-37 Sef.MAXN, Mythology of Greece and (b, c). Rome (I)). Fei.Ton, Anc. Greece, Vol. 2, pp. 5- Wai.hsti.in, Essays on the Art <>f Phei- 12 (b, c). dias, pp. 16 23 (c). Jarves, Art Idea, pp. 2S 34 (b, c). 6 HISTORY OF SCULPTURE. 2. Sculpture in wood : characteristics of the most ancient statues of the gods, and of the improved types introduced by Daidalos ; question as to Daidalos — an historical or symbolical personage ? Mitchell, Hist. Anc. Sculp., pp. 140- 1. Winckelmann, Anc. Art, Vol. I, pp PERRY, Greek and Roman Sculp., pp. 136 9. 15 21. Flaxman, Lect. on Sculp., pp. 80-3. Murray, Hist. Greek Sculp., Vol. 1, pp. Zerffi, Hist. Dev. of Art, 187-90. 68 9. Reber, Hist, of Anc. Art, pp. 267-8. Ll'ebke, Hist. Sculp., Vol. 1, pp. 74-5; Ovekbeck, Gesch. d. Gr. Plastik (3rd Hist. Art, Vol. I, pp. 175 6. ed.), Vol. 1, pp. 27 30. Knight, Pict Gal. Arts, Vol. 2, Text pp. 179, 182. 3. Sculpture in stone and metal : the treasuries of Atreus and Minyas ; the Lion Gate of Mykene, and the Niobe of Mount Sipylos (a) ; the shield of Achilles, as described in Homer, and the sword-blades from Mykene (b). MITCHELL, Hist. Anc. Sculp., 141-5, Luebke, Hist. Sculp., Vol. 1, pp. 73-4 1 Sy5 ( a )» ! 5 2 5. 156 61 (b). (a), 70 2 (b) ; Hist. Art, Vol. 1, pp. Perry, Greek and Roman Sculp., pp. 176 7 (a, b). 21-26, 28-30 (a), 36-39 (b). Reber, Hist. Anc. Art, pp. 272-5 (a), Murray, Hist. Greek Sculp., Vol. 1, pp. 269 72 (b). 38-42, 64-8 (a), 44-59 (b). Oyerbeck, Gesch, J. Gr. Plastik (3rd ed.), Vol. 1, pp. 30-3 (a), 36-50 (b). HISTORY OF SCULPTURE. V.— GREEK SCULPTURE ; EARLY ARCHAIC PERIOD. 600 — 50O B. C. i. Advance in technical skill under the sculptors, Dibutades of Sikyon, Glaucos of Chios, Rhoicos and Theodoros of Samos, and Melas of Chios ; materials and methods employed by these masters (a) ; importance and character of the school of sculpture established in the Peloponnesos by Dipoinos and Skyllis of Crete about 580 B. C. (b). Mitchell, Hist. Anc. Sculp., pp. 171 Luebke, Hist. Sculp., Vol. 1, pp. 76-9 (a),4pi^(b). (a), 79 80 (h) ; Hist. Art, Vol. i, p. Pkkkv, Greek and Roman Sculp., pp. 178. 47 50 (a), 50-3 (b). REBER, Hist. Anc. Art, pp. 278-81 (a), Murray, Hist. Greek Sculp., Vol. 1, 2S1 ( l>). pp. 71-85 (a), 88-92 (b). OVERBECK, Gesch. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 60-71 (a), 71 7 (b). 2. Distinctive types and general characteristics of the extant sculptures of this period, the statues of Apollo from Thera, Cenea and Orchomenos (a) ; the winged Nike by Archermos of Chios (b) ; the seated figures from Miletos and Athens (c). Mitchell, Hist. Anc. Sculp., pp. 193 4, Luebke, Hist. Sculp., Vol. 1, pp. 85 7 204 (, 2l2(a),l95 7 (b), 179 80, 214(c). (a), 91 3 (c) ; Hist. Ail, Vol. 1, pp. PERRY, Greek and Roman Sculp., pp. 180(a), 182(c). 55-7 ( a ). 75-7 (O- REBER, Hist. Anc. Sculp., pp. 2857 MURRAY, Hist. Greek Sculp. , Vol. 1, pp. (a, c). 105-8 (a), 87 (b), 114 16(c). 8 HISTORY OF SCULPTURE. YYai .ostein, Essays on the Art of Phei- Overbeck, Gesch. d. Gr. Plastik (3rd dias, pp. 44-7 (a). ed.), Vol. 1, pp. 87-93, 93-6 (a), 145- 7(c)- 3. The reliefs from the ancient temple of Assos (a) ; the Harpy Monument and its reliefs (b) ; the metopes from the oldest temple at Selinus, or Selinuntios (c). Mitchell, Hist. Anc. Sculp., pp. 182-8 Luebke, Hist. Art, Vol. 1, pp. 81-4 (a, b), 219-20(0). (a, c), 93-7 (b) ; Hist. Art, Vol. I, pp. Perry, Greek and Roman Sculp., pp. 178-80 (a, c), 182-3 (b). 61-7 (a, c), 1 1 1-7 (b). Reber, Hist. Anc. Art, pp. 283-4 (c). Murray, Hist. Greek Sculp., Vol. 1, pp. Knight, Pict. Gal. Arts, Vol. 2, pp. 128-9 ( a )> ' 16-21 (b), 99-105 (c). 186-7 ( c )- Harrison, Studies in Greek Art, pp. Overbeck, Gesch. d. Gr. Plastik, Vol. 1, 149-70 (c). pp. 78-83 (c), 98-100 (a), 169-75 (b). VI.— GREEK SCULPTURE ; ADVANCED ARCHAIC PERIOD. 5OO—45O B. C. i. The athletic games, and the developed temple structure ; causes of their influence upon the progress of sculpture (a) ; plan of a Greek temple ; position and character of its sculptured adjuncts — pediments, frieze and metopes (b). Waldstein, Essays on the Art of Phei- Gem., Greeks and Romans, pp. 106-10, dias, pp. 394-420 (a). 213-31 (a), 11 -52 (b). Mitchell, Hist. Anc. Sculp., pp. 225-8 Wordsworth, Greece, pp. 313-6 (a). (a), 228-32 (b). Smith, I list, of Greece, pp. 143-6 (b). PERRY, Greek and Roman Sculp., pp. Taine, Art in Greece, pp. 119-62; Phil. 43-6(b). of Art, pp. 124-37 (a). Girths, Hist, of Greece, Vol. 2, pp. Harrison, Studies in Greek Art, pp. 65-S0. 175-93 (a). HISTORY OF SCULPTURE. 9 2. The schools of Argos and Sikyon: Ageladas of Argos, his bronze statues of gods and Olympian victors; his celebrated school and scholars (a); Canachos of Sik- yon, his statue of Apollo (b). Murray, Hist. Greek Sculp., Vol. 1, pp. Luebke, Hist. Sculp., Vol. 1, pp. 99 (a), 131-7 (a), 138-43 (b). 98 (b). Mitchell, Hist. Anc. Sculp., pp. 349- Reber, Hist. Anc. Art., pp. 98-9. 50 (a), 251-2 (b). - - 1} ->.-_ Overbeck, Gesckd. Gr. P/as/iA (3rd ed.), Perry, Greek and Roman Sculp., pp. Vol. 1, pp. 105-8 (a), 108-11 (b). 89-90 (a), 86-8 (b). 3. The school of /Egina: ancient importance of the island; principal works and characteristics of the sculptors Callon and Onatas (a); the /Eginetan marbles, history of their discovery, and theories as to their* subject and original position (b). Mitchell, Hist. Anc. Sculp., pp. 237-9 186-8 (b); Mon. Art, Vol. 1, PL 16, (a), 239-48 (b). Text pp. 61-2 (b). Murray, Hist. Greek Sculp., Vol. 1, pp. Knight, 1'icl. Gal. Arts, Vol. I, 111. pp. 143-5° ( a ). IS'-^C 3 )- * 24-5, Text pp. 187, 190 1 (b). Perry, Greek and Roman Sculp., pp. REBER, Hist. Anc. Art, pp. 293-7 (a, b). 82-3, 84-6 (a), 122-30 (b). Overbeck, Gesch ,/. Gr. Plastik(yA ed.), Luebke, Hist. Sculp., Vol 1, pp. 100-1 Vol. 1, pp. 112-3(3), 128-40(11). (a), 102 6(b); Hist. Art, Vol. 1, pp. REDFORD, Anc. Sculp., pp- 126-9(1)). 4. The early Attic school : influences contributing to its development, and the materials employed by its sculptors (a) ; Critios and Nesiotes, and their group of Harmodios and Aristogeiton ; popularity of this subject in Athens, and extant works representing it (b). io HISTORY OF SCULPTURE. MURRAY, Hist. Greek Sculp., Vol. I, pp. Luebke, Hist. Sculp., Vol. I, pp. 101-2 -470-8 (b). (b); Hist. Art, Vol. 1, p. 185 (b). MITCHELL, Hist. Anc. Sculp., pp. 283-4 Reber, Hist. Anc. Ait, pp. 297-8 (b). (a), 285-7 (b). Overbeck, Gesch. d. Gr. Plastik (3rd Terry, Greek and Roman Sculp., pp. ed.), Vol. 1, pp. 118-22 (b). 96-7 (b). 5. Calamis of Athens : characteristics of his style ; his female figures, and statues of the gods ; extant works, which may be traced to originals by Calamis, — Hermes Criophoros, Apollo Alexicacos, Hestia Giustiniani, Pene- lope of the Vatican, etc. Murray, Hist. Greek Sculp., Vol. 1, pp. Luebke, Hist. Sculp., pp. 114-16; Hist. 179-92. Art, Vol. 1, p. 189. Mitchell, Hist. Anc. Sculp., pp. 289-91. Reber, Hist. Anc. Art, pp. 299-300. Perry, Greek and Roman Sculp., pp. Oyerbeck, Gesch. d. Gr. Plastik (3rd 16^-0. ed.), Vol. 1, pp. 217-22. 6. Pythagoras of Rhegion, the sculptor of heroes and Olympian victors : affinities of his style with that of the yEginetan school ; his statues of Philoctetes and of the athlete Euthymos ; the Choiseul Gouffier statue in the British museum ; question as to its representing Apollo or an athlete. WALDSTEIN, Essays on the Art of Phei- Murray, Hist. Greek Sculp., Vol. 1, pp. dias, pp. 332-72, PI. 15. 200-12. MITCHELL, Hist. Anc. Sculp., pp. 277-9, Luebke, Hist. Greek Sculp., Vol. 1, p. 663-5. Il6 ; IIist - Art, Vol. 1, pp. 189-90. Perry, Greek and Roman Sculp., pp. Rkber, Hist. Anc. Art, p. 301. 152-4. Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 202-7. HISTORY Of SCULPTURE. 7. Myron, the sculptor of animals and athletes: peculiarities of his style ; his famous cow; his Discobolos and Marsyas; the Athlete dropping oil, etc. ; comparison of his works with those of Calamis. Mitchell, Hist. Anc. Sculp., pp. 291-6. Reber, Hist. Anc. Art, pp. 301-3. Murray, Hist. Greek Sculp., Vol. 1, pp. Wincke mann, Anc. Art, Vol. 2, pp. 213-35. 207-9. Perry, Greek and Roman Sculp., pp. Oyerbeck, Gesch. d. Gr. P/astik^rd ed.), 154-62. Vol. 1, pp. 207-17. Luebke, Hist. Sculp., Vol. 1, pp. 116- 20; Hist. Sculp., Vol. 1, pp. 190-1. 8. The temple of Theseus at Athens: its metopes and friezes ; affinities between these sculptures and the works of Myron. Murray, Hist. Greek Sculp., Vol. 1, pp. Stuart, Antiquities of Athens, pp. 94- -335-5 2 - I02 - Mitchell, Hist. Anc. Sculp., 365-8. Overbeck, Gesck. J. Gr. Plastik (3rd Perry, Greek and Roman Sculp., pp. ed.), Vol. I, pp. 343-55. 215-22. Redford, Anc. Sculp., pp. 130-5. Luebke, Hist. Sculp., Vol. 1, pp. 144-6; Hist. Art, Vol. 1, pp. 202-3. HISTORY OF SCULPTURE. VII.— PERFECTED GREEK SCULPTURE ; THE PHEIDIAN PERIOD. 450 — 4OO H. C. i. Outlines of the history of Greek thought and action culminating - in this period (a) ; the Homeric poems (b) ; the Persian war (c) ; the Athenian constitution (d) ; the Greek drama (e) ; the administration of Pericles (f). Waldstein, Essays on the Art of Phei- di.is, pp. 58-64 (a). Mitchell, Hist. Anc. Sculp., pp. 223-5 (a). Perry, Greek and Roman Sculp., pp. 170-3 (a). Luebkk, Hist. Sculp., Vol. 1, pp. 123-4 (a). Gladstone, Homer (Primer series), (b). Lloyd, Age of Pericles, Vol. 1, pp. 1-16 (a, b), 16-127 (c), 207-19 (d), 229-38 ; Vol. 2, pp. 371-9 (e), 97-1 1 1, I47-5 8 (0- Felton, Greece, Vol. 1, pp. 71— 131 (b), x 97-2i3 (e); Vol. 2, pp. 111-9 (c), 7i-no(d), 13376(f). Collins, Iliad, and Odyssey, (Anc. Classics series), (b). Fyffe, Hist. Greece (Primer series), pp. II-12 (b), 49-73 (c), 40-2, 44-7 (d), 78-9, 71-3 (f ). Copleston, /Eschylos, (Anc. Classics series), (e). Van Dyke, Principles of Art, Chap. 2. 2. Pheidias, the greatest of Greek sculptors : general account of his life and works ; the characteristics of his style. MURRAY, Hist. Greek Sculp., Vol. 2, pp. Mitchell, History Anc. Sculp., pp. 98-116. 299-301, 316-7.— Century Mag., Vol. Waldstein, Essays on the Art of Phei- 23, pp. 543 4, 553. dias, pp. 56-8, 66-8. Pkrry, Greek and Roman Sculp., pp. 174-80, 200-2. HISTORY OF SCULPTURE. «3 Luebke, Hist. Sculp., Vol. i, pp. 124-7; Hist. Art, Vol. 1, pp. 192-3, 198. WlNCKELMANN, Anc. Art, Vol. 2, pp. '93-S- KNIGHT, Pict. Gal. of Arts, Vol. 2, pp. 206-7. Coli.ignon, Greek Archreol., pp. 153-6. Felton, Greece, Vol. 2, pp. 136-7. Harrison, Studies in Greek Art, pp. 194-249. WESTMACOTT, Handbook of Sculp., pp. 126-30, I 41 -4. Li.oyd, Age of Pericles, Vol. 2, pp. 269- 74, 302-5. Littell's Living Age, Vol. 143, pp. 795-8o3- Lippincott's Mag., Vol. 19, pp. 65-74. Quarterly Rev., Vol. 154, pp. 382-6. Overbeck, Gescli. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 248-52, 263-9. 3. The works of Pheidias in gold and ivory : the Athena Parthenos, description in detail of helmet, shield, sandals, pedestal, etc. ; the Lenormant and Varvakeion statuettes and their value as copies of the Athena ; other existing- copies, partial or entire, of the Athena, — the Minerva Medicis, Minerva Giustiniani, Athena Velletri, etc. Mitchell, Hist. Anc. Sculp., pp. 308-16. — Century Mag., Vol. 23, pp. 544-8- MURRAY, Hist. Greek Sculp., Vol. 2, pp. 116-22. Waldstein, Essays on the Art of Phei- dias, pp. 68-9, 269-88. Perky, Greek and Roman Sculp., pp. 182-9. Luebke, Hist. Sculp., Vol. 1, pp. 127-9; Hist. Art, Vol. 1, pp. 193-5. Reber, Hist. Anc. An, pp. 305-7. Mueller, Ancient Art, p. 84. COLLIGNON, Greek Archa.-ol., pp. 156-9. Lloyd, Age of Pericles, Vol. 2, pp. 243- 54- Overbeck, Gesch. 5 6. The metopes of the Parthenon: artistic merits, subjects, and varying types of their sculptures (a); the myths concerning - the Centaurs and Lapithse, with their symbolic and historic meanings (b). Mitchell, Hist. Anc. Sculp., pp. 330-3 (a). —Century Mag., Vol. 23, pp. 556 9. Waldstf.in, Essays on the Art of Phei- dias, pp. 87-97 (a). — Century Mag., Vol. 23, pp. 32-41- Murray, Hist. Greek Sculp. , ol. 2, pp. 53-66 (a). Perry, Greek and Roman Sculp., pp. 251-6 (a). Luebke, Hist. Sculp., Vol. 1, pp. 152-4 (a); Hist. Art, Vol. 1, pp. 207-8; Mon. Art, Vol. 1, PI. 17, Text p. 65. Knight, Pict. Gal. Arts, Vol. 2, 111. pp. 180-1, Text pp. 214-5 ( a )- Reber, Anc. Art, pp. 315-6 (a). Seemann, Myth., pp. 165-8 (b). Redford, Anc. Sculp., pp. 147-9 ( a ^- Mueller, Ancient Art, p. 87. Collignon, Greek Archteol. , pp. 166-8 Overbeck, Gescli. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 315-28 (a). 7. The great frieze: the subjects, and general style of its reliefs (a); historic account of the Panathenaic festival, particularly of its culminating feature, the grand procession (b). MITCHELL, Hist. Anc. Sculp., pp. 333- 49. — Century Mag., Vol. 23, pp. 554-6. WALDSTEIN, Essays on the Art of Phei- dias, pp. 191-266 (a). — Century Mag., Vol. 23, pp. 174-82. MURRAY, Hist. Greek Sculp., Vol. 2, pp. 23 53(a)- Pekky, Greek and Roman Sculp., pp. 273 300 (a). Luebke, Hist. Sculp., Vol. 1, pp. 154 8 (a); Hist. Art, Vol. 1, pp. 208 11 (a); Mon. Art, PI. 17, Text pp. 65 6 (a). Knight, Pict. Gal. Arts, Vol. 2, III. pp. 184 5, 1S8-97, Text pp. 214 9. Reber, Anc. Art, pp. 313 5 (a). Redeord, Anc. Sculp., pp. 139-46 (a). Curtius, Hist. Greece, Vol. 2, pp. 630- 2 (b). Wordsworth, Greece, pp. 135-6, 138 (b). Mueller, Ancient Art, pp. 87 8(a). Coi.i.ignon, Greek Archceol. pp. 168-73 (a). BxRTHELEMY, Travels of Anacharsis the Younger, Vol. 2, pp. 42S-42 (b). Lloyd, Age of Pericles, Vol. 2, pp. 164- 74(b), 174 7(a). Overi'.ECK, G.s.'i. J. Gr. Plastik (3rd ed.). Vol. 1, pp. 238-42 (a). i6 HISTORY OF SCULPTURE. VIII.— PERFECTED GREEK SCULPTURE ; SCHOLARS AND CONTEMPORARIES OF PHEIDIAS. 450-4OO B. C. i. Agoracritos, Colotes and Thrasymedes of Paros: their works in marble, gold and ivory, etc., and their con- nection with Pheidias. Mitchell, Hist. Anc. Sculp., pp. 318-9. Perry, Greek and Roman Sculp., pp. 207-9. Murray, Hist. Greek Sculp., Vol. 2, pp. 132-8. Luebke, Hist. Sculp., Vol. 1, pp. 138-9; Hist. Art, Vol. 1, pp. 200-1. Reber, Anc. Art, pp. 316-7. WESTMACOTT, Handbook of Sculp., pp. 144-7. Overbeck, Gesch. d. Gr. Plasiik (3rd ed.), Vol. 1, pp. 277-80. 2. Alcamenes; question as to his artistic style and its affinities; his statues of the gods — Aphrodite Urania, Hecate, Dionysos, Ares, Hephaestos, etc. — and their distinctive types. Mitchell, Hist. Anc. Sculp., pp. 319-21. Murray, Hist. Greek Sculp., Vol. 2, pp. 139-46. Perry, Greek and Roman Sculp., pp. 203-5. Lukbkk, Hist. Sculp., Vol. 1, pp. 135-8; Hist. Art, Vol. 1, pp. 199-200. Reber, Anc. Art, pp. 317-9. Collignon, Greek Archreol., pp., 173-4. Edinburgh Rev., Vol. 149, pp. 235-8. Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 270-7. 3. Alcamenes at Olympia : description of the great national shrine at Olympia (a); the sculptures of the HISTORY OF SCULPTURE. i7 temple of Zeus ; character and subjects of the metope reliefs (b) ; the west pediment groups, and the style of Alcamenes as illustrated by them (c). Wordsworth, Greece, pp. 309-16(3). Falke, Greece and Rome, pp. 128-30(3). Mitchell, Hist. Anc. Sculp., pp. 253 -61 (a, b), 266-73 (c). — Century Mag., Vol. 23, pp. 551-2. Murray, Hist. Greek Sculp., Vol. 2, pp. 145-57 (b, c). — Nineteenth Cent., Vol. 8, pp. 1015-7 (b). Pkrry, Greek and Roman Sculp., pp. 236-8 (c). Collignon, Greek Archaeol., pp. 177— -82 (b), 184-8 (c). Hirschfeld, Macmillan's Mag., Vol. 37. PP- 55-61 (a), 62-3 (c). Curtius, North Amer. Rev., Vol. 131, pp. 484-95- Quarterly Rev., Vol. 150, pp. 469-97 (a). Edinburgh Rev., Vol. 149, pp. 21 1-9 (a), 222-4, 239-40 (b), 234-5 (c). Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 427-33 ( c )> 441-8 (b). 4. The east pediment sculptures and Paionios of Mende (a) ; the Nike of Paionios (b). Mitchell, Hist. Anc. Sculp., pp. 261-6, 402-5 (1)). Murray, Hist. Greek Sculp., Vol. 2, pp. 157-67 (a, b). — Nineteenth Cent., Vol. 8, pp. 1012 5 (b). PKRRY, Greek and Roman Sculp., pp. 205-7, 231-4 (a), 239-41 (b). REBER, Anc. Art, pp. 317-20. Collignon, Greek Archseol., pp. 182-4. Hirschfeld, Macmillan's Mag. , Vol. 31, p. 62 (a), 63 (b). Edinburgh Rev., Vol. 149, pp. 230-1 (1)), 231-3 (a). Overbeck, Gcsch. d. Gr. J'lastik (3rd ed.), Vol. 2, pp. 413-27 (a, b). IS HISTORY OF SCULPTURE. 5. The Apollo temple at Bassai and the Phigaleian marbles : history of their discovery, and analysis of the composition and style of the frieze (a); the Amazon myth and its popularity as a subject for sculpture (b). Mitchell, Hist. Anc. Sculp., pp. 397- 402 (a). Murray, Hist. Greek Sculp., Vol. 2, pp. 169-78 (a). Perry, Greek a"nd Roman Sculp., pp.' 306-13 (a). Luebke, Hist. Sculp., Vol. 1, pp. 171- 5 (a); Hist. Art, Vol. 1, pp. 217-9 ( a ); Mon. Art, PI. 19, Text pp. 50, 66 (a). Seeman, Myth., pp. 182-4 (h). Knight, Pict. Gal. of Arts, Vol. 2, III. pp. 24, 212-3, 216 ; Text pp. 30, 230-1, 234-5 (a). Wordsworth, Greece, pp. 318-21 (a). Reber, Anc. Art, pp. 321-2 (a). Redford, Anc. Sculp., pp. 174-6. Collignon, Greek Archseol. pp. 188-9 (a). Over beck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 1, pp. 449-57 (a). 6. The Acropolis of Athens : its position, general aspect and area ; locations of the various temples and statues upon its summit (a); the sculptures of the Erech- theion and the temple of Nike Apteros ; theories as to the origin of the Caryatidae and of other human figures, which were used in the place of columns (b). Mitchell, Hist. Anc. Sculp., pp. 327-8 (a), 368-77 (b). Stuart, Antiq. of Athens, Pis. 1-2, Text pp. 9-17 (a), 57-72 (h). Perry, Greek and Roman Sculp., pp. 314-32 (b). Murray, Hist. Greek Sculp., Vol. 2, pp. 179-202 (b). Luebke, Hist. Sculp., Vol. 1, pp. 146-7, 158-60 (b); Hist. Art, Vol. 1, pp. 212- 13 (b) ; Mon. Art, Vol. 1, PI. 17, Text pp. 66-7. Reber, Hist. Anc Art, pp. 242-5 (b). Smith, Hist. Greece, pp. 392-7 (a, b). Wordsworth, Greece, pp. 132-3 (a)> 142-5 (b). Phillips, Lippincott's Mag., Vol. 11, pp. 150 8 (a, b). Am. Cyc, Vol. 2, pp. 61-4 (a, b). Quarterly Rev., Vol. 154, pp. 385-6 (b). Edinburgh Rev., Vol. no, pp. 35-59 (a), [Am. Ed., pp. 18-30]. Overbeck, Gesch. J. Gr. Plastik (3rd ed.), Vol. 1, pp. 355-70 (b). HISTORY OF SCULPTURE. *9 7. Polycleitos of Argos : his style and favorite sub- jects ; his statues of Hera, the Amazon, Diadumenos, Doryphoros, etc. ; extant copies of the Amazon of Poly- cleitos, and those of his competitors. Mitchell, Hist. Anc. Sculp., pp. 384- 94- Murray, Hist. Greek Sculp., Vol. 1, pp. 257-85. Perry, Greek and Roman Sculp., pp. 345-58. Reber, I list. Anc. Art, pp. 322-6. Luebke, Hist. Sculp., Vol. 1, pp. 161-8 ; Hist. Art, Vol. 1, pp. 213-16 ; Mon. Art, Vol. 1, Pis. 17-18, Text pp. 67-8. Collignon, Greek Archreol., pp. 189-93. MUELLER, Ancient Art, pp. 91-3. Oyerbeck, Gesch. J. Gr. Plastik (3rd ed.), Vol. 1, pp. 385-402. IX.— GREEK SCULPTURE ; THE PERIOD OF SCOPAS AND PRAXITELES, ATTIC SCHOOL. 400 — 300 B. C. i. General characteristics of this period and style ; effect of the Peloponnesian war upon the development of art. MITCHELL, Hist. Anc. Sculp., pp. 427 -32. Zkkkfi, Hist. Dev. of Art, pp. 201-2. Perky, Greek and Roman Sculp., pp. Culi.ionon, Greek ArchceoL, pp. 194-5. 368-74. Mueller, Ancient Ait, pp. 95-6. Luebke, Hist. Sculp., Vol. 1, pp. 114-6; Oyerbeck, Gesch. Vol. 1, PI. 18, Text p. 70. FERGUSSON, Hist. Arch., Vol. 1, pp. 256-7. Oyerbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 90-5. HISTORY OF SCULPTURE. 23 X.— GREEK SCULPTURE ; THE PERIOD OF SCOPAS AND PRAX- ITELES, THE PELOPONNESSIAN SCHOOL. 4OO-30O B. C. I. Lysippos, the master in bronze : his portrait statues of Alexander, and his ideal statues of historic characters ; his statues of the gods and of Heracles. Mitchell, Hist. Anc. Sculp., pp. Reber, Hist. Anc. Art, pp. 342-5. 508-16. — Century Mag., Vol. 24, pp. CoLLlGNON, Greek Archaeol., pp. 208-II. 79-90. Mueller, Anc. Art., pp. 106-7. Murray, Hist. Greek Sculp., Vol. 2, pp. Westmacott, Handbook of Sculp., pp. 337-41.343-54- Perry, Greek and Roman Sculp., pp. 478-80, 482-6. Luebke, Hist. Sculp., Vol. 1, pp. 216-8; Hist. Art, Vol. 1, pp. 228-9. i9*-5- Quarterly Rev., Vol. 154, pp. 393-5. Over beck, Gesch. J. Gr. Plastik (3rd ed.), Vol. 2, pp. 105-14. 2. Lysippos' improvements upon the canon of Polycleitos, as seen in his Apoxyomenos ; extant works reflecting - the style of the Apoxyomenos, Ares Ludovisi, Hermes resting, Hermes or Antinous of the Vatican. Mitchell, Hist. Anc. Sculp., pp. 516-8. l.i ei;ki , Hist. Sculp., Vol. I, pp. 218-22; Perry, Greek and Roman Sculp., pp. Hist. Art, Vol. 1, pp. 229-30; Mon. 393 4, 486-8, 493. Art, Vol. 1, PI. i8a, Text p. 73. Murray, Hist. Greek Sculp., Vol. 2, Reber, Hist. Am:. Art, pp. 340-1. pp. 341-3. Mt EI.1.1.K, Ancient Art, pp. 108 9. WlNCKELMANN, Anc. Art, Vol. i, note OVKRBECK, Gesch. J. Gr. Plaslik (3rd on pp. 463-4. ed.), Vol. I, pp. 114-28. 24 HISTORY OK SCULPTURE. 3. Works of the sons and other scholars of Lysippos : the Praying Boy, statue of the city goddess Tyche, etc. Mitchell, Hist Anc. Sculp., pp. 551-4. PERRY, Greek and Roman Sculp., pp. 49^3- MURRAY, Hist. Greek Sculp., Vol. 2, PP- 35 2 -7- LUEBKE, Hist. Sculp., Vol. 1, pp. 222-5. Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 129-39. 4. Other art remains attributed to this period : the bronzes of Siris, Tarentum and Epeiros (a) ; the Demeter of Cnidos (b); sculptures from the temple of Artemis at Ephesos (c). Mitchell, History Anc. Sculp., pp. 527-37 (b, c). Perry, Greek and Roman Sculp., pp. 390-2 (c), 499-500 (h). MURRAY, Hist. Greek Sculp., Vol. 2, pp. 260-2 (b), 303-4 (c), 334-5 (a). Redford, Anc. Sculp., p. 21. Enc. Brit., Vol. 16, p. 73 (a). BrOnsted, Bronzes of Siris (a). WaldsteiN, Century Mag., Vol. 33, pp. 136-42 (c). Ovkrbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 95-101 (c), 148(b). XL— GREEK SCULPTURE ; THE HELLENISTIC PERIOD. }00 — 131 B. C. i. Pergamon : occasion of its rise to prominence ; character of its rulers ; their triumphs over Galatians and Greeks of Asia Minor. HISTORY OF SCULPTURE. 25 Mitchell, Hist. Anc, Sculp., pp. 561-4; Luebke, Hist. Sculp., Vol. 1, pp. 240-1. Century Mag., Vol. 44, pp. 90-3. Harrison, Studies in Creek Art, pp. Perry, Creek and Roman Sculp., pp. 283-91. 534-5 ; Fortnightly Rev., Vol. 36, pp. Mueller, Ancient Art, pp. 120-3. 333-6- 2. Plastic art in Pergamon : its marvelous develop- ment under Attalos I, and Eumenes II ; votive offering of Attalos to Athens — four extensive battle groups ; exist- ing statues copied from these groups, the Fallen Warrior, Dying Persian, Fighting Persian, Dead Giant, Amazon, etc. Mitchell, Hist. Anc. Sculp., pp. 570-3. Luebke, Hist. Sculp., Vol. 1, pp. 241-4; PERRY, Creek and Roman Sculp., pp. Hist. Art, Vol. 1, pp. 235-6. 535-6,537-42. COLLIGNON, Greek Archajol., pp. 213-4. Mi kkav, Hist. Creek Sculp., Vol. 2, pp. QUARTERLY Rev., Vol. 154, pp. 398-9. 379-83. OVERBECK, Gesch. d. Gr. Plastik (3rd Reber, Hist. Anc. Art, pp. 349-50. ed.), Vol. 2, pp. 202-16. 3. The Acropolis of Pergamon ; its temples, stoa and battle groups ; statue of the Dying Galatian ; groups of Gallic Warrior and Wife, and of Heracles freeing Prometheus. MITCHELL, Hist. Anc. Sculp., pp. 565- Harrison, Studies in Creek Art, pp. 70, 592-3. — Century Mag., Vol. 44, 291-8. pp. 93-6. OVERBECK, Gt-scJi. d. Gr. riastik (3rd PERRY, Creek and Roman Sculp., pp. ed.), Vol. 2, pp. 216-30. 558-61. LUEBKE, Hist. Sculp., Vol. I, pp. 244-7; Hist. Art., Vol. 1, pp. 236 8. 26 HISTORY OF SCULPTURE. 4. The great altar at Pergamon : its construction ; the sculptured friezes and statues of priestesses and gods ; comparison between these works and the sculptures of the Parthenon. Mitchell, Hist. Anc. Sculp., pp. 573- 94 ; Century Mag., Vol. 25, pp. 87-100. Perry, Greek and Roman Sculp., pp. 542-57 ; Fortnightly Rev., Vol. 36, pp. 337-45- Murray, Hist. Greek Sculp., Vol. 2, pp. 376-80. Reber, Hist. Anc. Art, pp. 347-8. HARRISON, Studies in Greek Art, pp. 298 -310. Coi.i.ignon, Greek Arcrmeol., pp. 214-7. Ovkrbeck, Gesch J. Gr. Plastik (3rd ed.), Vol. 2, pp. 230-59. BRUNN, Die Pergamenische Giganto- machie. 5. The school of Rhodes : circumstances and spirit of the Rhodian people ; the colossus of Rhodes. Mitchell, Hist. Anc. Sculp., pp. 600-1. Perky, Greek and Roman Sculp., pp. 518-20. Murray, Hist. Greek Sculp., Vol. 2, pp. 358-9- Luebke, Hist. Sculp., Vol. 1, pp. 232-3; Hist. Art, Vol. 1, pp. 232-3. Reber, Hist. Anc. Art, p. 351. Collignon, Greek Archasol., pp. 218-9. Mueller, Ancient Art, p. 129. Catholic World, Vol. 2, pp. 544-5. OVERBECK, Gesch. d. Gr. Plaslik (3rd ed.), Vol. 2, pp. 260-2. 6. The Laocoon group : its subject story ; kinship to the Athena group of the Pergamon frieze ; artistic merits as compared with those of this group and of that of Niobe. Mitchell, Hist. Anc. Sculp., pp. 601-6, Winckelmann, Anc. Art, Vol. 1. pp. 589. 338, 361 ; Vol. 2. pp. 228-32. Murray, Hist. Greek Sculp., Vol. 2, pp. Reber, Hist. Anc. Art, pp. 351-3. 362-7. HISTORY OF SCULPTURE. 27 Perry, Greek and Roman Sculp., pp. 520-7. LuEBKE, Hist. Sculp., Vol. 1, pp. 233- 7 ; Hist. Art, Vol. 1, pp. 233-4 ; Mon. Art, Vol. 1, PI. 19, Text pp. 74-5. Knight, Pict. Gal. of Arts, Vol. 2, 111. p. 223, Text p. 262. Lessing, Laocoon. Jarves, Art Thoughts, pp. 61-2 ; Art Idea, pp. 52-4. Flaxman, Lect. on Sculp., pp. 97, 233. Zerffi, Hist. Dev. of Art, p. 207. Mrr.Ll.ER, Ancient Art, pp. 129-30. Overbk.ck, Gesch. d. Gr. Plaslik (3rd ed.), Vol. 2, pp. 262-302. 7. The group of the Farnese Bull ; introduction of the pictorial element in its composition ; its merits as a work of art ; probable connection of its sculptors with the works on the great altar of Pergamon. Mitchell, Hist. Anc. Sculp., pp. 594-6. Flaxman, Lecture on Sculpture, pp. 97, PERRY, Greek and Roman Sculp., pp. 233. 528-32. . ZERFFI, Hist. Dev. of Art, pp. 207-8. Murray, Hist. Greek Sculp., Vol. 2, pp. Reber, Hist. Anc. Art, pp. 353-6. 359-64. Mueller, Anc. Art, p. 130. LUEBKE, Hist. Sculp., Vol. 1, pp. 237-9; WESTMACOTT, Handbook of Sculp., pp. Hist. Art, Vol. 1, p. 235; Mon. Art, 215 S. Vol. 1, PI. 18, Text p. 75. OVERBECK, Gesch. d. Gr. Plaslik (3rd WlNCKELMANN, Anc. Art, Vol. 2, pp. ed.), Vol. 2, pp. 302-12. 243-5- 8. The Aphrodite of Melos : history of its discov- ery ; affinities in its style and execution with other works of art. MITCHELL, Hist. Anc. Sculp., pp. 596-9. Stii.i.man, On the Track of Ulysses, etc., Perry, Greek and Roman Sculp, pp. pp. 75 106; Century Mag., Vol. 23, 600-5. PP* 94 _,0 9 ' Nation, Vol. 15, p. 355, Murray, Hist. Greek Sculp., Vol. 2, pp. Vol. 29, p. 400, Vol. 32, pp. 14 5. 275 7. Lai iji 1 ., Nation, Vol. 18, pp. 217-S. 28 HISTORY OF SCULPTURE. Rvdkkrg, Roman Days, pp. 148-87. ATLANTIC Monthly, Vol. 44, pp. 435- RedfORD, Anc. Sculp., pp. 25S-9. 44. LUEBKE, His', Sculp., Vol. I, pp. 136-7. OVERBECK, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 329-43. 9. The Apollo Belvedere : history of the discussion concerning its motif \ its originality, execution and resem- blance to the Pergamon marbles (a) ; the Artemis of Ver- sailles and the Athena of the Capitol (b). Mitchell, Hist. Anc. Sculp, pp. 621-7 Luebke, Hist. Sculp., Vol. 1, pp. 247-52 (a, b), 581-2 (b). (a, b), 282 (b) ; Hist. Art, Vol. 1, pp. Perry, Greek and Roman Sculp., pp. 238-40 (a). 61 1 -20 (a, b). Colvin, Littell's Living Age, Vol. 137, Murray, Hist. Greek Sculp., Vol. 2, pp. pp. 496-503 (a), 503-4 (b). 371-3 (a). OVERBECK, Gesch. d. Gr. Plastik (3rd Reber, Hist. Anc. Art., pp. 356-8 (a, b). ed.), Vol. 2, pp. 318-28 (a, b). 10. Sculpture of this period in other parts of Hellas: the Nike of Samothrake (a) ; the Nike of the Vatican and Tiber of the Louvre (b) ; the statues of the sleeping Ariadne (c). Mitchell, Hist. Anc. Sculp., pp. 358- Luebke, Hist. Sculp., Vol. 1, pp. 282(c), 60(a); 607(b); 617(c). 289 (b); Hist. Art, Vol. 1, pp. 305-7 Murray, Hist. Greek Sculp., Vol. 2, pp. (a, b). 373-5 (a)- OVERBECK, Gesch. d. Gr. Plastik (3rd Perry, Greek and Roman Sculp., pp. ed.), Vol. 2, pp. 314-7 (a). 517 (b), 620-1 (c). HISTORY OF SCULPTURE. 29 XII.— SCULPTURE AMONG THE ROMANS ; THE GR^CO-ROMAN PERIOD. I46 B. C. — 312 A. 1). i. The national traits of the Romans, religious, political and aesthetic, as compared with those of the Etruscans and Greeks. Mitchell, Hist. Anc. Sculp., pp. 634-5, Winckelmann, Anc. Art, Vol. 1, pp. 645, 654 5. 288-90. Perky, Greek and Roman Sculp., pp. JARVES, Art Thoughts, pp. 32-3, 49-50. 568-9, 5745. LECKY, European Morals, Vol. I, pp. Luebke, Hist. Sculp., Vol. 1, pp. 257, 176-7. 272; Hist. Art, Vol. 1, pp. 258-60, Mueller, Ancient Art, pp. 161-3,165-8. 271-5. Westmacott, Handbook of Sculp., pp. ZERFKI, Hist. Dev. of Art, pp. 228-45. 2 35~8. 2. Etruscan sculpture, and Etruscan art contri- butions to ancient Rome (a) ; extant works — the Wolf of the Capitol, statue of Aulus Metellus, Boy with goose at Leyden, etc. (b). MITCHELL, Hist. Anc. Sculp., pp. 634- Perkins, Tuscan Sculptors, Vol. 1, In- 43 (a, b), 644 5 (a). troduction, pp. 17-26 (a, 1>). PERRY, Greek and Roman Sculp., pp. Rerek, Hist. Anc. Art, pp. 400-9(1)). 506-70 (a, b). Mueller, Anc. Art., pp. 145-50, 159-60 LfEBKE, Hist. Sculp., Vol. I, pp. 263-71 (a); 151 (1)). (a, 1)); Hist. Art, Vol. I, pp. 260-70 Cl.EdloRN, Ancient and Modern Art, (a, b) ; Mini. Art, Vol. I, PI. 25, Text Vol. 1, pp. 230-3. pp. 90 3. Edinburgh Rev., Vol. 90, pp. 130-2, Winckelmann, Anc. Art, Vol. 1, p. 233 [Am. ed., pp. 69 70] (a). -8, 252(b). 30 HISTORY OF SCULPTURE. 3. The conquest of Greece by Rome and the whole- sale confiscations of Greek art works; importance attached to the display of these works in the Roman triumphal processions (a) ; the revival of Greek sculpture in the service of Rome (b). Mitchell, Hist. Anc. Sculp., pp. 645-9 Perkins, Tuscan Sculptors, Introduction, (a), 656-7 (b). pp. 30-4 (a, b). Perky, Greek and Roman Sculp., pp. Mcellek, Ancient Art, pp. 14.0-3 (a), 571-5 (a, b). 182 (b). REBER, Hist. Anc. Art, pp. 358-61 (a, b). WESTMACOTT, Handbook of Sculp., pp. LuEBKE, Hist. Sculp.. Vol. 1, pp. 273-5 2 °3"7> 21 1-2 (a), 213-4 (b). (a, b) ; Hist. Art, Vol. 1, pp. 302-3 (a, Liscomb, Atlantic Monthly, Vol. 54, pp. b). 163-72, 521-8 (a). Gi'HL, Greeks and Romans, pp. 584-9 (a). Histories of Greece. 4. Works executed in Rome by Attic artists: the Belvidere Torso, Venus di Medici, Germanicus, Farnese Heracles, Athena of Villa Ludovisi, Vase of Salpion, Vase Sosibios, Caryatid by Diogenes, etc. Mitchell, Hist. Anc. Sculp., pp. 651- LuEBKE, Hist. Sculp., Vol. 1, pp. 275-9; 62. Hist. Art, Vol. 1, pp. 302-5 ; Mon. Art, Perry, Greek and Roman Sculp., pp. Vol. 1, PI. 18-19, Text pp. 72, 75. 583-96. REBER, Hist. Anc. Art, pp. 362-3. Cox, Fraser's Mag., New Ser., Vol. 25 OvERBECK, Gesch. d. Gr. Plaslik (3rd (1882), pp. 479-80. ed.), Vol. 2, pp. 372-97. 5. Asiatic Greek sculptors in Rome: their rank as artists and extant works — the Borghese Warrior, Cen- taurs in black marble by Aristeas and Papias, relief of the Apotheosis of Homer, etc. HISTORY OF SCULPTURE. 31 Mitchell, Hist. Anc. Sculp., pp. 666 Luebkk, Hist. Sculp., Vol. 1, pp. 279-80, -9. 287; Hist. Art, Vol. 1, p. 305; Mon. Art, Perry, Greek and Roman Sculp., pp. Vol. 1, Pis. 18-19, Text pp. 73, 75-6. 597-600, 605-10. Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 397-411. 6. Archaistic works of Pasiteles and his school : dis- tinction between the archaic and archaistic in art ; extant works traceable to this school — the Stephanos Athlete in the Villa Albani, group of Orestes and Electra in Naples, and group by Menelaos in the Villa Ludovisi, etc. Mitchell, Hist. Anc. Sculp., pp. 662-6. Reber, Hist. Anc. Art, pp. 364-5. Perry, Greek and Roman Sculp., pp. Mueller, Anc. Art., p. 183. 622-9, 135-7. Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 411-25. 7. Varieties and importance of Roman portrait sculpture, and its merits as compared with the Greek; classification and description of the principal examples ex- tant — the various statues and busts of Augustus and other emperors, the equestrian statues of the two Balbi at Naples and of Marcus Aurelius at Rome, the seated statues of the elder and younger Agrippina, statues of Livia and of some unknown empress as Juno, bust of Clytie, etc. Mitchell, Hist. Anc. Sculp., pp. 644-5, Perry, Greek and Roman Sculp., pp. 670-1,6746,689. 645-58. LUEBKE, Hist. Sculp., Vol. i, pp. 2S2- Mueller, Ancient Art, pp. 185-8, 196 6. 5,293-4,299-300; Hist. Art, Vol. 1, Parker, Archoeol. of Rome, Sculpture, pp. 307-12 ; Mon. Art, Vol. 1, PI. 32 pp. 16— 7; Forum Romanum, PI. 17. 3, Text pp. 1 14-7. Overbeck, Gesch. d. Gr. Plastik (3rd Reber, Hist. Anc. Art, pp. 453-5. ed.), Vol. I, pp. 438 44, 445. 32 HISTORY OK SCULPTURE. 8. The Antinous statues : the story of Antinous ; peculiar and new type of the various plastic representa- tions dedicated to him — the Antinous-Bacchus, Antinous -Hermes, Antinous-Mondragone, Antinous relief of the Villa Albani, the San Ildefonso group, etc. Mitchell, Hist. Anc. Sculp., pp. 686-7. Perky, Greek and Roman Sculp., pp. 65963. Luebke, Hist. Sculp., Vol. 1, pp. 287-9; Hist. Art, p. 307 ; Mon. Art, Vol. 1, PI. 33, Text p. 116. RYDBERG, Roman Days, pp. 188 208. Mueller, Ancient Art, pp. 191-2. Symonds, Sketches and Studies in South- ern Europe, pp. 294-338. Overbeck, Gesch. d.Gr. Plastik (3rd ed.), Vol. 2, pp. 444-5- Levezow, Ueber d. Antinous, etc. 9. Roman monumental sculptures: their historic character, and development independent of Greek proto- types ; the introduction of perspective into the sculptured reliefs ; description of extant specimens — reliefs from Augustus' Altar of Peace, of the arches of Titus, Severus and Constantine, of the columns of Trajan, Antoninus Pius and Marcus Aurelius, and of the sarcophagi of the Capitol. Mitchell, Hist. Anc. Sculp., pp.671- Mueller, Ancient Art, pp. 190 1, 196-8. 4, 676-86, 688-93. Perky, Greek and Roman Sculp., pp. 635 44- Reber, Hist. Anc. Art, pp. 455-63. Luebke, Hist. Sculp., Vol. 1, pp. 293-7, 3008; Hist. Art, Vol. 1, pp. 312-9; Mon. Art, PI. 32-3, Text pp. 1 13-7. D'AGINCOURT, Hist. Art, Vol. 2, Pis, 1, 2. MlDDl.ETON, Ancient Rome in ii pp. 217 8, 274-81, 441-5°- PARKER, Archivol. of Rome, Sculpture, Pis. I -10; Via Sacra, Pis. 27, 28; Forum Romanum, Pis. 10, 13-16, 38. Overbeck, Gesch. d. Gr. Plastik (3rd ed.), Vol. 2, pp. 445-54- HISTORY OF SCULPTURE. 33 10. The Victory of Brescia: history of its discovery; attitude of the statue as compared with that of the Aphro- dite of Melos and of the Victory of Trajan's column, etc. Mitchell, Hist. Anc. Sculp., pp. 684 Stillman, Century Mag., Vol. 23, pp. -686. 102-103. 11. Genre works belonging to this age: the Fisherman of the Vatican (a); Boy strangling a Goose (b); Thorn extractor (c); Barberini Faun (d); Group of Wrestlers at Florence, etc. (e). Mitchell, Hist. Anc. Sculp., pp. 61 1-4 Luebkk, Hist. Sculp., Vol. 1, pp. 225-7 (a, 1), c, e), 616-7 ( c1 )- (b, c, d), 293-40 (e). Perky, Greek and Roman Sculp., pp. Overbeck, Gesch. d. Cr. Plaslik (3rd 563-5 (b, c), 516(d). ed.), Vol. 2, pp. 143-5 ( b > c )- 3 28 "9 (d, e). XIII.— THE DEVELOPMENT OF CHRISTIAN SCULPTURE, CUL- MINATING IN THE PISAN SCHOOL OF THE THIR- TEENTH AND FOURTEENTH CENTURIES. RUDE SYMBOLS, CHURCH STATUARY AND RELIEFS ON SARCOPHAGI. i. General account of the rude sculptures of the early Christian centuries (before 600 A. D.) ; existing statues and reliefs illustrating these sculptures — the stat- 34 HISTORY OF SCULPTURE. ues of St. Hippolytus and of the Good Shepherd in the museum of the Lateran, and of St. Peter in the Church of St. Peter (a) ; reliefs on the Sarcophagi of Constantia, Helena, Junius Bassus, etc. (b), and on the episcopal chair of Maximianus (c). Perkins, Tuscan Sculptors, Vol. I, In- troduction, pp. 38-43 (a, b); Handbook Italian Sculp., Introduction, pp. 52-3 (a, b). Luebke, Hist. Sculp., Vol. 1, pp. 335— 46 (a, b), 351-2 (c) ; Hist. Art, Vol. 1, pp. 372-4 (a), 378-9 (b), 396-7 (c) ; Mon. Art, Vol. 1, PI. 36, Text pp. 127-9 (a, b). Labarte, Arts of the Middle Ages and Renaissance, pp. 1-3 (c). Enc. Brit. (9th ed.), Vol. 21, pp. 556-7 (a, b c). Mitchell, Hist. Anc. Sculp , p. 694(b). D'Agincourt. Hist. Art. Vol. 2, Pis. 3- 4, 6 (a, b). Reber, Hist. Mediaeval Art, pp. 103-10 (a, b), 112 (c). Crowe and Cavalcaselle, Hist. Paint- ing in Italy, Vol. 1, pp. 38-40 (b). Lindsay, Hist. Christian Art (2d ed.), Vol. 1, pp. 225-34. Parker, Archseol. of Rome, Vol. 9, Early Christ. Sculp., by Prof. West- wood, pp. 35-36 (a), 36-38 (b), 39-55, Pis. 12-19 ( c )- Scott, Sculpture, Renaissance and Mod- ern, Introduction. Westmacott, Handbook of Sculp., pp. 246-7. Cheney, Gleanings in the Fields of Art, pp. 61-9. 2. Influence of the Byzantine style upon the devel- opment of sculpture in Italy (600-1240 A. D.); the Coma- cini and Antelami — character of their works as seen in the reliefs of the "Baptism" over portal of Monza Cathe- dral, of the "Deposition" in Parma Cathedral, and in the sculptures at Cividale and on the facade of San Zeno, Verona. Perkins, Italian Sculptors, pp. 94-100; Tuscan Sculptors, Vol. 1, Introduction, pp. 44-8, 49-51, 53; Handbook Italian Sculp., Introduction, pp. 9-13, 17-19, 21-22. HISTORY OF SCULPTURE. 35 LuEBKE, Hist. Sculp., Vol. I, pp. 351-3, 397-400. Scott, Renaissance of Art in Italy, pp. 21-3 ; Ghiberti and Donatello, pp. 2-4, 7-8; Sculp., Renaissance and Modern, Pt. 1, pp. 1-9. Enc. Brit. (9th ed.), Vol. 21, p. 567. Reber, Hist. Med. Art, pp. 464-7. D'Agincourt, Hist. Art, Vol. 2, PI. 26. Lindsay, Hist. Christian Art (2d ed.), Vol. 1, pp. 239-40, 264-6, 322-7. Ruskin, Val d'Arno, pp. 4-7. 3. Works in metal of this period in Italy : the bronze doors of San Zeno, Verona, of the cathedrals of Pisa and Monreale, and of the various churches of southern Italy (a); the altar of San Ambrogio, Milan (b); the Pala d'Oro, Venice (c). Perkins, Tuscan Sculptors, Vol. 1, Intro- duction, pp. 52-4 (a, b); Italian Sculp- tors, pp. 214, 1 17-8, 32-5 (a), 102 (b); Handbook Italian Sculp., pp. 21-2, 14-5, 42-3 (a, b). Luebke, Hist. Sculp., Vol. 1, pp. 356 (b), 406-8 (a); Hist. Art, Vol. 1, pp. 562-41 (a). D'Agincourt, Hist. Art, Vol. 2, Pis. 26-26C (b). BELLOMO, Pala d'Oro di S. Marco (c). LACROIX, Arts in the Middle Ages, pp. 127-8 (b). Labarte, Arts of the Middle Ages and Renaissance, pp. 210-1 (b). Crowe and Cavalcaselle, Hist. Paint- ing in Italy, Vol. 1, pp. 129-30 (a). Reber, Hist. Med. Art, pp. 469-72 (a,c). Lindsay, Hist. Christian Art (2d ed.), Vol. 1, pp. 274-6. Scott, Renaissance of Art in Italy, pp. 79-82 (a, c) ; Ghiberti and Donatello, pp. 6-7 (a). Enc. Brit., (9th ed.) Vol. 16, pp. 74-5, 760 (a, b, c). 4. Niccola Pisano, the great restorer of sculpture in Italy (i2o6?-i278): question as to his Tuscan or Apulian origin, and as to the influences which determined his style; his principal works — the "Deposition" over portal of Lucca Cathedral, the pulpits for the Baptistery of Pisa and the Cathedral of Siena, the Area di San Domenico at 36 HISTORY OF SCULPTURE. Bologna and the Fountain at Perugia (a) ; comparison be- tween his pulpits and the pulpit at Ravello (b). PERKINS) Tuscan Sculptors, Vol. I, pp. 8-25, 34-6 (a); Handbook Italian Sculp., pp. 3-22 (a). Crowe and Cavalcasselle, Hist. Paint- ing in Italy, Vol. 1, pp. 122-8, 130, 132-41 (a), 128-9 ( b )- Lukbke, Hist. Sculp., Vol. 2, pp. 1 1 1-7 (a), 121-2 (b); Hist. Art, Vol. 1, pp. 564-7 (a); Mon. Art, Vol. 1, PI. 48, Text pp. 159-60 (a). D'Agincourt, Hist. Art, Vol 1, PI. 32 (a). Enc. Bkit. (9thed.)Vol. 19, pp. 123-4(3). Symonds, Renaissance in Italy, pp. 100 9(a), 507-11 (b). Norton, Church Building in the Middle Ages, pp. 126-34 (a). Ykiarte, Florence, pp. 185-6, 237-40(3). Hare, Cities of Northern and Central Italy, Vol. 2, pp. 282-3, 45 l 3 (a)' Cities of Southern Italy, p. 236 (b). Vasari, Lives of the Painters, Vol. 1, pp. 60 7(a). Reber, Hist. Med. Art, pp. 632-5 (a), 468-9 (b). Scott, Renaissance of Art in Italy, pp. 24-9 ; Ghiberti and Donatello, pp. 10- 21 (a), 12 (b) ; Sculp., Renaissance and Modern, Pt. I, pp. 10-21. Lindsay, Hist. Christian Art (2d ed. ), Vol. 1, pp. 357-65. Ruskin, Val d'Arno, pp. 7-13, 126. Westi.iacott, Handbook of Sculp., pp. 257-61. Harford, Life of Michael Angelo Boun- arroti, Vol. 1, pp. no-6. Bianciardi, Harper's Mag., Vol. 56, pp. 657-9 (a). Edinburgh Rev., Vol. 121, pp. 522-6, [Am. ed., pp. 264-7]. Doiime, Kunst und Kilnstler /(aliens, Vol. 3, No. 40, pp. I-30 (a). 5. Giovanni Pisano, the originator of the dramatic and romantic style in sculpture (i 250-1 330): his allegor- ical group of "Pisa"; his pulpit in S. Andrea at Pistoja, tomb of Benedict XI, various statues of the Madonna and Child, etc. Perkins, Tuscan Sculptors, Vol. i, pp. 37-51 ; Handbook Italian Sculp., pp. 27-34- Luebke, Hist. Sculp., Vol. 1, pp. 123-7; Hist. Art, Vol. 2, pp. 94-7 ; Mon. Art, Vol. 1, PI. 48, Text p. 196. Enc. Brit. (9th ed.), Vol. 19, pp. 122-3. D'Agincourt, Hist. Art, Vol. 2, PI. 32. Symonds, Renaissance in Italy, pp. 110- 16. Norton, Church Building in the Middle Ages, pp. 137-40. Crowe and Cavai.casei.i.e, Hist. Paint- ing in Italy, Vol. 1, pp. 142-52. HISTORY OF SCULPTURE: 37 Reber, Hist. Med. Art, pp. 635-8. Scott, Renaissance of Art in Italy, pp. 29-35 ; Ghiberti and Donatello, pp. 22-31 ; Sculp., Renaissance and Mod- ern, Pt. 1, pp. 22-31. Vasari, Lives of the Painters, Vol. I, pp. 67-77. Lindsay, Hist. Christ. Art (2d ed.), Vol. 1, pp. 366-70. Ruskin, Val d'Amo, pp. 14-27, 139-44, Pis. 8, 10, 12. Edinburgh Rev., Vol. 121, pp. 526-8, (Am. Ed., pp. 267-8). Doiime, Kunstund K'unsller Ilaliens^oX. 3, No. 40, pp. 33-7. 6. Andrea Pisano (i 270-1348): his famous bronze gates for the Baptistery of Florence; comparison between them and the doors executed in the twelfth century, by Bonannus, for the Duomo of Pisa; other works by Andrea — the reliefs for Giotto's Campanile and of the Madonna and Child for the Bigallo, etc. Perkins, Tuscan Sculptors, Vol. i, pp, 63 70 ; Handbook Italian Sculp., pp. 35 8. Luebkk, Hist. Sculp., Vol. 2, p. 129; Hist. Art, Vol. 2, pp. 97-98; Mon. Art, Vol. I, PI. 61, Text p. 197. Enc. Brit. (9th ed.), Vol. 19, p. 122. YRIARTE, Florence, pp. 240-1. SYMONDS, Renaissance in Italy, pp. 119-23. Crowe and Cavai.casei.i.k, Hist. Paint- ing in Italy, Vol. 2, pp. 343-8. Reber, Hist. Med. Art, pp. 639, 641. D'Agincourt, Hist. Art, Vol. 2, PI. 35. Scott, Renaissance of Art in Italy, pp. 39-40 ; Ghiberti and Donatello, pp. 3S-41; Sculp., Renaissance and Mod- ern, Pt. 1, pp. 38-41. Vasari, Lives of the Painters, Vol. I, pp. 144-54- Lindsay, Hist. Christian Art (2d ed.), Vol. 1, pp. 371 5. Edinburgh Rev., Vol. 121, pp. 527-9 (Am. ed., pp. 26S-9). Dohme, Kunst und A'ihist/cr ltaliens, Vol, 3, No. 40, pp. 37 9. 7. The celebrated scholars of Andrea Pisano — Or- cagna (13 16—1376?) ; his wonderful Tabernacle in the church of Or San Michele, Florence (a) ; Nino Pisano and his Madonna della Rosa (b) ; Balduccio di Pisa and 147346 3« HISTORY OF SCULPTURE. the shrine of St. Peter Martyr in the church of St. Eus- torgio, Milan (c). Perkins, Tuscan Sculptors, Vol. i, pp. 70-83 (a, h, c) ; Handbook Italian Sculp., pp. 38-44 (b, c), 45-50 (a). Crowe and Cavai.casei.le, Hist. Paint- ing in Italy, Vol. 1, pp. 425-9, 440-2 (a). Yriarte, Florence, pp. 220-4 ( a )- Luebke, Hist. Sculp., Vol. 2, pp. 129-30 (b), 131-2 (a), 138-9 (c) ; Hist. Art, Vol. 2, pp. 98-100 (a, c). D'Agincourt, Hist. Art, Vol. 2, Pis. 34- 5 (b, c). Horner, Walks in Florence, Vol. 1, pp. 214-7 (a). Enc. Brit. (9th ed.), Vol. 17, pp. 8i4-6(a). SCOTT, Ghiberti and Donatello, pp. 41- 3 (b), 44-7 (c); Sculp., Renaissance and Modern, Pt. 1, pp. 41-3 (b), 44 7 (c). Vasari, Lives of the Painters, Vol. 1, pp. 204-18 (a). Lindsay, Hist. Christian Art (2d ed), Vol 1, pp. 375-9 f a )- Edinburgh Rev., Vol. 121, pp. 529-30, (Am. ed., p. 269). Doiime, Kunst tind Kiinstler Ita liens, Vol. 3, No. 40, pp. 40-2 (a). 8. Influence of the Pisan school upon the develop- ment of sculpture in the north of Italy; the Area di Sant' Agostino, Pavia (a); the Tombs of the Scaligers, Verona (b). Perkins, Italian Sculptors, pp. 109-10 (a), 1 12-4 (b); Handbook Italian Sculp., pp. 41 -2 (a), 43-5 (b). Luebke, Hist. Sculp., Vol. 2, pp. 137, 14I-2 (a, b). Lindsay, Hist. Christian Art (2d ed.), Vol. 1, pp. 381 2 (a), 370-1 (1)). Street, Brick and Marble in the Middle Ages, 98-104 (b). Hare, Cities of North, and Cent. Italy, Vol. 1, pp. 173-4 (a), 272-8 (b). 9. The Sienese school of sculpture and the influence of the Pisani upon its development; the reliefs upon the fagade of Orvieto Cathedral (a); Jacopo della Quercia and his works (b). HISTORY OF SCULPTURE. 39 Perkins, Tuscan Sculptors, Vol. i, pp. 85-94 (a), 103-11 (b); Handbook Italian Sculp., pp. 51-7 (a), 60-5 (b). Scott, Renaissance of Art in Italy, pp. 1 15-7 ; Sculp., Renaissance and Mod- ern, Pt. 1, pp. 91-8 (a), 102-9 (b) ; Luca della Robbia, pp. 91-8 (a), 102 -9 (b). Luebke, Hist. Sculp., Vol. 2, pp. 123-5 (a), 155-7 (b). D'Agincourt, Hist. Art, Vol. 2, P1.33(l>). Ykiarte, Florence, p. 243 (b). Hare, Days Near Rome, pp. 121-5 (a); Cities of North, and Cent. Italy, Vol. 3, p. 256(b); Vol. 2, p. 496 (b). Vasari, Lives of the Painters, Vol. 1, pp. 313-21 (b). SYMONDS, Renaissance in Italy, pp. 1 16-8 (a). D'Agincourt, Hist. Art, Vol. 2, Pis. 35, 38 (b). Lindsay, Hist. Christian Art (2d ed.), Vol. 1, pp. 379-81 (a), 382-4 (b). Edinburgh Rev., Vol. 121, pp. 531-4, (Am. ed., pp. 62). XIV.— THE FLORENTINE SCHOOL OF SCULPTURE OF THE FIFTEENTH CENTURY. PICTORIAL RELIEFS IN BRONZE, MARBLE AND TERRA-COTTA. I. Causes of the early prominence and influence of the goldsmith's art in Italy, and of its association with the other arts during- the fifteenth century. SCOTT, Sculp., Renaissance and Modern, Pt. I, pp. 51-3 ; Ghiberti and Dona- tello, pp. 52-3. SYMONDS, Renaissance in Italy, pp. So, 126-7. Taine, Florence and Venice, pp. 116-9, 209-10. SCOTT, Fine Arts, pp. 148 52, 156-7. Labarte, Arts of Middle Ages and Renaissance, pp. 236 7. Perkins, Handbook Italian Sculp., p. 75. 2. Lorenzo Ghiberti ( 1 378—1 455) and the influences which determined his new and peculiar style ; history of the production of his two famous sets of bronze gates for 4 o HISTORY OF SCULPTURE. the Baptistery of Florence ; subjects and character of their panel reliefs ; comparison between these reliefs and those on the gate executed by Andrea Pisano ; his other works — the Area di San Zenobio, etc. PERKINS, Tuscan Sculptors, Vol. i, pp. 122-37 ; Handbook Italian Sculp., pp. 73-87- Scott, Renaissance of Art in Italy, pp. 105-n ; Sculp., Renaissance and Mod- ern, pp. 54-69 ; Ghiberti and Dona- tello, pp. 54-69. CROWE and Cavai.casf.llk, Hist. Paint- ing in Italy, Vol. 2, pp. 273-6. Jameson, Memoirs Italian Painters (Am. ed.), pp. 64-74. Yriarte, Florence, pp. 204-6, 244-5. SYMONDS, Renaissance in Italy, pp. 127-35- LUEBKE, Hist. Sculp., Vol. 2, pp. 158-63 ; Hist. Art, Vol. 2, pp. 186-8 ; Mon. Art, pi. 65, text pp. 204-5. D'Agincourt, Hist. Art, Vol. 2, pis. 41-2. Oliphant, Makers of Florence, pp. 132-6. Norton, Church Building in the Middle Ages, pp. 236-9, 265-6. GRIMM, Life M. Angelo, Vol. 1, pp. 32-6. Vasari, Lives of the Painters, Vol. 1, pp. 361-87. Hornkr, Walks in Florence, Vol. 1, pp. 29-35- Westmacott, Handbook of Sculp., pp. 266-70. Harper's Mag., Vol. 65, pp. 91-8. Edinburgh Rev., Vol. 121, pp. 534-8, (Am. ed., pp. 271-4). Dohme, Kunst tend Kiinstler /(aliens, Vol. 3, No. 46, pp. 57-76. 3. Donatello (1386- 1466), the greatest of Italian relief sculptors : account of his life and characteristics of his style ; his principal works — the statues of St. George, II Zuccone, David, Judith and Holofernes^ etc., the tombs of Pope John XXIII. and of Cardinal Brancacci, the various reliefs for the churches of Florence and Padua and for the pulpit of Prato, the equestrian statue of Gattamelata at Padua ; comparison between the reliefs executed by Donatello and those of the Pheidian period in Greece. HISTORY OF SCULPTURE. 41 Perkins, Tuscan Sculptors, Vol. 1, pp. Oliphant, Makers of Florence, pp. 138- 137-60; Handbook Italian Sculp., pp. 40, 146-51. 87-107. Jameson, Hist. Our Lord, Vol. 2, pp Crowe and Cavalcaselle, Hist. Paint- 229-30. ing in Italy, Vol. 2, pp. 276-82. Vasari, Lives of the Painters, Vol. 1, pp Scott, Renaissance of Art in Italy, pp. 469 93. 1 1 1-5; Sculp., Renaissance and Mod- D'Agixcourt, Hist. Art, Vol. 2, PI. 38. era, Pt. I, pp. 70-89; Ghiberti and Westmacott, Handbook of Sculp., pp Donatello, pp. 71-89. 270-5. Luebke, Hist. Sculp., Vol. 2, pp. 163-9; Cox, Kenyon, Century Mag., Vol.29 Hist Art, Vol. 2, pp. 190-3 ; Mon. Art, pp. 62-6. Vol. 2, pis. 65-6, text pp. 205, 207. Edinburgh Rev., Vol. 121, pp. 538-40. Yriarte, Florence, pp. 88-9, 225,245-9. (Am. Ed., pp. 274-5). SYMONDS, Renaissance in Italy, pp. Dohme, Kitnst und Kilnstler //aliens, 136-42. Vol. 3, No. 46, pp. 57-76. Semper, Donatella, seine Zeil und Schule. 4. Luca della Robbia (1400- 1482): his new departure in art, the invention of the famous Robbia ware ; his marble reliefs on the Campanile and of the Singing Boys for the Duomo, Florence ; the works of Luca and his pupils in glazed terra-cotta — the reliefs of the "Resurrection" and "Ascension" in the Duomo, the various altar pieces and reliefs of the Madonna and Child, the tomb of Bishop Federighi, the medallions for Or San Michele and the hospital of the Innocents, the vaulted ceilings of San Miniato and S. Croce, the reliefs of the "Seven Acts of Mercy" at Pistoja, etc. Perkins, Tuscan Sculptors, Vol. I, pp. Sculp., Renaissance and Modern, Pt. 192200; Handbook Italian Sculp., 2, pp. 32-44. pp. 139 46. Lt.'EHKE, Hist. Sculp., Vol. 2, pp. 169 SCOTT, Luca dclla Robbia, pp. 33-44; 75; Hist. Art, Vol. 2, pp. iSS 90; Renaissance of Art in Italy, pp. 315-6 ; Mon. Art, Vol. 2, pi. 66, text p. 206. 4^ HISTORY OF SCULPTURE Ykiarte, Florence, pp. 237, 256-9. OLIPHANT, Makers of Florence, pp. I55°2. Symonps, Renaissance in Italy, pp. 148-51. Pater, Renaissance, pp. 68-77. Vasari, Lives of the Painters, Vol. 1, pp. 335-48. WESTMACOTT, Handbook of Sculp., pp. 262-6. Harper's Mag., Vol. 60, pp. 692-9. Dohme, A'tiust und Kxlnstler Italiens, Vol. 3, No. 47, pp. 3-14. 5. Pollajuolo and Verocchio: their rank as sculp- tors and most important works — the relief of the Cruci- fixion, monuments of Popes Sixtus IV. and Innocent VIII., etc., by Pollajuolo (a) ; the tomb of Piero and Gio- vanni de' Medici, statue of David, equestrian statue of Coleoni, etc., by Verocchio (b); the great silver altar of the Baptistery of Florence and its famous reliefs, exe- cuted by Pollajuolo, Verocchio and other artists (c). Perkins, Tuscan Sculptors, Vol. 1, pp. 223-7 ( a » c )> 1 75^4 (b, c) ; Handbook Italian Sculp., pp. 114-6 (a, c), 131-6 (b, c). Yriarte, Florence, pp. 265-9 ( a )> 4^~7» 223, 254-6 (b), 196-7, 200 (c). Scott, Luca della Robbia, pp. 9-1 7 (b, c); Renaissance of Art in Italy, pp. 126-8; Sculp., Renaissance and Modern, Pt. 2. pp. 9-17 (b, c). Lvebke, Hist. Sculp., Vol. 2, pp. 176-9 (a, b) ; Hist. Art, Vol. 2, pp. 193-5 (a, b) ; Mon. Art, pi. 66, text p. 206(b). D'Agincourt, Hist. Art, Vol. 2, pi. 38(b). Labarte, Arts of the Middle Ages and Renaissance, pp. 247-8 (c). Vasari, Lives of the Painters, Vol. 2, pp. 220-30 (a), 249-62 (b). Crowe and Cavalcaselle, Hist. Paint- ing in Italy, Vol. 2, pp. 400-6 (b). Svmoxds, Renaissance in Italy, pp. 141-4 (b), 145-8 (a). Westmacott, Handbook of Sculp., pp. 276-7 (b). Edinburgh Rev., Vol. 121, pp. 541-2, (Am. ed., pp. 275-6). Dohme, Ktinst und Kilnstler Italiens, Vol. 3, No. 53, pp. 3-24. 6. Mino da Fiesole, "the Fra Angelico among sculptors," (1431-1484): his portrait busts of eminent HISTORY OF SCULPTURE. 43 personages, tomb and altarpiece for bishop Salutati in the Duomo at Fiesole, works in the Badia at Florence, tabernacles at Rome, Volterra, etc. Perkins, Tuscan Sculptors, Vol. i, pp. 207-14; Handbook Italian Sculp., pp. 146-51. Scott, Renaissance of Art in Italy, pp. 121, 123-5; Sculp., Renaissance and Modern, Pt. 2, pp. 1-7 ; Luca della Robbia, pp. 1-7. Yriarte, Florence, pp. 25, 264-5. Luebke, Hist. Sculp., Vol. 2, pp. 182-4. Symonds, Renaissance in Italy, pp. 158-9. Vasari, Lives of the Painters, Vol. 2, pp. 139-46. Edinburgh Rev., Vol. 121, pp. 543-5, (Am. Ed., pp. 276-7). DOHME, Kunst und Kxlnstler Italiensy Vol. 3, No. 47, pp. 47-52. 7. Benedetto da Majano, intarsiatore and sculptor, (1442 -1 497) : affinities between his style and that of Ghiberti ; his principal works — the pulpit of b. Croce, bust and tomb of Filippo Strozzi, shrine of San Savino at Faenza, sculptures at San Gimignano, etc. Perkins, Tuscan Sculptors, Vol. 1, pp. 227-34; Handbook Italian Sculp., pp. 153 »• Scott, Renaissance of Art in Italy, pp. 125-6; Sculp., Renaissance and Mod- ern, Pt. 2, pp. 45-51 ; Luca della Rob- bia, pp. 45-5 1. Yriarte, Florence, pp. 260-3. Luebke, Hist. Sculp., Vol. 2, pp. 184-6; Hist. Art, Vol. 2, pp. 195-6. Symonds, Renaissance in Italy, pp. 1 60-1. Vasari, Lives of the Painters, Vol. 2, pp. 240-9. DoHME, A'tinst und Ki'mstler Italiens, Vol. 3, No. 47, pp. 39-47. 8. Important Tuscan monuments of this period — the tombs of Leonardo Bruni in S. Croce by Bernardo Rossellino (a), of Cardinal Jacopo of Portugal in San Miniato by Antonio Rossellino (b), and of Marsuppini 44 HISTORY OF SCULPTURE. in S. Croce by Desiderio da Settignano (c) ; other works of these artists. Perkins, Tuscan Sculptors, Vol. i, pp. 202-5 (a), 205-7 (b), 173-5 ( c ) ! Hand- book Italian Sculp., pp. 119-23 (a, b, c). Scott, Renaissance of Art in Italy, pp. 120-1 (b), 122-3 ( c ) 5 Sculp., Renais- sance and Modern, Pt. 1, pp. 94-6 (c), Pt. 2, pp. 26-31 (a, b) ; Luca della Robbia, pp. 26-31 (a, b) ; Ghiberti and Donatello, pp. 94-6 (c). Yriarte, Florence, pp. 125, 259-60 (a, b), 128-9, 253-4 (c). Luebke, Hist. Sculp., Vol. 2, pp. 180-2 (a, c). SymoNDS, Renaissance in Italy, pp. 153 5 (l>)» i59" 6o ( c )- Vasari, Lives of the Painters, Vol. 2, pp. 128-39 ( a > b > c )- XV.— SCULPTURE .OF THE FIFTEENTH CENTURY IN UPPER ITALY. 1. Matteo Civitali of Lucca (1435-1501) : impor- tance of his works — the marble temple of the Volto Santo, tomb of Pietro da Noceto and altar of St. Regu- lus in the Duomo of Lucca, the statues for the chapel of St. John in Genoa, statue of Faith in Florence, etc. Perkins, Tuscan Sculptors, Vol. i, pp. Luebke, Hist. Sculp., Vol. 2, pp. 186-7. 214-7; Handbook. Italian Sculp., pp. Symonds, Renaissance in Italy, pp. 151-3. 156-S. SCOTT, Renaissance of Art in Italy, pp. Hare, Cities of North, and Cent. Italy, 1 1 7—9 ; Sculp., Renaissance and Mod- Vol. 2, pp. 494 5. em, Pt. 2, pp. 18-20 ; Luca della Rob- bia, pp. 18-20. 2. The Certosa at Pavia, the most magnificent monastery in the world : its sculptured facade, por- HISTORY OF SCULPTURE. 45 tals, monuments, altars, etc. ; influence of these works upon the development of sculpture in upper Italy. Perkins, Handbook Italian Sculp., pp. Street, Brick and Marble in Middle 176-8, 182-4. Ages, pp. 282-5. Luebke, Hist. Sculp., Vol. 2, pp. 206-13 > Scott, Renaissance of Art in Italy, pp. Hist. Sculp., Vol. 2, pp. 200-1. Symonds, Renaissance in Italy, pp. 164-5. Hare, Cities of North and Cent. Italy, Vol. 1, pp. 167-72. Gruner, Terra-Cotta Arch., pp. 47-52, Pis. 29-33. 100-2. Cartwright, Mag. of Art, Vol. 6, pp. 441-6; Vol. 7, pp. 45-5°- Mirray, Handbook, North Italy, pp. 216-22. 3. Antonio Amadeo or Omodeo, the greatest of the North Italian sculptors : his works in the Certosa ; the monuments of Medea and Bartolomeo Colleoni at Ber- gamo, etc. Perkins, Italian Sculptors, pp. 129-31 ; Symonds, Renaissance in Italy, pp. Handbook Italian Sculp., pp. 184-92. 164-5. Luebkk, Hist. Sculp., Vol. 2, pp. 202-5. Hark, Cities of North, and Cent. Italy, Vol, 1, pp. 222-4. XVI.— SCULPTURE OF THE SIXTEENTH CENTURY. THE LATER RENAISSANCE. I. Andrea Sansovino, the sculptor of the transition between the early and later renaissance, (1460 -1529); his monuments to the Cardinals in S. Maria del Popolo 4 6 HISTORY OF SCULPTURE. and group of the Virgin and St. Anna in St. Agostino, Rome; the marble shrine of the Santa Casa at Loreto and its reliefs. Perkins, Tuscan Sculptors, Vol. I, pp. Symonds, Renaissance in Italy, p. 166. 241-6 ; Handbook. Italian Sculp., pp. 237-41- Luebke, Hist. Sculp., Vol. 2, pp. 341-9 ; Hist. Art, Vol. 2, pp. 356-60. Scott, Renaissance of Art in Italy, pp. 222-4; Sculp., Renaissance and Mod- ern, Pt. 2, pp. 56-9; Lucadella Robbia, pp. 56-9. Hare, Cities of North, and Cent. Italy, Vol. 2, pp. 402-8 ; Walks in Rome, p. 443- Vasari, Lives of the Painters, Vol. 3, pp. 116-30. Dohme, Kunst und Kunstler Italians, Vol. 5, Nos. 72-3, pp. 3-14. 2. Jacopo Tatti or Sansovino, architect and sculp- tor (1486-1570); his statues of St. James and Bacchus at Florence, of Apollo, Mercury, etc. in the Loggia of the Campanile and of St. John in the Frari church, Venice ; his bronze reliefs lor San Marco, Venice, and other sculp- tures. Perkins, Tuscan Sculptors, Vol. 1, pp. 246-53 ; Handbook Italian Sculp., pp. 241-5- Luebke, Hist. Sculp., Vol. 2, pp. 362-7 ; Hist. Art, Vol. 2, pp. 273-6; Mon. Art, Vol. 2, pi. 73, text p. 221. Scott, Renaissance of Art in Italy, pp. 226-9 > Sculp., Renaissance and Mod- ern, Pt. 2, pp. 59-62 ; Luca della Robbia, pp. 59-62. Symonds, Renaissance in Italy, pp. 167-71. Vasari, Lives of the Painters, Vol. 5, pp. 408-29. Dohme, Kunst und Kunstler Italiens, Vol. 5, Nos. 72-3, pp. 14-32. 3. Michael Angelo (1475- 1564): his wonderful and many-sided genius; his life under the patronage of Loren- zo de Medici and his later experiences; his early work in HISTORY OF SCULPTURE. 47 sculpture: the mask of a Faun, relief of Hercules and Cen- taurs, Cupid and Bacchus, the Angel with the Candelabrum, the Pieta, the Madonna at Bruges, the David at Florence, etc. Perkins, Tuscan Sculptors, Vol. 2, pp. 1-22; Handbook Italian Sculp. , pp. 251-66; Raphael and Michelangelo, pp. 30-54, 70-I. Clement, Michelangelo, pp. 5-22, 30, Scott, Renaissence of Art in Italy, pp. 233 -7 ; Sculp., Renaissance and Mod- ern, Pt. 2. pp. 65*- 70*. Luebke, Hist Sculp., Vol. 2, pp. 370-8 ; Hist. Art, Vol. 2, pp. 260-3 ; Mon. Art, Vol. 2, pi. 72, text p. 218. Yriarte, Florence, pp. 272-3. Black, M. Angelo, pp. 1-17, 148-56 ; pis. 2-6. Grimm, Life of M. Angelo, Vol. 1, pp. 84-249. Wilson, Life and Works of M. Angelo, pp. 3-60, 67, 1 15-6. Bohn, Outlines from Work of M. Angelo, pis. 1-4, 14-8. Oliphant, Makers of Florence, pp. 376-86. SYMONDS, Renaissance in Italy, pp. 171-2, 384-91. VasaRI, Lives of the Painters, Vol. 5, pp. 227-44. Sweetsf.R, M. Angelo pp. 7-31, 144-50. JaRVES, Art Studies, pp. 412-29. D'Agincourt, Hist. Art, Vol. 2, pi. 47. Harford, Life of M. A. Buonarroti ; Vol. 1, pp. 1-101, 215-27. Duppa, Life and works of M. Angelo, (Bohn's 111. Library), pp. 7-27, 133-6. Jameson, Early Italian Painters (Hough- ton's ed.), pp. 191-203. Westmacott, Handbook of Sculp., pp. 286-95. Chadwick, Unitarian Rev., Vol. 11, pp. 612-8. Cheney, Gleanings from the Fields of Art, pp. 102-23. Russell, Extraordinary Men, pp. 9-16. Eastlake, Lady, Five Great Painters, Vol. I, [same art. Edinburgh Rev., Vol. 144]. Blackwood's Mac, Vol. 118, pp. 461-7, [same art. Living Age, Vol. 127, and Eclectic Mag., Vol. 85]. Edinburgh Rev., Vol. 121, pp. 545-50, [Am. ed., pp. 277-9]. Quarterly Rev., Vol. 103, pp. 461-5, [Am. ed., pp. 255-7, same as Living Age, Vol. 57] ; Vol. 147, pp. 336-58, [Am. ed. pp. 180-91 J. DoHMK, Ktinst und Kilns tL-r It aliens, Vol. 4, pp. 3-27. 4. The story of the monument of Pope Julius II ; the sitting statue of Moses on the monument in the church of St. Peter in Chains and the statue of the six 4« HISTORY OF SCULPTURE. prisoners, now in the Louvre and in the Boboli gardens (a) ; the monuments of Giuliano and Lorenzo de' Medici, and the group of the Madonna and Child in San Lorenzo, Florence (b). Perkins, Tuscan Sculptors, Vol. 2, pp. 22-8, 32, 36-8, 40-2, (a), 42 8 (b) ; Handbook Italian Sculp., pp. 267-2, 275-85 (a), 286-94 (b) ; Raphael and Michelangelo, pp. 80-8, 207-16 (b), 217-27 (b). Wilson, Life and Works of M. Angelo, pp. 71-87, 195-200, 222-4, 439-53 ( a )» 337-95 (b). Black, M. Angelo, pp. 21-32, 79-81, 123-4, 189-191 (a), 49-71, 191-2, pis. 8-9 (b). Grimm, Life of M. Angelo, Vol. 1, pp. 268-71, 419-26 (a) ; Vol. 2, pp. 132-40 (b). CLEMENT, Michelangelo, pp. 26-38 (a), 49-61 (b). Bohn, Outlines from the Works of M. Angelo, pis. 7-13 (a), 5-7 (b). Scott, Renaissance of Art in Italy, pp. 237-43 ; Sculp., Renaissance and Mod- ern, Pt. 2, pp. 7o*-5*. LuEBKE.Hist. Sculp., Vol. 2, pp. 378-80 (a), 381-4 (. ); Hist. Art, Vol. 2, pp. 263-9 (a, b) ; Mon. Art, Vol. 2, pi. 72, text, pp. 218-9. Yriarte, Florence, pp. 273-80 (a, b). Jameson, Hist. Our Lord, Vol. I, pp. 172. 5. Benvenuto Cellini career and marvelous ability as a goldsmith ; his rank as a sculptor ; his principal works, the salt-cellar at Vienna, the Nymph of Fontainebleau, statue of Perseus Oliphant, Makers of Florence, pp. 388- 415 (a, b). Symonds, Renaissance in Italy, pp. 393- 404, 414-20 (a, b). D'Agincourt, Hist. Art, Vol. 2, pis. 46-7. Vasari, Lives of the Painters, Vol. 5, pp. 246-50 (a), 273-5 (b)- Hare, Cities of North and Cent. Italy, Vol. 3, pp. 1 10-3 (b). Sweetser, M. Angelo, pp. 34-45, 64-8, 72, 91, 107-8 (a), 90-7 (b). Harford, Life of M. Angelo Buonarroti, Vol. i, pp. 242-54, Vol. 2, pp. 36-44 (a), Vol. 2, pp. 27-35 ( b ). Duppa, Life and Works of M. Angelo (Bohn's 111. Library), pp. 28-39. 77" 8 3> 137 9- Austin, Galaxy, Vol. 19, pp. 500-2. Blackwood's Mag., Vol. 118, pp. 468- 71, 473-9, (same art., Living Age, Vol. 127, and Eclectic Mag., Vol. 85). Quarterly Rev., Vol. 103, pp. 465-70, [Am. ed., pp. 257-61. Same art., Liv- ing Age, Vol. 57]. DoHME, Kunst unci Kilnstler Jtaliens, Vol. 4, pp. 230-48 (a), 402-18 (b). (1500— 1 571): his erratic HISTORY OF SCULPTURE. 49 with the head of Medusa, busts of Cosimo I., Bindo Altoviti, etc.; importance and character of the literary labors of Cellini. Perkins, Tuscan Sculptors, Vol. 2, pp. 113-42 ; Handbook Italian Sculp., pp. 324 35- Scott, Renaissance of Art in Italy, pp. 352-3; Sculp., Renaissance and Mod- ern, pp. 78-85 ; Luca della Robbia, pp. 78-85. Yriarte, Florence, pp. 229-31, 283-8. Luebke, Hist. Sculp., Vol. 2, pp. 351-3 ; Hist. Art, Vol. 2, pp. 270-1 ; Mon. Art, Vol. 2, pi. 75, text, pp. 221-2, Vasari, Lives of the Painters, Vol. 5, pp. 486-8. Labarte, Arts of Middle Ages and Ren- aissance, pp. 251-60. Lacroix, Arts in the Middle Ages, pp. 140-52. Horner, Walks in Elorence, Vol. 1, pp. 225-7. Westmacott, Handbook of Sculp., pp. 300-1. Mag. of Art, Vol. 5, pp. 200-6 ; Vol. 6, pp. 281-6. Eclectic Mag., Vol. 101 [NewSer. Vol. 38], pp. 698-711. Cellini, Autobiography. 6. Giovanni da Bologna, the last noted sculptor of the grand epoch (1530-1608) ; the fountains of Bologna and of the Boboli gardens, Florence ; the bronze Flying Mercury ; statuette of Venus at Petraja ; the marble groups of the Rape of the Sabines and of Hercules and Nessus ; the equestrian statue of Cosimo I., etc Perkins, Tuscan Sculptors, Vol. 2, pp. 169 77; Handbook Italian Sculp. , pp. 337 4°- SCOTT, Renaissance of Art in Italy, p. 353 ; Sculp., Renaissance and Modern, Pt. 2, pp. 86-9 ; Luca della Robbia, pp. 86-9. Yriarte, Florence, pp. 227-8, 232, 289, 291-4. Luebke, Hist. Sculp., Vol. 2, pp. 390-2 ; Hist. Art, Vol. 2, pp. 277-8; Mon. Art. Vol. 2, pi. 90, text p. 260. HORNER, Walks in Florence, Vol. I, pp. 2278, 231, 336-7. Hark, Cities of North, and Cent. Italy. Vol. 3, pp, 37-8, 62. Westmacott, Handbook of Sen' 305-10. Magaz. ok Art, Vol. 6, pp. 3C3-S Vasari, Lives of the Painters. \oi. 5, pp, 491 2. Symonds, Renaissance in Italy, pp. 176- 7- 5° HISTORY OF SCULPTURE. XVII. SCULPTURE IN ITALY BETWEEN 1600-1850— THE PERIODS OF THE DECAY AND OF THE THIRD REVIVAL. i. Lorenzo Bernini, the principal artist of the decadence (1598— 1680) : his affected dramatic style, as seen in his works — the groups of Apollo and Daphne and of the Rape of Persephone, the statues of saints in the colonades of St. Peter and in the various churches, the Angels on the Bridge of St. Angelo, the equestrian statue of Constantine, etc. Luebke, Hist, of Sculp., Vol. 2, pp. 415- 20; Hist. Art, Vol. 2, p. 516; Mon. Art, Vol. 2, pi. 96, text pp. 267-8. Scott, Sculp., Renaissance and Modern, Tt. 2, pp. 13 1-3. FLAXMAN, Lect on Sculp., pp. 282-4, 291-2. Hare, Walks in Rome, pp. 357, 401, 495. 5*4, 5 2I ~ 2 - Taine, Rome and Naples, pp. 16, 3i-2 ; 205, 255-8, 262-3. Eaton, Rome in the 19th Cent, Vol. 1, p. 459. Westmacott, Handbook of Sculp., pp. 310-4. Dohme, Kunst und Kunstler /{aliens, Vol. 5, N03. 80-1, pp. 23-40. 2. Winckelmann and Lessing ; general art study and criticism introduced. Luebke, Hist, of Sculp., Vol. 2, p. 433. Jarves, Art Studies, pp, 1-21. Pater, Renaissance, pp. 164-225. Grimm, M. Angelo, Vol. 2, pp. 468-86. Winckelmann, Anc. Art, pp. 1-104. Justi, Winckelmann, sein Leben, seine Werke und seine Zeitgenossen. DeQuincey, Blackwood's Mag., Vol. 16, pp. 312-6; Vol. 20, pp. 728-44; pp. 9-24 (Lessing). Brown, Art Journal, Vol. 33, pp. 309-12. Hildebrand, Fortn. Rev., Vol. 2 t pp. 760-84 ; Vol. 22, pp. 27-51. Japp, British Qu. Rev., Vol. 71, pp. 303- 35 [Am. ed., pp. 156-73]. Ten Brook, National Qu. Rev., Vol. 15, pp. 263-85. . Quarterly Rev., Vol. 136, pp. 1-54 [Am. ed., pp. 1-29. Same art., Liv- ing Age, Vol. 120, pp. 707-38], Westminster Rev., Vol. 87, pp. 80-110 [Am. ed., pp. 36-50]. HISTORY OF SCULPTURE. 5« 3. Antonio Canova (175 7-1 82 2): his study of the antique and his partial revival of its spirit ; his works — Theseus and the Centaur, Perseus, Kreugas and Da- moxenes, Venus, Hebe, the Three Graces, the tomb monuments of Clement XIII., Clement XIV., Christina of Austria, etc. Albrizzi, The Works of Canova (Osgood ed.), Vol. I, pis. 7-12, 20-3,39-40, 58- 9, 140 ; text Vol. 2. Luebke, Hist. Sculp., Vol. 2, pp. 434-8 ; Hist. Art, Vol. 2, pp. 601-2 ; Mon. Art, Vol. 2, pi. 103, text p. 289. Flaxman, Lect. on Sculp., pp. 300-8. Scott, Sculp., Renaissance and Modern, pt. 2, pp. 133-43- Taine, Florence and Venice, pp. 248-9 ; Rome and Naples, pp. 128, 351. Hare, Walks in Rome, pp. 520-1, 638-9. Jameson, Sketches of Art, pp. 201-2. Eaton, Rome in the 19th Cent., Vol, l v pp. 107-9 ! Vt)1 - 2 > PP- 2 99~3°4- Cleghorn, Ancient and Modern Art, Vol. 2, pp. 300-6. Everett, E., North, Amer. Rev., Vol. 10, pp. 372-86. Everett, A. H., North Amer. Rev., Vol. 29, p. 441. Edinburgh Rev., Vol. 43, pp. 496-510. 4. John Flaxman, the English master of classic design (i 755-1 826), and his efforts after the spirit of antique reliefs. Luebke, Hist. Sculp., Vol. 2, p. 440, Hist. Art, Vol. 2, p. 602 ; Mon. Art. Vol. 2, pi. 103, text p. 289. Scott, Sculp. , Renaissance and Modern, pt. 2, pp. 161-3. Knight, Pict. Gal. of Arts, Vol. 2, ill. p. 316, text pp. 315-8. POPE, Iliad and Odyssey, illustrated by Flaxman. Cunningham, British Painters and Sculp- tors, Vol. 3 (Harper's ed.), pp. 237- 3'5- WESTMACOTT, Handbook of Sculp., pp. 325 7, 357 8. Atkinson, Good Words, Vol. 22, p. 740. Teniswood, Art Journal, Vol. 24, pp. 189, 27S. Living Age, Vol. 37, pp, 538, 620. 5. Bertel Thorwaldsen, "the Pheidias of the North" ( 1 770—1 844): sketch of his life and artistic career ; his works — S2 HISTORY OF SCULPTURE. (a) Reliefs: the Four Seasons, Night and Morning, the Four Elements, the Four Evangelists, the Procession of Alexander, Achilles and Briseis, Jupiter and Nemesis, Minerva and Prometheus, Esculapius and Hygiea, Her- cules and Hebe, etc. (b) Groups and statues: the Graces, Ganymede and the Eagle, Venus, Mercury, Hebe, the Shepherd Boy, etc. (c) Monuments: Pius VII., the Dying Lion at Lucerne. Schiller, etc. (d) Sculptures of the Church of Our Lady at Copen- hagen. Plon, Thorwaldsen, his Life and Works. Thiele, Thorwaldsen and his Works, Vol. i, pp. 1-2, 16-7, 20, 39-48, pis. 17, 23, 51-76; Vol. 2, pp. 5-8, II-2, 14-5, 18-9, 20, 24-5, 32-34, 51-5, pis. 88-8, 91, 96, 100, no, 115-40, 147-52 ; Vol. 3, pp. 19, 37-8, 40-1, pis. 18-9, 68-74, 87 90. Luebke, Hist. Sculp., Vol. 2, pp. 440-6 ; Hist. Art, Vol. 2, pp. 602-3 > Mon. Art, Vol. 2, pi. 103, text p. 290. Scott, Sculp., Renaissance and Modern, pt. 2, pp. 144-52. Atkinson, Art Tour to Northern Capitals of Europe, pp. 46-81. PALGRAVE, Essays on Art, pp. 226-47. Hare, Walks in Rome, pp. 523-4. Eaton, Rome in the 19th Cent., Vol. 2, pp. 304-7- Jameson, Sketches of Art, pp. 201-4. Cleghorn, Ancient and Modern Art, Vol. 2, pp. 3C8-9. Buchanan, Fortn. Rev., Vol. 1, pp. 216- 27. [Same art., Eclectic Mag., Vol. 65, New Ser. 2, pp. 294-301]. Atkinson, Fraser's Mag., Vol. 87, p. 52. Greene, Putnam's Mag., Vol. 1, pp. 93-7- Macmillan, Macmillan's Mag., Vol. 20, P- 345- [Same Art, Living Age, Vol 102, pp. 688-96]. Wells, Scribner's Monthly, Vol. 1, pp 615-7. Art Journal, Vol. 1, pp. 193, 213 ; Vol 3, p. 63 ; Vol. 20, p. 61 ; Vol. 32, p 237- Edinburgh Rev., Vol. 142, pp. 1-30 [Am. ed., pp. 1-16]. PART SECOND. HISTORY OF PAINTING. INTRODUCTORY. Definition and illustration of the most important technical terms used in the critical discussion of the merits of paintings: a. Figure; attitude; expression; fore- shortening; drapery; costume. — ft Group; composition; accessories; unity; contrast; breadth. — ft Chiaroscuro and color; harmony; tone; aerial perspective. — d. Design; style; manner; natural; ideal. Van Dykk, How to judge of a Picture. — Flaxman, Lectures on Sculpture, pp. Principles of Art, pp. 256 -77. 143-214. Twining, The Philosophy of Painting. Ruskin, Lectures on Art, pp. 129-202; Hayijon, Painting and Design. Modern Painters (see Index). Hamerton, Thoughts about Art. Barky, Opie and FUSELI, Lectures on Howard, Color as a Means of Art. Painting. O'Neii., Lectures on Painting. Stanley, Synopsis of Dutch and Flemish BEI.E, Anatomy of Expression, pp. 76-99, Painters, pp. xvii-xxxii. 134-208. TAINE, Ideal in Art, pp. 122-39, l6 5 8 3- Long, Art and its Laws. I.— PAINTING IN EGYPT AND ASIA. 1. Painting in Egypt; best period, 1400-523 B. C. a, Mural paintings in the tombs around the pyra- mids and in the grottoes. 54 HISTORY OF PAINTING. b. Paintings on the mummy cases and cloths. e. Paintings on the papyrus rolls. Luebke, Hist. Art, Vol. 2, pp. 47-8; Mon. Art, Vol. 1, pi. 6, text p. 19. Kxight, Pict. Gal. Arts, Vol. 2, II. pp. 321-4, text pp. 322-6. Heaton, Hist. Painting, pp. 1-9. Wilkinson, Anc. Egypt., Vol. 2, pp. 155, 278-89; Vol. 3, pp. 435-6. Wincklemann, Anc. Art, Vol. I, pp. 205-9. Lepsils, Egypt, pp. 52, m, 246, 268. Brugsch, Egypt under the Pharaohs, Vol. 1, pp. 88, 205-6. Westkopp, Archeology, 2d ed. pp. 252-6. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 3-21. Sharpe, Hist. Egypt, Vol. 1, pp. 78-80, 193-5, 232-3. Hawks, Mon. Egypt, pp. 50-3, 73-80. Manning, Land of Pharaohs, pp. 92, 102-3, I2 7-32, 172. Wright, Hist. Caricature, pp. 1-12. Koehler, Hist. Art, pi. 187. Rawlinson, Anc. Egypt, Vol. 2, pp. 290-7. 2. Painting in the great cities of Mesopotamia — Babylon and Nineveh. Heaton, Hist. Painting, pp. 9-1 1. Woltmann and Woermann, Hist. Painting, Vol. I, pp. 22-9. Layard, Nineveh, Vol. 1, pp. 71-2; Vol. 2, pp. 17-8, 238-43. Koehler, Hist. Art, pi. 187. Rawlinson, Anc. Monarchies, Vol. 1, PP- 331-3, 357-65, 377-82, 389. Eng. Cyc, Arts and Sci., Vol. 6, Col. 196. Eng. Brit., Art. "Nineveh". Reber, Hist. Anc. Art, pp. 96-8. 3. Painting in China and India; dexterity without artistic expression. Johnson, Oriental Religions, China, pp. Luebke, Hist. Art, Vol. 1, p. 109. 79-81. Heaton, Hist. Painting, p. 12. Jarves, Art Thoughts, p. 221. 4. Painting in Japan; masterly suggestion and characterization. HISTORY OF PAINTING. 55 Jonhson, Oriental Religions, China, pp. Palgrave, Essays on Art, pp. 185-92. 81-3. Alcock, Art in Japan, pp. 82-101. Jarves, Art Thoughts, pp. 221-9, Art in Luebke, Hist. Art, Vol. I, pp. 116-7. Japan, pp. 13-47. 167-21 1. 5. Conditions retarding the development of any fine art among the Orientals. Al.COCK, Art in Japan, pp. 244-5, 249-54, Zerffi, Hist. Dev. Art, pp. 45-6, 153-5. 273-5. WlNCKELMANN, Anc. Art, Vol. I, p. 162. Johnson, Oriental Religions, China, pp. WOLTMANN and Woerman.n, Hist. 1 13-4. Painting, Vol. 1, pp. 29-30. II.— ANCIENT PAINTING IN EUROPE. 1. Gradations in the early development of painting in Greece: skiagraphic, monographic and zographic styles. Eschenberg, Manual Clas. Lit, pp. Winckei.mann, Anc. Art, Vol. 2, pp. 409-12. 105-6. 2. The several varieties of classic art in color: encaustic, fresco, tablet and mosaic. Luebke, Hist. Art, Vol. 1, p. 246; Mon. Viardot, Hist. Painting, pp. 29-30. Art, Vol. I, pi. 22-3, text pp. 82-6. SCOTT, Fine Arts, pp. 242-5, 246-57. Woi.tmann and WOERMANN, Hist. Paint- GuHL, Greeks and Romans, pp. 471-5. ing, Vol. I, pp. 92-4. ESCHENBERG, Manual of Clas. Lit., pp. BLANC, Gram. Painting, pp. 180-1, 199- ^ I2 3. 200. Winckelmann, Anc. Art, Vol. 2, pp. Lacroix, Arts Mid. Ages, pp. 269-71. ,06 14. Westropp, Archaeology, p. 264. D'Anvers' Elem. Hist. Painting, pp.8 10. 56 HISTORY OF PAINTING. 3. The four epochs of painting in Greece and the masters of each: Bularchos; Polygnotos and Apollodoros: Zeuxis and Parrhasios; Apelles and Protogenes. Luebke, Hist. Art, Vol. 1, pp. 246-53. Knight, Pict. Gal. of Arts, Vol. 2, text PP- 330-5- Hi.aton, Hist. Painting, pp. 17-23. WlNCKELMANN, Anc. Art, Vol. 1. pp. 297-9. D'Anvers' Elem. Hist. Painting, pp. 1S-19. Westropp, Archaeology, pp. 261-3. WoLTMANNand Woermann, Hist Paint- ing, Vol. 1, pp. 38-65. St. John, Anc. Greece, Vol. 1, pp. 306-7. Viardot, Hist. Painters, pp. 9-10. Curtius, Hist. Greece, Vol. 2, pp. 596- 600; Vol. 5, pp. 210-2. 4. Vase painting in Greece and in the Grecian colonies. Luebke, Hist. Art, Vol. 1, pp. 253-7; Mon. Art, Vol. I, pis. 20-1, text pp. 77-S2. Prime, Pottery and Porcelain, pp. 90-1. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 70-85. Hake, Walks in Rome, pp. 572-3. D'Anvers' Elem. Hist. Painting, pp. 16-17. Hunt, Bits of Travel, pp. 103-11. Eschenberg, Manual Clas. Lit., pp. 387- 415- Guhl, Greeks and Romans, pp. 142-8. Curtius, Hist. Greece, Vol. 5, pp. 212-4. Koehler, Hist. Art, pi. 188. Westropp, Archaeology, pp. 287-302, 310-23. ' 5. Mural paintings and vase paintings found in the tombs of Etruria. Luebke, Hist. Art, Vol. 1, pp. 267-70; Mon. Art, Vol. I, pi. 26, text pp. 93-6. Woi.tmaxn and Woermann, Hist. Paint- ing, Vol. 1, pp. 99-101, 103-10. Westropp, Archaeology, pp. 257. HEATON, Hist. Painting, pp. 24-5. D'Anvers' Elem. Hist. Painting, pp. 2 1-2. Winckelmann, Anc. Art, Vol. 1, pp. 244-6. Koehler, Hist. Art, pi. 189. Dennis, Cities and Cemeteries of Etruria, pp. lxxxiv-ci and see index. HISTORY OF PAINTING. 57 6. Roman painting as revealed by the ruins of Pompeii and Herculaneum: mural painting; mosaic. Luebke, Hist. Art, Vol. I, pp. 319-23; Mon. Art, Vol. 1, pi. 31 A, text p. 112. Knight, Pict. Gal. Arts, Vol. 2, 11., pp. 325, 328, 332, 336. Woi.tmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 95-8, 110-39. Hf.aton, Hist. Painting, pp. 28-9. Winckelmann, Anc. Art, Vol. 2, pp. 86-102, 332-3. Dyer, Pompeii, pp. 273-96, 310-1, 312-4, 375-82. Westropp, Archaeology, pp. 268-76 (mural painting); 276-82 (mosaic). Wornum, Epochs of Painting, pp. 68-9. D'Agincourt, Hist. Art, Vol. 3, pi. 4. Gei.l, Pompeiana, pis. 41-3, 76 7, pp. 82-7. Eschicnberg, Manual of Clas. Lit., pp. 415-6. Taine, Phil. Art, pp. 46-8. Guhi., Greeks and Romans, pp. 356H67, 466-71. Viardot, Hist. Painters, pp. 2-3, 10-3. Mommsen, Hist. Rome, Vol. 2, pp. 567-8. Koehler, Hist. Art, pis. 188-91. 7. Indirect evidences of the superior excellence of painting in Greece; the question as to chromatic sculpture in Greece. Luebke, Hist. Sculp., Vol. 1, pp. 68-9; Winckklmann, Anc. Art, Vol. I, pp. Mon. Art, Vol. 1, pi. 15A, text, pp. 18-9. WoLTMANN and WOERMANN, Hist. Painting, Vol. 1, pp. 35-7, 140-2. FELTON, Anc. Greece, Vol. 2, p. 143. Wkstkopp, Archaeology, pp. 164-7. 29, 102-4, 219-23, 330. Viardot, Hist. Painters, pp. 1-2. Mommsen, Hist. Rome, Vol. 2, pp. 567-8. Springer, in Paedeker's Greece, p. ci. 58 HISTORY OF PAINTING. Ill— EARLY CHRISTIAN PAINTING. TRANSITION FROM SYMBOLISM TO FINE ART. [2OO-I2OO A. D.] I. Paintings in the catacombs and Christian ceme- ;eries of Rome and Naples. a. General account of the galleries, chambers and chapels. b. Conversion of mythological symbols and char- acters to Christian uses. e. Original symbols in the early development of Christian art. Springer, in Baedeker's N. Italy, p. xxxi. Hare, Walks in Rome, pp. 273-83, 340, Kugler, It. Scools of Painting, Vol. 1, 446 7. pp. 1— 15. Scott, Fine Arts, pp. 9-17, 28-9. LUEBKE, Hist. Art, Vol. 1, pp. 372-6; Woltmanx and Woermann, Hist. Paint- Mon. Art, Vol. i, pis. 36-7, text pp. ing, Vol. 1, pp. 151-64. 129-32. Rosengarten, Arch. Styles, pp. 174-6. Jameson, Sacred Art, Vol. 1, pp. 22-38; Jarves, Art Hints, pp. 1S2-5. Hist. Our Lord, Vol. I, pp. 16-8. Mii.man, Latin Christ., Vol. 8, pp. 464-8. Knight, Pict. Gal. Arts, textpp. 339, 342. Koehi.er, Hist. Art, pi. 192. D'Agincocrt, Hist. Art, Vol. 3, pis. 6-1 1. Wornum, Epochs of Painting, p. 82. HISTORY OF PAINTING. 59 2. Byzantine painting: its characteristics, subjects and uses. Kugler, It. Schools of Painting, Vol. I, pp. 43-89. LUEBKE, Hist. Art, Vol. 1, pp. 388-91; Mon. Art, Vol. 1, pi. 37, text p. 131. Heaton, Hist. Painting, pp. 35 40. MlLMAN, Latin Christ., Vol. 8, pp. 473 6. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 1S1-7, 221-3, 2^-43. Taink, Florence and Venice, pp. 183-5. Lacroix, Arts Mid. Ages, pp. 272 4, 284-6. 3. Mosaics and manuscript illuminations of this period; Byzantine and Romanesque. Kugler, It. Schools of Painting, Vol. 1, pp. 17-39, 92-100, 1 12-4 LUEBKE, Hist. Art, Vol. 1, pp. 383-7, 391-400, 551 7; Mon. Art, Vol. 1, pis. 37, 49, texipp. 130-2, 161 -2. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 165-81, 1S8 96, 218-20, 223-36, 324 40, 344-6. Jameson, Hist. Our Lord, Vol. i, pp. 18-20. VlARDOT, Hist. Painters, pp. 25 9. Woknum, Epochs of Painting, pp. 86 cj. Knight, Pict. Gal. Arts, Vol. 2, text pp. 342-3. Hare, Walks in Rome, pp. 234-5, 405-6; Cities of Italy, Vol. 2, pp. 26-30, 306-8. LABARTE, Arts Mid. Ages, pp. 58-64, 91-6. Riskin, Stones of Venice, Vol. 2, pp. 20-1, 77, 122, 124. Lacroix, Arts Mid. Ages, pp. 434-75. FAIRHOLT, Rambles of an Archaeologist, pp. 9-1 1, iS 22. 4. The various edicts of church authority regarding the use of images and pictures in worship, from that of Leo the Isaurian, 726 A. D., to that of the Council at Constantinople, 879 A. 1). 60 HISTORY OF PAINTING. Draper, Int. Dcv. Europe, Vol. I, pp. Jamkson, Legends of the Madonna, In« 357. 3 60 . 372-3, 4I3- 22 - troduction, pp. 23-5. MlLMAN, Latin Christ., Vol. 2, pp. 293- Scott, Fine Arts, pp. 35-45. 384. Vol. 8, pp. 432 63. Neander, Hist. Christ. Church, Vol. 3, Gibbon, Hist. Rome, Vol. 5, pp. 1-18. pp. 197-243, 532-53. Felton, Anc. Greece, Vol. 2, pp. 352-4. 5. The discussion among the bishops as to the most appropriate representations of Christ. Mii.m an, Latin Christ., Vol. 8, pp. 468-73. Jameson, Hist. Our Lord, Vol. 1, pp. Draper, Int. Dev. Europe, Vol. 1, p. 361. 31—53. IV.— THE DAWN OF ITALIAN PAINTING AS A FINE ART. [FROM I200 TO I34O A. 1).] i. The double renaissance: the revival of the classic arts and the restoration of nature from the reprobate rank it held in the Middle Aores. o Woltmann and Woermann, Vol. 2, pp. Van Dyke, Principles of Art, Chap. 3. 3-6 (Introduction). 2. The three nurseries of new art: Siena, Pisa and Florence. Taine, Florence and Venice, pp. 48-54, WoRNUM, Epochs of Painting, pp. 95-6. 108-9. Lanzi, Hist. Painting, Vol. 1, pp. 15-9, Woi.tmann and Woermann, Hist. Paint- 39 42, 372-8, 455. ing, Vol. 1, pp. 423-5. Svmonds, Renaissance, pp. 182-3,261-5. HISTORY OF PAINTING. 01 3. The two great repositories of Italian painting of this period: the church of St. Francis at Assisi and the Campo Santo at Pisa. Luebke, Hist. Art, Vol. 2, pp. 52-4; Mem. Art, Vol. 1, pi. 57, text p. 186. Taine, Florence and Venice, pp. 16-27, 62-9. Tyti.er, Old Masters, pp. 24-6. Ferguson, Hist. Arch., Vol. 2. pp. 325-6. Hark, Cities of Italy, Vol. 2, pp. 452-3; Vol. 3, pp. 382-5. Scott, Fine Arts, pp. 257-8. 4. The forerunners of Giotto: Nicola and Giunta of Pisa; Guido and Duccio of Siena; Andrea Tan and Cimabue of Florence. Kugler, It. Schools of Painting, Vol. 1, pp. 105-15. Lukbke, Hist. Art, Vol. 1, pp. 564-9; Mon. Art, Vol. 1, pi. 49, text p. 160. Knight, Pict. Gal. Arts, Vol. 2, II. p. 341, text pp. 343, 346. HEATON, Hist. Painting, pp. 40-51. ViARDOT, Hist. Painting, pp. 38-9,44-5. LANZI, Hist. Painting, Vol. 1, pp. 5-23. Vasari, Lives, Vol. 1, pp. 35-45, 60-93, 241-4. Ottlky, Early Florentine Schools, pis. 2-IO. Wornum, Epochs of Painting, pp. 96-7, 99-101. Jarves, Art Studies, pp. m-21. Symo.nds, Renaissance, pp. 187-9. VVoLTMANNand Wokrmann, Hist. Paint- ing, Vol. I, pp. 425-33. Taine, Florence and Venice, pp. 51-2, 78-9. Oi.iphant, Makers of Florence, pp. 95-100. Jameson, It. Painters, pp. 7-24; Sacred Ait, Vol. 2, pp. 589 90, 599; Hist. Our Lord, Vol. 2, pp. 9-39, 58, 64, 168, 174, 181, 215-6, 276, 279-80, 399; Legends of the Madonna, pp. 64-6, 76 7. Koehi.er, Hist. Art, pi. 198. 5. Giotto the leading Master of the period (1276- 1336): outline of his life, incidents showing his character and proofs of his great industry. 62 HISTORY OF PAINTING. Kuglkr, It. Schools of Painting, Vol. Vasari, Lives, Vol. I, pp. 93-5, 102-3, I, pp. 120-1. K.NiGHT,Pict. Gal. Arts, Vol. 2, text p. 346. WOLTMANN and Woermann, Hist. Paint- ing, Vol. 1, pp. 435, 450. HeaTON, Hist. Painting, pp. 53-5, 63-4. Lanzi, Hist. Painting, Vol. 1, pp. 23-7. Jarves, Art. Studies, pp. 141-5. WoRNUM, Epochs of Painting, pp. 102-3. 1 1 5-6, 119-22. Tytler, Old Masters, pp. 8-12, 20-2. ViARDOT, Hist. Painters, pp. 40-1. Jameson, It. Painters, pp. 25-8, 36-7, 41-6. Ottley, Early Florentine Schools, pis. 12-21. 6. The great literary contemporaries of Giotto and their influence on art; Dante, Petrarch and Bocaccio. Oliphant, Makers of Florence, pp. 1-91; Foreign Classics, pp. 7-17. Reeve, Petrarch, pp. 19, 44. Taine, Florence and Venice, pp. 21-6, 66-9. Jarves, Art Studies, pp. 139-41. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 443-4; Vol. 2, pp. 256-7. Grimm, M. Angelo, Vol. 1, p. 479; Vol. 2, pp- 77-83- Ruskin, Stones of Venice, Vol. 2, pp. 358-61. 7. Giotto's masterpieces in fresco painting: the series in the Arena chapel at Padua; the series in the church of St. Francis at Assisi; the several chapel series in the church of Santa Croce, at Florence. Kugler, It. Schools of Painting, Vol. 1, PP- 121-35- Luebke, Hist. Art, Vol. 2, pp. 103-6; Mon. Art, Vol. 1, pi. 62, text pp. 198- 200. Lanzi, Hist. Painting, Vol. 3, pp. 9-10. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 435-43. 444-5°- ViARDOT, Hist. Painting, p. 41. Jarves, Art Studies, pp. 130 2, 134-6. Koehi.er, Hist. Art, pi. 195. Jameson, It. Painters, pp. 29-36; Hist. Our Lord, Vol. I, pp. 303-4; Vol. 2, pp. 37 8, 309-10; Legends of Monastic Orders, pp. 259-61, 265-7. Knight, Pict. Gal. Arts, Vol. 2, II. p. 341, text p. 346. Vasari, Lives Vol. 1, pp. 95-115. SYMONDS, Renaissance, pp. 190-1. Heaton, Hist. Painting, pp. 55-62. Tytler, Old Masters, pp. 169. Taine, Florence and Venice, pp. 20-1. HISTORY OF PAINTING. 63 8. General criticism of the works of Giotto in com- parison with those of his predecessors. Kugler, It. Schools of Painting, Vol. 1, Woltmann and Woermann, Hist. Paint- pp. 135-6. ing, Vol. 1, pp. 440-1, 442-3. Lanzi, Hist. Painting, Vol. 1, pp. 23-8. Svmonds, Renaissance, pp. 192-7. Taine, Florence and Venice, pp. 100-3, Jarves, Art Studies, pp. 128-30, 132-3, 201-2. 137-8, 146-9. V.— THE LAST OF MYSTICISM AND THE BEGINNING OF REALISM. [13OO-I45O. A. I).] i. The Giottesqui or the followers of Giotto: Taddeo Gaddi (1300-1366); Simone Martini (1 283-1 344). Kugler, It. Schools of Painting, Vol. i, pp. 137-40, 165-9. Luebke, Mon. Art, Vol. I, pi. 62, text p. 199. Woltmann and Woermann, Hist. Paint- ing, Vol. 1, pp. 45 2 -3, 463-6- KoEHLER, Hist, of Art, pis. 196-8. D'Agincourt, Hist. Art, Vol. 3, pis. 118, 122. Lanzi, Hist. Painting, Vol. i, pp. 58-60, 388-92. Jarves, Art Studies, pp. 193-8. Wornum, Epochs of Painting, pp. 104-6. Vasari, Lives, Vol. 1, pp. 181-91, 191- 203. Hake, It. Cities, Vol. 3, pp. 74-5. VlARDOT, Hist. Painting, pp. 41, 45. OTTLEY, Early Florentine Schools, pis. 26-8. Svmonds, Renaissance, pp. 216-S. Jameson, Legends of the Madonna, pp. 141-2; Monastic Orders, pp. 377-8; Hist. Our Lord, Vol. 2, pp. 9-10, 105-7, 245-6. 2. The great subject of the period — the Last Judg- ment; Andrea Orcagna ( ?— 1 376) ; the master or mas- ters of the Triumph of Death in the Campo Santo at Pisa. 64 HISTORY OF PAINTING. Kugler, It. Schools of Painting, Vol. I, pp. 149-58- LuEBKE, Hist. Art, Vol. 2, pp. 107-10; Mon. Art, Vol. 1, pi. 63, text p. 200. HEATON, Hist. Painting, pp. 68-71. Viakdot, Hist. Painters, p. 43. Jameson, Hist. Our Lord, Vol. 2, pp. 399-402,405-7; Sacred Art, Vol. 1, p. 90; Legends of the Madonna, pp. 28, 3I9- Vasaki, Lives, Vol. 1, pp. 204-18. Knight, Pict. Gal. Arts, Vol. 2, II. p. 34i- D'Agincourt, Hist. Art, Vol. 3, pi. 119. Tytler, Old Masters, pp. 29-30. Lanzi, Hist. Painting, Vol. 1, pp. 54-6. Taine, Florence and Venice, pp. 64-8. Hare, It. Cities, Vol. 2, pp. 454-8. Ottley, Early Florentine Schools, pi. 3»- Symonds, Renaissance, pp. 199-205. Jarves, Art Studies, pp. 175-82. W01.TMANN and Woermann, Hist. Art, Vol. 1, pp. 45 6 ~ 6 3- Koehler, Hist. Art, pis. 197-8. 4. New impetus given to painting by the gold- smiths; the creation of Ghiberti's bronze doors of the Baptistery at Florence. Woltmann and Woermann, Hist. Paint- ing, Vol. 2, p. 310. Luebke, Hist. Art, Vol. 2, pp. 186-8; Mon. Art, pi. 65, text pp. 204-5. Knight, Pict. Gal. Arts, Vol. 2, II. p. 344, text pp. 303-6. I) "Agincourt, Hist. Art, Vol. 3, pis. 41-2. Heaton, Hist. Painting, pp. 75-8. Grimm, M. Angelo, Vol. 1, pp. 32-47. Oliphant, Makers of Florence, pp. 124-8. Tytler, Old Masters, pp. 30-3. Jameson, It. Painters, pp. 64-75; Hist. Our Lord, Vol. 1, pp. 96-8, 119, 131, 168. Ottley, Early Florentine Schools, pis. 34-8- Vasari, Lives, Vol. 1, pp. 361-87. Symonds, Renaissance, pp. 126-34. Taine, Florence and Venice, pp. 95-7, 1 1 6-9. Hare, It. Cities, Vol. 3, pp. 62-3, 102. 4. Fra Angelico (Giovanni da Fiesole), the last master under the reign of pure faith (1387— 1455) ; history and character of the man; select works of the master: Last Judgment in the cathedral of Orvieto; Coronation of HISTORY OF PAINTING. 65 the Virgin; Descent from the Cross; Madonna of the Star; Angel pictures around the Madonna of the Tabernacle. Kugler, It. Schools of Painting, Vol. I, pp. 179-86. Lukbke, Hist. Art, Vol. 2, pp. 11 1-4; Mon. Art, pi. 67, text pp. 250-1. Knight, Pict. Gal. Arts, Vol. 2, text p. 35°- HEATON, Hist. Painting, pp. 81-6. Jameson, It. Painters, pp. 89-94; Hist: Our Lord, Vol. 1, pp. 266-7, 358; Vol. 2, pp. 16-7, 76-7, 188-93, 229, 259 60, 409, 413-6; Legends of the Madonna, pp. 17-9; Sacred Art, Vol. i,pp. 100-1, 265-6; Vol. 2, pp. 438~9. 536-7- Lanzi, Hist. Painting, Vol. I, pp. 75-6. Woltmann and Woermann, Hist. Paint- ing Vol 2, pp. 2S1-7. Vasari, Lives, Vol. 2, pp. 24-40. D'Agincolrt, Hist. Art, Vol. 3, pi. 145. Ottley, Early Florentine Schools, pis. 40-1. Viardot, Hist. Painters, pp. 48-9. Hare, It. Cities, Vol. 3, pp. 118-22, 127. Phili.imore, Fra Angelico, pp. 25-56. Sweetser, Fra Angelico. Tytler, Old Masters, pp. 36-40. Taine, Florence and Venice, pp. 8-9, 131-9; Ideal in Art, pp. 175-6. Jarves, Art Hints, pp. 341-2, 344-7; Art Studies, pp. 230-40. Rt'SKlN, Stones of Venice, Vol. 1, pp. 42S-30. Tyrwhitt, Pictorial Art, pp. 92-9. Muntz, Raphael, p. 123. 5. Masaccio (Tommaso Guidi),the greatest pioneer master of realism in painting (i 402-1 429); his frescoes in the Brancacci chapel; in the church Santa Maria del Carmine at Florence; the characteristics of these frescoes making pupils of all the succeeding masters down to the time of Raphael. Wornum, Epochs of Painting, pp. 123-5. KUGLER, It. Schools of Painting, Vol. 1, pp. 220-4. Lukbke, Hist. Art, Vol. 2, pp. 203-8; Mon. Art, pi. 67A, text pp. 2IO-I. Knight, Pict. Gal. Arts, Vol. 2, II. p. 344, text pp. 347 5°- Jameson, It. Painters, pp. 75 83; Sacred Art, Vol. I, pp. 210-1. Hiaton, Hist. Painting, pp. 79-81. Lanzi, Hist. Painting, Vol. i, pp. 73-5. Woltmann and Woermann, Hist. Point- ing, Vol, 2, pp. 276-8. Mini/., Raphael, pp. 105-6. Tyrwhitt, Pictorial Art, pp. 100-109. Vasari, Lives, Vol. 1, pp. 401-13. VlARDOT, Hist. Painters, pp. 51 2. TYTLER, Old Masters, pp. 35-6. D'AGINCOURT, Hist. Art, Vol. 3, pis. '47-55- Or n 1 Y, Early Florentine Painters, pis. 42-4. 65 HISTORY OF PAINTING. K.OEHLER, Hist. Art, pi. 200. Dohmk, Early Masters, pp. 292-315. PHILLIMURE, Fra Angelico, pp. 16-24. Symonds, Renaissance, pp. 228-31. Jarves, Art Studies, pp. 253-8. Taine, Florence and Venice, pp. 123-7. 6. Other masters contributing to the great develop- ment of this period; Paolo Uccello (1396- 1469?) and Pietro della Francesca (141 5-1 509?) — perspective and foreshortening. Woi.tmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 287-8. KUGLER, It. Schools of Painting, Vol. i, pp. 216-7, 255-8. Luekke, Hist. Art, Vol. 2, p. 220. Heaton, Hist. Painting, 78-9. Vasari, Lives, Vol. 1, pp. 348-61; Vol. 2 . PP- !3 2 3- Lanzi, Hist. Painting. Vol. 2, pp. 23-6. Viardot, Hist. Painters, pp. 50-1, 73-4. Phillimore, Fra Angelico, pp. 2-10. Symonds, Renaissance, pp. 231-2. Jarves, Art Studies, pp. 250-3, 269-70. Koehler, Hist. Art, pi. 201. Ottley, Florentine Schools, pi. 33. D'Ac.incourt, Hist. Art, Vol. 3, pi. 146. 7. Followers of Masaccio and of Angelico; Fra Filippo Lippi (141 2-1 469); Benozzo Gozzoli (1424- 1496). Woltmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 289-94, 305-8. Kugler, It. Schools of Painting, Vol. i, pp. 224-7, 236-9. Luebke, Hist. Art, Vol. 2, pp. 208-10, 214 7. Knight, Pict. Gal. Arts, Vol. 2, II. p. 344, text p. 350. Jameson, It. Painters, pp. 84-8, 95-101; Hist. Our Lord, Vol. 1, pp. 305-7. Lanzi, Hist. Painting, Vol. 1, pp. 77-80. Vasari, Lives, Vol. 2, pp. 73-87, 1 15-21. Wornum, Epochs of Painting, pp. 127-9. Heaton, Hist. Painting, pp. 86-92. Phillimore, Fra Angelico, pp. 58-67, 74-80. Dohmk, Early Masters, pp. 317-32. Viardot, Hist. Painters, pp. 52-3. Ottley, Early Florentine Schools, pis. 46-9. D'Agincourt, Hist. Art, Vol. 3, pi. 163. Koeiiler, Hist. Art, pi. 201. Symonds, Renaissance, pp. 239-47. Jarves, Art Thoughts, pp. 258-66,302-6. Taine. Florence and Venice, p. 127. HISTORY OF PAINTING. 67 VI.— THE SECOND GENERATION OF CLASSIC REALISTS. DEVELOPMENT OF THE DRAMATIC ELEMENTS IN PAINTING AND THE MORE SKILFUL USE OF COLOR. [145O-I500 A. IX ] 1. The respective aesthetic tendencies of Umbria, Padua, Florence and Venice. KUGLER, It. Schools of Painting, Vol. Lanzi, Hist. Painting, Vol. I, pp. 147- 2, pp. 29O-2, 325-6. 50; Vol. 3, pp. 9I-9. LUEBKE, Hist. Art, Vol. 2, pp. 21 1, Taixe, Florence and Venice, pp. Iio-i. 223-4, 240-2. Jarves, Art Studies, pp. 312-5, 319-20. Viardot, Hist. Painters, pp. 34-7, 73. SYMONDS, Renaissance, pp. 180-4. 2. The influence of the Medici on art — Cosmo, Lorenzo and Leo X. Influence of Leon Battista Alberti's three books on painting (1540). Grimm, M. Angelo, Vol. i, pp. 27-32, Woi.tmaxx and Woermann, Hist. 90 118. Painting, pp. 267-S. LaN'ZI, Hist. Painting, Vol. 1, pp. 68-70. RoscOE, Lorenzo De Medici, pp. 306-12, Taine, Florence and Venice, pp. n 1-9. 316 24. SYMONDS, Renaissance, pp. 262-5. 3. Sandro Botticelli (1447-15 1 5); History of Moses, Temptation of Christ and Punishment of Korah, in the Sistine Chapel; Madonna with angels and the Birth of Venus, in the Umzi gallery, Florence. 68 HISTORY OF PAINTING. Woltmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 294-7. Kugler, It. Schools of Painting, Vol. 1, pp. 229-30. Lukbke, Hist. Art, Vol. 2, pp. 210-1; Mon. Art, Vol. 2, pi. 67A, text pp. 210-1. Heaton, Hist. Painting, p. 94. Jameso.n, It. Painters, pp. 104-5; Legends of the Madonna, pp. 11 1-2, 202-3, 2 5°'> Hist. Our Lord, Vol. 1, p- 312; Vol. 2, p. 230. Lanzi, Hist. Painting, Vol. 1, pp. 35-6. Vasari, Lives, Vol. 2, pp. 230-40. Viardot, Hist. Painters, pp. 58-9. Dohme, Early Masters, pp. 341-55. Otti.ey, Early Florentine Schools, pi. 5°- Symo.nds, Renaissance, pp. 249-55. Jarves, Art Studies, pp. 266-9. Phii.limore, Fra Angelico, pp. 90-5. D'Agincourt, Hist. Art, Vol. 3, pi. 173. Koehler, Hist. Art, pis. 201 3. 4. Luca Signorelli (1441-1523); his great fresco paintings in the Cathedral of Orvieto ; Madonna alterpiece in the Academy at Florence; School of Pan, in the Museum at Berlin; Meeting of Moses and Joshua. Woltmann and Woermann, Hist. Paint- ing, Vol. 2, 342-9. Kugler, It. Schools of Painting, Vol. i, pp. 247-51. Luebke, Hist. Art, Vol. 2, pp. 220-1 ; Mon. Art, Vol. 2, pi. 67, text pp. 209-10. Knight, Pict. Gal. Arts, Vol. 2, II. p. 344, text p. 350. Jameson, It. Painters, p. 105; Legends of the Madonna, pp. 131-2; Hist. Our Lord, Vol. 2, pp. 410-1. Heaton, Hist. Painting, pp. 105-7. Lanzi, Hist. Painting, Vol. 1, pp. 98-9. Vasari, Lives, Vol. 2, pp. 347-56. Viardot, Hist. Painters, pp. 57-8. Ottley, Early Florentine Schools, pis. 52-4- Symo.nds, Renaissance, pp. 279-94. Phillimore, Fra Angelico, pp. 110-4. Pater, Renaissance, pp. 54-67. D'Agincourt, Hist. Art, Vol. 3, pi. 156. Koehler, Hist. Art, pis. 202-4. Worn um, Epochs of Painting, pp. 160-1. 5. Andrea Mantegna, the plastic or sculpturesque painter and the master of the Paduan School ( 143 1 -1506); Madonna della Vittoria in the Louvre; series of paintings, HISTORY OF PAINTING. 69 the Triumph of Caesar, now at Hampton Court; Judith with the head of Holofernes. Kugler, It. Schools of Painting, Vol. 1, Lanzi, Hist. Painting, Vol. 3, pp. 70-2; pp. 294-9. Vol. 4, pp. 6-1 1. Luebke, Hist. Art, Vol. 2, pp. 224-9; Vasari, Lives, Vol. 2, pp. 267-73. Mon. Art, Vol. 2, pis. 67A, 69, text VlARDOT, Hist. Painters, pp. 66-7. pp. 210, 212. Tytlf.k, Old Masters, pp. 64-9. Knight, Pict. Gal. Arts, Vol. 2, II. p. Dohmk, Early Masters, pp. 373-401. 345, text p. 351. Symonds, Renaissance, pp. 266 78. Jameson, It. Painters, pp. 113-33; Hist. Jarves, Art Studies, pp. 31 1-2. Our Lord, Vol. 2, pp. 168-9, 230-1, D'Agincourt, Hist. Art, Vol. 3, pis. 238-9. I39-40. Koehi.er, Hist. Art, pi. 205. Carr, It. Masters, pis. 1-2, text pp. 1-5. ,<7. ( 6. Giovanni Bellini, the painter of every excellence in moderate degree and the founder of the Venetian school (1422-15 16); his various Pietas; Madonna with Saints and Singing Angels; Feast of the Gods. Kugler, It. Schools of Painting, Vol. 2, Lanzi, Hist. Painting, Vol. 3, pp. 50-7. pp. 327-32. Vasari, Lives, Vol. 2, pp. 159-73. Luebke, Hist. Art, Vol. 2, pp. 234-9; Knight, Pict. Gal. Arts, Vol. 2, II. p. Mon. Art, Vol. 2, pi. 69, text p. 212. 344, text p. 351. JAMESON, It. Painters, pp. 134-40; VlARDOT, Hist. Painters, pp. 82-3. Legends of the Madonna, pp. 109-10. Tyti.kr, Old Masters, pp. 54-64. HEATON, Hist. Painting, pp. 199-211. D'AGINCOURT, Hist. Art, Vol. 3, pi. 143. SYMONDS, Renaissance, pp. 365-6. Wornim, Epochs of Painting, pp. 176-9- 7. Filippino Lippi (1459- 1504); his fresco paintings in the Brancacci chapel; Triumph of St. Thomas over the Heretics, in the church of Santa Marie sopra Minerva, Florence; vision of St. Bernard, in the Badia, Florence. 7o HISTORY OF PAINTING. WoltmanN and WOERMANN, Hist. Paint- ing, Vol. 2, pp. 299-303. KUGLER, It. Schools of Painting, Vol. 2, pp. 232-5. LUEBKE, Hist. Art, Vol. 2, pp. 211-12; Mon. Art, Vol. 2, pL 67, text p. 209. HEATON, Hist. Painting, pp. 94-6. LANZI, Hist. Painting, Vol. 1, pp. 92-4. Vasari, Lives, Vol. 2, pp. 174-84. Viardot, Hist. Painters, p. 60. Dohme, Early Masters, pp. 330-41. D'Agincourt, Hist. Art, Vol. 3, pi. 149. Ottley, Early Florentine Schools, pi. 5«- J/vrves, Art Studies, pp. 282-7. SYMONDS, Renaissance, pp. 247-9. Taine, Florence and Venice, p. 127. Wornum, Epochs of Painting, pp. 156-7. 8. Domenico Ghirlandajo, the master of "motive" who completed the development which Masaccio began (1449-1494); Calling of Peter and Andrew, in the Sistine Chapel; Birth of the Virgin; Adoration of the Magi, in the Church of the Innocents, Florence. WOLTMANN and Woermann, Hist. Paint- ing, Vol. 2, pp. 315-20. KUGLER, It. Schools of Painting, Vol. 1, pp. 239-44. Luebke, Hist. Art, Vol. 2, pp. 217-20; Mon. Art, Vol. 2, pi. 67, text pp. 209-10. Heaton, Hist. Painting, pp. 96-100. Jameson, It. Painters, pp. 106-12; Hist. Our Lord, Vol. 1, pp. 263-4, 374; Legends of the Monastic Orders, pp. 266-7. LANZI, Hist. Art, Vol. 1, pp. 94-6. Vasari, Lives, Vol. 2, pp. 200-20. Viardot, Hist. Painters, p. 59. Tytler, Old Masters, pp. 69-73. Knight, Pict. Gal. Arts, Vol. 2, II. p. 345- Dohme, Early Masters, pp. 356-72. Koehler, Hist. Art, pi. 203. Jarves, Art Studies, pp. 287-90^ Symonds, Renaissance, pp. 258-61. Grimm, M. Angelo, Vol. 1, pp. 83-90. Taine, Florence and Venice, pp. 127-30. Tyrvvhitt, Pictorial Art, pp. m-21. 9. Pietro Vannucci Perugino, the first great master of the Umbrian school (i 446-1 524); Christ's Charge to Peter, in the Sistine Chapel, series of frescoes in the Sala del Cambio, Perrugia; Pieta in the Pitti Palace; Madonna Enthroned and Four Saints, at Perugia. HISTORY OF PAINTING. 7i Woltmann and Woermann, Hist. Painting, Vol. 2, 350-60. KlGLER, It. Schools of Painting, Vol. I, pp. 269-71. Luebke, Hist. Art, Vol. 2, pp. 242-3. Heaton, Hist. Painting, pp. 110-6. Lanzi, Hist. Painting, Vol. 2, pp. 29-32. Muntz, Raphael, pp. 27, 32-3. Jameson, It. Painters, pp. 104-5. Viardot, Hist. Painters, p. 76. Vasari, Lives, Vol. 2, pp. 306-8. Taine, Florence and Venice, pp. 9-15. Symonds, Renaissance, pp. 294-5, 297- 301. J a ryes, Art Studies, pp. 324-7. WORNUM, Epochs of Painting, pp. 163-6. 10. The best period of Perugino (1490— 1505); the period and the occasion of his decline. Kugi.ER, It. Schools of Painting, Vol. I, pp. 271-5. Ll'EBKE, Hist. Art, Vol. 2, pp. 243-5; Mon. Art, Vol. 2, pi. 70, text p. 213. Jamison, It. Painters, pp. 147 8 Legends of the Madonna, pp. 261 -2 Hist. Our Lord, Vol. I, pp. 312-3 Vol. 2, pp. 230 1, 310 1. Koehler, Hist. Art. pi. 205. D'Agincourt, Hist. Art, Vol. 3, pi. 182. Lanzi, Hist. Painting, Vol. 2, pp. 32-4. Vasari, Lives, Vol. 2, pp. 308-23. Carr, It. Masters, pis. 3-4, text pp. 7-8. Viardot., Hist. Painters, pp. 76 7. Grimm, M. Angelo, Vol. 1, pp. 309-10. J a ryes, Art Studies, pp. 327-33. Symonds, Renaissance, pp. 295-6, 299— 300. 1 1. Fra Bartolommeo, or Baccio della Porta (1475— 1 517); Holy Family, in the Cowper collection; Marriage of St. Catherine; Madonna della Misericordia, in San Romano, Lucca; Pieta, in Pitti Palace, Florence. Woltmann and Woermann, I list. Painting, Vol. 2, pp. 5^-20. / Kt'GLKR, It. Schools of Painting, Vol. 2, PP- 39°-5- Ll'EBKE, Hist. Art, Vol. 2, pp. 315 8; Mon. Art, Vol. 2, pi. 67, text pp. 325 f >- Knight, Pict. Gal. Arts, Vol. 2, II. p. 345, text pp. 354-5- Ml'NTZ, Raphael, pp. 112 13. Vasari, Lives, Vol. 2, pp. 445-63. Tyti.i k, Old Masters, pp. 77-81. Viardot, Hist. Painters, pp. 97-8. Ol-IPIIANT, Makers of Florence, pp. 347 5»- I ion mi., Early Masters, pp. 402 21. Scott, Fra Bartolommeo, pp. 1-70. D'Agincourt, Hist. Art. Vol. 3, pi. 200. Hamilton, Schola Italica, pi. 6. 72 HISTORY OF PAINTING. Heaton, Hist. Painting, pp. 137-41. LANZI, Hist. Painting, Vol. 1, pp. 187-93. Jameson, It. Painters, pp. 159-69; Legends of the Monastic Orders, p. 374. Taine, Florence and Venice, pp. 158-9; Rome and Naples, pp. 165-6. Symonds, Renaissance, pp. 304-10. Jarves, Art Studies, pp. 338-48. 12. Andrea (Angeli) del Sarto (1487-1531): his Last Supper, in the convent of San Salvi; Madonna del Sacco; Dispute on the Holy Trinity; Madonna of St. Francis. Kugler, It. Schools of Painting, Vol. 2, pp. 399-403. Luebke, Hist. Art, Vol. 2, pp. 318-22; Mon. Art, Vol. 2, pis. 76, 79A, text pp. 226-7, 234. Jameson, It. Painters, pp. 223-7; Sacred Art, Vol. 1, pp. 272-3; Hist. Our Lord, Vol. 1, pp. 164-7, 308-9; Le- gends of the Madonna, pp. 148-9. Woi.TMANN and Woermann, Hist. Painting, Vol. 2, pp. 513-20. Jarves, Art Studies, pp. 363-70. Lanzi, Hist. Painting, Vol. 1, pp. 194- 202. Vasari, Lives, Vol. 3, pp. 180-236. Heaton, Hist. Painting, pp. 189-93. Viardot, Hist. Painters, pp. 99-102. Tytler, Old Masters, pp. 81-2. Dohme, Early Masters, pp. 422-47. Scott, Fna Bartolommeo, pp. 72-114. Carr, It. Masters, pi. 17, text pp. 31-2. HISTORY OF PAINTING. 73 VII— LEONARDO DA VINCI. THE UNIVERSAL GENIUS. [1452-1519 A. 1) ] I. Leonardo da Vinci; outlines of his life; his genius and gifts and their comparative unfruitfulness. Kugler, It. Schools of Painting, Vol. 2, PP- 347-9- Luebke, Hist. Art, Vol. 2, pp. 280-3. Knight, Pict. Gal. Arts, Vol. 2, text PP- 35 1 -4- Jameson, It. Painters, pp. 170-7. Vasaki, Lives, Vol. 2, pp. 366-75. Heaton, Hist. Painting, pp. 122-6. WoLTMANN and Woermann, Hist. Painting, Vol. 2, pp. 461-4. Tytler, Old Masters, pp. 83-7. Lacroix, Arts of Mid. Ages, pp. 92-3. Sweetser, Leonardo da Vinci, pp. 7-411 54-7, 63-75, 9 3 - J 40. JARVES, Art Studies, pp. 380-90. Ruskin, S ones of Venice, Vol. 2, p. 189. SYMONDS, Renaissance, pp. 311-25. Pater, Renaissance, pp. 105 26. Grimm, M. Angelo.Vol. 1, pp. 48-56. Wornum, Epochs of Painting, pp. 186-8. 2. Leonardo's life and works at Milan; history and analysis of his Last Supper. WOLTMANN and WOERMANN, Hist. Painting, Vol. 2, pp. 464-71. KUGLER, It. Schools of Painting, Vol. 2, PP- 351-7. Luekke, Hist. Art, Vol. 2, pp. 284-6; Mon. Art, Vol. 2, pi. 74, text pp. 22-3. Heaton, Hist. Painting, pp. 126-31. SWEETSER, Leonardo da Vinci, pp. 42-53. TYTLER, Old Masters, pp £7-8, 92 4. D'AGINCOl'RT, Hist. Art, Vol. 3, pis. I75- 6 - KoEiu.KR, Hist. Art, pi. 207. 74 HISTORY OK PAINTING. Knight, Pict. Gal. Arts, Vol. 2, II. p. 348, text pp. 354. Jameson, It Painters, pp. 178-81; Hist. Our Lord, Vol. 2, pp. 21-3. LaNZI, Hist. Painting, Vol. 4, pp. 244-7. Vasari, Lives, Vol. 2, pp. 376-82. Viardot, Hist. Painting, pp. 92-4. Grimm, M. Angelo, Vol. 1, pp. 239-42. Blanc, Grammar of Painting, pp. 80-3. Jarves, Art Studies, pp. 391-9. Taine, Florence and Venice, pp. 350-3. Symonds, Renaissance, pp. 325-7. Pater, Renaissance, pp. 128-32. Wornum, Epochs of Painting, pp. 189-90. 3. A full and critical history of the treatment of the subject of the Last Supper in painting, especially by Giotto,Angelico, Signorelli, Ghirlandajo, Raphael, Andrea del Sarto and Titian. Woltmann and Woermann, Hist. Jameson, Hist. Our Lord, Vol. 2, pp Painting, Vol. I, pp. 284-5; Vol. 2, 18-21; Sacred Art, Vol. 1, pp. 261-77. refer by the index. 4. Leonardo's life and works at Florence; Battle of the Standard; Mona Lisa; St. Anna and the Virgin. Woltmann and Woermann, Hist. Painting, Vol. 2, pp. 471-3. KUGLER, It. Schools of Painting, Vol. 2, pp. 349-51, 357-61. Luebke, Hist. Art, Vol. 2, pp. 278-90; Mon. Art, Vol. 2, pi. 74, text p. 223. HeatoN, Hist. Painting, pp. 131-4. Jameson, It. Painters, pp. 181-9. Viardot, Hist. Painters, pp. 89-91. Sweetser, Leon, da Vinci, pp. 55-9, 62-5. Wornum, Ep. of Painting, pp. 190-3. Tytler, Old Masters, pp. 89-90. Muntz, Raphael, pp. 107-8. Lanzi, Hist. Painting, Vol. 4, p. 224. Vasari, Lives, Vol. 2, pp. 382-7. Wilson, M. Angelo, pp. 69-71. Grimm, M. Angelo, Vol. 1, pp. 243-5, 2S9-91 . Hamilton, Schola Italica, pi. 5. Taine, Florence and Venice, pp. 155-6. Pater, Renaissance, pp. 132-9. Jarves, Art Studies, pp. 399-401. 5. Other works showing the great versatility of this master. HISTORY OF PAINTING. 75 Woltmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 474-5- Kugler, It. Schools of Painting, Vol. 2, pp. 359-60. Viardot, Hist. Painters, pp. 89-92. Heaton, Hist. Painting, pp. 30-1. Vasari, Lives, Vol. 2, pp. 173, 383, 387. D'Agincourt, Hist. Art, Vol. 3, pis. 174-5- CARR,It. Painting, pis. 9-1 1, text pp. 15-7. VIII— MICHAEL ANGELO AS A PAINTER. [1475-I564A. D.] i. General outline of Michael Angelo's life, as to places of residence, journeys, patrons and greatest works — the whole in chronological order. Woltmann and Woermann, Hist. Paint- ing, Vol, 2, pp. 487-8. Kugler, It. Schools of Painting, Vol. 2, PP- 37°-4- LuEBKE, Hist. Art, Vol. 2, pp. 301-2, 3'i-5- Heaton, Hist. Painting, pp. 169-75. Jameson, It. Painters, pp. 191-203, 207- 10, 214-22. Lanzi, Hist. Painting, Vol. I, pp. 162-7; 176 8. Vasari, Lives, Vol. 5, pp. 227-44, 246- 54, 267-80, 291-370. VjaRDOT, Hist. Painters, pp. 105-6. Black, M. Angelo, pp. 147-218. Wilson, M. Angelo. Grimm, M. Angelo. Carr, Tt. Masters, pp. 21-2. SWEETSER, M. Angelo. Roscok, Lorenzo De Medici, pp. 78, 3I3-9- Clement, M. Angelo. Jarves, Art Studies, pp. 412-28. Taine, Rome and Naples, pp. 186-9; Florence and Venice, pp. 147-9; Ideal in Art, pp. 21-4. SVMONDS, Renaissance, pp. 342-4, 384- 95. 397 402, 413-23. 428-36, 512-28. Pater, Renaissance, pp. 78-104. Reynolds, Discourses on Art, Vol. 1, pp. 370-4; Vol. 2, pp. 306-19, 348-50. Oliphant, Makers of Florence, pp. 352-62, 364-84, 386-9. TYTLER, Old Masters, pp. 96-102, 104-5, 107-I 1. 2. Michael Angelo's first great cartoon — Soldiers Bathing in the Arno. 7 6 HISTORY OF PAINTING. Muntz, Raphael, Eng. ed. pp. 107-8. Kugler, It. Schools of Painting, Vol. 2. PP- 374-5- Luebke, Hist. Art, Vol. 2, pp. 302-4; Mon. Art, Vol. 2, pi. 77, text p. 229. Jameson, It. Painters, pp. 198-9. Lanzi, Hist. Painting, Vol. 1 , pp. 167-9. Vasari, Lives, Vol. 5, pp. 244-6. Heaton*, Hist. Painting, pp. 175-6. Viardot, Hist. Painters, pp. 106, 109-12. Sweetser, M. Angelo, pp. 31-3. Clement, M. Angelo, pp. 23-6. Grimm, M. Angelo, Vol. 1, pp. 287- 90, 426-9. Wilson, M. Angelo, pp. 68, 71, 87-90. Black, M. Angelo, pi. 16, pp. 20-1, 56-7. Bohn, Angelo's Works, pi. 29, text p. 7. Jarves, Art Studies, pp. 431-2. Symonds, Renaissance, pp. 395-7. Oliphant, Makers of Florence, p. 363. Woltmahn and Woermann, Hist. Paint- ing, Vol. 2, p. 489. 3. The ceiling of the Sistine Chapel; architectural analysis; subjects and description of the four wide and the five narrow frescoes; the twelve triangular pendentive and the corner frescoes; the artistic unity of the whole. Woltmann and Woermann, Hist. Painting, Vol. 2, pp. 490-4. Kugler, It. Schools of Painting, Vol. 2, PP- 375-Si, 387-9- Luebke, Hist. Art, Vol. 2, pp. 304-8; Mon. Art, Vol. 2, pi. 77, text pp. 227-8. Knight, Pict. Gal. Arts, Vol. 2, U. p. 349, text pp. 355, 358. Jameson, It. Painters, pp. 203-7; Hist. Our Lord, Vol. 1, pp. 83-4, 93, 103-5, 128-9, 2 5 2 - 6 - Lanzi, Hist. Painting, Vol. 1, pp. 169-71. Vasari, Lives, Vol. 5, pp. 254-67. Viardot, Hist. Painters, pp. 106-8. Wilson, M. Angelo, pis. 9-10, text pp. 1 1 7-90. Black, M. Angelo, pis. 10-3, pp. 32-46, 108-200. Heaton, Hist. Painting, pp. 177-9. Tytler, Old Masters, pp. 33-4. Hare, Walks in Rome, pp. 541-4. Grimm, M. Angelo, Vol. 1, pp. 315-48, 374-8. Sweetser, M. Angelo, pp. 48-58. Clement, M. Angelo, pp. 38-44. D'Agincourt, Hist. Art, Vol. 3, pis. 200, 203. Hamilton, Schola Italica, pis. 1-4. Ottley, Florentine Schools, pi. 55. Koehler, Hist. Art, pi. 208. Jarves, Art Thoughts, pp. 90 3. Taine, Rome and Naples, pp. 189-94, 344- Symonds, Renaissance, pp. 344-6,404-12. Blanc, Grammar of Painting, pp. 77-80. Oliphant, Makers of Florence, pp. 370-I- HISTORY OF PAINTING. 77 4. The Sistine fresco of The Last Judgment; its composition compared with that of other frescoes of the same subject. Woltmann and Wokrmann, Hist. Paint- ing. Vol 2, pp. 495-6. Kugler, It. Schools of Painting, Vol. 2, pp. 382-5. LUKBKE, Hist. Art, Vol. 2, pp. 308-11; Mon. Art, Vol. 2, pi. 77, text pp. 288-9. Wilson, M. Angelo, pi. 16, pp. 405-35. Lanzi, Hist. Painting, Vol. 1, pp. 1 71-5. Vasari, Lives, Vol. 5, pp. 280-2, 285-90. Knight, Pict. Gal. Arts, Vol. 2, text p. 359- Viardot, Hist. Painters, pp. 108-9. Heaton, Hist. Painting, pp. 182-4. Hake, Walks in Rom:, pp. 545-9. Eaton, Rome, 19th Cent., Vol. 2, pp. 39-43- Grimm, M. Angelo, Vol. 2, pp. 200-22. Clement, M. Angelo, pp. 62-7. Jameson, It. Painters, pp. 210-4; Hist. Our Lord, Vol. 2, pp. 392-416. Black, M Angelo, pi. 14, pp 84-100. Bohn, M. Angelo's Works, pi 26, text P-5- D'Agi.NCOURT, Hist. Art, Vol. 3, pi. 180. Sweetser, M. Angelo, pp. 98-104. Koehler, Hist. Art, pi. 208. Jarves, Art Studies, pp. 429-31, Art Hints, pp. 250-1. Rlskin, Mod. Painters, Vol. 2, pp. 178- 85. Taine, Rome and Naples, pp. 170, 194-5- Symonds, Renaissance, pp. 423-8. Oliphant, Makers of Florence, pp. 384-6. 7S HISTORY OF PAINTING. IX.— RAPHAEL SANZIO. THE COMMON CULMINATION OF SPIRITUAL ELEVATION AND NATURAL BEAUTY. [1483-1520 A. 1»] i. Raphael's early neighborhood and master. conditions — home, parents, Crowe and Cavalcaselle, Raphael, Vol. 1, pp. 5-30. Kugler, It. Schools of Painting, Vol. 6, pp. 406-9. Luebke, Hist. Art, Vol. 2, pp. 323-5. Jameson, It. Painters, pp. 228-32. Lanzi, Hist Painting, Vol. 2, pp. 51-3. Vasari, Lives, Vol. 3, pp. 1-4. Knight, Pict Gal. Arts, Vol. 2, text p. 355- VlARDOT, Hist. Painters, pp. 113-4. Passavant, Raphael, pp. 9-34. Sweetser, Raphael, pp. 7-16. Tytler, Old Masters, pp. 125-7. D'Anvers, Raphael, pp. 1-5. Jarves, Art Studies, pp. 321, 439-42. . Taine, Florence and Venice, p. 15. Symonds, Renaissance, pp. 302-3. Muntz, Raphael, pp. 12-18. Woltmann and Woermann, Hist. Painting, Vol. 2, pp. 525-6. 2. Raphael's Umbrian life and earliest independent works; Infant Jesus and St. John; the Crucifixion; Cor- onation of the Virgin, at the Vatican; the Espousals of the Virgin, now at Milan. HISTORY OF PAINTING. 79 WOLTMANN and WOERMANN, Hist. Painting, Vol. 2, 526-9. Crowe and Cavalcaselle, Raphael, pp. 26-128. Kugler, It. Schools of Painting, Vol. 2, pp. 409-15. Luebke, Hist. Art, Vol. 2, pp. 326-7. Lanzi, Hist. Painting, Vol. 2, pp. 53-60. Vasari, Lives, Vol. 3, pp. 4-6. Heaton, Hist. Painting, pp. 142-6. Perkins, Raphael and Michael Angelo, pp. 55-64. Muntz, Raphael, pp. 50-8, 68-71. D'Anvers, Raphael, pp. 6-9. Koehler, Hist. Art. pi. 209. Passavant, Raphael, pp. 35-49. Jarves, Art Studies, pp. 442-3. Jameson, It. Painters, pp. 233-4; Legends of the Madonna, pp. 24-5, 160-1. Sweetser, Raphael, pp. 16-24. 3. Raphael's Florentine life and modifications of style: the distinct style of his Florentine Madonnas, viz: Cardellino, Granduca, Casa Tempi, Terranuova, the Meadow, Casa Carrigiani, with the Lamb, with the Pink and the Holy Family under the Palm. His first grand composition showing great study and independence, the Entombment. Crowe and Cavalcaselle, Raphael, pp. 244-64, 299-322. Kugler, It. Schools of Painting, Vol. 2, pp. 415 23. Luebke, Hist. Art, Vol. 2, pp. 327-30. Jameson, It. Painters, pp. 234-5. Lanzi, Hist. Painting, Vol. 2, pp. 60-4. Vasari, Lives, Vol. 3, pp. 6-13. HEATON, Hist. Painting, pp. 146-9. Viardot, Hist. Painters, pp. 1 14-15. TYTLER, Old Masters, pp. 128-9. Perkins, Raphael and Michael Angelo, pp. 64, 72-9, 151-3, 191-6. Muntz, Raphael, pp. 95, 101-200. Woltmann and Woermann, Hist Paint- ing, Vol. 2, pp. 529-35. Grimm, M. Angelo, Vol. 1, pp. 259-61. Passavant, Raphael, pp. 49-80. Sweetser, Raphael, pp. 25-40. D'Anvers, Raphael, pp. 70-22. Oliphant, Makers of Florence, pp. 344 6. Walker, Raphael's Madonnas, pi. 5, pp. 45 (>. Jarves, Art Studies, pp. 443-5. Hark, It. Cities, Vol. 3, pp. 176-9. 4. Raphael's Roman life and his relations with other masters and prominent men. 8o HISTORY OF PAINTING. Luebke, Hist. Art, Vol. 2, pp. 325-6 Jameson, It. Painters, pp. 235-6, 274-7. Lanzi, Hist. Painting, Vol. 2, pp. 64-8, 87-103. Vasari, Lives, Vol. 3, pp. 53-64. Heaton, Hist. Painting, pp. 149-50, 153-6. Reynolds, Discourses on Art, Vol. 2, pp. 48-54. Muntz, Raphael, pp. 201-38. Swketser, Raphael, pp. 41-6, 56-8, 66-72, 135-44. D'Anvers, Raphael, pp. 50-3. Tytler, Old Masters, pp. 133-5. Jarves, Art Studies, pp. 444-60. TAINE, Rome and Naples, pp 150-1. Symonds, Renaissance, pp. 312, 327-39 Perkins, Raphael and Michael Angelo. PP- 93-4, 108-13, 133-4, T 5 8 -9' l8 7-9- 5. Raphael's Madonnas compared with those of other masters; especially the Madonnas di San Sisto, del Baldacchino, della Sedia, di Foligno and Belle Jardiniere; Holy Family with St. Elizabeth. Kugler, It. Schools of Painting, Vol. 2, pp. 450-60. Luebke, Hist. Art, Vol. 2, pp. 342-6; Mon. Art, Vol. 2, pi. 78, text pp. 229-32. Jameson, It. Painters, pp. 269-70,277-8; Legends of the Madonna, pp. 35, 39, 75, 113 5, 117-8,123-4,257-8. Lanzi, Hist. Painting, Vol. 2, pp. 94-6. Vasari, Lives, Vol. 3, pp. 25-6, 32. Knight, Pict. Gal. Arts, Vol. 2, II. p. 360. D'Agincourt, Hist. Art, Vol. 3, pis. 184-5. Carr, It. Masters, pi. 6, pp. 10-12. Viardot, Hist. Painters, pp. 115-6, 121-2. Muntz, Raphael, pp. 152-5, 144-6, 300-9. Heaton, Hist. Painting, pp. 162-8. Passavant, Raphael, pis. 5; 12-14, *7, 20, text pp. 188-90, 279-80, 293-5, 304-5. Tytler, Old Masters, pp. 148-52. Sweetser, Raphael, pp. 54-6, 62-3, 109- 15, 119-22. Walker, Raphael's Madonna's, pp. 39- 42, 51-3. 63-7, 79-80, 97-101 , pis. 4, 6, 8, 9, 12. D'Anvers, Raphael, pp. 20, 39, 82-3, 88-90. Jarves, Art Studies, p. 461; Art Hints, PP- 355-6- Taine, Florence and Venice, pp. 154-5. Blanc, Grammar of Painting, pp. 113-6. 6. The frescoes of the three stanza or state chambers, severally named Segnatura, Heliodoro and HISTORY OF PAINTING. 81 Incendio: the Dispute of the Sacrament; the School of Athens; Parnassus; the Expulsion of Heliodorus; In- cendio del Borgo. Crowe and Cavalcaselle, Raphael, Vol. 2, pp. 14-16. Kugler, It. Schools of Painting, Vol. 2, pp. 424-37- Luebke, Hist. Art, Vol. 2, pp. 330-6; Mon. Art, Vol. 2, pi. 79, text pp. 232-3- Jamison, It. Painters, pp. 236-44; Hist. Our Lord, Vol. 2, pp. 358-9. Knight, Pict. Gal. Arts, Vol. 2, II. p. 352, text pp. 358-9. Lanzi, Hist. Painting, Vol. 2, pp. 69-82. Passavant, Raphael, pis. 7-10, pp. 84- 105, 116-24, 221 7, 235-8, 242-5. Sweetser, Raphael, pp. 46-50, 63-5, 73-5. 92-5- D'Anvers, Raphael, pp. 25-37, 43 9, 64-5. Xoehler, Hist. Art, pis. 210-1. D'Agincourt, Hist. Art, Vol. 3, pis. 186-94. Jarves, Art Studies, pp. 464-5; Art Hints, pp. 360-3. Muntz, Raphael, pp. 244-98, 340-6. Woltmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 537-40, 544. Vasari, Lives, Vol. 3, pp. 13-24, 26-32, 40-4. Viardot, Hist. Painters, pp. 117-9. HEATON.Hiit. Painting, pp. 150-3, 156-7. Ruskin, Lcct. Arch., pp. 168-70. Perkins, Raphael and Michael Angelo, pp. 1 13-31, 135-9. 153-8, I73-7- Taine, Rome and Naples, pp. 141-2, 144-6, 156-8. Symonds, Renaissance, pp. 334-5. Hare, Walks in Rome, pp. 581-6. 7. Raphael's series of fresco paintings of Bible His- tory in the Loggie of the Vatican. The " Hours" in Sala Borgia. KUGLER, It. Schools of Painting, Vol. 2, pp. 439-42- LUEBKE, Hist. Art, Vol. 2, pp. 339-40. Jameson, It. Painters, pp. 245-6; Hist. Our Lord, Vol. 1, pp. 113-5, 1 72-8, 152-3. i r >3-5 Vasari, Lives, Vol. 3, pp. 45-6. Perkins, Raphael and Michael Angelo, pp 184-7. Mintz, Raphael, pp. 346 61. Viardot, Hist. Painters, p. 116. HeaTON, Hist. Painting, pp. 157-8. Woi.tmann and Woermann, Hisf Painting, Vol. 2, pp. 54, 424-30, 501-30. Hark, Walks in Rome, pp. 579-81. Passavant, Raphael, pp. 164-6, 245-55. Sweetser, Raphael, pp. 87-92. D'Anvkrs, Raphael, pp. 66-70. Crowe and Cavalcaselle, Raphael, Vol. 2, pp. 13, 548-50. Taink, Rome and Naples, pp. 141, 156. Tyti.er, Old Misters, pp. 130 3. Wornum, Epochs of Painting, pp. 210-30. 82 HISTORY OF PAINTING. 8. The cartoons for the Sistine tapestries; methods of transferring the designs from the cartoons to the tapes- tries; history of this series of cartoons and description of the several designs. KUGLER, It. Schools of Painting, Vol. 2, pp. 442-8, 472-4- Luebke, Hist. Art, Vol. 2, pp. 336-9; Mon. Art, Vol. 2, pi. 79, text p. 233. Jameson, It. Painters, pp. 246-67; Hist. Our Lord, Vol. 1, pp. 372-3, Vol. 2, pp. 31 1-2 Lanzi, Hist. Painting, Vol. 2, pp. 82-3. Tytler, Old Masters, pp. 130-3, 152-6. Perkins, Raphael and Michael Angelo, pp. 180-4. Muntz, Raphael, pp. 369-94. Wornum, Epochsof Painting, pp. 209-19. Woltmann and Woermann, Hist. Painting, Vol. 2, 547, 273-314. Knight, Pict. Gal. Arts, Vol. 2, II. pp. 353. 356-7, text pp. 359, 362-3. Heaton, Hist. Painting, pp. 158-60. Pass.want, Raphael, pi. 16, pp. 166-74, 256-67. Sweetser, Raphael, pp. 95-101. D'Anvers, Raphael, pp. 71—5. Blanc, Grammar of Painting, pp. 21, 86-9. Vasari, Lives, Vol. 3, pp. 49-50. 9. The Transfiguration; portraits of Julius II, Lorenzo de Medici and Leo X; the design of the battle of Constantine and other important works of his later years. Crowe and Cavalcaselle, Raphael, Vol. 2, pp. 487-501. Kuglf.r, It. Schools of Painting, Vol. 2, pp. 462-71. Luebke, Hist. Art, Vol. 2, pp. 347-50. Jameson, It. Painters, pp. 272-3, 278-9; Hist. Our Lord, Vol. 1, pp. 342-6. Lanzi, Hist. Painting, Vol. 2, pp. 85-7. Vasari, Lives, Vol. 3, pp. 57-8, 61. Perkins, Raphael and Michael Angelo, pp. 143, 189-91. Muntz, Raphael, pp. 310-40, 206-13. Woltmann and Woermann, Hist. Painting, Vol. 2, pp. 552-57, 101-3, 409-12, 454 5. Viardot, Hist. Painters, pp. 119, 121. Grimm, M. Angelo, Vol. 1, p. 434; Vol. 2, pp. 196-7 Passavant, Raphael, pis. 10-11, 18-9. pp. 195-7, 274-9, 282, 2S6. Sweetser, Raphael, pp. 129-30, 132-5, 138-9. D'ANVERS,Raphael, pp. 50-3, 80-7, 92-8. Heaton, Hist. Painting, pp. 160-1, 168. HISTORY OF PAINTING. «3 X— CORREGGIO [ANTONIO ALLEGRI]. THE GREATEST MASTER OF CHIAROSCURO. [1494-1534 A. ]).] I. Incidents of Correggio's life and his relations to other masters. WOLTMANN and WoERMANN, Hist. Painting, Vol. 2, pp. 584-5. KuGLER, It. Schools of Painting, Vol. 2, pp. 497-9. LliF.BKE, Hist. Art, Vol. 2, pp. 354-5; Mon. Art, Vol. 2, pi. 75, text p. 224. Knight, Pict. Gal. Arts, Vol. 2, text pp. 366-7. Jameson, It Painters, pp. 290-2, 295-8. Lanzi, Hist. Painting, Vol. 4, pp. 79-85, 87-91, 101-12. Vasari, Lives, Vol. 2, pp. 402-4, 409-12. Wornum, Epochs of Painting, pp. 23944. Scott, It. Painters, pp. 49-51. Heaton, Hist. Painting, pp. 241-3; Cor- reggio, pp. 1-88, 1 14-9, 251-4. Hare, It. Cities, Vol. 2, pp. 210-1. Grimm, M. Angelo, Vol. 2, pp. 198- 202. Viardot, Hist. Painters, p. 153. Tyti.er, Old Masters, pp. 185-6, 1S7-92. Hall, Gems of European Art, Vol. 1, PP- 35- 6 - SYMONDS, Renaissance, pp. 312-3, 339- 42, 495 -6. 2. Correggio's great dome frescoes; the Ascension of Christ in the Church of San Giovanni and the Assump- tion of the Virgin in the cathedral of Parma. HISTORY OF PAINTING. WOLTMANN and WOERMANN, Hist. Painting, Vol. 2, pp. 588-9. Kugler, It. Schools of Painting, Vol. 2, pp. 500-2. Luebke, Hist. Art, Vol. 2, pp. 356-8; Mon. Art, Vol. 2, pi. 75, text p. 224. Knight, Pict. Gal. Arts, Vol. 2, text p. 366. Lanzi, Hist. Painting, Vol. 4, pp. 97-101. Vasari, Lives, Vol. 2, pp. 404-6. Hare, It. Cities, Vol. 2, pp. 212-6. Viardot, Hist. Painters, pp. 1 53-4. Jameson, It. Painters, pp. 292-5; Hist Our Lord, Vol. 2, pp. 312-3; Legends of the Madonna, pp. 324-5. Heaton, Hist. Painting, pp. 244-5; Cor- reggio, pp. 143-78, 275-6. Scott, It. Painters, pp. 52-3. Grimm, M. Angelo, Vol. 3, pp. 204-6. D'Agincourt, Hist. Art, Vol. 3, pi. 203. Jarves, Art Studies, pp. 470-1. Toschi, Engravings from Correggio, pis. 14-24. 3. Correggio's Madonnas and altar pieces: general criticism; Adoration of the Shepherds or "The Night"; St. Jerome or "The Day"; St. Sebastian; Madonna En- throned; Madonna della Scodella; the fresco, Madonna della Scala. Woltmann andWoERMANN, Hist. Paint- ing, Vol, I, p. 591. Kugler, It. Schools of Painting, Vol. 2, pp. 499-5°°, 5° 2 -4- Luebke, Hist. Art, Vol. 2, pp. 356, 358- 60; Mon. Art, Vol. 2, pi. 75, text pp. 224-5. Knight, Pict. Gal. Arts, Vol. 2, II. p. 365, text pp. 366-7. Tytler, Old Masters, pp. 192-3. Hare, It. Cities, Vol. 2, pp. 220, 222. Jameson, It. Painters, pp. 292, 301; Le- gends of the Madonna, pp. 100-1, 126-7, 252-3, 263-4. Lanzi, Hist. Painting, Vol. 4, pp. 85-7, 91-4. Viardot, Hist. Painters, pp. 154-7. Vasari, Lives, Vol. 2, pp. 406, 408-9. Heaton, Correggio, pp. 89-95, I2 3-32, 179-203, 276-86. Toschi, Engravings from Correggio, pl-5- 4. Correggiois mythological paintings; Diana Re- turning from the Chase and the Arbor pictures in the HISTORY OF PAINTING. 85 Convent San Paola at Parma; Jupiter and Io; Leda and the Swan; Venus teaching Cupid, etc. Woltmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 586-93. Kugler, It. Schools of Painting, Vol. I, pp. 500,505-6. Liebke, Hist. Art, Vol. 2, pp. 350, 360-2; Mon. Art, Vol. 2, pi. 75, text p. 225. Jameson, It. Painters, pp. 298-9, 301. Hare, It. Cities, Vol. 2, p. 224. Lamzi, Hist. Painting, Vol. 4, pp. 96-7. Vasari, Lives, Vol. 2, p. 407. D'Agincourt, Hist. Art, Vol. 3, pi. 202. Grimm, M. Angelo, Vol. 2, pp. 202-3. Viardot, Hist. Painters, pp. 154-5. Heaton, Gorreggio, pp. 103-13, 121, 220-37, 288-94; Hist. Painting, pp. 245-6. Toschi, Engravings from Correggio, pis. 6-13. Taine, Ideal in Art, pp. 21-4. 5. Other important paintings by Correggio; Ecce Homo; the Reading Magdalene; Marriage of St. Catherine, etc. Kugler, It. Schools of Painting, Vol. 2. Heaton, Hist. Painting, pp. 245; Cor- pp. 504-6. Lukbkk, Hist. Art, Vol. 2, pp. 359. Jameson, It. Painters, pp. 299 301; Le- gends of the Madonna, p. 284. Knight, Pict. Gal. Arts, Vol. 2, II. p. 365, text p. 367. Lanzi, Hist. Painting, Vol. 4, pp. 95-6. KOEHLER, Hist. Art, pi. 214. reggi >, PP- 95 i°°» 2l ~3< J 33-8, 286- 8, 294 300. Viarhot, Hist. Painters, pp. 154 -6. Grimm, M. Angelo, Vol. 2, pp. 200-1. Hamilton, Schola Italica, pis. 17-8. Scott, It. Painters, pi. 13. HALL, Gems of European Art, Vol. 2, pis. 14-6, text pp. 41-2. 86 HISTORY OF PAINTING. XL— THE VENETIAN SCHOOL. THE GREAT COLORISTS AND MODERN REALISTS. [ 1450-1600 A. D.] 1. Giorgione [Giorgio Barbarelli di Castelfranco] (1477-15 1 1); the first great master of color in landscape; Palma Vecchio [Giacomo Vecchio] (1480-1528). WolTMANN and Wokrm ANN, Hist. Paint- ing, Vol 2, pp. 604-7. Kugler, It. Schools of Painting, Vol. 2, pp. 508-12. Luebke, Hist. Art, Vol. 2, pp. 362-6; Mon. Art, Vol. 2, pi. 80, text p. 237. Knight, Pict. Gal. Arts, Vol. 2, II. p. 365, text p. 3 6 7- Jameson, It. Painters, pp. 310-8; Hist. Our Lord, Vol. i, pp. 153, 176; Sacred Art, Vol. 1, pp. 152-3. Lanzi, Hist. Painting, Vol. 3, pp. 99-103. Vasari, Lives, Vol. 2, pp. 394-402. Viardot, Hist. Painters, pp. 86-7. Heaton, Hist. Painting, pp. 212-7. Tytler, Old Masters, pp. 181-5. Hare, It. Citi.s, Vol. 2, pp. 53-5. D'Agincourt, Hist. Art, Vol. 3, pi. 162. Hamilton, Schola Italica, pi. 20. Koehler, Hist. Art, pi. 206. Grimm, M. Angelo, Vol. 2, pp. 73-4. Ruskin, Modern Painters, Vol. 5, pi. 79, PP- 3oi-3. 306-7, 353-5. Symonds, Renaissance, pp. 366-9. Wornum, Epochs of Painting, pp. 248-9. 2. Titian [Tiziano Vecelli da Cadore] (1477-1576); the universal painter in whom the Venetian school cul- minated: facts of his life and grade of his character; peculiarities of his style. HISTORY OF PAINTING. 87 Woltmann and Woermann, Hist. Painting, Vol. 2, pp 613-15. Kugler, It. Schools of Painting, Vol. 2, pp. 530-4. Luebke, Hist. Art, Vol. 2, p. 367. Jameson, It. Painters, pp. 319-33. Lanzi, Hist. Painting, Vol. 3, pp. 135- 46, 148-50. Vasari, Lives, Vol. 5, pp. 382-5, 390-1, 393-5- Viardot, Hist. Painters, pp. 134-5. Heaton, Hist. Painting, pp. 220-2, 225-7. Sweetser, Titian. Tvtler, Old Masters, pp. 157-8. Jarves, Art Hints, pp. 368-9 ; Art Studies, pp. 313-4. Taine, Florence and Venice, pp. 301-3. Heath, Titian; Gt. Artist Series. Hall, Gems of European Art, Vol. 1, pp. 107-10. Carr, It. Masters, pi. 15, text pp. 25-7. Crowe and Cavalcasalle; Titian, Vol. 1, pp 25-57, 203, 219, 285-6; Vol. 2, 411-16. Wornum, Epochs of Painting, pp. 250-4. 3. General comparison of Titian's religious pictures as such, with those of Raphael; Assumption of the Virgin; Death of St. Peter Martyr; Presentation of the Virgin; Christ and the Tribute Money; Magdalene; Madonna and St. Sebastian; Madonna of the Pesaro Family; Last Supper. Crowe and Cavalcaselle, Titian, Vol. 1, pp. 210-18; 116-21; 350; 237-9; 306-10; Vol. 2, 31-6, 346-9. Kugler, It. Schools of Painting, Vol. 2, PP- 534 7- Luebke, Hist. Art, Vol. 2, pp. 367-72; Mon. Art, Vol. 2, pi. 80, text pp. 236 7- Jameson, It. Painters, pp. 322 3, 329. Hare, It. Cities, Vol. 2, pp. 38-9; Walks in Rome, pp. 593-4 LANZI, Hist. Painting, Vol. 3, pp. 137, I5C-I. Vasari, Lives, Vol. 5, pp. 385, 3S7, 389- 9°. 39 2 4. 39^-9 D'ACINCOURT, Hist. Art, Vol. 3, pi. 203. Knight, Pict. Gal. Arts, Vol, 2, II. pp. 364-5, text p. 367. Grimm, M. Angelo, Vol. 1, pp. 73-5. Carr, It. Masters, pi. 14, text pp. 23-5. Viardot, Hist. Painters, pp. 135-7, 138, 140-2. Heaton, Hist. Painting, p. 224. TYTLER, OKI Masters, pp. 164-8. Scott, It. Painters, pi 10. Sweetser, Titian, pp. 37-9, 54, 60-2, 67 S, 96-8, ic6, 1 1 7-8, 136-S. Jarves, Art Hints, pp. 373 6. Rt'SKlN.Mod, Painters, Vol. 5, pp. 240-3. TAINE, Florence and Venice, pp. 303-6, 308 9. SYMONDS, Renaissance, pp. 379 S3 HEATH, Titian, (it. Artist Series, pp. 14 5, 21 3, 26, 30 2, 38 40. 41-2, 70-I, 74 5- 80- 1- KoEHLER, Hist. Art. pis. 213-4. 88 HISTORY OF PAINTING. 4. Titian's treatment of mythological and allegorical subjects; his pictures of Venus and Cupid; Bacchus and Ariadne. Woltmann and Woermann, Hist. Paint- ing, Vol. 2, pp. 615-19. Kugler, It. Schooh of Painting, Vol. 2, PP- 537-9- Luebke, Hist. Art, Vol. 2, pp. 372-5. Mon. Art, Vol. 2, pi. 80, text p. 236. Jameson, It. Painters, pp. 321-2. Lanzi, Hist. Painting, Vol. 3, p. 141. Vasari, Lives, Vol. 5, pp. 386-7, 394. Knight, Pict. Gal. Arts, Vol. 2, II. p. 365- Viardot, Hist. Painters, pp. 137, 141. Tytler, Old Masters, pp. 164-5. Heaton, Hist. Painting, pp. 222-4, 22 5- Sweetser, Titian, pp. 47-9, 105-6, 119, 128, 132-3. Jarves, Art Hints, p. 371. RUSKIN, Mod. Painters, Vol. 5, pp. 228-9, 242. Taine, Rome and Naples, pp. 63-4, 167-8; Florence and Venice, pp. 141-2, 306-7. Heath, Titian, pp. 29, 33-4, 59, 72. Koehler, Hist. Art, pi. 214. Crowe and Cavalcaselle, Titian, Vol. 1. 59~ 6 5- Titian's place among the great portrait painters. Woltmann and Woermann Hist. Painting, Vol. 2, pp. 20, 621, 623. Kugler, It. Schools of Painting, Vol. 2, PP- 539-41- Luebke, Hist. Art, Vol. 2, pp. 375-6. Jameson, It. Painters, pp. 320, 323-6, 334-5, 338. Lanzi, Hist. Painting, Vol. 3, pp. 146-8. Vasari, Lives, Vol. 5, pp. 389, 390, 39 1 " 2 , 393, 395-7, 399-4°" D'Agincourt, Hist. Art,Vol. 3, pi. 143. Heaton, Hist. Painting, pp. 225, 227-8. Scott, It. Painters, pi. 2. Tytler, Old Masters, pp. 165-7. Sweetser, Titian, pp. 36, 44-6, 70-3, 76, 91-2, 95-6, 108-9, Il 4~5- Jarves, Art Hints, p. 359. Taine, Florence and Venice, pp. 156-8. Heath, Titian, pp. 37, 61, 72-3. Viardot, Hist. Painters, pp 137-40. Crowe and Cavalcaselle, Titian, Vol. 1, pp. 76-9; Vol. 2, pp. 103-9, 124-6, 136-41, 177-8, 204-11. 6. Tintoretto [Jacopo Robusti] (15 12-1594); the greatest master in the shadow of Titian ; the circumstances and character of the man. HISTORY OF PAINTING. 89 Kugler, It. Schools of Painting, Vol. 2, P- 547- Luebke, Hist. Art, Vol. 2, pp. 380-2. Knight, Pict. Gal. Arts, Vol. 2, Text p, 370. Jameson, It. Painters, pp. 343-5. Viardot, Hist. Painters, p. 148. Lanzi, Hist. Painting, Vol. 3, pp. 178-8. HEATON, Hist. Painting, pp. 232-3. Hare, It. Cities, Vol. 2, p. 120. Osler, Tintoretto, Gt. Artists Series, pp. 15-23, 31-43. TAINE, Florence and Venice, pp. 312-3. Tytler, Old Masters, pp, 194-6. CLEMENT, Hist. Painting, pp. 130-1. RlTSKIN, Modern Painters. Wornum, Epochs of Painting, pp. 259-61. 7. Tintoretto's religious pictures: the Crucifixion; Miracle of St. Mark; Presentation of the Virgin; Marriage at Cana; Entombment of Christ; Bethrothal of St. Catherine. Kugler, It. Schools of Painting, Vol. 2, P- 549- Luebke, Hist. Art, Vol. 2, p. 382; Mon. Art, pi. 88, text p. 257. KNIGHT, Pict. Gal. Arts, Vol. 2, text p. 370. Jameson, It. Painters, p. 345; Sacred Art. p. 153. Viardot, Hist. Painters, p. 149. Lanzi, Hist. Painting, Vol. 3, pp. 189-90. HEATON, Hist. Painting, pp. 233-4. Osler, Tintoretto, pp. 23-7, 29-30, 35, 45-6, 48, 59, 68. TVTI.ER, Old Masters, pp. 196, 202-3. KOEHI.ER, Hist. Art, pi. 214. Taine, Florence and Venice, pp. 314-6, 319, 324-5. Hare, It. Cities, Vol. 2, pp. 121-5. Ruskin, Stones of Venice, Vol. 3, pp. 2 99-3 OI > 3°4-7» 3'2 5, 316 8, 328-9, 333 A 339-69> 371-4; Mod. Painters, Vol. 2, pp. 1 70-1, 173-7. 8. Tintoretto's mythological pictures; Bacchus and Ariadne; the nine Muses. Jamkson, It. Painters, p. 346. Osi.F.R, Tintoretto, pp. 46 69. LUEBKE, Mod. Art, Vol. 2, pi. 88, text RusKIN, Stones of Venice, Vol. 3, pp !>• 257. 306 S 9. Paul Veronese, [Paolo Cagliari] (i 528-1 58S); the 90 HISTORY OF PAINTING. last great master before the decline of Italian painting; the leading features of his style. Kugler, It. Schools of Painting, Vol. Heaton, Hist. Painting, pp. 235, 238-9. 2, pp. 551-2. Jameson, It. Painters, pp. 347-8. LUEBKE, Hist. Art, Vol. 2, pp. 382-3. Tyti.er, Old Masters, pp. 205-9. KNIGHT, Pict. Gal. Arts, Vol. 2, text p. LANZI, Hist. Painting, Vol. 3, pp. 212-3, 370. 224. Viardot, Hist. Painters, p. 150. Symonds, Renaissance, pp. 369-5. 10. The great banquet pictures by Paul Veronese: Marriage at Cana; Feast at the House of Simon, the Pharisee (compare his Magdalene annointing the feet of Christ); Feast at the House of Levi; Supper at the House of Simon, the Leper; Supper at Emmaus. Kugler, It. Schools of Painting, Vol. 2, Viardot, Hist. Painters, pp. 150-2. pp. 554-6. Heaton, Hist. Painting, pp. 237-8. Luebke, Hist. Art, Vol. 2, p. 385; Mon. Jameson, It. Painters, pp. 348-9; Hist. Art, Vol. 2, pi. 88, text pp. 257-8. Our Lord, Vol. 2, pp. 394-5. Knight, Pict. Gal. Arts, Vol. 2, text p. Tytler, Old Masters, pp. 209-10. 370. Lanzi, Hist. Painting, Vol. 3, pp. 227-9. KOEHLER, Hist. Art, pi. 215. Wornum, Epochs of Painting, pp. 262-4. 11. Allegorical and historical pictures by Paul Veronese; Apotheosis of Venice; Rape of Europa; Recompense; Musica; Vanity; Consecration of St. Nicholas; Family of Darius at the Feet of Alexander; Presentation of the Cocina Family to the Madonna by Faith, Hope and Love. HISTORY OF PAINTING. 9 1 Morelli, It. Masters in German Gal- Taine, Rome and Naples, pp. 1 16-7. leries, p. 196. Jameson, Hist. Our Lord, Vol. 1, pp. Klgler, It. Schools of Painting, Vol. 2, 365-6; Sacred Art, Vol. 2, pp. 421-2. pp. 552-4. LANZI, Hist. Painting, Vol. 3, pp. 225-6. Luebke, Hist. Art, Vol. 2, pp. 383-6. Carr, It. Masters, pi. 16, pp. 29-30. Viardot, Hist. Painters, pp. 150-2. Ruskin, Mod. Painters, Vol. 5, pp. Heaton, Hist. Painting, pp. 236-7. 235-40. 12. Veronese's religious subjects in gorgeous treat- ments; Marriage of St. Catherine; Presentat on in the Temple; Martyrdom of Saints Marcus and Marcellinus; St. Sebastian and the Virgin in Glory; Christ on the Way to Golgotha. XII. THE LAST REVIVAL OF PAINTING IN ITALY. THE ECLECTIC AND NATURALISTIC SCHOOLS. 1 575-1686 A. 1). i. Lodovico Caracci, the founder of the Eclectic school (1555-1619); his theory of painting; his famous academy at Bologna. KUGLER, It. Schools of Painting, Vol. 2, Lan/.i, Hist. Painting, Vol. 4, pp. 293-5; PP- 57°-3- v ">- 5- PP- 96-8, 106-7, "^5 Luebke, Hist. Art, Vol. 2, pp. 524 5. Heaton, Hist. Painting, pp. 250-1. KNIGHT, Pict. Gal. Arts, Vol. 2, II. p. V'FARnoT, Hist. Painters, pp. 164 5. 368; text pp. 370-4. Scott, It. Painters, pp. 17 8, 19-21. TYTLER, Old Masters, pp. 212-4. 9 2 HISTORY OF PAINTING. 2. Annibale Caracci (i 560-1 609); his Adoration of the Shepherds; Madonna of "Silence"; St. John in the Wilderness; Jupiter and Juno; Genius and Fame; Diana embracing the sleeping Endymion; Galatea coming to Polyphemus; Polyphemus hurling a rock at Acis. Kugler, It. Schools of Painting, Vol. 2, PP. 570-5- LUEBKE, Hist. Art, Vol. 2, pp. 525-7; Mon. Art, Vol. 2, pi. 94, text pp. 270-1. Knight, Pict. Gal. Arts, Vol. 2, II. p. 368, text pp. 37°-4- Tytler, Old Masters, pp. 215-7. Koehler, Hist. Art, pi. 217. Jameson, Hist. Our Lord, Vol. 1, pp. 383-4; Vol. 2, pp. 269-70; Sacred Art, Vol. 2, p. 771; Legends of the Mon- astic Orders, pp. 345-0. Lanzi, Hist. Painting, Vol. 2, pp. 179-80; Vol. 5, pp. 98-110, 117-23. HEATON, Hist. Painting, pp. 250-1, 254. Viardot, Hist. Painters, pp. 165-6. Scott, It. Painters, pi. 4, pp. 18-25. 3. Domenichino[Domenico Zampieri] (1581— 1641); Martyrdom of St. Agnes; Madonna of the Rosary; St. John at St. Petersburg; Last Communion of St. Jerome. Kugler, It. Schools of Painting, Vol. 2. pp. 516-8. Luebke, Hist. Art, Vol. 2, pp. 527-8; Mon. Art, Vol. 2, pi. 94, text p. 271. Knight, Pict. Gal. Arts, Vol. 2, text p. 374- Jameson, Sacred Atr, Vol. 1, pp. 229, 298; Vol. 2, pp. 482, 594-5, 599-600, 607, 612; Legends of the Monastic Or- ders, pp. 35-8, 366-7. Lanzi, Hist. Painting, Vol. 5, pp. 127-35. Tytler, Old Masters, pp. 220-2. HEATON, Hist. Painting, pp. 254-6. Viardot, Hist. Painters, pp. 170-3. Hare, Walks in Rome, pp. 219-20, 59 8 9- Scott, It. Painters, pi. 5, pp. 26-30. Koehler, Hist. Art, pi. 217. Eaton, Rome, 19th Cent., Vol. 2, pp. 13-4, 57-9 S8-9. Taine, Florence and Venice, pp. 175-7. Hall, Gems of European Art, Vol. 2, pi. 2, pp. 3-6. 4. Guido Reni (i 575-1642); Madonna della Pieta at Bologna; Massacre of the Innocents; Abduction of HISTORY OF PAINTING. 93 Dejanira; Crucifixion in the Modena gallery; St. Se- bastian; Ecce Homo; Penitent Magdalen; Massacre of the Innocents. Kugler, It. Schools of Painting, Vol. Knight, Pict. Gal. Arts, Vol. 2, II. p. 2, PP- 579" 80 - 3 6 9, text PP- 374-5- LUEBKE, Hist. Art, Vol. 2, pp. 628-9. HEATON, Hist. Painting, pp. 256-7. JAMESON, Hist. Our Lord, Vol. I, p. TYTLER, OKI Masters, pp. 218-9. 205. Scott, It. Painters, pp. 31-4. Sweetser, Guido, pp. 7-26, 45, 53-4, VlARDOT, Hist. Painters, p. 167. 79-150. Koehler, Hist. Art, pi. 217. 5. Guido's fresco in Rospigliosi Palace — Phcebus and Aurora (compare Guercino's treatment of the same subject); Beatrice Cenci in Barberini Palace. Kugler, It. Schools of Painting, Vol. 2, SWEETSER, Guido, pp. 27, 34-41. pp. 580-2. Heaton, Hist. Painting, p. 257. Luebke, Hist. Art, Vol. 2, p. 529; Mon. Scott, It. Painters, p. 32. Art, Vol. 2, pi. 94, text p. 271. VlARDOT, Hist. Painters, pp. 167-9. 6. Guercino [Giovanni Francesco Barbieri] (1590- 1666); St. Petronilla in the Capitol at Rome; Aurora in Villa Ludovisi, Doubting Thomas. KUGI.ER, It. Schools of Painting, Vol. 2, JAMESON, Hist. Our Lord, Vol. I, pp. pp. 582-3. 141,258. Luebke, Hist. Art, Vol. 2, pp. 530-1; Lanzi, Hist. Painting, Vol. 5, pp. 164-9. Mon. Art, Vol. 2, PI. 94, text pp. 271-2. Viauuot, Hist. Painters, pp. 173 4. SCOTT, It. Painters, pp. 35-6. IIkaton, Hist. Painting, pp. 257-S. 7. Carlo Dolce, the Florentine Eclectic and master of excessive finish (i 616-1686); Christ Child; Angel with 94 HISTORY OF PAINTING. Lilies; Madonna and Child; St. Cecilia; St. Andrew- Praying before the Cross, Kugi.er, It. Schools of Painting, Vol. 2, Lanzi, Hist. Painting, Vol. I, pp. 310-1. p. 589. Viardot, Hist. Painters, pp. 178-9. Luebke, Hist. Art, Vol. 2, p. 531. Scott, It. Painters, pp. 57-9. 8. Caravaggio [Michelangelo da Caravaggio] the Roman Naturalistic (1569-1609); Descentfrom the Cross; Christ at Emmaus; Fortune Teller; the Gamesters. Kugler, It. Schools of Painting, Vol. 2, PP- 59!-3- Luebke, Hist. Art, Vol. 2, pp. 531-3; Mon. Art, Vol. 2, pi. 94, text p. 272. Jameson, Legends of the Madonna, p. 316; Sacred Art, Vol. 1, p. 146. Lanzi, Hist. Painting, Vol. 2, pp. 179, 199-20 Viardot, Hist. Painters, pp. 182-4. Heaton, Hist. Painting, pp. 258-60. Koehler, Hist. Art, pi. 218. 9. Salvator Rosa, the Neapolitan Naturalistic (1615- 1673); Conspiracy of Catiline; Witch of Endor; Samuel Appearing to Saul; Soldiers Gambling; St. Jerome at Prayer; Diogenes searching for an Honest Man; Heads of Brigands. Kugler, It. Schools of Painting, Vol. 2, pp. 590-3, 596-8. Luebke, Hist. Art, Vol. 2, p. 580; Mon. Art, Vol. 2, pi. 94, text pp. 272. Viardot, Hist. Painters, pp. 186-7. TYTLER, Old Masters, pp. 222-4. Heaton, Hist. Painting, pp. 261-2. Scott, It. Painters, pi. 8, pp. 37-40. Koehler, Hist. Art. pi. 218. Hall, Gems of European Art, Vol. 1, pi. 8, pp. 25-8. HISTORY OF PAINTING. 95 XIII— PAINTING IN FLANDERS. THE EARLY PERIOD. [1410-1530. a d] i. The earliest development of painting in Germany and the Netherlands; effects of the guild system on art. Conway, Early Flemish Painters, pp. 1-88. Woltm ANN and Woermann, Hist. Paint- ing, Vol 2, pp. 41-97. Fromentin, The Old Masters, pp. 122-40. Kugler, German, Flemish and Dutch Schools, Vol. 1, pp. 1-48. Luebkk, Hist. Art, Vol. 1, pp. 551-6; Vol. 2, pp. 85-94, 420 4. KNIGHT, Pict. Gal. Arts, Vol. 2, text p. 375. WoRNUM, Epochs of Painting, pp. 130-2. Woltmann and Woermann, Hist Painting, Vol. 1, pp. 257-76, 304-11, 312-5, 36974, 399-404. 406-21. Crowe and Cavalcaseu.e, Flemish Painters, pp. 1-29 Viardot, Hist. Painters, pp. 231-5. Heaton, Hist. Painting, pp. 309-23, 36i-3- Scott, The Little Masters, pp. 1-16. Koehler, Hist. Art, pi. 219. Taine, Art in the Netherlands, pp 61-80. 2. The brothers Hubert and John Van Eyck (1366- 1440); characteristics of their style; their altar-piece, the Mystic Lamb (Ghent and Berlin); John Van Eyck's portraits of John Arnolfini and his wife (Nat. gal. London); portrait of the "Man with the Pinks", (Vienna gallery). 96 HISTORY OF PAINTING. Conway, Early Flemish Painters, pp. 125-59- Fromentin, The Old Masters, pp. 320-7. Woltmann andWoERMANN, Hist. Paint- ing, Vol. 2, pp. 7-18. Roscoe, Belgium, pp. 92-5, 100. Kigler, German, Flemish and Dutch Schools, Vol. 1, pp. 49-74. LuEBKE, Hist. Art, Vol. 2, p. 420, 425-36; Mon. Art, Vol. 2, pi. 81, text p. 238 9. D'Agincourt, Hist. Art, Vol. 3, pi. 164. Knight, Pict. Gal. Arts, Vol. 2, text pp. 375. 378. Lacroix, Art Mid. Ages, pp. 299-301. Viardot, Hist. Painters, pp. 269-74. Dohme, Early Masters, pp. 209-30. Heaton, Hist. Painting, pp. 363-83; Flemish Art, pp. 14-20, 26-9. Tytler, Old Masters, pp. 41-8. Taine, Art in the Netherlands, pp. 83-110. Stephens, Flemish and French Pictures, PP- 3!~3- Crowe and Cayalcaselle, Flemish Painters, pp. 34-73. Jameson, Sacred Art, Vol. 1, pp. 113, 156; Vol. 2, pp. 448, 496. Wornum, Epochs of Painting, pp. 137-44. 3. Roger van der Weyden (1400- 1464); Descent from the Cross (the Escorial); Pieta, Nativity and Appa- rition of Christ to Mary (Berlin). Conway, Early Flemish Painters, pp. 160-82. Woltmann and Woermann, Hist. Painting, Vol. 2, pp. 22-8. Kigler, German, Flemish and Dutch Schools, Vol. I, pp. 77-85. Luebke, Hist. Art, Vol. 2, pp. 437-41. Knight, Pict. Gal. Arts, Vol. 2, text P- 378. Heaton, Hist. Painting, pp. 387-90; Flemish Art, pp. 29-31. Stephens, Flemish and French Pictures, pp. 38-40. VlARDOT, Hist. Painters, p. 274. Koehler, Hist. Art, pi. 220. Crowe and Cayai.caseli.e, Flemish Painters, pp. 182-229. Wornum, Epochs of Painting, pp. 146-7. 4. Hans Memling ( ?-i495); the Adoration (Turin); the Crucifixion and the Annunciation (Liibec cath.); Nativity and Presentation in the Temple (St. John's Hospital, Bruges); portrait of Mary Moreel (Sibylla Sambetha), in the same hospital; the series of pictures on the Reliquary of St. Ursula. HISTORY OF PAINTING. 97 Conway, Early Flemish Painters, pp. 235-68. Woltmann and WOERMANN, Hist. Paint- ing, Vol. 2, pp. 32-8. FROMENTIN, Old Masters, pp. 327-39. Roscoe, Belgium, pp. 52-7. KUGLER, German, Flemish and Dutch Schools, Vol. 1, pp. 92-104. Luebke, Hist. Art, Vol. 2, pp. 441-4; Mon. Art, Vol. 2, pi. 81, text pp. 239-40. Knight, Pict. Gal. Arts, Vol. 2, text pp. 378-9. Stephens, Flemish and French Pictures, pi. 3, pp. 4°-7- Tytler, Old Masters, pp. 48-50. Heaton, Flemish Art, pp. 32-6; Hist. Painting, pp. 390 4. KOEHl.ER, Hist. Art, pis. 220-1. Crowe and Cayalcaselle, Flemish Painters, pp. 251 99. Viardot, Hist. Painters, pp. 277 9 ; Wonders of European Art, pp. 12c 8. Jameson, Hist. Our Lord, Vol. I, pp. 137-8. 5. Quentin Matsys (1466-1530): altar-piece now in the Museum at Antwerp; the Misers; the Money Changers in the Louvre. Woi.tmann and Woekmann, Hist. Painting, Vol. 2, pp. 62-4. Kx'uLER, German, Flemish and Dutch Schools, Vol. I, pp. 114 7. Luebke, Hist. Art, Vol. 2, pp. 446-7. Knight, Pict. Gal. Arts, Vol. 2, II. p. 376. text p. 379. DoHME, Early Masters, pp. 253-73. KOEHLER, Hist. Art, pi. 228. STEPHENS, Flemish and French Pictures, pp. 54 61. Heaton, Hist. Painting, pp. 396-401. VlARDOT, Hist. Painters, pp. 280-2; Wonders of European Art, pp. 128-30. Tytler, Old Masters, pp. 50 2. WoRNUM, Epochs of Painting, pp. 267-9. 98 HISTORY OF PAINTING. XIV. -PAINTING IN FLANDERS. THE LATER PERIOD. [1600-1670 A. D.] I. Peter Paul Rubens, the greatest Flemish master ( 1 577-1 640); his fortunate life; his visits in Italy, Spain, France and England; peculiarities of his style. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 275-82. Knight, Pict. Gal. Arts, Vol. 2, text p. 387. Jameson, Sketches of Art, pp. 217-21. Viardot, Hist. Painters, pp. 294-6; Wonders of European Art, pp. 133-5- Heaton, Hist. Painting, pp. 418-21, 423-5. 426-8; Flemish Art, pp. 80-9. Ruskin, Mod. Painters, Vol. 1, pp. 88-90; Vol. 5, pp. 266-7. Fromentin, The Old Masters, pp. 99-107. Stephens, Flemish and French Pictures, pp. 94 -7. WoRNUM, Epochs of Painting, pp. 396-8. Luebke, Hist. Art, Vol. 2, pp. 541-3. Casseil, Art Treasures, pp. 186-90, 195-202, 204-11. Tytler, Old Masters, pp. 225-36. Jarves, Art Thoughts, pp. 182-4. Tai.ne, Art in the Netherlands, pp. 78-80, 135-60. Reynolds, Discourses on Art, Vol. 2, pp. 228-36. Kett, Rubens, pp. 1-62, 78-82, 94-102, 107-14. Waagen, Rubens; preface by Mrs. Jameson. Bi.anc, Painters of All Nations, Eng. ed., PP- "3-37- 2. Church pictures by Rubens; Descent from the Cross; Elevation of the Cross; Last Communion of St. Francis; Holy Family in the Church of St. Jacques at Antwerp; Last Judgment in the Pinakothek at Munich; Madonna of the Parrot; Crucifixion of St. Peter. HISTORY OF PAINTING. 99 Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 282-6. Luf.bke, Hist. Art, Vol. 2, pp. 543-5; Mon. Art, Vol. 2, PI. 95, Text pp. 272-3. Fromentin, The Old Masters, pp. 55-71, 95-9, 76-9. Viardot, Hist. Painters, pp. 296-8; Wonders of European Art, pp. 136-42. Kktt, Rubens, pp. 66-8, 71-3, 105-6. HEATON, Hist. Painting, pp. 422-3; Flemish Art, pp. 84 -5. Knight, Pict. Gal. Arts, Vol. 2, II. p. 384, Text p. 387. Koehler, Hist. Art, PI. 231. Jameson, Sketches of Art, p. 216; Sacred Art, Vol. I, p. no; Vol. 2, p. 430; Hist, our Lord, Vol. 1, pp. 61-2, 373; Vol. 2, pp. 224-5, 234-5, 349-5°- Burnett, Rembrandt, pp. 36-8, 58-60. Grimm M. Angelo, Vol. 2, pp. 462-5. Stephens, Flemish and French Pictures, pp. 97-8. Cassell, Art Treasures, pp. 191— 5. Tytler, Old Masters, pp. 236-7. Reynolds, Discourses on Art, Vol. 2, pp. 146-50, 152, 155, 157-61, 164-7, 177-81, 220-2. Wor.nx'M, Epochs of Painting, pp. 399- 401. 3. Dramatic and historical pictures by Rubens; History of Marie de Medici in the Louvre; Battle of the Amazons in Munich; St. Ambrose and the Emperor Theodosius. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 284, 286-9. LUEBKE, Hist. Art, Vol. 2, pp. 545-7; Mon. Art, Vol. 2, pi. 95, text pp. 273-4- Koehler, Hist. Art, pi. 230. Jameson, Sacred Art, Vol. 1, p. 307. VlARDOT, Hist. Painters, pp, 299-300; Wonders of European Art, pp. 143-8. CASSELL, Art Treasures, pp. 190-1, 194 5, 203-5. Kktt, Rubens, p. 51. 4. Rubens' works in landscape and animal painting ; various pictures of the chase in Munich, Dresden, Berlin and Vienna. KUGLER, German, Flemish and Dutch KokHI.ER, Hist. Art, pi. 231. Schools, Vol. 2, pp. 290 I. VlARDOT, Hist. Painters, pp. 2()<> JOO. LUEBKE, Hist. Art, Vol. 2, pp. 547 8. Hi aton, Flemish Art, p. SS. Knight, Pict. Gal. Arts, Vol. 2, II. p. TYTLER, Old Masters, pp. 23X 45. 384, text p. 3S7. HISTORY OF PAINTING. 5. Allegorical pictures by Rubens ; the Four Quarters of the World; Peace and War; the Victor's Apotheosis. Luebke, Hist. Art, Vol. 2, pp. 546-7. Koehler, Hist. Art, pi. 230. Viardot, Hist. Painters, pp. 295-9. Kett, Rubens, pp. 100-1. 6. Portraits by Rubens; Marie de Medici; Isabella Brandt; Helena Fourment; Himself, Wife and Child; Himself, Brother and Friends; His Sons; Lady of the Boonen Family; the Duke of Buckingham; Rubens and his first Wife. Kugler, German, Flemish and Dutch Fromentin, The Old Masters, pp. Schools, Vol. 2, p. 289. Koehler, Hist. Art, pi. 230. Viardot, Hist. Painters, p. 299; Won- ders of European Art, pp. 142-3, 146. Tytler, Old Masters, pp. 240-5. 80-94. Reynolds, Discourses on Art, Vol. 2, pp. 187-8. Kett, Rubens, pp. 64, 110-1. 7. Anthony Van Dyke, the Flemish master in portraiture (i 599-1641). Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 301-2. Luebke, Hist. Art, Vol. 2, pp. 548, 550. Knight, Pict. Gal. Arts, Vol. 2, text pp. 387, 39°- Viardot, Hist. Painters, pp. 304-5; Wonders of European Art, pp. 150-1. Heaton, Hist. Painting, pp. 428-9; Flemish Art, pp. 90-1. Tytler, Old Masters, pp. 333-8, 342-7. Fromentin, The Old Masters, pp. 108-14. Stephens, Flemish and French Pictures, pp. 102-5. Cassell, Art Treasures, pp. 150-8. Sweetser, Van Dyke, pp. 7-25, 33-41, 59-70, 124-38. Head, Van Dyke, Gt. Artist Series, pp. 1-17, 20-2, 39-45. 5°-9- WORNUM, Epochs of Painting, pp. 404-7. HISTORY OF PAINTING. 101 8. Van Dyke's religious pictures compared with those of Rubens; Holy Family with Angels: Marriage of St. Catherine; Entombment of Christ; Descent from the Cross; the Crucifixion; Madonna of St. Anthony; Ecstasy of St. Francis; Repose in Egypt. Kugler, German, Flemish aud Dutch Viardot, Hist. Painters, pp. 315—6. Schools, Vol. 2, pp. 302-4. Heaton, Flemish Art, pp. 91-2. LuEBKE, Hist. Art, Vol. 2, pp. 548-9; Casskll, Art Treasures, pp. 158-9. Mon. Art, Vol. 2, pi. 95, text p. 274. Swketser, Van Dyke, pp. 40-6, 52-8. Knight, Pict. Gal. Arts, Vol. 2, II. p. Head, Van Dyke, pp. 17-8, 22-4, 30-4, 385, text pp. 389-90. 81-2. 9. Van Dyke's rank among the portrait painters; General Francesco in the Louvre; Charles I. and his Horse in the Louvre and in Windsor Castle; Children of Charles I.; Pembroke Family; Rubens; Van Dyke and his Family; Duke of Nassau; Treasurer of Antwerp; Wife of the same. KUGLER, German, Flemish and Dutch Heaton, Hist. Painting, pp. 430-2; Schools, Vol. 2, pp. 305 7. Flemish Art, pp 92-5. LUEBKE, Hist. Art, Vol. 2, pp. 549-51; STEPHENS, Flemish and French Pictures, Mon. Art, Vol. 2, pi. 95, text pp. 272, pp. 105 8. 274. TYTLER, Old Masters, pp. 338-41, 348 53. Knight, Pict. Gal. Arts, Vol. 2, II. p. Casski.i., Art Treasures, pp. 159-66. 385, text p 390. Swketser, Van Dyke. pp. 28 33, 40-52, VlARDOT, Hist. Painters, pp. 306-8; 74-83, 87-123. Wonders of European Art, pp. 152-0. Head, Van Dyke, pp, 26-7, 46-8,60-81. KOEHI.ER, Hist. Art, pi. 231. 10. David Teniers the younger, the greatest Flemish painter of common life (i 610-1694); examples of genre painting before his time. HISTORY OF PAINTING. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 321-4. Luebke, Hist. Art, Vol. 2, pp. 566-7. Stephens, Flemish and French Pictures, pp. 23-4, 1 12-4. VlARDOT, Hist. Painters, p. 313; Won- ders of European Art, pp. 158-60. Heaton, Hist. Painting, pp. 437-7; Flemish Art, pp. 95-8. Cassell, Art Treasures, pp. 367-71. BLANC, Painters of All Nations, eng. ed., pp. 17-30. WORNUM, Epochs of Painting, pp. 444-5. 11. Teniers' pictures of village feasts and smoking scenes; scenes in kitchens, taverns, shops and laboratories. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 325, 327. Knigh r, Pict. Gal. Arts, Vol. 2, II. p. 39 2 - Heaton, Flemish Art, pp. 98-9. Viardot, Hist. Painters, pp. 313-5; Won- ders of European Art, pp. 159-63. Cassell, Art Treasures, pp. 371, 4, 375-8, 379-83- 12. Teniers' pictures of serious subjects; Prodigal Son; Temptation of St. Anthony; Archers at Antwerp; Sacrifice of Isaac; Peter Denying Christ. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 324-6. Luebke, Hist. Art, Vol. 2, pp. 556-8. Stephens, Flemish and French Pictures, p. 113. Heaton, Flemish Art, pp. 98-9. Viardot, Hist. Painters, pp. 313-4; Wonders of European Art, p. 116. Cassell, Art Treasures, pp. 374-5, 378-9- Wornum, Epochs of Painting, pp. 416- 24, 426-33. HISTORY OF PAINTING. 103 XV— PAINTING IN THE NETHERLANDS. REPRESENTATION OF ACTUAL LIFE. [1630 1 680 A. I).] I. Rembrandt Van Ryn, the greatest master of the Dutch School (1607- 1 669); his peculiar personal traits and artistic style; criticism of his contemporaries. Fromentin, The Old Masters, pp. 299- Tyti.er, Old Masters, pp. 245-9. 313. Jameson, Sketches of Art, pp. 221-3. Kugler, German, Flemish and Dutch Sweetser, Rembrandt, pp. 7-35, 48-9, Schools, Vol. 2, pp. 363-8. 84 98, 114 6, 127-46. Likhkk, Hist. Art, Vol. 2, pp. 555-6. MoLLETT, Rembrandt, pp. 1-22, 27-8, Km<;ht, Pict. Gal. Arts, Vol. 2, text 34-6, 46 52, 68-72. pp. 390-1. JARVES, Art Thoughts, pp. 182-4. Viakixjt, Hist. Painters, pp. 330-1; Ruskin, Mod. Painters, Vol. 4, pp. 38-42. Wonders of European Art, pp. 174 6. Taink, Ait in the Netherlands, pp. Cassei.l, Art Treasures, pp. 219-22. 180 5. Siri'iiKNs, Flemish and French Pictures, Hamerton, Etchings and Etchers, pp. PP- Ij6-43- 72-82. Heaton, Hist. Painting, pp. 442-5; Burnett, Rembrandt, pp. 1-15, 17-21. Flemish Art, pp. 100-7. 2. Rembrandt's treatment of religious subjects; Descent from the Cross; Woman Taken in Adultery; 104 HISTORY OF PAINTING. Tobit and the Angel; Jacob and the Sons of Joseph; Good Samaritan. KUGLER, German, Flemish and Dutch Schools, Vol. 2, pp. 369-72. Luebke, Hist. Art, Vol. 2, p. 557-9; Mon. Art, Vol. 2, pi. 96, text p. 275. Knight, Pict. Gal. Arts, Vol. 2, II, pp. 385, 388, text pp. 391-4. KoEHI.ER, Hist. Art. pi. 235. VlAKDOT, Hist. Painters, pp. 332, 334-6; Wonders of European Art, pp 177, 185-7, 190-1. Cassell, Art Treasures, pp. 222-7, 2 3 I_ 5> Burnett, Rembrandt, pp. 21-9, 60-8. Jameson, Legends of the Madonna, pp. 192-3; Hist. Our Lord, Vol. 1, pp. '5 - 1 . 33° *> 3 6o > 3 6 3; Vol. 2. pp. 32-3, 94-6, 212, 225, 241-2, 296-7. Sweetskr, Rembrandt, pp. 35- 6, 67-8, 7o-i, 74 5, 77-8i, 111-3. MOLLF.TT, Rembrandt, pp. 25-6, 39-40, 54-5, 62- 0. Grimm, M. Angelo, Vol. 2, pp. 465-6. HAMERTON, Etchings and Etchers, pp. 82-8. 3. Rembrandt's pictures of local interest; Night Watch; Anatomical Lecture; Two Philosophers. Wornum, Epochs of Painting, pp. 425. Fromentin, The Old Masters, pp. 218-23, 245-75, 295-8, 290. Kl'GLER, German, Flemish and FJutch Schools, Vol. 2, pp. 368-9, 373-4. Luebke, Hist. Art, Vol. 2, pp. 557 : Mon. Art, Vol. 2, pi. 96, text pp. 274-6. Knight, Pict. Gal. Arts, Vol. 2, text p. 39^- Koehi.ek, Hist. Art, pi. 234. Cassei.l, Art Treasures, pp. 227-30 235-8, 240-1. MoLLETT, Rembrandt, pp. 23-5, 43-5, 60-2. Viardot, Hist. Painters, pp. 332-3, 336, Wonders of European Art. pp. 177-82, 189-90. Stephens, Flemish and French Pictures, PP- '43-5- Heaton, Hist. Painting, pp. 445-8 ; Flemish Art, pp. 107-9. SWEETSER, Rembrandt, pp. 37-9, 82-5, 108 10, 127-8. Reynolds, Discourses on Art, Vol. 2, pp. 198 9. HAMERTON, Etching and Etchers, pp. 88-91 , 95-6. BURNETT, Rembrandt, pp. 4-5, 40-2, 47-51, 74-7- 4. Rembrandt's peculiar style in portraiture; Old Man with a Beard ; Burgomaster Six; Rembrandt's Wife; HISTORY OF PAINTING. 105 Rembrandt's Mother; Man with a Large Hat; Shipbuilder and his Wife; Jewish Rabbi; Old Woman of Eighty-three. Fromentin, The Old Masters, pp. 278-94. K.UGLER, German, Flemish and Dutch Schools, Vol. 2, pp. 372-3. Luebke, Hist. Art, Vol. 2, pp. 556-7, 560-1; Mon. Art, Vol. 2, pi. 96, text p. 275- Viardot, Hist. Painters, pp. 333. 335-6; Wonders of European Art, pp. 183, 187-9. Burnett, Rembrandt, pp. 42-7, 72-3. Cassell, Art Treasures, pp. 226, 231, 238-40. Stephens, Flemish and French Pictures, pp. 138-9. Tytler, Old Masters, note on pp. 249-50. Sweetser, Rembrandt, pp. 36-7, 39-42, 49-60, 71-4, 100-1, 105-7. Mollett, Rembrandt, pp. 22-3, 28-33, 36, 38-9, 53-4, 57-9, 72-4, 76-7. Hamerton, Etching and Etchers, pp. 91-4. 5. Gerard Dow, the master of details (i 613- 1680); Tobitand his Son; Woman sick of the Dropsy; Evening School; Burgomaster Werff and his Wife. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 405-7. Luebke, Hist. Art, Vol. 2, pp. 571-2; Mon. Art, Vol. 2, pi. 96, text p. 276. Heaton, Hist. Painting, pp. 449-52; Flemish Art, pp. 126-30. Viardot, Hist. Painters, pp. 242-3 ; Wonders of European Art, pp. 198- 200. Koehi.er, Hist. Art, pi. 235. Gower, Figure Painters of Holland, PP- 35-9- 6. Adrian van Ostade, the Rembrandt of genre painters (1610-1685); Itinerant Fiddler; Peasants at the Tavern; Game at Cards. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 418-21. Luebke, Hist. Art, Vol. 2, p. 568; Mon. Art, Vol. 2, PI. 100, text p. 282. Viardot, Hist. Painters, pp. 340-2 ; Wonders of European Art, pp. 197-8. Heaton, Hist. Painting, pp. 457-8; Flemish Art, pp. 143-7. Cassei.L, Art Treasures, pp. 243-59. Koehlkr, Hist Art, pis. 236-7. Gower, Figure Painters of Holland, pp. 21-6. lo6 HISTORY OF PAINTING. 7. Philip Wouvermans (1 619-1668), Paul Potter ( 1 625-1 654) and Albert Cuyp (1 606-1 672), landscape and animal painters. a. Wouvermans Hawking Scene, Pistol Shot, Riding School and Going to the Ferry. b. Paul Potter's Young Bull, Farm-yard Scene, Landscape of Animals at St. Petersburg. G. Cuyp's Pasture on the Meuse; Landscape Number Nine, Dulwich Gallery; his many other pictures of river, meadow and cattle. Fromentin, The Old Masters, pp. 157- 67 (b), 196-202 (c). Wornum, Epochs of Painting, pp. 446-8, 45 2 - Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 430-3, 435-40, 459-62. Luebke, Hist. Art, Vol. 2, pp. 586-7; Mon. Art, Vol. 2, pi. 101, text pp. 284, 286. Viardot, Hist. Painters, pp. 350-1, 354- 8; Wonders of European Art, pp. 194- 6, 204-5, 209-14. Heaton, Hist. Painting, pp. 459-63; Flemish Art, pp. 1 10-25. Casseli., Art Treasures, pp. 259-71, 277-91. Koehler, Hist. Art, pis. 236, 238-40. Hamerton, Etching and Etchers, pp. 101-2, 105. R.USKIN, Mod. Painters, Vol. 5, pp. 268-9, 2 74-5. 293-6. Gower, Figure Painters of Holland, pp. 40-4. Ham., Gems of European Art, Vol. 1, pis. 15, 26, 39; pp. 49-52, 87-8, 127-8- 8. Jacob Ruysdael, the greatest Dutch master of landscape and marine painting (1625 ?-i 682); Chase in Dresden; Storm at Sea, in the Lansdowne Collection; Jewish Cemetery. HISTORY OF PAINTING. 107 WORNUM, Epochs of Painting, pp. 449-50. Blanc, Painters of All Nations, Eng. ed., pp. 49-62. Fromentin, The Old Masters, pp. I83-95- Luebke, Hist. Art, Vol. 2, pp. 582-4; Mon. Art, Vol. 2, pi. 101, text pp. 285-6. Kugler, German, Flemish and Dutch Schools, Vol. 2, pp. 470-5. Koehler, Hist. Art, Vol. 2, pis. 239-40. Viardot, Hist. Painters, pp. 359-61; Wonders of European Art, pp. 217-21. Cassell, Art Treasures, pp. 299-31 1. Stephens, Flemish and French Pictures, pp. 156-7. XVI.— EARLY PAINTING IN GERMANY. THE GOLDEN PERIOD. 1 5OO-I 550 A. I).] i. Some account of Martin Schon and Michael Wohlgemuth, the masters of Albert Durer. THAUSING, Durer, Etons ed., Vol. 1, pp. 62-96, 240-5. Kugler, German, Flemish and Dutch Schools, Vol. 1, pp. 134 8, 148 9. Luebke, Hist. Art, Vol. 2, pp. 457, 359- 60, 469-70 ; Mon. Art, Vol. 2, pi. 70, text pp. 240. Jamison, Sacred Art, V<>1. 1, pp. 78, 103, 240, 290 1; Vol. 2, pp. 606, 752 ; Legendsofthe Madonna, pp. 27,67-8, 286; Hist. Our Lord, Vol. 1, p. 391; Vol. 2, pp. 40, 80 1, 119, 155-7, 246, 261 2 . 3°3. 377-8- Wornum, Epochs of Painting, pp. 279-81. Koehler, Hist. Art, pi. 222. HEATON, Hist. Painting, pp. 324-34; Flemish Art, pp. 52-7; Durer, 2d ed., p. 42. Viakdot, Hist. Painters, pp. 234-5, 242; Wonders of European Art, pp. 75-83. Fairhoi.t, Rambles of an Archaeologist, pp. 190 204. Ruskin, Mod. Painters, Vol. 4, pp. 322 5. DoilME, Early Masters, Vol. 1, pp. 73-88. Knight, Pict. Gal. Arts, Vol. 2, text P- 379- io8 HISTORY OF PAINTING. 2. Albert Durer, the many-sided genius of painting and engraving (1471-1528); general account of his life and time. Thausing, Durer, Eaton's ed., Vol. I, pp. 1-61, 151-60; Vol. 2, pp. 285-9. Kugler, German, Flemish and Dutch Schools, Vol. 1, pp. 152-5, 1 70-1. Luebkk, Hist. Art, Vol. 2, pp. 471-9, 482-3, 487-8. Knight, Pict. Gal. Arts, Vol. 2, text pp. 379-82. Dohme, Early Masters, pp. 89-97, 102-7, 117-22, 125-31. Viardot, Hist. Painters, pp. 242-4 ; Wonders of European Art, pp. 83-6. Tytler, Old Masters, pp. 169-75. Cassell, Art Treasures, pp. 487-94, 496-5°3- Heaton, Hist. Painting., pp. 333-5, 340- 3; Flemish Art, pp. 57-64. Ruskin, Mod. Painters, Vol. 5, pp. 244-9. Fairholt, Rambles of an Archaeologist, pp. 187-99, 204-15, 223-8, 255-9. Woltmann, Holbein, pp. 454-60. Wornum, Epochs of Painting, pp. 281 -3, 286. 3. Albert Durer's various portraits of himself, both as an independent subject, and as introduced in his pictures; his portraits of other persons; Durer's Father; Durer's Mother; Agnes Frey (his Wife); Wohlgemuth (his Master) ; Charlemagne ; Sigismund; Emperor Maximilian I.; Parkheimer; Oswald Krell; an Old Man. Thausing, Durer, Eaton's ed. Vol 1, pp. 182-3; Vol. 2, pp. 92-4, 104 (himself); Vol. 1, pp. 45-9 (his parents); 92-93 (Wolgemuth); Vol. 2, pp. 109-11 (Charlemagne and Sigismund); 150-1 (Max. I.); Vol. 1, pp. 322-3 (Park- heimer); 190 (Krell). Kugi.er, German, Flemish and Dutch Schools, Vol. 1, pp. 155-7. Luebke, Hist. Art, Vol. 2, pp, 486-7; Mon. Art, Vol. I, PI. 85 a; text p. 243. Koehler, Hist. Art, pi. 224. Dohme, Early Masters, pp. 97-8. Viardot, Hist. Painters, p. 244; Won- ders of European Art, p. 86. Heaton, Flemish Art, p. 61 : Durer, 2d ed. pp. 218-20. Tytler, Old Masters, pp. 175-6. HISTORY OF PAINTING. 109 4. Albert Durer's paintings; Martyrdom of Ten Thousand Saints; Assumption of the Virgin; Adoration of the Trinity; Four Apostels or Four Temperaments. Kugler, German, Flemish and Dutch Schools, Vol. 1, pp. 158-62, 165-7, 169-75. Luebke, Hist. Art, Vol. 2, pp. 479-82, 485-86; Mon. Art, Vol. 2, pis. 83, 83A, text pp. 243-4. Jameson, Sacred Art, Vol. 1, p. 162. Knight, Pict. Gal. Arts, Vol. 2, II. pp. 372-3- Kokhi.er, Hist. Art, Pis. 224-5. Wornum, Epochs of Painting, pp. 284-5. Dohme, Early Masters, pp. 108-14, 122-4. Viardot, Hist. Painters, pp. 244-8; Wonders of European Art, pp. 86-95. Tyti.er, Old Masters, pp. 177-8. Cassell, Art Treasures, pp. 490-4. Heaton, Hist. Painting, pp. 336-9; Flemish Art, pp. 64, 67; Durer, 2d ed. pp. 220-49. Fairhoi.T, Rambles of an Archaeologist, pp. 215-8, 228-31. 5. Albert Durer's engravings; Knight, Death and the Devil; Melancholia; St. Jerome in his study; the Passion series; Triumphal Arch and Triumphal Car of Maximilian; the Apocalypse series. THAU3ING, Durer, Eaton's ed., Vol. 1, pp. 233, 24O-82, 223-7; Vol. 2, pp. I36- 51,219 31. KUGLER, German, Flemish and Dutch Schools, Vol. 1, pp. 156 8, 162-5, 167- 9, 171-2. Lukuke, Hist. Art, Vol. 2, pp. 483-5* 488 90; Mon. Art, Vol. 2, pi. 83; text pp. 241-3. JAMESON, Hist. Our Lord, Vol. 2, pp- 367 9; Legends of the Monastic Orders, p. 186; Sacred Art, Vol. 2, pp. 735-7. KOEHLER, Hist. Art, pis. 224-5. D'AGINCOURT, I list. Art, Vol. 3, pi. 165. DOHME, Early Masters, pp. 98-102, 114- 7» 124-5- Cassell, Art Treasuies, pp. 494-5. HEATON, Hist. Painting, pp. 339-40; Flemish Art, pp. 64-5. Rcskin, Mod. Painters.Vol. 5, pp. 252-4. FAIRHOI.T, Rambles of an Archieologist, pp. 219 21. TVTLER, Old Masters, pp, 178-80. 6. Lucas Cranach, the painter of the Reformation HISTORY OF PAINTING. (1472-1553); Fountain of Youth; Crucifixion at Weimar; Fall and Redemption; Christ and Children; Portrait of a Lady at Munich. Kugler, German, Flemish and Dutch Jameson, Sacred Art, Vol. 1, pp. 291-2, Schools, Vol. 1, pp. 188-94. Luebke, Hist. Art, Vol. 2, pp. 507-11; Mon. Art, Vol. 2, pi. 83, text pp. 246-7. Viardot, Hist. Painters, pp. 251-3 ; Wonders of European Art, pp. 80-3. 334-5; Hist. Our Lord, Vol. I, pp. 106-7. Heaton, Hist. Painting, pp. 353-6 ; Flemish Art, pp. 75-9. Koehler, Hist. Art, pi. 223. 7 . Hans Holbein, the Younger, the complement of Albert Durer (i 497-1 543); his life at Basle and London. Wornum, Epochs of Painting, pp. 492-4. Viardot, Hist. Painters, pp. 237-8; Kugler, German, Flemish and Dutch Schools, Vol. 1, pp. 198-201, 208-9, 212-6. Ltiebke, Hist. Art, Vol. 2, pp. 490-:; Mon. Art, Vol. 2, PI. 84, Text p. 245. Tyti.er, Old Masters, pp. 309 — 18. Wonders of European Art, pp. 76-7. Heaton, Hist. Painting, pp. 346-7, 349-50; Flemish Art, pp. 69-75. Woltmann, Holbein, pp. 60-9, 87-9, 104-5, * 10-2, 297-306, 322-32, 388-91 439-40, 45 l ~t> 1 - 8. Holbein's pictures of Bible subjects; the votive Madonna of Burgomaster Meyer; Meeting of Saul and Samuel; Crucifixion; Christ on the Mount of Olives. Kugler, German, Flemish and Dutch Schools, Vol. 1, pp. 202-7, 2ro - Luebke, Hist. Art, Vol. 2, pp. 491-6; Mon. Art, Vol. 2, pi. 84, text pp. 245-6. Koehler, Hist. Art, pi. 223. Viardot, Hist. Painters, pp. 237-8 ; Wonders of European Art, pp. 77-8. Tytler. Old Masters, pp. 319-21. Heaton, Hist. Painting, pp. 348-9 . Flemish Art, p. 74. Jameson, Legends of the Madonna, pp. 102-3. Woltmann, Holbein, pp. 31-7, 89-105, 123-6, 127-30, 132-7, 141-59- HISTORY OF PAINTING. Ill 9. Holbein as a portrait painter; portraits of Eras- mus; Sir Thomas Moore; Archbishop Warham; Martin Luther; Wife of Martin Luther; Ulrich Zwingli; Henry VIII.; Henry VIII. granting a Charter to the Barber Surgeons (the last work of the master.) Kugler, German, Flemish and Dutch Schools, Vol. I, pp. 204-5, 207-8, 209-12. Viardot, Hist. Painters, pp. 238-40 ; Wonders of European Art, pp. 76-7, 79. Tytler, Old Masters, pp. 323-30. Wai.FORD, Old and New London, Vol. 2, pp. 233-4. Luebke, Hist. Art, Vol. 2, pp. 496-9; Mon. Art, Vol. 2, pi. 84, text p. 246. Heaton, Hist. Painting, pp. 350-1. Woltmann, Holbein, pp. 69-81, 1 13— 7, 176-90, 196-7, 309-22, 332-4, 339-44, 359-60, 391-405, 422-6, 432-8, 441-8. Blanc, Gram. Painting, pp. 234-5, 262-9. 10. Holbein as a master of Engraving; Triumph of Riches; Triumph of Poverty; Dance of Death, a favorite subject of his time. Wornum, Holbein, pp. 180-8. Douce, Dance of Death, Bohn ed. KUGLER, German, Flemish and Dutch Schools, Vol. I, pp. 212 3, 217-8. Luebke, Hist. Art, Vol. 2, pp. 499-500; Mon. Art, Vol. 2, pi. 84, text pp. 245 6. Tytler, Old Masters, pp. 321-3, 330-3. Viardot, Hist. Painters, pp. 240-1. Heaton, Hist. Painting, p. 351. Woltmann, Holbein, pp. 130-3, 137-40, 190-6, 204-32, 236-^4, 245-86, 348-56, 373 87- Knight, London, Vol. 6, pp. 240 1. HISTORY OF PAINTING. XVII.— LATER PAINTERS OF GERMANY. [l8oO- 1 850 A. D.] i. Peter von Cornelius, the representative of modern German idealism, (1 784-1 867); colossal frescoes in the Glyptothek, the Pinakothek and the church of St. Ludwig, Munich; Four Riders of the Apocalypse in the Royal Mausoleum, Berlin. Luebke, Hist. Art, Vol. 2, pp. 616-7; Tytler, Mod. Painters, pp. 198-202. Mon. Art, Vol. 2, pis. 106, 119, text Clement, Artists 19th Cent., Vol. 1, pp. PP- 2 93> 3 r 5- I 5 6 ~%- Viardot, Hist. Painters, pp. 266. Rossetti, Fine Art, pp. 122-3. Jameson, Sketches of Art, pp. 197-200. 2. Frie,drich Overbeck, the chief of the revivalists of German art (i 789-1 869); Triumph of Religion in the Arts, in the Stadel Institute, Frankfort; Entrance of Christ into Jerusalem, in Lubeck; fresco of the Vision of St. Francis, in the Church of St. Agnes, Assisi. Luebke, Hist. Art, Vol. 2, p. 614-5; Tytler, Mod. Painters, pp. 196-8. Mon. Art, Vol. 2, pis. 106, 119, text Clement, Artists 19th Cent., Vol. 2, pp. pp. 293, 315. 157-9. Viardot, Hist. Painters, pp. 265-6. HISTORY OF PAINTING. "3 3. Wilhelm von Kaulbach, painter of classic and historic allegory (1 805-1 874); frescoes in the New Museum, Berlin; Apollo and the Muses in the Odeon, Munich; the new method of Stereochrome or Water- Glass. Luebke, Hist. Art, Vol. 2, pp. 618-9; Viardot, Hist. Painters, pp. 267-8. Mon. Art, Vol. 2, pi. 125, text pp. 323-4- Clement, Artists, 19th Cent, Vol. 2, pp. 19-20. Benjamin, Contemporary Art, in Europe, pp. 1 15-7. Rossetti, Fine Art, p. 123. O'Driscoll, Maclise, app. (Water-glass.) XVIII.— THE GREAT PAINTERS OF SPAIN. VELASQUEZ AND MURILLO. [160O-I680 A. I).] I. Limits of Moorish art; influence of the Inquisition on painting in Spain. Stotmkrt, French and Spanish Painters, Jarves, Art Hints, pp. 272-4, 275-6; pp. 2-4. Art Thoughts, pp. 1 77-8. Hi a ion, Hist. Painting, pp. 268-9, LUEBKE, Hist. Art, Vol. 2. pp. 533-4. 272-3. Stir'g Maxwell, Artists ofSpain(ed. '91) n 4 HISTORY OF PAINTING. 2. The early history of painting in Spain; the four schools: Castile, Andalusia, Valencia and Aragon. Luebke, Hist. Art, Vol. 2, pp. 533-4. Viardot, Hist. Painters, pp. 192-4. Wonders of European Art, pp. 1-6. Stothert, French and Spanish Painters, pp. 1-2, 4-7. Heaton, Hist. Painting, pp. 269-72, 277-9. Jarves, Art Hints, pp. 269-74, 276-7; Art Thoughts, pp. 178-9. Knight, Pict. Gal. Arts, Vol. 2, p. 386. 3. Some of the early masters in Spain; Luis de Morales (i 509-1 586); Francisco de Herrera (1 576-1656); Francisco Zurbaran (1 598-1662). Gerard Smith, French and Spanish Baxley, Spain, Vol. 2, pp. 38-55. Painters, pp. 24, 50, 54. Luebke, Hist. Art, Vol. 2, pp. 534-5; Mon. Art, Vol. 2, pi. 97, text p. 277. Viardot, Hist. Painters, pp. 202-3; Wonders of European Art, pp. 23-5. Heaton, Hist. Painting, pp. 284-5, 289-91. Stothert, French and Spanish Painters, PP- 34-7- Stir'g Maxwell, Artists of Spain (ed. '91) 4. Josef de Ribera (II Spagnoletto), the Spaniard in Italy (1585-1609); Deposition from the Cross; Com- munion of the Apostles; Martyrdom of St. Bartholomew. Luebke, Hist. Art, Vol. 2, p. 523; Mon. Art, Vol. 2, pi. 94, text p. 272. Knight, Pict. Gal. Arts, Vol. 2, II. p. 380. Viardot, Hist. Painters, pp. 196-8 ; Wonders of European Art. pp. 9-17. Koehler, Hist. Art, PI. 241. • Baxley, Spain, Vol. 2, pp. 323-9. Stothert, French and Spanish Paint- ers, pp. 23-5. Jameson, Hist. Our Lord, Vol. 1, p. 279. HISTORY OF PAINTING. 115 5. Diego Velasquez, the greatest master of the school of Castile (i 599-1669); his life, character and style. Luebke, Hist. Art, Vol. 2, p. 535. Heaton, Hist. Painting, pp. 291-5, Knight, Pic. Gal. Arts, Vol. 2, text p. 297-9. 387. Jarves, Art Thoughts, p. 179; Art Hints,, Viardot, Hist. Painters, pp. 220-2 ; p. 278. Wonders of European Art, pp. 50-5, Baxley, Spain, Vol. 2, pp. 296-7, 68 9. 3 l6 -7> 322. STOTHERT, French and Spanish Paint- Shedd, Famous Painters, pp. 162-4. ers, pp. 37-41, 50-1. 54. Tytler, Old Masters, pp. 260-7, 269-75. Wornum, Epochs of Painting, pp. 387-9. Stir'g Maxwell, Artistsof Spain(ed.'9i) 6. Characteristic works of Velasquez: Spinners; Forge of Vulcan; Surrender of Breda; Drinkers; Maids of Honor (the "Meninas"); Water Carrier; Boar Hunt in the National Gallery, London; the Forge of Vulcan. LUEBKE, Hist. Art, Vol. 2, pp. 525-6. STOTHERT, French and Spanish Paint Viardot, Hist. Painters, pp. 223-6; ers, pp. 43, 46-8, 51-4. Wonders of European Art, pp. 59 67. BAXLEY, Spain, Vol. 2, pp. 306-12. Heaton, Hist. Painting, pp. 295-6 KoEHLER, Hist. Art, PL 241. Tytler, Old Masters, pp. 271 -2, 278 80. Stirling, Velasquez and his works. 7. Velasquez' religious pictures, especially his Crucifixion. Jameson, legends of the Madonna, pp. Stotiikrt, French and Spanish Painter- 2 3 _ 4> 49; Hist. Our Lord, Vol. 2, pp. p. 44. 82, 205-6. Baxley, Spain, Vol. 2, pp. 295-6,312-6 Viardot, Hist. Painters, p. 223; Won- Taint., Florence and Venice, p. 360. ders of European Art, pp. 58 9. KoEHLER, Hist. Art, pi. 242. Tytler, Old. Masters, pp. 267-8. 116 HISTORY OF PAINTING. 8. Velasquez as a portrait painter; portrait of his Wife; portraits and portrait groups of the King, Philip IV; Ferdinand de Medici and his Consort; Menippus; y£sop; Pope Innocent X.; the Laughing Idiot; the Laughing Peasant Boy. Luebke, Mon. Art, Vol. 2, pi. 97, text p. 277. Yiardot, Hist. Painters, pp. 222-3; Won- ders of European Art, pp. 56-8. Heaton, Hist. Painting, pp. 294-5. Stothert, French and Spanish Painters, PP- 41-3. 48-50. Baxley, Spain, Vol. 2, pp. 297-305. Tytler, Old Masters, pp. 268-9, 275-8. Koehler, Hist. Art, pis. 241-5. 9. Bartolome Esteban Murillo, the great master of the Andalusian school (161 8-1682); his life, character and style. Blanc, Painters of All Nations, Eng. ed., pp. 1-16. Wornum, Epochs of Painting, pp. 390-3. Luebke, Hist. Art, Vol. 2, pp. 536-9. Knight, Pict. Gal. Arts. Vol. 2, text p. 387. Viardot, Hist. Painters, pp. 204-6; Wonders of European Art, pp. 25-9. Sweetser, Murillo, pp. 7-21, 30-6, 41-3, 55-7, 62-7, 95-1 1 1. Tytlep, Old Masters, pp. 280-4. Heaton, Hist. Painting, pp. 299-303, 305-6. Stothert, French and Spanish Painters, pp. 55-60. Baxley, Spain, Vol. 2, pp. 26, 278-80, 284. Jarves, Art Hints, pp. 280-1; Art Thoughts, pp. 177-9. Shedd, Famous Painters, pp. 192-5. Hall, Gems of European Art, Vol. i, pp. 31-6. 10. Murillo's religious pictures; St. Anthony of Padua; St. Elizabeth of Hungary; St. Francis and the Paralytic; Prodigal Son; Apotheosis of the Virgin; Madonna pictures, etc. HISTORY OF PAINTING. lif Luebke, Hist. Art, Vol. 2, pp. 539-40; Mon. Art, Vol. 2, pi. 97, text pp. 277-8. Knight, Pict. Gal. Arts, Vol. 2, H. p. 381- Jameson, Hist. Our Lord, Vol. I, pp. 368-9; Vol. 2, pp. 380-1; Legends of the Madonna, pp. 36, 46-7, 40-50, 120; Sacred Art, Vol. 1, pp. 127-8, 312-3, 361-2; Vol. 2, pp. 676-7. Viardot, Hist. Painters, pp. 206-11; Wonders of European Art, pp. 29-42. Sweetser, Murillo, pp. 38-41, 70-7, 80- 5, 88-91, 94. Heaton, Hist. Painting, pp. 303-4. Stothert, French and Spanish Painters, pp. 58-9, 61. Baxley, Spain, Vol. 2, pp. 11^26, 30-1, 33-6, 274-7, 280-4, 285-94. Taine, Rome and Naples, p. 163. Tytler, Old Masters, pp. 284-5. Shedd, Famous Painters, p. 194. Koehler, Hist. Art, pi. 242. Hall, Gems of European Art, pi. 4. 11. Murillo's pictures of beggar children: Playing at Dice j Eating Grapes; Counting Money, Beggar Boy, etc. I jebke, Mon. Art, Vol. 2, pi. 97, text Jarves, Art Hints, pp. 281-2. p. 277. Tytler, Old Masters, p. 285. Knight, Pict. Gal. Arts, 11. p. 381. KoehLer, Hist. Art, pis. 241-2. Viardot, Hist. Painters, p. 211. Hail, Gems of European Art, pp. Sweetser, Murillo, pp. 105-8. 29-30. Bl8 HISTORY OF PAINTING. XIX.— THE PRINCIPAL FRENCH PAINTERS, THE EARLY PERIOD. [l600- I 7OO A. D. ] I. General outline of the early history of art in France; architecture, book illumination and glass painting. Knight, Pict. Gal. Arts, Vol. 2, text P- 395- Stephens, Flemish and French Pictures, pp. 181-94. Gerard Smith, Spanish and French Painters, pp. 93-100. Luebke, Hist. Art, Vol. 2, p. 577. Viardot, Hist. Painters, pp. 369-72 ; Wonders of European Art, pp 232-41. Stothert, French and Spanish Painters, pp. 75-100. 2. Nicolas Poussin, the first great master of painting in France (1593-1665); his Roman training; persona! characteristics. Luebke, Hist, Art, Vol. 2, pp. 562-3, 577- Viardot, Hist. Painters, pp. 372-3; Wonders of European Art, pp. 241-3, 249. Heaton, Hist. Painting, pp. 262-3. Stothert, French and Spanish Paint- ers, pp. 100-4. Shedd, Famous Painters, pp. 159-60. Tytler, Old Masters, pp. 286-92. Stranahan, Hist. French Painting, pp. 35-4*- Jarves, Art Thoughts, pp. 233-5; Art Studies, p. 127. Ruskin, Mod. Painters, Vol. 3, p. 330 ; Vol. 5, pp. 261-3. Dohme, Early Masters, pp. 486-507, 509-10. Eclectic Magazine, March 1853, "Nico- las Poussin." Reynolds, Discourses on Art, Vol. I, PP, 357, 445- Gerard Smith, Spanish and French Painters, pp. 1 15-22. HISTORY OF PAINTING. 119 3. Poussin's study and use of the landscape; Shep- herds of Arcadia; Scene near Athens; Heroic landscapes. Viardot, Hist. Painters, p. 375; Won- Dohme, Early Masters, pp. 508-9. ders of European Art, p. 246, Koehler, Hist. Art, pi. 244. Ruskin, Mod. Painters. Vol. 1, p. 88. Hall, Gems of European Art, Vol. 1, pi. Blanc, Gram, of Painting, pp. 23-4. 23, pp. 81-2. Taine, Rome and Naples, pp. 197,222-3. Tytler, Old Masters, pp. 292-6. 4. Poussin's religious pictures; Ecstasy of St. Paul; sacred allegories of the Four Seasons, viz: Adam and Eve in Paradise, Ruth Gleaning, Return of the Spies and the Deluge; Moses at the Well. Luebke, Mon. Art, Vol. 2, pi. 98, text Viardot, Hist. Painters, pp. 373-5; pp. 278-9. Wonders of European Art, pp. 244-5. Knight, Pict. Gal. Arts, Vol. 2, II. p. Stothert, French and Spanish Painters, 377. p. 104. Jameson, Works, see Index " Poussin." Dohme, Early Masters, pp. 507-8. 5. Poussin's historical pictures; Rape of the Sabines; Will of Eudamidas; Death of Germanicus. Viardot, Wonders of European Art, Blanc, Grammar of Painting, p. 43. p. 245, Dohme, Early Masters, p. 508. 6. Poussin's mythological and allegorical pictures; Triumph of Flora; Triumph of Neptune; Death of Eury- dice; Triumph of Truth. HISTORY OF PAINTING. Luebke, Mon. Art, Vol. 2, PI. ioi, text p. 285. Viardot, Wonders of European Art, pp. 245-6- Ruskin, Mod. Painters, Vol 3, p. 330. Dohme, Early Masters, p. 508. Koehler, Hist. Art, PL 243. 7. Claude Lorrain [Gellee], the first master of landscape proper (i 600-1 682); his industrious life and faithful study of nature on the Campagna; French land- scape painting in general. Stranahan, Hist. French Painting, pp. Tytler, Old Masters, pp. 290-8. 42-46; 229-32. Luebke, Hist. Art, Vol. 2, pp. 578-9. Knight, Pict. Gal. Arts, Vol. 2, text p. 383. Heaton, Hist. Painting, pp. 263-4. Viardot, Hist. Painters, pp. 375-6 ; Wonders of European Art, pp. 249-50. Strothert, French and Spanish Paint- ers, pp. 105-6. Sweetser, Lorrain, pp. 7-44, 66-74. 91-100, 107-12, 119-34, 137-40. Cassell, Art Treasures, pp. 384-7. Jarves, Art Studies, pp. 236-7. 8. Select examples of Lorrain's landscape painting: Mill in the Doria Palace, Rome; Marriage of Isaac and Rebecca; Worship of the Golden Calf; Hagar in the Desert; Noon; Evening; Study of Trees. Luebke, Mon. Art, Vol. 2, pi, 101, text p. 285. Viardot, Hist. Painters, pp. 376-8 ; Wonders of European Art, pp. 250-6. Koehler, Hist, Art, pi. 243. Tytler, Old Masters, pp. 298-303. Lanzi, Hist. Painting, Vol. 2, pp. 247-8. Hare, Walks in Rome, p. 52. Sweetser, Lorrain, pp. 44-52, 74-5, 78-81, 83-6, 100-6. Ruskin, Mod. Painters, Vol. 1, preface, pp. 38-40, pp. 191-2, 205-6, 274-7 ; Vol. 5, pp. 258-61. Cassell, Art Treasures, pp. 387-96. Hall, Gems of European Art, Vol. 2, pi. 26, pp. 67-8. HISTORY OF PAINTING. 9. Select examples of Lorrain's marine pieces; Embarkation of the Queen of Sheba; Landing of Cleopa- tra; Seaport at Sunset; Morning. Viardot, Hist. Painters, pp. 375-8 ; Sweetser, Lorrain, pp. 75, 81-3, 86-8, Wonders of European Art, pp. 253-4. x 34-7- RusKlN, Mod. Painters, Vol. 5, p. 259. Cassell, Art Treasures, pp. 393-4. 10. Charles Lebrun, first President of the Royal Academy of France (i 619-1690); his peculiar theory and style; series of paintings of the Battles of Alexander; the Family of Darius at the Feet of Alexander. STRANAHAN, Hist French Painting, pp. Heaton, Hist. Painting, pp. 473-4. 47-52. Stephens, Flemish and French Pictures, j^uebke, Hist. Art, Vol. 2, p. 563; Mon. pp. 196 7. Art, Vol. 2, pi. 98, text p. 279. STOTHERT, French and Spanish Painters, Jameson, Works, see Index, " Lebrun," pp. 91-5. Knight, Pict. Gal. Arts, Vol. 2, text DoHME, Early Masters, pp. 511-26. p. 395. Koehler, Hist. Art, pi. 243. Viardot, Hist. Painters, pp. 379-80; Tytler, Old Masters, pp. 303-5. Wonders of European Art, pp. 261-3. 11. Eustache Lesueur, painter of Scenes from mon- astic life (161 7—1655) ; History of St. Bruno; Vision of St. Bernard; Preaching of St. Paul at Ephesus; Descent from the Cross. STRANAHAN, Hist. French Painting, pp. KNIGHT, Pict. Gal. Arts, Vol. 2, Text p. 48-9, 52-7. 395. Lleiikk, Hist. Art, Vol. 2, p. 563; Mon. Viardot, Hist. Painters, pp. 378-9; Art, Vol. 2, PI. 98, Text p. 279. Wonders of European Art, pp. 25860 Jameson, Works, see Index, "Lesueur." Heaton, Hist. Painting, p. 473. HISTORY OF PAINTING. STOTHERT, French and Spanish Painters, pp. 87-91. Jarves, Art Thoughts, pp. 233, 235-6. Stephens, Flemish and French Pictures, p. 197. Dohme, Early Masters, pp. 513-4. Bi.anc, Grammar of painting, pp. 43, 60-1. Koehler, Hist. Art, PI. 242. XX— THE PRINCIPAL FRENCH PAINTERS. LATER PERIOD. [1700-1850 A. D.] i. French Painting in the eighteenth century. Antoine Watteau, painter of fashionable life (1684-1721); Embarkation for the Island of Cytheria; Fete Champet.re, in the Dulwich gallery; Elysian Fields. Stranahan, Hist. French Painting, pp. 73-89; 90-6. LUEBKE, Hist. Art, Vol. 2, p. 574. VlARDOT, Hist. Painters, p. 282; Won- ders of European Art, pp. 267-8. Stothert, French and Spanish Painters, pp. 1 10-4. Heaton, Hist. Painting, pp. 474-5. Shedd, Famous Painters, pp. 215-6. Tyti.er, Old Masters, pp. 305-7. Koehi.ek, Hist. Art, pi. 243. Hail, Gems of European Art, Vol. I, pi. I. 2. Claude Joseph Vernet, the best marine painter of the French School (i 714-1789); Seaports of France, Nos. HISTORY OF PAINTING. 123 596 and 615 in the Louvre; View of St. Angelo, Rome, in the National gallery. Stranahan, Hist. French Painting, pp. Viardot, Hist. Painters, p. 384; Won- 109-n. ders of European Art, pp. 271-2. Blanc, Painters of All Nations, pp. 97- Stothert, French and Spanish Painters, 110. pp. 134-8. Luebke, Hist. Art, Vol. 2, p. 580. Hf.aton, Hist. Painting, p. 477. 3. Jean Baptiste Greuze, painter of domestic and rural life (i 726-1805); the Paralytic with his Children; the Son's Punishment; the Children's Welcome to the Returning Nurse; Broken Pitcher; Village Bride; Paternal Curse. Francois Boucher; his style the most perfect embodi- ment of French taste in the eighteenth century (1703-70); the Feast of the Gods; Birth and Death of Adonis; the Forge of Vulcan. Stranahan, Hist. French Painting, pp. 1 14-18 (Greuze); 102-5 (Boucher). Luebke, Hist. Art, Vol. 2, p. 574. Viardot, Hist. Painters, pp. 383, 385, Wonders of European Art, pp. 272-4. Tytler, Old Masters, pp. 307-8. Strothert, French and Spanish Paint- ers, pp. 119-23. Koehi.er, Hist. Art, pi. 244. American Akt Review, 1880, p. 313. Blanc, Painters of All Nations, pp. 81- 94 (Boucher), 65-78 (Valentin). 4. Jacques Louis David (i 749-1825); revival of the classic style in painting; Oath of the Horatii; Leoni- das at Thermopylae; Sabine Women; Death of Socrates; Assassination of Lepelletier; Crowning of Napoleon and Josephine; portrait of Pope Pius VI I, 124 HISTORY OF PAINTING. Stranahan, Hist. French Painting, pp. 138-48. Luebke, Hist. Art, Vol. 2, pp. 612-3 '■> Mon. Art. Vol. 2, pi. 104, text p. 291. Viardot, Hist. Painters, pp. 386-7 ; Wonders of European Art, pp. 275- 82. Koehler, Hist. Art, PI. 246. Stothert, French aud Spanish Paint- ers, pp. 126-34. Heaton, Hist. Painting, pp. 477-81. Tytler, Mod. Painters, pp. 157-60. Knight, Pic. Gal. Arts, Vol. 2, II. p. 393, text p. 395. Stephens, French and Flemish Pictures, p. 216. 5. Pierre Paul Prud'hon, master of the graceful style of his time (i 758-1823); Justice and Divine Venge- ance Pursuing Crime; Assumption of the Virgin and the Dying Christ, in the Louvre Stranahan, Hist. French Painting, pp. 150-4. Viardot, Hist. Painters, pp. 389-90; Wonders of European Art, pp. 286-90. Stothert, French and Spanish Painters, pp, 154-8. Stephens, Flemish and French Pictures, pp. 217-22. 6. Gros and Ingres, the greatest pupils of David: Antoine Jean Gros (i 771-1835); the Pest at Jaffa; the Field of Eylau; Aboukir. Jean Auguste Dominique Ingres (1 781 -1867); Fran- cisca de Rimini; Stratonice; La Source; Apotheosis of Homer, in the Louvre; Henry IV., Playing with his Children. Stranahan, Hist. French Painting, pp. 161-67 (Gros.); 166-71 (Ingres.) Luebke, Hist. Art, Vol. 2, pp. 612-3; Mon. Art, Vol. 2, pi. 129, text pp. 331-2. Viardot, Hist. Painters, pp. 388-9, 391-2; Wonders of European Art, pp. 297-8. Tytler, Mod. Painters, pp. 161-5. Rossetti, Fine Art, pp. 102-4. Clement, Artists, 19th Cent., Vol. 1. pp, 379 « 2 - Stothert, French and Spanish Painters, pp 196-200. Stephens, Flemish and French Pictures, pp. 246-8. Hamerto.n, Contemporary French Paint- ers, pp. 14-18. iilSTORY OF PAINTING. 125 7. Emile Jean Horace Vernet, the battle painter of three wars (1 789-1 863); Battle of Fontenoy; Battle of Montmirail; Defence of the Barrier of Clichy; Battle of the Alma; Taking of Warsaw. Stranahan, Hist. French Painting, pp. 176-82. Luebke, Hist. Art, Vol. 2, pp. 629-30; Mon. Art, Vol. 2, pi. 129, text pp. 333-4- Viardot, Hist. Painters, p. 392; Won- ders of European Art, pp. 298-301. Tytler, Mod. Painters, pp. 166-70. Clement, Artists 19th Cent., Vol. 2, pp. 316-20. Rossetti, Fine Art, pp. 104-5. Stothebt, French and Spanish Painters, pp. 161-6. Stephens, Flemish and French Pictures, pp. 241-6. Rees, Vcmct, pp. 1-52. WORNUM, Epochs of Painting, pp. 488-90. Hamerton, Contemporary Painters, pp. 29-33. 8. Jean Louis Theodore Andre Gericault, the oppo- nent of the classicists and the first of the Romantic School (1790- 1 824); Raft of the Medusa; Hunter Wounded; Derby d'Epsom. Luebke, Hist. Art, Vol. 2, p. 628. VlARDOT, Hist. Painters, p. 391; Won- ders of European Art, pp. 290-2. STOTHERT, French and Spanish Painters, pp. 150 4. Tyti.er, Mod. Painters, pp. 165-6. STEPHENS, Flemish and French Pictures, pp. 224-6. STRANAHAN, Hist. French Painting; see Index. 9. Eugene Delacroix, the greatest of the Romantic School (1799- 1 863); Dante and Virgil; Tasso in a Mad- house; Massacre of Scio; the Women of Algiers; the Fanatics of Tangiers. 126 HISTORY OF PAINTING. Stranahan, Hist. French Painting, pp. 198-207. Luebke, Hist. Art, Vol. 2, p. 629; Mon. Art, Vol. 2, pi. 130, text p. 335. VlARDOT, Hist. Painters, p. 394; Won- ders of European Art, p. 298. Rossetti, Fine Art, pp. 108-11. Clement, Artists 19th Cent., Vol. 1, pp. 194-6. Stothert, French and Spanish Painters, pp. 182-92. Stephens, Flemish and French Pictures, pp. 233-6. iOc Ary Scheffer (i 795-1 858); St e Augustine and his Mother; Magdalene; Dante and Beatrice; Christ the Comforter; Christ the Judge; Temptation of Christ. Stranahan, Hist. French Painting, pp. 209-13. Luebke, Hist. Art, Vol. 2, p. 628-9; Mon. Art, Vol. 2, pi. 129, text pp. 332-3- Clement, Artists, 19th Cent, Vol. 2, pp. 237-9- Tytler, Mod. Painters, pp. 178-90. Viardot, Hist. Painters, p. 393; Won- ders of European Art, p. 298. Stephens, Flemish and French Pic- tures, pp. 232-3. Stothert, French and Spanish Painters, pp. 178-82. 11. Paul Delaroche, the painter of recent history (1797-1856); Assassination of the Duke of Guise; Execu- tion of Lady Jane Grey; Charles I. in the Guard Room; Princes in the Tower; Death of Queen Elizabeth; the Hemicycle series, in the Academy of fine Arts, Paris. Stranahan, Hist. French Painting, pp. 214-18. Lueeke, Hist. Art, Vol. 2, p. 630; Mon. Art, Vol. 2, pis. 129-30, text pp. 334-5. Viardot, Hist. Painters, p. 394; Won- ders of European Art, p. 301. Clement, Artists, 19th Cent., Vol. 1, pp. 197-8. Tytler, Mod. Painters, pp. 170-7. Stothert, French and Spanish Painters, pp. 167-83. Stephens, Flemish and French Pictures, pp. 228-32. Rees, Vernet, pp. 57-87, and analysis of Hemicycle, pp. I-XXX. HISTORY OF PAINTING. 127 1 2. Louis Leopold Robert ( 1 794-1 835) : Reapers in the Pontine Marshes; Madonna del Arco; Departure of the Fishermen. Stranahan, Hist. French Painting, pp. Stothert, French and Spanish Painters, 218-20. pp. 173-8. LUEBKE, Hist. Art, Vol. 2, p. 630; Mon. Stephens, Flemish and French Pictures, Art, Vol. 2, pi. 129, text p. 333. pp. 227-8. Viardot, Hist. Painters, p. 393; Won- Hail, Gems of European Art, Vol. I, pi. ders of European Art, pp. 292-6. 3, pp. 7-12. 13. Alexander Gabriel Decamps, the first of the Oriental school (1803- 1860); Defeat of the Cimbri; Watch-Guard at Smyrna; Turkish Guard-Room; the Monkey Experts. Stranahan, Hist. French Painting, pp. CLEMENT, Artists, 19th Cent, Vol. 1, 222 8. pp. 188-9. LUEBKE, Hist. Art, Vol. 2, p. 630; Mon. STOTHERT, French and Spanish Painters, Art, Vol. 2, pi. 130, text pp. 335-6. pp. 200 4. Viardot, Hist. Painters, p. 395; Won- Stephens, Flemish and French Pictures, ders of European Art, p. 301. pp. 237-41. ROSSETTI, Fine Art, p. III. 14. Constant Troyon, animal and landscape painter of no school ( 1 810-1865); Oxen going to Work; Valley of the Toque; Ferry Boat. Jean Baptiste Camille Corot, the greatest landscape painter of the modern French school (i 796-1 875); Homer and the Shepherds; Democritus among the Abderites. 128 HISTORY OF PAINTING. Pierre Etienne Theodore Rousseau, landscape painter (1812-1867); Descent of the Cows in Autumn; the Alley of Chestnut Trees. Jean Francois Millet, the master of the highest senti- ment in rustic life (1 814-1875); the Sower; the Reaper; the Gleaners; the Potato Gatherers; the Angelus; the Water-Carrier. Straxahan, Hist. French Painting, pp. Tytler, Mod. Painters, pp. 191-3. 257-61 (Troyon); 234-40 (Corot); 242-8 Stothert, French and Spanish Painters, (Rousseau); 364-76 (Millet). p. 221. LUEBKE, Hist. Art, Vol. 2, p. 632; Mon. Stephens, French and Flemish Pictures, Art, Vol. 2, pi. 135, text p. 344. pp. 248-52. Viardot, Hist. Painters, pp. 393-6. Benjamin, Contemporary Art in Europe, Clement, Artists, 19th Cent., Vol. 1, pp. pp. 85-9, 90 1, 93-4. 158—62; Vol. 2, pp. 117-20, 226, 301-2. XXI. THE PRINCIPAL ENGLISH PAINTERS. [1 700-1873 A. D.J 1. The early history of painting in England; no native school but considerable demand at court for por- traits; foreign artists, Dutch, Flemish, Italian and French were in royal service from Henry VII., till George I.; among the many were Holbein, Van Dyke and Rubens, and finally Peter Lely and Godfrey Kneller became knighted citizens. HISTORY OF PAINTING. 129 Wilmot-Buxton, English Painters, pp. 1-35- Chesneau, English School of Painting, Eng. ed., Introduction. Knight, Pict. Gal. Arts, Vol. 2, text pp. 395. 398- Heaton, Hist. Painting, pp. 490-5. Viardot, Hist. Painters, pp. 397-402. Knight, Hist. England, Vol. 5, pp. 461-3; Vol. 7, pp. 65-72. Reynolds, Discourses on Art, Vol. 1, Intro, pp. 2-26. 2. William Hogarth, the founder of the English School and master of satire ( 1 697-1 764) ; his independent spirit and peculiar style of painting. Chesneau, English School of Painting, Eng. ed , pp. 1-12, 319-20. WlLMOT-BuXTON, Eng. Painters, pp. 36 40. Wokni'M, Epochs of Painting, pp. 507-9. LUEBKE, Hist. Art, Vol. 2, p. 574. Knight, Pict. Gal. Arts, Vol. 2, text p. 398. Viardot, Hist. Painters, pp. 402 4. Cassell, Art Treasures, pp. no 18, 127- 34- Heaton, Hist. Painting, pp. 495-500. Rossetti, Fine Art, pp. 8-9, 146, 149. Parton, Caricature, pp. 133-46. Wright, Hist. Caricature, pp. 434-5 Trusler, Hogarth's Works, Vol. I, pp. I-19. Long, Art Laws, pp. 143-5. Dobson, Hogarth, pp. 7-18, 85-6, 93- 109. Knight, Hist. England, Vol. 5, pp. 463-6. 3. Hogarth's several series of works illustrative of the evils of his time; Marriage a la Mode; Rake's Pro- gress; Idle and Industrious Apprentice, etc. Chesneau, Kng School of Painting, pp. 12 20. Knight, Pict. Gal. Arts, Vol. 2, II. p. 39 6 - VlARDOT, I list. Painters, p. 404. Cassei.I., Art Treasures, pp. 118 9, 126-7. Wilmot-Buxton, Eng. Painters. Trusi.f.k, Hogarth's Works, Vol. 1, pp. 1-128; Vol. 2, pp. 133-47, 168-75. Wright, Hist. Caricature, pp. 435-40. Dobson, Hogarth, pp. 19-29,389,47- 60, 65 7, 79 83, 91 3. Knight, Hist. England, Vol. 5, pp. 470 2. 13° HISTORY OF PAINTING. 4. Hogarth's single pieces; March of the Guards to Finchley; Enraged Musician; Sleeping Congregation; Gin Lane; Beer Street, etc. Luebke, Mori. Art, Vol. 2, pi. 98, text p. 280. Jameson, Sacred Art, Vol. 1, pp. 222-3. Knight, Pict. Gal. Arts, Vol. 2, II. p. 39 6 - Viardot, Hist. Painters, p. 404. Cassell, Art Treasures, II. pp. n 7-8, Text pp. 119 23. Parton, Caricature, pp. 134, 138, 142-6. Hamerton, Contemp. French Painters, pp. 45-8. Wright, Hist. Caricature, pp. 440-5. Trusler, Hogarth's Works, Vol. 1, pp. 129-32; Vol. 2, pp. 147-66, 175-201. Dobson, Hogarth, pp. 29-30, 42-6, 63-5, 69-71, 85-90. Knight, Hist. England, Vol. 5, pp. 468-70, 472-3. Koehler, Hist. Art, pi. 245. Bicker's ed. , Examples of Modern Brit- ish Art, PI. 1. Wilmot-Buxton, Eng. Painters, p. 42. 5. Richard Wilson, the first English painter attempt- ing landscape (17 13-1782); Ruins of the Villa Maecenas at Tivoli and Destruction of Niobe's Children, in the National Gallery; Landscape No. 215 (Dulwich Gallery). Chesneau, Eg, School of Painting, pp. 109-14. Luebke, Mon. Art, Vol. 2, pi. 136, text pp. 345-6. Knight, Pict. Gal. Arts, Vol. 2, text p. 399- Heaton, Hist. Painting, pp. 508-10. Viardot, Hist, Painters, p. 405. Wornl.m, Epochs of Painting, pp. 516-17. Cassell, Art Treasures, pp. 99-110. Reynolds, Discourses on Art, Vol. 2, pp. 89-90. Tytler, Mod. Painters, pp. 37-41. Bicker's ed. , Examples of Modern British Art, pi. 2. 6. Joshua Reynolds, the first president of the Royal Academy and reformer of English portraiture (1725-1792); his method of study and his discourses on art; the rise of the Royal Academy. HISTORY OF PAINTING. 131 Cook, Art in England, pp. 55-103 Cassell, Art Treasures, pp. 51-5, 58-61, (Royal Academy). 66-7. Chesneau, Eng. School of Painting, pp. Wor.num, Epochs of Painting, pp. 509-12. 20 1 (foot note). Heaton, Hist. Painting, pp. 501-5. Conway, Gainsborough and Reynolds. SWEETSER, Reynolds. LUEBKE, Hist. Art, Vol. 2, p. 564. Long, Art Laws, pp. 148-52. Knight, Pict. Gal. Arts, Vol. 2, text p. Rossetti, Fine Art, p. 152. 358. Tytler, Mod. Painters, pp. 13-26. Viardot, Hist. Painters, pp. 406-8. 7. Portraits by Reynolds: Miss Kemble; Mrs. Sid- dons as the Tragic Muse; Admiral Kepple; Samuel Johnson, etc. Viardot, Hist. Painters, p. 408. Sweetskr, Reynolds. Cassell, Art Treasures, pp. 55-58. Tyti.er Mod. Painters, pp. 19-20. 8. Historic and poetic paintings: Macbeth and the Witches; Hercules strangling the Serpent; Strawberry Girl; Robinetta; " Nelly O'Brien." Chesneau, Eng. School of Painting, pp, Cassell, Art Treasures, pp. 55-8, 61 -5. 24-30. Hall, Gems of European Art, Vol. I, LUEBKE, Mon. Art, Vol. 2, pi. 98, text pp. 1 13-18. p. 279 KoEHLER, Hist. Art, pi. 245. Jameson, Sacred Art, Vol 2, p. 592. jHCKER's in., Examples of Modern KNIGHT, Pict. Gal. Arts. Vol. 2, II. p. British Art, pi. 3. 397. SWEETSER, Reynolds. Viardot, Hist. Painters, p. 408 9. Thomas Gainsborough, the father of English landscape, bravely ignoring the Italian style (1727-1788); Market Cart; Cottage Door; Shepherd Boy in a Storm; i 3 2 HISTORY OF PAINTING. portrait of Mrs. Siddons (National Gallery); the " Blue Boy " ' master Buttall ; ' comparison of Reynolds and Gains- borough. Chesneau, Eng. School of Painting, pp. Heaton, Hist. Painting, pp. 505-6. 31-3 (foot note), 115-17, 31-40; 20-4. Hall, Gems of European Art, Vol. i,pp. Wornum, Epochs of Painting, pp. 517- 101-4, 133-4. 18. Gassell, Art Treasures, pp, 67-78. Conway, Gainsborough and Reynolds. Koehler, Hist. Art, pi. 245. Li'EBKE, Hist. Art, Vol. 2, pp. 564, 580. Reynolds, Discourses on Art, Vol. 2, pp. Knight, Pict. Gal. Arts, Vol. 2, II. p. 80-9, 92-7. 397, text p. 399. Thornbury, Life of Turner, pp. 247-53. Viardot, Hist. Painters, p. 409. Bicker's ed. , Examples of Modern Tytler, Mod. Painters, pp. 27-39. British Art, pi. 4. 10. John Singleton Copley (1737-18 15); Death of Lord Chatham; Siege of Gibraltar; Death of Major Pier- son; Charles I. Signing Strafford's Death Warrant. Chesneau, Eng. School of Painting, p. Bicker's ed., Examples of Modern 62. British Art, pi. 5. Viardot, Hist. Painters, pp. 410-11. Tuckerman, American Artists, pp. 71-81. Tytler, Mod. Painters, pp. 47-8. Benjamin, Art in America, Frontispiece, Heaton, Hist. Painting, p. 514. pp. 19-21. Rossetti, Fine Art, pp. 152-3. 11. Benjamin West, the second president of the Royal Academy (i 738-1 820); t)eath on the Pale Horse; Christ Healing the Sick; Christ Rejected; Death of General Wolf; Saul and the Witch of Endor. Wornum, Epochs of Painting, pp. 514- Chesneau, Eng. School of Painting, pp. 16. 60-2. HISTORY OF PAINTING 133 Luebke, Hist. Art, Vol. 2, pp. 565; Mon. Long, Art Laws, pp. 152-7. Art, Vol. 2, pi. 98, text p. 280. Haul, Gems of European Art, Vol. 1, Knight, Pic. Gal. Arts, Vol. 2, II. p. pp. 37-41 ; Vol. 2, pp. 27-8. 397, text p. 399 Ti'ckerman, American Artists, pp. 196- Viardot, Hist. Painters, p. 411. 202. Tytler, Mol. Painters, pp. 44-70. Benjamin, Art in America, pp. 17-19. Heaton, Hist. Painting, pp. 51 1 -2. Bicker's ei> , Examples of Modern Koehi.er, Hist. Art, PI. 245. British Art, pi. 6. 12. Thomas Lawrence (i 769-1830); Hamlet with Yorick's Skull; Coriolanus; portraits of George IV., Lady Peel, Mrs. Siddons, the "Red Boy" 'Master Lamb- ton, ' etc. Chksneau, Eng. School of Painting, pp. Cassell, Art Treasures, pp. 166-83. 49-56. Long, Art Laws, pp. 152 -7. Luebke, Hist. Art, Vol. 2, p. 564. Koehler, Hist. Art, pi. 245. Knight, Pict. Gal. Arts, Vol. 2, II. p. Murray, British School of Art, Vol. 2, 396. pi. 13- Viardot, Hist. Painters, pp. 417-18. Bkker's ED., Examples of Modern TYTLER, Mod. Painters, pp. So 5. British Art, pi. 8. Heaton, Hist. Painting, pp. 507-8. Thornbury, Life of Turner, pp. 253-7. 13. Joseph Mallord William Turner, the greatest landscape painter of England (i 775-1851); his isolated life and peculiar character; his three styles and periods of excellence. Wornum, Epochs of Painting, pp. 537 9. Luebke, Hist. Art, Vol. 2, p. 636. HAMERTON, Turner, pp. 1-48. VlARDoT, Hist. Painters, pp. 420-1 ; CHESNEAU, Eng. School of Painting, pp. HEATON, Hist. Painting, pp. 518-23. '45-53- Clement, Artists, 19th Cent, Vol. 2, pp Cook, Art in England, pp. 316-59. 304 6. 134 HISTORY OF PAINTING. Casseli., Art Treasures, pp. 91-4, Thorn bury, Life of Turner. Monkhouse, Turner. Sweetser, Turner. Tyti.er, Mod. Painters, pp. 86-106. Ruskin, Mod. Painters, Vol. 5, pp. 303- 13, 358-9; also see Index. Rossetti, Fine Art, pp. 291-323. 14. Masterpieces of the first period of Turner's art life (1800-1820); Calais Pier; Wreck of the Minotaur; Death of Nelson; Dido Building Carthage; Crossing the Brook; Sun Rising in a Mist. Liebke, Mon. Art, Vol. 2, pi. 136, text Sweetser, Turner, pp, 44-8, 53-4, 60-2. P-345- Heaton, Hist. Painting, p. 521. Cassell, Art Treasures, pp. 95-8. Thornbury, Life of Turner, pp. 415-36, 509-16. Hamerton, Turner, pp. 148-54. Ruskin, Mod. Painters, Vol. 1, pp. 128- 9; Vol. 5, pp, 314-29; also see Index. Richards, Examples of British Art, pis. 9- J 3. 25. Monkhouse, Turner, pp. 48 9, 92-8. 15. Turner's second and best period (1820 1835); Bay of Baiae; Ulysses deriding Polyphemus; Golden Bough; Regulus leaving Rome; Ancient Italy; Modern Italy; Cologne. Hamerton, Turner, pp. 198-9, 206-8, 223-4, 261-2, 278-80. Murray, British Schools of Art, Vol. 2, pi. 17. Heaton, Hist. Painting, pp. 521-2. Thornbury, Life of Turner, pp. 436-49, 516-20. Monkhouse, Turner, pp. 97-9, 107-8, "4-5 Sweetser, Turner, pp. 66-77. Ruskin, Mod. Painters, Vol. 5, pp. 33C-47- Viardot, Hist. Painters, p. 421. Bicker's ei>., Examples of Modern British Art, pi. 9. Richards, Examples of British Art, pis. 2, 4. HISTORY OF PAINTING. 135 16. Turner's third and last period (1 835-1 844); the Old Temeraire; Burial of Wilkie; Snow Storm; Slave Ship. Thornbury, Life of Turner, pp. 323-4, 449-69, 520-5. Monkhouse, Turner, pp. 118-20, 126-30. Ruskin, Mod. Painters, Vol. 5, pp. 347- 55- HamERTON, Turner, pp. 283-92. Sweetser, Turner, pp. 96-9, 103-5. Heaton, Hist. Painting, p. 522. Richards, Examples of British Art, pis. 7, 22. 17. John Constable, landscape painter, valiantly developing - the work Gainsborough begun ( 1 776—1837); Valley Farm; Cornfield; View on the River Stour. WORNUM, Epochs of Painting, p. 540. CHESNEAU, Eng. School of Painting, pp. I36-45- Cassell, Art Treasures, pp. 79-91. Viardot, Hist. Painters, pp. 421-2. Tytler, Mod. Painters, pp. 145-9. SHEDD, Famous Painters, p. 272. Bicker's ei>., Examples of Modern Brit- ish Art, pi. 10. Thorniury, Life of Turner, pp. 260-4. 18. David Wilkie, painter of social life among the common people (i 785-1841); his industrious life and style of genius. WORNUM, Epochs of Painting, pp. 551-2. CHESNEAU, Eng. School of Painting, pp. 71-3. 86-91. Heaton, Hist. Painting, pp. 515-6. CASSELL, Art Treasures, pp. 7-9, 25-7. Viardot, Hist. Painters, p. 424. Tytler, Mod. Painters, pp. 106-21. Long, Art Laws, pp. 145-8. SHEDD, Famous Painters, pp. 267-9. Jarves, Art Thoughts, pp. 203-4. 19. Wilkie's masterpieces: Village Politicians; Rent Day; Village Festival; Reading of the Will; Chelsea 136 HISTORY OF PAINTING. Pensioners reading the Gazette of the Battle of Waterloo; Blind Fiddler; Rent Day; the Cut Finger. Luebke, Mon. Art, Vol. 2, pi. 132, text P- 338. HAMERTON, Etching and Etchers, pp. 273-6. Tytler, Mod. Painters, pp. 121-3. Richards, Examples of British Art, pi. II. Bicker's ed., Examples of Modern British Art, pi. 14. Cassell, Art Treasures, pp. 4-5, 8 25. Hall, Gems of European Art, Vol. i, pp. 129-32; Vol. 2, pp. 21-2, 29-32, 45-8, 53-6, 79-80, 101-4, 109-10. 20. Benjamin Robert Haydon ( 1 786-1 846); Christ's Entry into Jerusalem; Judgment of Solomon; Raising of Lazarus. Chesneau Eng. School of Painting, pp. 102-3. Viardot, Hist. Painters, p. 425. Heaton, Hist. Painting, pp. 514-5. Rossetti, Fine Art, p. 151. Tytler, Mod. Painters, pp. 123-7. Shedd, Famous Painters, pp. 269-70. Bicker's ed., Examples of Modern British Art, pi. 17. 21 William Mulready, the painter of child life (1786 -1863); Choosing the Wedding Gown; Wolf and Lamb; Fight Interrupted; Crossing the Ford. Chesneau, Eng. School of Painting, pp. 81-5. Heaton, Hist Painting, pp. 516-7. Viardot, Hist. Painters, pp. 426-7. Tytler, Mod. Painters, pp. 21 1-6. Stephens, Memorials of Mulready. Bicker's ED., Examples of Modern British Art, pi. 16. Murray, British Schools of Art, Vol. 1, pi. 1; Vol. 2, pis. 1, 7, 25. Clement, Artists, 19th Cent., Vol. 2, pp 137-8. HISTORY OF PAINTING. 137 22. William Etty (1787-1849); Judith and Holo- fernes; Benaiah, David's Chief Captain; Youth on the Prow and Pleasure at the Helm. Wornum, Epochs of Painting, pp. 532-3. VlARDOT, Hist. Painters, pp. 427-8. Heaton, Hist. Painting, pp. 517-8. Tytler, Mod. Painters, pp. 137-45. Chesneau, Eng. School of Painting, pp. 64-6. Shedd, Famous Painters, pp. 273-5. Murray, British Schools of Art, Vol. i, pi. 44; Vol. 2, pi. 18. Bicker's ei>., Examples of Modern British Art, pi. 20. 23. Charles Robert Leslie, the humorist painter (1794-1859); Sancho Panzaand the Duchess; Uncle Toby and the Widow Wadman; Merry Wives of Windsor; the Queen's Coronation. Chesneau, Eng. School of Tainting, pp. 75-9- Viardot, Hist. Painters, pp. 433-4, 456. Heaton, Hist. Painting, p. 517. Cassell, Art Treasures, pp. 137, 140. TYTLER, Mod. Painters, pp. 219 29. Shedd, Famous Painters, 283-5. Bicker's ED., Examples of Modern Brit- ish Art, pi. 26. LESLIE'S Autobiographical Recollections, Taylor's preface, pp. LXX-LXXV. Murray, British Schools of Art, Vol. 1, pi. 4; Vol. 2, pi. 10. Jarvks, Art Thoughts, pp. 203-4. RICHARDS, Examples of British Art, pi. 14. TtCKERMAN American Artists, pp. 71- 86. 24. Daniel Maclise (1811-1870); frescoes of the Meeting of Wellington and Bllicher after the Battle of Waterloo, and of the Death of Nelson, in the Houses of Parliament; Play Scene in Hamlet; Undine in the Forest; Malvolio and the Countess, a scene from "Twelfth Night." 138 HISTORY OF PAINTING. O'Driscoll, Maclise. Viardot, Hist. Painters, pp. 439-40. Chesneau, Eng. School of Painting, pp. Rossetti, Fine Art, pp. 151, 245-54. 103-5. Tyti.ER, Mod. Painters, pp 234-42. Luebke, Mon. Art, Vol. 2, pi. 132, text Murray, British Schools of Art, Vol. pp. 338-9. pis. 27, 37; Vol. 2, pi. 40. 25. Edwin Henry Landseer, the English master of animal painting (i 802-1 873); Chevy Chase; Hunted Stag; High Life and Low Life; the Old Shepard's Chief Mourner; There's Life in the Old Dog Yet; Dignity and Impudence; Landseer's animals compared with those of the Flemish and Dutch Painters. Chesneau, Eng. School of Painting, pp. Tytler, Mod. Painters, pp. 245-51. 97-103. Cassell, Art Treasures, pp. 28-42. Luebke, Hist. Art, Vol. 2, p. 636; Mon. Ruskix, Mod. Painters, see Index of Vol. Art, Vol. 2, pi. 136, text pp. 344-5. 5, " Landseer." Viardot, Hist. Painters, p. 436. Murray, British Schools of Art, Vol. I, Heaton, Hist Painting, p. 524. pis. 17, 42; Vol. 2, pis. 5, 8, 31, 34. Osgood, Engravings from Landseer. Richards, Examples of British Art, pis. Sweetser, Landseer. 10, 20. HISTORY OF PAINTING. 139 XXII. THE MODERN ENGLISH SCHOOL. [1850 — 1890 \. ]>.] 1. The various indications of a general renaissance in England about the middle of the present century: the disturbance among the art critics by Turner's paintings after 1820; the disturbance in the Church by the "Tract- arian" movement at Oxford; the new discussion of the theory of beauty; the "/Esthetes" and the " Philistines." Chesneau, Eng. School of Painting, Hamilton, The, Esthetic Movement in Ruskin's Introduction, pp. xxxviii- Eng., pp. 31-40; 41-110 (Oscar Wilde xliii. and others); 125-7. Blackwood's Mao., Vol. 40, pp. Westminster Rev., 2d Series, Vol. 7, 227-3S. 604-20. 2. John Ruskin and his first great work, the "Modern Painters;" its great force to awaken and to divide the English public; Ruskin an educator, not a leader. Am. CYC, Art. "Ruskin." Hamilton, The ./Esthetic Movement in Chesnkau, Eng. School of Painting, pp. Eng., pp. 13 22. 240 50. University Mm.., Vol. 57, pp. 687 95. Every Saturday, Vol. 5, pp. 443-4. North Am. Rev., Vol. 74, pp. 251-4. i 4 o HISTORY OF PAINTING. 3. The Pre-Raphaelite Brotherhood, a small group of young 1 men deeply devoted to "Truth in Art;" their short but suggestive history; modern English and French art compared. Holman Hunt's Light of the World, and Christ found in the Temple; J. E. Millais' The North West Passage, the Youth of Sir Walter Raleigh, Effie Deans, Ophelia and St. Bartholomew's Day. Chesneau, Eng. School of Painting, pp. Westminster Rev., 2d Series, Vol. 7, 179-206, 167-78. pp. 292-302. Eclectic Rev., Vol. 103, pp. 1-20 (by Every Saturday, Vol. 5, pp. 443-6. McCarthy), Vol. 102, pp. 641-58. Brit. Quar. Rev., Vol. 16, pp 197-220. London Art Jour., New Series, Vol. 3, Fine Arts Quar., Vol. 2, pp. 255-62. pp. 185-6, 285-6; Vol. 7. p. 100. Nineteenth Cen., Vol. 4, pp. 925-31, Bentley's Mis., Vol. 31, pp. 598-610. 1072-82. 4. Landscape study of the Modern English School ; Nature itself the dominant object, not a beautiful frame for narrative; the perfecting of water-color painting in English landscape; Holman Hunt's Hireling Shepherd; David Cox's Turf Cutters; R. W. Macbeth's Potato Harvest in the Fens. Chesneau, English School of Painting, Brit. Quar. Rev., Vol. 16, pp. 215-6 pp. 136-45, 306-9, 241-2; Education of (Hireling Shepherd), the Artist, pp. 204-20. Lippincott's Mag., Vol. 2, pp. 52-8. Luebke, Hist. Art, Vol. 2, pp. 635-6. 5. English historic painting: Frederick Leighton's Procession of Cimabue's Madonna and Helen on the i Ramparts of Troy; Alma-Tadema's Anthony and Cleo- HISTORY OF TAINTING. 141 patra; Burne-Jones' Merlin and Vivien (in Tennyson's poem); J. E. Millais' The Princes in the Tower and Princess Elizabeth in Prison at St. James. Chksneai:, Eng. School of Painting, pp. BRIT. Quar. Rkv., Vol. 16, pp. 197-220. 262-3 (Leighton), 263-5 (Tadema). 6. English genre painting, abundant, various and highly appreciated from the year 1800 to the present. David Wilkie's Village Politicians; Erskine Nicol's Both Puzzled, and The Rent Day; O'Neil's Eastward Ho! Thomas Faed's His Only Pair; N. J. Croley's Cup Toss- ing; G. H. Boughton's Judgment of Wouton von Twiller; William Mulready's Wolf and Lamb. Chksneai', Eng. School of Painting, pp. 270-303. 7. English caricature in painting compared with that of other nations; the use and rank of caricature in art. Thomas Rowlandson's The Mariners Family, Dance of Life and Dance of Death; John Leech's children of the Nobility and Christopher Tadpole; John Teniel's Alice in Wonderland; Kate Greenway's Mother Goose. Chksneai', Eng. School of Painting, pp. Once a Week, Vol. 9, pp. 558-63. 314-36. Parton, Caricature, pp. 90-158, 267- Westminstkr Rkv., 1st Scries, Vol. 28, 300, 318-34. pp. 261-93. 142 HISTORY OF PAINTING. XXIIL— CHRONOLOGICAL PERSPECTIVE. EARLY PAINTERS— FIVE CENTURIES. 13th 14th 15 th 1 6th 1 7th. ClMABUE Giotto Orcagna H. VanEyck Fra Angelico UCCEI.LO Van der Weyden... Massaccio Filippo Lii'Pi Giovani Bellini Benozzo Gozzoli.... Hans Memling Mantegna SlGNORELLI Perugino Botticelli Ghirlandajo Leonardo Fillippino Lippi Albert Durer Lucas Cranach Michael Angelo.... Giorgione Titian Raphael Andrea del Sarto. Holbein Correggio Tintoretto Veronese A. Caracci Caravaggio Guido Rem Rubens Domentchino: Nicolas Poussin Van Dyke Velasquez Claude Lorrain Rembrandt Teniers Salvator Rosa Carlo Dolce Mlrillo ■■■■■■■■■ ■■■■»■■■!■■ ■■■■■■■■■■ ■■■■■buh ■■■■■■■■m : tllimlll 11 immiim mil ■■!!!!! IIiiihhIII ■■■■■■■■I llll NhniH mil ■■■■■■■HI ■■■■■ill IIIGIiiiilllllCIIII HlHHimilll 11 inn mi iiiimiiiiiiiiiii III Illinium! iib?i mmdii HbBlmmillllU lllumlHI mi ■■■■Mill llhiiilll lluiillll !■■■ llll II IllliimJI Ihimmiirill iimiiiiiiiiiiiiiiiiiHi iiiieiiiiiiiiniHiiim Ilium iilll llllll llll II rill ■■■■Mill iiainiiiii 1111 11111^ 111 11 llhaaiilll llliiiiiiilll llliiiiiiirill niiimiMI minimi iiiiiiiiiiii imiiiiiiiiii iiiiiiiini llll mil 11 iiiniiiiii III! llfeiimilll urn iiiiiiiiiiiiiii 111 imiillllll iiiiiillllll III mill Hill ■■■ nlll ir IIIIIIIHIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIklHHI iimi inn IBllH HISTORY OF PAINTING. XXIV. CHRONOLOGICAL PERSPECTIVE. 143 LATER PAINTERS— THREE CENTURIES. 171I1. 1 8th. 19th. EUSTACHE LESUEUR I Charles Lebrun j Antoine Watteau I William Hogarth Richard Wilson Joseph Vernet I Joshua Reynolds Baptiste Greuse | Thos. Gainsborough.,: John S. Copley Benjamin West Louis David P. P. Prud'hon Thomas Lawrence J. M. W. Turner John Constable Jean A. D. Ingres Peter von Cornelius.. David Wilkie Benjamin R. Haydon .. William Mulready. ... William Etty Fred. Overbeck Horace Vernet Jean Louis Gericault S. Leopold Robert Charles R. Leslie Aky Scheffer Paul Delaroche Eugene Delacroix.... Edwin Landseer Gabriel Decamps Wm. von Kaulbach... Constant Troyon Daniel Maclise... III^IIIBIIII 8S8SSSSHS 5SiSSSS a .8HSS!lE i BiSSHSSS sssssssssiSS£ss:::«ssss sssss 5BS3S5SSSSSS5SSSSSSSSSS5ISS8S5S s:»sssbbsss:us::ssss5SKS :b85SSSBSS5SSs;ss:::s»sssseh I SSS5SS SS55SSB5S5SSSSS2SS5B ■lllHIIBIilllllHMBaMi ■llllllllllSlllllPBBHHmil ■III1I1IIB1IBII IPIHU1III ■iiiiiiiiiiiiiiiii-iliiiii!:: ■iiiiiiiilSiiliii'JIHHIiiii BBBIIBBBIBBBBIBIIBBIHH^BBI ■■■■■■■K !■■■■■■■■* ■■■■■!■■■■ ■SlIIIHsSllKliafllll ■■■■■■Ml ■■■■■■■■■■■■i ■ *■■■■■■■■! ■■■■■■■■■■■■■■■■■HP""" 18 "' fmmmsr PART THIRD. History of Architecture. I.— TECHNICAL TERMS. Note. — For intelligent study of even the history of this branch of the fine arts, the principal technical terms must be in mind as the most familiar language. This lesson should not only be learned, but frequently reviewed, applied to convenient buildings, and illustrated with pen or pencil, however rude the drawing. I. Definition and aim of architecture; the three prin- cipal elements of architectural design in any building. a. Fitness and convenience for the purposes required. Eidlitz, Nature of Art, pp. 211-27, 32-43. Encyclopaedias, especially Enc. Brit., Fergusson, Hist. Arch., Vol. 1, pp. 10.16. Ninth Edition. Leeds, Arch. Orders, pp. 1-2. Ruskin, Stones of Venice, Vol. 1, pp. GwiLT, Enc. Arch., pp. 795-7. 5 I_ 5- Vitruvius, (Gwilt's) pp. 9-10. Viollet-le-Duc, Discourses on Arch., Garbett, Arch. Design, pp. 1-8. Vol. 1, pp. 341-54- HISTORY OF ARCHITECTURE. 145 i. Artistic construction, or the arrangement and proportion of all parts producing the most stately and ornamental effect consistent with the purposes of the building. Eidi.itz, Nature of Art, pp. 269-91. Encyclopaedias. Fergusson, Hist. Arch., Vol. 1, pp. 14- Garbett, Arch. Design, pp. 22-50, 46- 3i. 39-47- 58, 76-80, 91-7, 120--, 131-5. Vitruvius, (Gwilt's), pp. 9-10, 63-7, Ruskin, Stones of Venice, Vol. 2, pp. 72-8, 134-5. 41-2, 133-42; Lect. Arch., pp. 89-114. C. Decoration, or the application of ornaments most harmonious with the construction and appropriate to the purposes of the building. Fergusson, Hist. Arch., Vol. i,pp. 31-5. Ruskin, Stones of Venice, Vol. 1, pp. Vitruvius, (Gwilt's), pp. 9-12 . 39-82, 433-5. Gwilt, Enc. Arch., pp. 800-3. VlOLl.ET-l.E-Duc, Discourses on Arch., Garbett, Arch. Design, pp. 10-22. Vol. 2, pp. 170-208. 2. Stories or floors; basement, ground story, first story, second, etc. Entresol, clerestory, attic and its parts (gable or pediment.) Gwilt, Enc. Arch. Fairiioi.t, Diet. Terms in Art. Nicholson, Enc. Arch. Clement, Hist. Arch., pp. 52-4. Parker, Glos. Arch. 3. Constructive ornaments*; horizontal relief or courses marking on the external walls the divisions between the successive stories, etc.; ground table, dado * Notb. —Mechanical construction requires only a plain wall. 146 HISTORY OF ARCHITECTURE. and surbase or water table; string course, corbel table, etc. GwiLT, Enc. Arch. Nicholson, Enc. Arch. Parker, Glos. Arch. Fairholt, Diet. Terms in Art. Smith, Gothic and Renaissance Archi- tecture. Rlskin, Stones of Venice, Vol. 1, pp. 56-66. 4. Constructive ornaments: niche, canopy, boss, vaulting - shaft and rib ; antifixa, bracket, corbel and mullion. Ruskix, Stones of Venice, Vol. 1, pp. 59-65, 132-60, 168-88, 212-7. Koehler, Hist. Art, PI. II. Encyclopaedias etc., as above. Audsley, Diet, of Arch., art "Boss." 5. Constructive ornaments — Classic*: column or pillar, pilaster, pedestal and its parts (base, dado, cornice); shaft (plain, fluted with arris, fluted with fillet, reeded, cabled); capital and its parts (neck, bell, abacus); entab- lature and its parts (architrave, frieze, cornice.) Rosengarten, Arch. Styles, pp. 73-87. Encyclopaedias, etc., as above. Rlskin, Stones of Venice, Vol. 1. pp. Audsley, Diet, of Arch., art "Abacus," 76-131, 331-60. "Architrave," "Base." Smith, Gothic and Renaissance Arch. 6. Simplest decorative ornaments — Classic: mould- ings; bead, torus, roll, quirk, fillet, band, ovolo, echinus, cavetto, scotia, ogee and cyma. * Note. — Mere mechanical construction requires only piers for support and plain cross-beam for the architrave — indeed for the whole entablature. HISTORY OF ARCHITECTURE. 147 RUSKIN, Stones of Venice, VoL I, pp. Smith, Gothic and Renaissance Arch. 293-305, 457-9. Encyclopaedias, etc., as above. ElDLlTZ, Nature of Art, pp. 316-29. Audsley, Diet, of Arch., art. "Band," Viollet-le-Duc, Discourses on Arch., "Bead." Vol. 1, pp. 460-9. 7. Conventional decorative ornaments — Classic: frets; rectangular, dovetail, diamond and trellis. Encyclopaedias, etc , as above. 8. Conventional decorative ornaments — Norman and Gothic: finial and crocket; billet (roll, square, segmental), zigzag or chevron; cable moulding; nailhead, lozenge and studded ornaments. Encyclopedias, etc., as above. Audsley, Diet, of Arch., art. "Billet." 9. Conventional decorative ornaments — Norman and Classic : pellet, ball flower, fir cone, chain, double cone; embattled, scalloped and nebule; egg and dart; bead and reel; shield, tooth and head (cat, dog, bird, man); leaf, flower and fruit. Ri skis, Stones of Venice, Vol. I, pp. ENCYCLOPEDIAS, etc., as above. 251-7. Audsley, Diet, of Arch., art. "Ball SMITH, Gothic and Renaissance Arch. flower," "Bird." id8 HISTORY OF ARCHITECTURE. II. EGYPTIAN ARCHITECTURE. I. General outline of Egyptian history, as now known ; some account of the religion of the ancient Egyptians. Fergusson, Hist. Arch., Vol. i, pp. 8 94,112-3. Rosengarten, Arch. Styles, pp. 15-7. Lepsius, Egypt, pp. 400-96. Zerffi, Hist. Dev. Art, pp. 103-8. Encyclopedias, "Egypt," especially Enc. Brit., Ninth Edition. Rawlinson, Religions of Anc. World, pp. 6-34. Clement, Hist. Arch , pp 8-9. 2. The monuments, the most perfect and most abundant in the world (a); the climate and materials so excellent for durability — limestone, sandstone, syenite and clay (b). Osburn, Mo\ Hist. Egypt, Vol. 1, p. 187(a), 188-93 (b). Mariette, Mon. Upper Egypt, pp. 56- 7(b). Long, Egyptian Antiq., Vol. 2, pp. 261- 85 (b). Sharpe, Hist. Egypt, Vol. 1, p. 35 (a), 6, 195 (b). Wilkinson, Anc. Egyptians, Vol. 2, pp. 1 21 -2, 179-82 (b). Blackwood's Mag., Vol. 108, p. 225 (b). Mitchell, Hist. Anc. Sculpture, pp. 17- 19 (b). Rawlinson, Hist. Anc. Egypt, Vol. 1, p. 58 (b). 3. The passion for posthumous fame (a); the mul- titude of temples and every temple a mere tabularium (b); universality of inscribed ornaments and utensils (c). HISTORY OF ARCHITECTURE. 149 Osblrn, Mon. Hist. Egypt, Vol. 1, pp. Wilkinson, Anc. Egyptians, Vol. 2, pp. »93-4» 447-9 ( a > b )> J 94-6 (c). 2-9, 93 (c). Makiette, Mon. Upper Egypt, pp. Edinburgh Review, Vol. 82, pp. 393-4 3-6, 35-46 (b). (c). Murray, Egypt, Vol. 1, pp. 74-5 (b). Am. Bin. Repos., Vol. 10, pp. 45-6. Sharpe, Hist. Egypt, Vol. 1, pp. 66-7 Contemp. Rev., Vol. 40, p. 45 (b). (a), 22 (a, b), 28 (b). Van Dvke, Principles of Art, Chap. 1. 4. The pyramid builders in the various nations, India, Mexico, Peru, etc. (a); general characteristics of the Egyptian pyramids (b); general account of the 'three great pyramids' of Gizeh and their builders (c). Brugsch, Egypt Under the Pharaohs, Russell, Egypt, pp. 1 13-16 (b), 92-3 (c). Vol. 1, pp. 86-92 (c). Wilkinson, Anc. Egyptians, Vol. 1, p. Osisukn, Mon. Hist. Egypt, Vol. 1, pp. 13, (b, c). 252-3 (c). Kknrick, Anc. Egypt, Vol. 1, p. 90 (a), Rawlinson, Story of Anc. Egypt, p. 65 118-25 (b), 98-9 (c). (a), 66-7, 89 (b), 67 (c). Am. Cyc, Vol. 14, pp. 107 (a), 105-6 (c). Murray, Egypt, Vol. 1, pp. 239-42 (b, c). Eclectic Rev., Vol. 79, p. 579 (c). Long, Egyptian Antiq., Vol. 2, pp. 197- Enc. Brit., Vol. 20, pp. 122-4. 206(b). Fergusson, Hist. Arch., Vol, 1, pp. 96, Mariette, Mon. Upper Egypt, pp. 65- 105(b). 70 (b, c), 87 (h). REBER, Hist. Anc. Art, pp. 3-4 (c). Sharps, Hist. Egypt, Vol. 1, pp. 22-6 Ebkrs, Egypt, Vol. 1, pp. 117-37. (b, c). 5. The first great pyramid, or the pyramid of the king Khufu, or Cheops, or Suphis — dimensions, material and order of building (a); the passages, shaft, long gal- lery and royal chambers — their relative positions, dimen- sions and purposes (b); the character of King Khufu (c.) 15° HISTORY OF ARCHITECTURE. Brugsch, Egypt Under the Pharaohs, Vol. i, pp. 84-93 (c). Osburn, Mon. Hist. Egypt, Vol. 1, pp. 270-2 (a), 273, 275-7 (b). Rawi.inson, Story of Ancient Egypt, pp. 75-6 (a), 77-82 (b), 83-6 (c). Murray, Egypt, Vol. 1, pp. 244-7 ( a > c )> 249-54 (b). Bartlktt, Nile Boat, pp. 95-6, 102-5, 107(a). Long, Egyptian Antiq., Vol. 2, pp. 207- 3i, (a, b). Clement, Hist. Arch., pp. 3-5. Fairholt, Up the Nile, pp. 64-8 (a, b). Russell, Egypt, pp. 93, m-12 (a), 94- IC2 (b). Kenrick, Anc. Egypt, Vol. 1, p. 100(c), pp. 101-6, 90-1 (b), 87-9 (b). Enc. Brit., Vol. 7, pp. 771-2 (a, b), 783 (c). Fergusson, Hist. Arch., Vol. PP97-9. Reber, Hist. Anc. Art, pp. 5-6 (a). Rawlinson, Hist. Anc. Egypt, Vol. 1, pp. 202-15 (a, b); Vol. 2, pp. 52-9 (c). Smith and Slater, Classic Arch., pp. 16-24 (a, b). 6. The second pyramid and the Great Sphinx — the works of Shafra, or Khafra, or Sepheres, the third king of the fourth dynasty (a); the temples associated with the Sphinx and the secret passages connecting the Sphinx and the pyramid (b); the third "beautiful" pyramid of the fourth king Menkaura, or Mencheres (c). Brugsch, Egypt under the Pharaohs, Vol. 1, pp. 94-100 (a, b), 101-3 (c). Osburn, Mon. Hist. Egypt, Vol. 1, pp. 30S-11 (a), 320-5 (c). Rawlinson, Story of Anc. Egypt, pp. 6S-72, 92 (a), 67-8, 90(b). Murray, Egypt, Vol. 1, pp. 254-5, 258- 61 (a), 261 (b). Bartlett, Nile Boat, p. 105 (a, c), 93-5 (b). Fairholt, Up the Nile, p. 69 (a), 72-6 (b), 70-1 (c). Long, Egyptian Antiq., Vol. 2, pp. 232- 7(a), 242-7 (b), 237-8 (c). Russell, Egypt, pp. 103-9, 116-22 (a). Mariette, Mon. Upper Egypt, pp. 70-8 (a, b). Sharpe, Hist. Egypt, Vol. 1, p. 26 (a). Wilkinson, Anc. Egyptians, Vol. 2, pp. 93-4 (a). Kenrick, Anc. Egypt, Vol. 1, pp. 107- 9, 112 116 (a), 109-11 (b). Enc. Brit., Vol. 7, p. 233 (c), 772. Fergusson, Hist. Arch , Vol. 1, pp 104, 106 (b). Reber, Hist. Anc. Art, pp. 7-8 (c). Rawlinson, Hist. Anc. Egypt, Vol. 1, pp. 200-3 (-1), 195-200 (c); Vol. 2, pp. 60-5 (a), 65-8 (c). HISTORY OF ARCHITECTURE. 151 7. Amenhotep III. the devout temple builder to the god Ammon (a); his new temple of Ammon at Luxor (b); his new temple of Ammon near the old temple of Ammon at Karnak and the avenue of sphinxes between them (c); his temple of Ammon at Medinet Abou, in front of which were erected colossal statues of himself (d); the "vocal Memnon" of the Greeks (e). Rawlinson, Anc. Egypt, Vol. 2, pp. 267-8 (a), 272-3 (b); Vol. 1, pp. 224- 3° (b). OSBURN, Mon. Egypt, Vol. 2, pp. 181, 187, 196(d). Am. Cyc , Vol. 15, p. 689(d). Wilkinson, Anc. Egyptians, Vol. 2, pp. 432-4 (b). Ken rick, Anc. Egypt, pp. 133-4, '44 (e). Brigsch, Egypt under the Pharaohs, Vol. 1, p. 295 (a), 478, 479-80 (d, e). Sharpe, Hist. Egypt, Vol. 1, pp. 68, 72. Fraskr's Mac;., Vol. 1, p. 154 (e). Quarterly Rev., Vol. 138, pp. 529-39 (e). Pknny Mag., Vol. 2, pp. 389-91 (e). New Monthly Mag., Vol. 35, p. 336 (e). BELL, From Pharaoh to Fellah, p. 121 (a) Rawlinson, Story of Anc. Egypt, chap. 13- EBERS, Egypt, Vol. 1,271 (e). Edwards, Thousand Miles Up the Nile, pp. 140-56, 1 47-54 (a, b, c). Clement, Hist. Arch., pp. 9-13 (c). 8. The great architectural works of Rameses II. (xix Dynasty, B. C. 1350); his obelisks at Heliopolis and Luxor (a); his colossal statues at Ipsambul, Memphis and Thebes (b); his new temples at Thebes, Rameseum, (Memnonium), the two temples at Ipsambul or Abu-Sim- bel (d); and his palace temples at Kourneh (c); his great works on the temples of the earlier Pharaohs — at Karnak, Abydos, Memphis, Luxor and in Nubia (e); his tomb (f). 152 HISTORY OF ARCHITECTURE. Rawlinson, Anc. Egypt, Vol i, p. 230 (a); Vol. 2, pp. 351-2 (a); 328-30 (d). Wilkinson, Anc. Egyptians, Vol. I, pp. 50, 76, 78 (a); Vol. 2, p. 306 (b); Vol. 3, pp. 427-9 (b). Osburn, Mon. Egypt, Vol. 2, pp. 457-9 (a); 460(b); 509(d); 546(e); 549(0- Overland Monthly, Vol. 14, pp. 438- 44 (a). Scribner's Monthly, Vol. 4, pp. 387- 409 (d). Ken rick, Anc. Egypt, pp. 129-32 (c). Rawlinson, Story of Anc. Egypt, p. 248 (b). Edwards, Thousand Miles Up the Nile; p. 137 (a); 284-306 (b); 324-53 (d), 147-54 (e). Ebers, Egypt, Vol. i, pp. 254-5, 278-84 (d), 215- Bartlett, Egypt to Palestine, p. 76 (c, e). Smith and Slater, Classic Arch., pp. 31-2 (b). III. ASIATIC ARCHITECTURE. 1. Ancient religions of the West- Asiatic nations: Chaldsean, Assyrian, Babylonian, and Persian; their remarkable progress in astronomy and engineering. Luebke, Hist. Art, Vol. 1, pp. 66-7. Rawlinson, Religions of the Anc. World, pp. 35-104. Clarke, Ten Great Religions, Vol. 1, pp. 171-208. Clodd, Childhood of Religions, pp. 158-69- Clement, Hist. Arch., pp. 22-3. Encyclopedias. 2. Similarity of architectural styles in Western Asia: location of buildings; materials of construction; charac- teristic ornamentation; development of the column and the arch; colossal sculptures. Fergusson, Hist. Arch., Vol. 1, pp. 144-9, 204-8. Goodyear, Hist. Art, pp. 37-8. Luebke, Hist. Art., Vol. 1, pp. 50-1, 64-6, 74-7. Tuckerman, Hist. Arch., pp. 39-45. HISTORY OF ARCHITECTURE. 153 Smith and Slater, Classic Arch., pp. Clement, Hist. Arch., pp. 23-4, 28-9, 43-4, 61-3. 34, 39-41. Parker, Glos. Arch. 3. Assyrian and Babylonian architecture: the palace of Khorsabad; ruins of Nineveh; Birs-i-Nimroud; "Hang- ing Gardens" of Babylon. FERGUSSON, Hist. Arch., Vol. 1, pp. Smith and Slater, Classic Arch., pp. 150-87. 44-53. Luebke, Hist. Art, Vol. 1, pp. 51-61. Layakd, Nineveh and its Remains. AUDSLEY, Diet. Arch., art. "Assyrian Ruins of Nineveh and Babylon. Arch.," "Babylonian Arch." Encyclopaedias . Clement, Hist. Arch., pp. 20-34. 4. Persian architecture: its comparatively late devel- opment; Tomb of Cyrus at Pasargadse; the magnificent ruins of Persepolis, with the "Hall of a Hundred Columns" and the "Great Hall of Audience" or "Hall of Xerxes." Fergusson, Hist. Arch., Vol. pp. 188- Luebke, Hist. Art, pp. 67-74. 203. Clement, Hist. Arch., pp. 34-44. Smith and Slater, Classic Arch., pp. Tuckerman, Hist. Arch., pp. 45-7. 53-61. Encyclopaedias. 5. General account of the great religions of India — the early Sanskritic religion, Brahmanism and Buddhism. Fergusson, Hist. Arch., Vol. 3, pp. 15- Zkrffi, Hist. Dev. Art, pp. 62-75. 17, 35-42. Rawlinson, Religions of the Anc. World, Clodd, Childhood of Religions, pp. 136- pp. 105-29. 57, 170 88 Enc. Brit., Vol. 12, pp. 782-6. LUEBKE, Hist. Art ; Vol. 1, pp. 97-8. Clark, Ten Great Religions. 6. Rock-hewn and cave temples, especially the Brahmin temple Kylas and the Buddhist temple Wisna Karma, and that of Indra at Ellora in Madras. >54 HISTORY OF ARCHITECTURE. Ferguson, Hist. Arch., Vol. 3, pp. 105- 32, 138-44, 163-6, 261-4. LUEBKE, Hist. Art, Vol. I, pp. 98-104; Mon. Art, Vol. I, pis. 9, 10, text pp. 33-6- Knight, Pict. Gal. Arts, Vol. 2, II. pp. 16-17, text PP- 18-19. Rosengarten, Arch. Styles, pp. 1-9. Bury, Arch. Styles, pp. 50-5. Zerkfi, Hist. Dev. Art, pp 76-9. Bayard Taylor, India, pp. 45-53. Gwilt, Enc. Arch., pp. 25-8. Nicholson, Enc. Arch., Vol. 2, pp. 3-4, 6-10. Parker, Glos. Arch., Vol. 1, pp. 265-6. Enc. Brit., Vol. 2, pp. 394-5. 7. Buddhist architecture: Lats or single columns; their varieties and purposes. Fergusson, Hist. Arch., Vol. 3, pp. 50, Smith and Slater, Classic Arch., pp. 52-6, 196-8, 276-8. 65-6. LUEBKE, Hist. Art, Vol. 1, p. 99. 8. Buddhist architecture: Topes or Stupas and the Rails enclosing them. Fergusson, Hist. Arch., Vol. 3, pp. 50, Encyclopedias. 57-104, 192-6. Smith and Slater, Classic Arch., pp. Luebke, Hist. Art, Vol. 1, pp. 99-102. 66-7, 69-71. Rosengarten, Arch. Styles, pp. 7-9. 9. Buddhist architecture: Pagodas and the Viharras or monasteries. Fergusson, Hist. Arch., Vol. 3, pp. 133- 8, 144-59, 169-84, 228-64, 285-302. Luebke, Hist. Art, Vol. 1, pp. 104-6, 1 10-14; Mon. Art, Vol. 1, pi. 10, text PP 3 6 -7- Nicholson, Enc. Arch., Vol. 2, pp. 10- 12. Rosengarten, Arch. Styles, pp. 9-14. Parker, Glos. Arch., Vol. 1, pp. 265-6. Knight, Pict. Gal. Arts, Vol. 2, II. pp. 16-7, text pp. 18-19. Encyclopaedias. Smith and Slater, Classic Arch., pp. 67-9. HISTORY OF ARCHITECTURE. 155 10. Architecture in southern India, or the Dravidian style; general ground plan and varieties of structures of the Indian Temple system. Fergusson, Hist. Arch., Vol. 3, pp. 319- Bury, Arch. Styles, pp. 55-7. 45. Encyclopedias. 11. Dravidian architecture, the Pagoda at Madura; at Seringham; at Chillambaran. Fergusson, Hist. Arch., Vol 3, pp. 347- Bury, Arch. Styles, pp. 57-8. 67. GWILT, Enc. Arch., pp. 27-30. ROSENGARTEN, Arch. Styles, pp. 13-14. ENCYCLOPAEDIAS. 12. General criticism of the architecture of India, not including the Mohammedan. Fergusson, Hist. Arch., Vol. 3, pp. 3-46. Zerffi, Hist. Dev. Art, pp. 74-6, 78-82. Lukbkk, Hist. Art, Vol. 1, p. 106. Gwu.T, Enc. Arch., pp. 39-40. Bury, Arch. Styles, p. 58. 156 HISTORY OF ARCHITECTURE. IV, ARCHITECTURE OF ANCIENT GREECE. I. The Cyclopean or Pelasgic architecture; the walls of the cities Tiryns and Mycenae; the Gate of the Lions; the "Treasury" or Tomb of Atreus. Fergusson, Hist. Arch., Vol. i, pp. 231- 40. Luebke, Hist. Art, Vol. 1. pp. 121-8; Mon. Art, Vol. 1, pi. 1, text pp. 40-4. Schliemann, Mycenre, pp. VIII-XII, 1-8, 28-44, 47-8, 1 21-2. Rosengarten, Arch. Styles, pp. 56-60. Quarterly Rev. Am. ed., Vol. 150, pp. 246-60. Edinburgh Rev. Am. ed., Vol. 149, pp. 109-125. Bury, Arch. Styles, pp. 7-12. Wordsworth, Greece, pp. 57-60, 339-43. Aberdeen, Grecian Arch., pp. 38-48. Guhl, Greeks and Romans, pp. 59-62, 67-8. Koehler, Hist. Art, pi. 7. Fitz-Patrick, Autumn Cruise in the /Egean, pp. 268-306. North Amer. Rev., Vol. 131, pp. 484- 95- Smith and Slater, Classic Arch., pp. 85-6. 2. Temples and palaces of Pelasgic Greece, as described in the poems of Homer; the religion of the ancient Greeks; the special purposes of the Greek temple. Fergusson, Hist. Arch., Vol. 1, p. 239. Pope, Iliad, Book 6, p. 116; Book 12, pp. 223-4; Book 17, p. 238. Bryant, Iliad, Book 6, p. 162; Book 12, p. 323; Odyssey, Book I, pp. 15-19. Collins, Odyssey, Book 1, pp. 54-5. Guhl, Greeks and Romans, pp. I— 51. Smith, Hist. Greece, pp. 143-6. Felton, Anc. and Mod. Greece, Vol. 1, pp. 442-51. Wordsworth, Greece, pp. 277-80. Schliemann, Mycenae, preface. Gwilt, Enc. Arch., pp. 59-60. Aberdeen, Grecian Arch. , pp 32,38-40, 48-62. Rawlinson, Religions of the Anc. World, pp. 176-212. Falke, Greece and Rome, pp. 131-49. St. John, The Hellenes, Vol. 1, pp. 349 -68. Smith and Slater, Classic Arch, pp. 80-2. HISTORY OF ARCHITECTURE. 157 3. The Doric style; some account of the Dorian, the Ionian and the Phoenician tribes; their migrations and respective characteristics. Fergusson, Hist. Arch., Vol. 1, pp. 248-53, 257-61. Luebke, Hist. Art, Vol. 1, pp. 129-38. Rosengarten, Arch Styles, pp. 60-1, 64, 73-6, 87. Bury, Arch. Styles, pp. 13-14. Leeds, Orders, pp. 1-28. Zerffi, Hist. Dev. Art, pp. 177-8. St. John, Greece, Vol. 1, pp. 15-28. Nicholson, Enc. Arch., Vol. i,pp 290-5. Gwilt, Enc. Arch., pp. 60-2, 900-1. Horton, Arch., pp. 56-7. Clement, Hist. Arch., p. 54. 4. Celebrated early specimens of the Doric style (B. C. 650-550): temple of Minerva, at Corinth; temple of Neptune, at Psestum; temple at Agrigentum, in Sicily; temple of Jupiter, at yEgina; temple of Jupiter, at Olympia. Fergusson, Hist. Arch., Vol. 1, pp. 242- 4, 261-2. Luebke, Hist. Art, Vol. 1, pp. 143, 146- 5°- Rosengarten, Arch. Styles, pp. 61-2. Sri art, Antiq. Athens, pp. 123-4. Wordsworth, Greece, pp. 311-13, 349- 5'- Grill., Greeks and Romans, pp. 33-7. Knight, Pict. Gal. Arts, Vol. 2, II. pp. 20-5, text pp. 26-7. BURY, Arch. Styles, p. 14. Gwilt, Enc. Arch., pp. 64-5. Nicholson, Enc. Arch., Vol. 1, pp. 299 3°°- Aberdeen, Grecian Arch., pp. 66-71. KoEHLER, Hist. Art, pi. 8. 5. Later and finer specimens of the Doric style (B. C. 430-270): temple of Theseus, at Athens: temple of Apollo Epicurius, at Bassae. I5» HISTORY OF ARCHITECTURE. Fergusson, Hist. Arch., Vol. I, p. 243. Knight, Pict Gal. Arts, Vol. 1, pp. 230-5; Vol. 2, p. 27. Nicholson, Enc. Arch., Vol. 1, pp. 97-8. Felton, Anc. Greece, Vol. 2, p. 139. Murray, Hist. Greek Sculp., Vol. 1, pp. 235-52. Reber, Hist. Anc. Art, p. 224. Perry, Greek and Roman Sculp., pp. 215-22. Enc. Brit,, Vol. 23, p. 291. Stuart, Antiq. Athens, pp. 94-102. Wordsworth, Greece, pp. 148-9, 318- 21. Gwilt, Enc. Arch., pp. 67, 815-21. Aberdeen, Grecian Arch., pp. 71-3. Luebkk, Hist. Art, Vol. 1, pp. 152-3. 6. The finest specimen of the Doric style — the Par- thenon of Athens; the building and sculpture; statue of Athena; the Panathenaic frieze; the groups in the pedi- ments; the reliefs of the metopes. Fergusson, Hist. Arch., Vol. 1, pp. 243, 260, 263-4;; The Parthenon. Luebke, Hist. Art, Vol. 1, pp. 154-5, 159-60; Mon. Art, Vol. 1, pis. 1, 3, text pp. 45, 51-3. Knight, Pict. Gal. Arts, Vol. 2, II. p. 24, text p. 27. Stuart, Antiq. Athens, pp. 47-56. Nicholson, Enc. Arch., Vol. 1, pp. 296-7. Wordsworth, Greece, pp. 128-33, 135- 7. 139-43- Perry, Greek and Roman Sculp., pp. 242-3C0. Felton, Greece, Vol. 2, pp. 141-5. St. John, Greece, Vol. 1, pp. 81-91. Guhl, Greeks and Romans, pp. 25-30. Gwilt, Enc. Arch , pp. 62, 66. Koehler, Hist. Art, pi. 8. Curtius, Hist. Greece, vol. 2, pp. 607-9, 613-25, 627-30, 632-41. Falke, Greece and Rome, pp. 151-3. Lloyd, Age of Pericles, Vol. 2, pp. 164- 85. Barthelemy, Anacharsis, Vol. 2, pp. 428-42. Shepard, Great Cities of the Ancient World, pp. 92-106. Reber, Hist. Anc. Art, pp. 223-6. Enc. Brit., Vol. 3, pp. 4-7; Vol. 2, pp. 62-3; Vol. 18, pp. 209-10. Taine, Art in Greece, pp. 178-88. Smith and Slater, Classic Arch., pp. 88-101. 7. The various theories of the origin, respectively, of the Doric and of the Ionic architecture. HISTORY OF ARCHITECTURE. 159 Fergusson, Hist. Arch., Vol. i, pp. no- Nicholson, Enc. Arch., Vol. I, pp. 300-2. 1 1 , 232-6, 242, 245-6 Knight, Pict. Gal. Arts, Vol. 2, text pp. 22-3, 38. Rosengarten, Arch. Styles, p. 76. Aberdeen, Grecian Arch., pp. 27-32, 62-6, 75-81. Leeds, Orders, pp. 9-10. Vitruvius, Gwilt's ed., pp. 80-1, 86-90 Gwii.t, Enc. Arch., pp. 57, 61. Violi.et-le-Duc, Discourses on Arch , Vol. 1, pp. 36-79. 8. The characteristic features of the Ionic architec- ture stated, in contrast to those of the Doric; origin of the use of caryatides and telamones. Fergusson, Hist. Arch., Vol. 1, pp. 253- 6, 258-9. Luebkk, Hist. Art, Vol. 1, pp. 139-44, 238 9; Hist. Sculp., Vol. 1, p. 160. Knight, Pict. Gal. Arts, Vol. 2, text pp. SO. 35- Rosengarten, Arch. Styles, pp. 76-81. Leeds, Orders, pp. 31-45. WlNCKEl.MANN, Ane. Art, Vol. 2, pp. 282-3, 294. Vitruvius, Gwilt'sed., pp. 73-8, 81-2,92-4. Aberdeen, Grec. Arch., p. 81. Nicholson, Enc. Arch., Vol. 2, pp. 18-20. Gwii.t, Enc. Arch., pp. 61, 700-1. Guhl, Greeks and Romans, pp. 9-I0. Parker, Glos. Arch., Vol. 1, pp. 267-8. Koehler, Hist. Art, pis. 7-10. Perry, Greek and Roman Sculp., pp. 316-17. Stevenson, House Arch., Vol. 1, pp. 187-90. Violi.et-le-Duc, Discourses on Arch., Vol. I," pp. 79-82. Clement, Hist. Arch., p. 59. Smith and Slater, Classic Arch., pp. 1 02-1 1. 9. The Ionic style; specimens of which we have any satisfactory account: temple of Juno at Samos; temple of Di^na at Ephesus; temple on the river Ilyssus; temples of Minerva Po'lias, of Erechtheus, and of the Wingless Victory (Nike Apteros) at Athens. Fergusson, Hist. Arch, Vol. 1, pp. 245, 265-9. Luebkk, Hist. Art, Vol. 1, pp. 150 1, 157-9; Mon. Art, Vol 2, pi. 14, text PP. 5'^ 53- RosENGARTEN, Arch. Styles, pp. 62, 101. Knight, Pict. Gal. Arts, Vol. 2, 11. pp. 24, 28, text pp. 30 I. Stuart, Antiq. Athens, pp. 22-5,57-73. Bury, Arch. Styles, pp. 14-15. Clement, Hist. Arch., pp. 54 7, 60-1, 64 7. i6o HISTORY OF ARCHITECTURE. Nicholson, Enc. Arch., Vol. 2, pp. 20-1. Lekds, Orders, pp. 45-6. Wordsworth, Greece, pp. 143-5. St. John, Greece, Vol. 1, pp. 80-1. Aberdeen, Grecian Arch, pp. 81-7. Guhl, Greeks and Romans, pp. 18-20, 38-9, 45-7. Gvvii.t, Enc. Arch., pp. 67-9. Koehler, Hist. Art, pi. 12. 10. Origin and characteristic features of the Corin- thian architecture. Fergusson, Hist. Arch., Vol. 1, pp. 246-7. Luebkk, Hist Art, Vol. 1, pp. 144-5. Knight, Pict. Gal. Arts, Vol. 2, text pp. 3i 5- Rosengarten, Arch. Styles, pp. 81-5. Leeds, Orders, pp. 55-64. Nicholson, Enc. Arch., Vol. 1, pp. 200-3 • Parker, Glos. Arch., Vol. 1. p. 45. Vitruvius, Gwilt's, pp. 82-3. Gwilt, Enc. Arch., pp. 61-2. Aberdeen, Grecian Arch., pp. 87-9. Smith and Slater, Classic Arch., pp. 1 1 2-6. Stevenson, House Arch., Vol. 1, pp. 190-2. 11. The Corinthian style: the few Grecian temples of this order, of which there still remain interesting ruins — temple of Jupiter Olympius at Athens; Tower of the Winds at Athens; monument of Lysicrates at Athens. Fergusson, Hist. Arch., Vol. 1, pp. 256-8, 270-1. Luebke, Hist. Art, Vol. 1, p. 163; Mon. Art, Vol I, pi. 15; text pp. 55 -6. Knight, Pict. Gal. Arts, Vol, 2, II. pp. 25, 33; text P- 3 1 - Leeds, Orders, p. 61. Guhl, Greeks and Romans, pp. 105-6. Stuart, Antiq. Athens, pp. 26-41, 103- 10. Wordsworth, Greece, pp. 146-7. . Aberdeen, Grecian Arch., pp. 89-93. Gwilt, Enc. Arch., pp. 68-70. Nicholson, Enc. Arch., Vol. 1, pp. 203-4. Koehler, Hist. Art, pi. 15. 12. Combination of the different orders in some of the Grecian temples, as in the temple of Minerva, at Tegea, and in the Erechtheion, at Athens. HISTORY OF ARCHITECTURE. 161 Aberdeen, Grecian Arch., pp. 89-90, Luebke, Hist. Art, Vol. 1, pp. 162-6. 91-4. 13. The Dionysiac theatre; the Greek drama; scen- ery and actors. Wordsworth, Greece, pp. 156-7. Felton, Anc. Greece, Vol. 1, pp. 504-11. Guhl, Greeks and Romans, pp. 122-^5. Clrtius, Hist. Greece, Vol. 2, pp. 576. Barthelemy's Anarcharsis, Vol. 2, pp. 485-9. Sergeant's Greece, p. 44. Falke, Greece and Rome, p. 172. Enc. Brit., Vol. 3, p. 3; Vol. 7, p. 247; Vol. 7, pp. 403-9 (Drama); Vol. 23, p. 222 (Theatre). 14. General account of the decorations in Grecian architecture; practical inferences on style. Fergusson, Hist. Arch, Vol. 1, pp. 253, 2 55. 258-9, 265-7. Luebke, Hist. Art, Vol. i, pp. 137-9, Mon. Art. Vol. 1, pi. 15A, text p. 58-9. Vitruvius, Gwilt's, pp. 68-78, 84-6. ROSENGARTEN, Arch Styles, pp. 71-3, 80-1, 84-5, 87-92, 93-4. Gwii.t, Enc. Arch, p. 71. ElDLITZ, Nature of Art, pp. 330-81. Clement, Hist. Arch., pp. 65-7. Smith and Slater, Classic Arch., pp. 1 1 7-37- Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 175-86. IOJ HISTORY OF ARCHITECTURE. V. ARCHITECTURE OF ANCIENT ROME. i Some account of the early peoples of Italy, especially of the Etruscans; religion of the Etruscans. Fergusson, Hist. Arch., Vol. I, pp. 279-81. Luebke, Hist. Art, Vol. 1, pp. 258 60. MOMMSEN, Hist. Rome, Vol. 1, pp. 166- 76, 264-7, 3 I 4~5> 609-12. Rosengarten, Arch. Styles, pp. 102-3. Rawlinson, Religions of the Anc. World, PP- x 59-75- DENNIS, Cities and Cemeteries of Etruria, Vol. 1, LIII-LX (Introduction). Smith and Slater, Classic Arch., pp. 138-40. 2. The architecture of Etruria and of Rome during the reigns of the three Etruscan kings, the Tarquins; the religion of the ancient Romans. Fergusson, Hist. Arch., Vol. 1, pp. 281- Gwilt, Enc. Arch., pp. 75-6. 91 , 293. Rawlinson, Religions of the Anc. World, LUEBKE, Hist. Arch., Vol. 1, pp. 261-4, pp. 213-24. 275-7; Mon. Art, Vol. 1, pi. 24, text Clement, Hist. Arch., pp. 71-4. pp. 86-90. Smith & Slater, Classic Arch., pp. Rosengarten, Arch. Styles, pp. 103-11. 141-4. Bury, Arch Styles, pp. 16-17. Mommsen, Hist. Rome, Vol. 1, pp. 311— 2, 603-4. Clarke, Ten Great Religions, Vol. 1, PP- 3I6-354- Tuckerman, Hist. Arch., pp. 68-71. 3. Excessive ambition of the Romans, during the early centuries of the republic, to collect works of art from conquered cities, though destitute of all original or even imitative art among themselves. HISTORY OF ARCHITECTURE. 163 Mommsen, Hist. Rome, Vol. 3, pp. 568- 9, Vol. 4, pp. 734-5. Luebke, Hist. Art, Vol. 1, pp. 273-5. Fergusson, Hist. Arch, Vol. 1, p. 293. Viollet-i.e Dec, Discourses on Arch., Vol. I, pp. 62-71. 4. General account of the great building industry during the empire; the variety, abundance and grandeur of the engineering and architectural works at Rome, in Gaul and in Spain. Fergusson, Hist. Arch., Vol. 1, pp. 294, 297-8. Merivale, Hist. Romans, Vol. 4, pp. 39°-4- Bury, Arch Styles, pp. 18-19. Eschenberg, Man. Clas. Lit., pp. 427-8. BURN, Rome and Campagna, p. LXXIX. Smith and Slater, Classic Arch , pp. 144-6. Roman aqueducts, public fountains, basins and baths. Fergi'sson, Hist. Arch, Vol. 1, pp. 331 — 4. 373-4- Lueiskk, Hist. Art, Vol. 1, pp. 296-7; M<»n. Art. Vol. 1, pi. 28, text p. 102-3. Knight, Pict. Gal. Arts, Vol. 2, text pp. 50-1. Gwii.t, Enc. Arch, pp. 92-3, 96-8. Glhl, Greeks and Romans, pp. 353-7, 396-406. Nicholson. Enc. Architecture. BURN, Rome and Campagna, pp. LVIII- LXIII (Introduction), 211 (see index). Eschenberg, Man. Clas. Lit., pp. 428-9. VlOLLET-LE-Duc, Discourses on Arch., Vol. 1, pp. 114-20. AUDSI.F.Y, Diet. Arch., art. "Aqueduct," "Baths." Parker, Archseol. of Rome, pt. 8, The Aqueducts. — Arch. Hist. Rome, pp. 93-121. Clement, Hist. Arch., pp. 80-1. Smith and Slater, Classic Arch., pp. 161-4. 6. Roman roads and bridges; tunnels and harbors. FERGUSSON, Hist. Arch., Vol. 1, pp. Rose.ngarten, Arch. Styles, pp. 143-4. 374-5. GwiLT, Enc. Arch., pp 90-2. Guhl, Greeks and Romans, pp. 341-52.' Nicholson, Enc Architecture. 164 HISTORY OF ARCHITECTURE. Burn, Rome and Campagna, pp. LII- Smith and Slater, Classic Arch., pp. LVII (Introduction). 170-^1. Parker, Arch. Hist. Rome, pp. 79-92. 7. The Roman Forum and other public places of its class; basilicas and arcades. Fergusson, Hist. Arch, Vol. 1, pp. 316-23. Luebke, Hist. Art, Vol. 1, pp. 292-3, 298-9; Mon. Art, Vol. 1, pi. 29, text pp. 105-6. Guhl, Greeks and Romans, pp. 409-21. Knight, Pict. Gal. Arts, Vol. 2, text p. 43- Gwilt, Enc. Arch., pp, 90-1, 109. Burn, Rome and Campagna, pp. 74-153, 165-7. Rosengarten, Arch. Styles, pp. 127-30. Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. I43-5 1 - Audsley, Diet. Arch., art. "Arcade," "Basilica." Parker, Archseol. of Rome, pt. 5, The Forum. — Arch. Hist. Rome, pp. 122-36. Clement, Hist. Arch., pp. 78-9. Smith and Slater, Classic Arch., pp. 154-6. 8. Circuses, theaters and amphitheaters — especially the Colosseum. Fergusson, Hist. Arch., Vol. 1, pp. 3 2 3-3i- Nicholson, Enc. Architecture. Knight, Pict. Gal. Arts, Vol. 2, II. p. 44, text pp. 47-50. Guhl, Greeks and Romans, pp. 421-36. Rosengarten, Arch. Styles, pp. 134-41. Gwilt, Enc. Architecture. Luebke, Hist. Art, Vol. 1, pp. 290-2; Mon. Art, Vol. 1, pi. 29, text pp. 103-5. Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 125-33. Burn, Rome and Campagna, pp. LXIII- LVII (Introduction); 234-42, 296-8, 457-9 Parker, Archseol. of Rome, pt. 7, The Colosseum — Arch. Hist. Rome, pp. 151-61. Tuckerman, Hist. Arch., pp. 76-9. Audsley, Diet. Arch., art. "Amphi- theatre." Smith and Slater, Classic Arch., pp. 156-64. 9. Monuments of honor — triumphal arches, memo- rial columns and tombs. HISTORY OF ARCHITECTURE. 165 Fergusson, Hist. Arch., Vol. 1, pp. Gwii.t, Enc. Architecture. 335-7. 340-62. Koehler, Hist. Art, pis. 16, 19. Knight, Pict. Gal. Arts, Vol. 2, II. p. 36, text p. 50. Guhl, Greeks and Romans, pp. 375-96. Rosengarten, Arch. Styles, pp. 130-2. Luebke, Hist. Art, Vol 1, pp. 294-9; Mon. Art, Vol. 1, pi. 28, text pp. 99- 102. Burn, Rome and Campagna, pp. XXXIX- XLV (Introduction), 167-9, I 7 I- 3> 434-5- Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 1 10-2. Clement, Hist. Arch., pp. 81-3. Smith and Slater, Classic Arch., pp. 1 7 1-4. 10. The characteristics of the old Roman worship determining the form of their temples; the temple of the Capitoline Jupiter; temple of Fortuna Virilis. Fergusson, Hist. Arch., Vol. 1, pp. Guhl, Greeks and Romans, pp. 297- 3°5-9- 3° 2 . 3°9- Duruv, Hist. Rome, Eng. ed., Vol. 1, Gwii.t, Enc. Arch., p. 75. pp. 79-80, 131-2, 271. Smith and Slater, Classic Arch., pp. Eschenhkrg, Manual Clas. Lit., p. 233. 147-8- 11. The Roman temple at Nismes; the temple of the Sun and the temple of Jupiter at Heliopolis [Baal- bec]; the temple of the Sun at Palmyra. Fergusson, Hist. Arch., Vol. I, pp. 307-8, 314-5. Luebke, Hist. Art, Vol. 1, p. 287. Knight, Pict. Gal. Arts, Vol. 2, text pp. 43 6. Gwilt, Enc. Arch., pp. 81-2, 91 1-2. Guhl, Greeks and Romans, pp. 311, 314 5,327-8. Nicholson, Enc. Architecture. Smith and Slater, Classic Arch., pp. 149-51. Tuckerman, Hist. Arch., pp. 75-7. 12. The Roman round temples: the temple of Vesta, at Tivoli; the temple of Vesta (Hercules) at Rome; the Pantheon at Rome. 166 HISTORY OF ARCHITECTURE. Fergusson, Hist. Arch., Vol. I, pp. 309- 12. Luebke, Hist. Art, Vol. 1, pp. 284-6. Knight, Pict. Gal. Arts, Vol. 2, text pp. 33. 46. Guhi., Greeks and Romans, pp. 319-24. Burn, Rome and Campagna, pp. 290-1, 39°- Rosengarten, Arch. Styles, pp. 121-3. Gwilt, Enc. Arch., pp. 86-8. Nicholson, Enc. Architecture. Koehler, Hist. Art, pi. 17. Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 106-10. Clement, Hist. Arch., pp. 76-8, 89. Smith and Slater, Classic Arch., pp. 1 5 1-4, 164-70. VI. EARLY CHRISTIAN, BYZANTINE, AND ROMANESQUE ARCHITECTURE. 1. Early Christian basilicas in what respects differ- ent from the pagan basilicas. Selected examples : St. Paul's and St. Lorenzo's outside the walls, and St. Clement's and Sta. Maria Maggiore in the city of Rome; St. Apollinare in Classe, at Ravenna. Fergusson, Hist. Arch., Vol. 1, pp. 407- 9.4I5- Rosengarten, Arch. Styles, pp. 163-5, 170-2. Luebke, Ecclesiastical Art, pp. 1-9; Hist. Art, Vol. I, pp. 342-50, 446-51; Mon. Art, Vol. 1, pi. 34. Knight, Pict. Gal. Arts, Vol. 2, text pp. 63-4- Gwilt, Enc. Arch., pp. 109-10. Nicholson, Enc. Arch., Vol. 1, pp. 29- 30. Zerffi, Hist. Dev. Art, pp. 277-9. Bury, Arch. Styles, pp. 20-2. Scott, English Church Arch., pp. 4-7, 1 7-20. Goodrich, Hist. Art, pp. 72-9. Reiser, Medieval Art, pp. 16-36. -Freeman, Hist, and Arch. Sketches, pp. 182-216. Tuckerman, Hist. Arch. , pp. 88-92. Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 208-11. Audsley, Diet. Arch , art. "Basilica." Clement, Hist. Arch., pp. 87-8. Smith and Slater, Classic Arch., 198- 206. HISTORY OF ARCHITECTURE. 167 2. Statement and description of parts and functions peculiar to church architecture: presbyterium, choir, stalls, screen and chancel; altar, baldachino and reredos; tran- sept, chapel, chantry and crypt; sacristy, lectern and ambo or pulpit. Rosengarten, Arch. Styles, pp. 165-70. Parker, Glos. Architecture. Luebke, Ecclesiastical Art, pp. 17-26, Fairholt, Die. Terms in Art. 115-36, 202-26. AUDSLEY, Diet. Arch., art. "Altar," Bury, Arch. Styles, pp. 22-4. "Ambo," "Apse," "Baldachin " GwiLT, Enc. Architecture. Scott, English Church Arch., pp. 8-10. Nicholson, Enc. Architecture. 3. Circular or multagonal funeral chapels, churches and baptisteries; St. Vitale, at Ravenna. Fergusson, Hist. Arch., Vol. 1, pp 429- Rosengarten, Arch. Styles, pp. 172-3. 40; Vol. 2, pp. 312-5. Aldsley, Diet. Arch., art. "Baptistery." LUEBKE, Hist. Art, Vol. i, pp. 350-1, Goodrich, Hist. Art, pp. 80-1. 463 4. Smith and Slater, Classic Arch., pp. Nicholson, Enc. Arch., Vol. 1, pp. 26-7. 206-9, 215. Britton, Arch. Antiq., Vol. 1, (see Reiser, Mediaeval Art, pp. 37-56. Essays on Round Churches.) Tuckerman, Hist. Arch., pp. 92-4. 4. Cloisters and other monastic buildings connected with the so-called collegiate churches. Rosengarten, Arch. Styles, pp. 251, NICHOLSON, Enc. Arch., Vol. 1, pp. 167- 257. *. 176. Luebke, Hist. Art, p. 463. Britton, Arch. Antiq., Vol. 4, pp. 24-6. 5. Byzantine architecture: clustered domes; vaulted ceilings; massive piers and arches; peculiar decoration. i68 HISTORY OF ARCHITECTURE. Fergusson, Hist Arch., Vol. 2, pp. 414-43- Rosengarten, Arch. Styles, pp. 177-9, 185-90. Luebke, Ecclesiastical Arch., pp. 10-15; Hist. Art, Vol. 1, pp. 359-63. Knight, Pict. Gal. Arts, Vol. 2, text pp. 55-9- Nicholson, Enc. Arch., Vol. 1, pp. 68-71. Clement, Hist. Art, pp. n 7-9. Tuckerman, Hist. Arch., pp. 95-8. Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 223-8. Smith and Slater, Classic Arch., pp. 240-51. 6. Select Byzantine examples : Church of St. Sophia at Constantinople; church of St. Mark at Venice; church of St. Antonio at Padua. Fergusson, Hist. Arch., Vol. 2, pp. 389-65, 443-5°. 422-4. Rosengarten, Arch. Styles, pp. 179-84, 258-60. Luebke, Hist. Art, Vol. 1, pp. 363-6, 502- 4; Mon. Art, Vol. 1, pi. 35, text pp. 122-3. Knight, Pict. Gal. Arts, Vol. 2, text PP- 54-5- Clement, Hist. Art, pp. 114-6, 119-23. Smith and Slater, Classic Arch., pp. 211-21. Reber, Mediaeval Art, pp. 56-62. Tuckerman, Hist. Arch., pp. 98-104. Nicholson, Enc. Arch., Vol. 1, pp. 30 7i-3- Bury, Arch. Styles, pp. 24-6, 29-31. GWILT, Enc. Arch., pp. 107-9, 114. Zerfki, Hist. Dev. Art, pp. 280 i. Norton, Church Building Mid. Ages, pp. 52-61. Ruskin, Stones of Venice, Vol. 2, pp. 63-129. 7. The Russo-Byzantine style developing in the six- teenth century its peculiar bell-towers, its high-mounted and bulb-shaped domes and its other fantastic features: the cathedral of the Assumption, the churches of Vassili Blanskenoy or St. Basil, of the Nativity, and the Tower of Ivan the Great at Moscow. Rosengarten, Arch. Styles, pp. 193-8. Fergusson, Hist. Arch., VoL 2, pp. Rambauu, Hist. Russia, Vol. 1, p. 309. 481-93. HISTORY OF ARCHITECTURE. 169 Curtis, Land of the Nihilist, pp. 312-13, Reber, Hist, of Mediaeval Art, pp. 66- 3I9- 71. Chester, Russia Past and Present, pp. Hare, Russia, pp. 177-99. 170-1. Prime, Alhambra to Kremlin, pp. 340-3. Gallenga, Summer Tour in Russia, p. Reber, Mediaeval Art, pp. 65-71. 55- 8. Romanesque architecture: cross-vaulted ceilings and arch friezes; cubiform and caliciform capitals and plain shafts. Fergusson, Hist. Arch., Vol. 1, pp. Viollet-le-Duc, Discourses on Arch., 416-8, 426-8. Vol. I, pp. 229-39. Rosengarten, Arch. Styles, pp. 230-8, Smith and Slater, Classic Arch., pp. 243-5. 222 -3, 240-45. 2 5° '• Norton, Church Building Mid. Ages, Goodrich, Hist. Art, pp. 82-6. pp. 20-35. TUCKERMAN, Hist. Arch., pp. 114-24. LUEBKE, Ecclesiastical Art, pp. 44-9; *Hist. Art, Vol. I, pp. 451-5. 9. The Romanesque fagade: twin towers; splayed portal with decorative columns; wheel window, etc. Fergusson, Hist. Arch., Vol. 1, pp. Goodrich, Hist. Art, pp. 86-9. 424,430-1; Vol. 2, pp. 315-6. Smith and Slater, Classic Arch, pp. Rosengarten, Arch. Styles, pp. 238-40, 245-6. 255. TUCKERMAN, Hist. Arch., 124-7. LUEBKE, Ecclesiastical Art, pp. 38-42; Hist. Art, Vol. 1, pp. 455-6. 10. Romanesque decoration: sculptured ornaments on cornices, capitals, bases and shafts. Fergusson, Hist. Arch , Vol. 1, pp. 422- Luebke, Ecclcstical Art, pp. 27-38; 4. Hist. Art, Vol. 1, pp. 460-2, Rosengarten, Arch. Styles, pp. 241-3, Smith and Slater, Classic Arch., pp. 245-50. 246 50. 170 HISTORY OF ARCHITECTURE. 11. Select Romanesque examples in central Italy: the baptistery and the church of San Miniato at Flor- ence; church of San Michele at Lucca; cathedral of Pisa. Fergusson, Hist. Arch., Vol. 2, pp. 370-4- Luebke, Hist. Art, Vol. 1, pp. 495-9; Mon. Art, Vol. 1, pi. 42, text pp. 143-4. Rosengarten, Arch. Styles, pp. 253-5. Knight, Pict. Gal. Arts,Vol. 2, text p. 67. Nicholson, Enc. Arch., Vol. 2, p. 112. Bury, Arch. Styles, pp. 30-2. Reber, Mediaeval Art, pp. 322-35. Freeman, Hist, and Arch. Sketches, pp. 87-134. 12. Select Romanesque examples in Lombardy: cathedral of Modena; church of San Zeno at Verona; cathedral of Parma. Fergusson, Hist. Arch., Vol. 2, pp. 309- Nicholson, Enc. Arch., Vol. 2, pp. 12. 1 12-3. Rosengarten, Arch. Styles, pp. 260-2. Freeman, Hist, and Arch. Sketches, pp. Luebke, Hist. Art, Vol. 1, pp. 505-7; 15-25, 247-59. Mon. Art, Vol. 1, pi. 41, text p. 142. Reber, Mediaeval Art, pp. 309-22. Knight, Pict. Gal. Arts, Vol. 2, text pp. Smith and Slater, Classic Arch., pp. 66-7. 224-5. 13. Select Romanesque examples in Germany and France: church of Holy Apostles at Cologne; church of St. Saturnin at Toulouse; churches of Ste. Trinite' and of St. Stephen at Caen. Fergusson, Hist. Arch. , Vol. 1, 4745. 5!3- 8 ; Vol. 2, pp. 24-5. Bury, Arch. Styles, pp. 35-7. pp. King, Med. Arch., Vol. 1, pis. 88-9. Rosengarten, Arch. Styles, pp. 266-71, 275-7- HISTORY OF ARCHITECTURE. 171 Reuer, Mediaeval Art, pp. 250-308, 335-68- Luebke, Hist. Art, Vol. 1, pp. 477-9, 508-11, 514-6; Mon. Art, Vol. 3, pis. 43,46; text pp. 147-8, 153, 180-1. Knight, Pict. Gal. Arts, Vol. 2, text pp. 67-71. Smith and Slater, Classic Arch., pp. 225-31. 14. The Romanesque of England or the Norman style: Anglo-Saxon and other elements greatly distin- guishing the Anglo-Norman from the Romanesque of other countries (1066-1154 A. D.) Fergusson, Hist. Arch., Vol. 2, pp. 119-23, 125-9, 1 39-40, i45- 8 » 15*. !7°- 1, 181 7. RosENGARTEN, Arch. Styles, pp. 271-5. Luebke, Hist. Art, Vol. 1, pp. 516-8. Knight, Pict. Gal. Arts, Vol. 2, text pp. 82-6. Bury, Arch. Styles, pp. 69-91. Gwii.t, Enc. Arch., pp. 164-75. Britton, Arch. Antiq.. Vol. 4, pp. 5-24, 103-36. Paley, Gothic Arch., 54-61. Nicholson, Enc. Arch., Vol. 2, pp. 234- 40, 400-7. AUDSLEY, Diet. Arch., art. "Anglo- Saxon Arch." Smith and Slater, Classic Arch., pp. 232-3- Scott, Mediaeval Arch., Vol. 2, pp. 1-91. — English Church Arch., pp. 35-51, 92-5. 133-9- Reber, Mediaeval Art, pp. 378-88. Parker, Introd. to Gothic Arch., pp. 1-89 — A BC of Gothic Arch., pp. 1-70 15. Select examples of the Anglo-Norman Style: Norwich cathedral; Canterbury cathedral; Winchester cathedral; Chapter House at Bristol. Fergusson, Hist. Arch., Vol. 2, pp. «3o-3. 137-8, 172-4. Luebke, Hist. Art, Vol. 1, pp. 518-20; Mon. Art, Vol. 1, pi. 44, text p. 149. Britton, Cath. Antiq., "Norwich," pis. 1-24; text pp. 18-20, 24 50; "Bristol, " pis. 3-4, 9; text pp. 45 7, 53; "Win- chester," pis. 1 29; text pp. 48-9, 54- 104; "Canterbury," pis. 1-36, text pp. 25-62, 94-9. Winkles, Eng. Cath., Vol. 1, pp. 17-40, 121-40; Vol. 2, pp. 85-94. SCOTT, Mediaeval Arch., Vol. 2, pp. 92- 132. — English Church Arch., pp. 95- 1 10. Smith and Slater, Classic Arch., pp. 233-9- Our National Cathedrals, Vol. 1, pp. 35-58, 153-76. 172 HISTORY OF ARCHITECTURE. VII. SARACENIC ARCHITECTURE. i. Characteristics of the faith and methods of wor- ship of the Mohammedans which greatly influence their works of art. Rosengarten, Arch. Styles, pp. 199- 200. Lecky, Rationalism in Europe, Vol. 1, pp. 234-6. Baxley, Spain, Vol. 1, pp. 19-20; Vol. 2, pp 132-3. Lane, Modern Egyptians, Vol. 2, pp. 177-81 (d). Butler, Court Life in Egypt, pp. 38- 44(d). Lubeke, Hist Art, Vol. 1, pp. 410-4. Lane, English Woman in Egypt, Vol. 1, pp. 107-15 (b); pp. 115-16 (c); p. 114(b). B^deker, Egypt, p. 140. Ebers, Egypt, Vol. 2, p. 109. Clement, Hist. Arch., pp. 123-6. Clarke, Ten Great Religions, Vol. 1, pp. 448-88. 2. General suggestions for the study and observation of architectural examples in Islam — absence of constructive skill and completeness; little unity or harmony of design; as many different styles as there are nations in Islam. Rosengarten, Arch. Styles, pp. 226-9. Smith and Slater, Classic Arch., pp. Fergusson, Hist. Arch., pp. 497-500. 252-3, 268. Tuckerman, Hist. Arch., pp. 105-9. Reiser, Mediaeval Art, pp. 155-8. HISTORY OF ARCHITECTURE. 175 3. The special characteristics and requirements in the Mohammedan mosque: the Mihrab or hall of prayer; the court and tank for ablution before prayer; the minaret for proclamation. Stilted, horse-shoe and keel-shaped arches; scalloped or cusped arches; stalactite or honey- comb pendentives; filigree and interlaced ornament. Fergusson, Hist. Arch., Vol. 2, pp. Gwilt, Enc. Arch., pp. 54-6. 465-6- Knight, Pict. Gal. Arts, Vol. 2, text pp. Luebke, Hist. Art, Vol. I, pp. 414-7. 62-3. Rosengarten, Arch Styles, pp. 200-3. Parker, Glos. Arch., Vol. 1, pp. 32-4. Nicholson, Enc. Arch., Vol. 2, pp. Audsley, Diet. Arch., art. "Arch." 208-10. Reber, Mediaeval Art, pp. 161-4. 4. Peculiar style of mural decoration in Saracenic architecture; arabesque patterns and mosaic and geometric ornaments; play of lines, belts and vegetable forms, all symbols and animal likeness being reprobate; ingenious avoidance of right angles, diagonals and all geometric curves; the use of text characters and brilliant colors in decoration. Lane-Poole, Art of the Saracens, pp. Knight, Pict. Gal. Arts, II. pp. 60, 89 125. 64, 69. Li i I'.KK, Hist. Arch, Vol. 1, pp. 417-6. Audsley, Diet. Arch., art. "Arabesque,' 1, ROSENGARTEN, Arch. Styles, pp. 203-6, "Arab ornament." 226-9. Smith and Slater, Classic Arch., pp. Nicholson, Enc. Arch., Vol. 2, pp. 258-60. 210-1. Reber, Mediaeval Art, pp. 164-6, 195-8. Parker, Glos. Arch., Vol. 1, pp. 30-2. 5. In Egypt the depressed pointed arch prevails in Saracenic architecture. Select examples in Cairo: the »74 HISTORY OF ARCHITECTURE. mosque of Ibn Touloun; the mosque of the Sultan Bar- kook and the tombs of the Mamelukes; the mosque of Sultan Hassan; the mosque and tomb of Kait-Bey; the palaces of Choubra and of Gezireh. Charmes, Five Months in Egypt, pp. 116-131, 103-115. Lane, Modern Egyptians, Vol. 1, pp. 100-112. Ebers, Egypt, Vol. 1, pp. 311-14; Vol. 2, pp. 198, 208, 217, 229, 270-84. Hale, A Family Flight over Egypt and Syria, p. 222. Baedeker, Egypt, pp. 183-5. Bartlett, The Nile Boat, chap. 3. ZlNCKE, Egypt of the Pharoahs and of the Khedive, pp. 458-71. Lane Poole, Art of the Saracens, pp. 49-72. Murray, Egypt, pp. 232-4(3); 216-17. Ebers, Egypt, Vol. 1, pp. 226, 241. Fergusson, Hist. Arch., Vol. 2, pp. 507-I7. Luebke, Hist. Art, Vol. 1. pp. 420-3; Mon. Art, pi. 39, text pp. 136-9. Rosengarten, Arch. Styles, pp. 261, 215-7- Knight, Pict. Gal. Arts, 11. p. 61. Poole, Art of the Saracens in Egypt, PP- 47-75. Reber, Mediaeval Art, pp. 166-9. Aud;;:.ev, Diet. Arch., art. "Arab arch." Smith and Slater, Classic Arch., pp. 253-8. 6. In India and Persia the horse-shoe arch prevails in Saracenic architecture. Select examples: the mosque at Old Delhi; the Jumma mosque at New Delhi; the mosque at Futtepore Sikri; the palace at Delhi; Taje Mehal at Agra. Luebke, Hist Art, Vol 1, pp. 437-9; Rosengarten, Arch. Styles, pp. 221-4. Mon. Ait, pi. 40, text pp. 139-40. Smith and Slater, Classic Arch., pp. Koeiiler, Hist. Art, pi. 48. 265-9. Fergusson, Hist. Arch., Vol. 3, pp. Reber, Mediaeval Art, pp. 172-7, 193-5. 578-81, 591-9, 600-2. 7. In Spain, the keel-arch prevails in Saracenic HISTORY OF ARCHITECTURE. *75 architecture. Select examples: the mosque at Cordova; the Alhambra at Granada. Fergusson, Hist. Arch., Vol. 2, pp. 278, 522-36. Luebke, Hist. Art, Vol. 1, pp. 424-33; Mon. Art, pi. 38, text pp. 132-6. Rosengarten, Arch. Styles, pp. 206-14. Gwii.t, Enc. Arch., pp. 51-4. Knight, Pict. Gal. Arts, II. pp. 56-7, 60-1; text pp. 59, 62. Parker, Glos. Arch., Vol. 2, pi. 109. Baxi.ey, Spain, Vol. 1, pp. 199-310. Koehler, Hist. Art, pis. 46-7. Clement, Hist. Arch., pp. 126-32. Smith and Slater, Classic Arch 4 pp. 263-5- Reber, Mediaeval Art, pp. 178-91. Tuckerman, Hist. Arch., pp. 110-4. VIII. GOTHIC ARCHITECTURE. 1. The Gothic style a perfect architectural system developed from the pointed arch; the Gothic and the Romanesque systems of construction compared, especially as to the vaults and the supporting walls. Fkrgisson, Hist. Arch., Vol. 1, pp. 397-8. LUEIIKE, Hist. Art, Vol. 2, pp. 1-6. Rosengarten, Arch. Styles, pp. 297- 300. Nicholson, Enc. Arch., Vol. 1, pp. 450-2. Par::er, Glos. Arch., Vol. 1, pp. 238-40. Ri'skin, Stones of Venice, Vol. 2, pp. l() l 54, or better 151-230. Violi.et-le Die, Discourses on Arch., Vol. 1, pp. 239-42. GARBETT, Arch Design, pp. 157-79. Stevenson, House Arch., Vol. i, pp. •27 33- SCOTT, Mediaeval Arch., Vol. 1, pp. 1-68. — English Church Arch., pp. 124-6. Goodrich, Hist. Art, p. 91. Tuckerman, Hist. Arch., pp. 132-5. Parker, Introd. to Gothic Arch., pp. 9) 100. PaLEY, Goth. Arch., pp. 1-27. 176 HISTORY OF ARCHITECTURE. 2. Origin, varieties and early history of the pointed arch; was it a constructive principle or merely an orna- mental form ? Fkrgusson, Hist. Arch., Vol. 1, pp. 448- 53. 5°6"7- Li'EBKK, Ecclesiastical Art, pp. 49-50; Hist. Art, Vol. 2, pp. 6-7. Rosengarten, Arch. Styles, pp 285-93. Nicholson, Enc. Arch., Vol. i,p. 461. Garbett, Arch. Design, pp. 157-79. Gwilt, Enc. Arch , pp. 119-25. D'Agincourt, Hist. Art, Vol. 1, pi. 46. Audsley, Diet. Arch., art. "Arch." Stevenson, House Arch., Vol. 1, pp. 133-7. Goodrich, Hist. Art, pp. 92-3. Paley, Gothic Arch., pp. 61-7. Scott, Mediaeval Arch., Vol. 1, pp. 215- 27. — English Church Arch., pp. 126-7. 3. Principal characteristics of the constructive orna- mentation of Gothic architecture: of the fagade, portal and spire; of the buttresses; of the clustered column and vault or roof ribs; window tracery and glass painting. Fergusson, Hist. Arch., Vol. 1, pp. 458-60, 552-4, 563-82. Luebke, Ecclesiastical Art, pp. 67-92 ; Hist. Art, Vol. 2, pp. 7-16. Rosengarten, Arch. Styles, pp. 300-19; 322-3- Nicholson, Enc. Arch., Vol. 1, pp. 455- 6, 462-71. Koehler, Hist. Art, pi. 66-8. Gwilt, Enc. Arch., pp. 231-4, 386-7, 589-90. Garbett, Arch. Design, pp. 158-65, 201-13. Gessert, Painting on Glass. Winston, Glass Painting. Scott, Mediaeval Arch., pp. 228-89. Pugin, Pointed or Christian Arch. Goodrich. Hist. Art, pp. 95-9. Tuckerman, Hist Arch., pp 135-47. Paley, Gothic Arch., pp. 74-100, 154-92. Stevenson, House Arch., Vol. 1, pp. 137-2. Viollet-le-Duc, Discourses on Arch., Vol. 1, pp. 276-80. Clement, Hist. Arch., pp. 94-8. 4. Prevailing elements of the decorative ornamenta- tion of Gothic architecture: combination of vegetable HISTORY OF ARCHITECTURE. 177 with geometric forms; the Gothic choice of plants in England. Fergusson, Hist. Arch., Vol. 1, pp. 33-5. Rosengarten, Arch. Styles, pp. 293-6, 3'9 2 2- Bu: : . Quar. Rev , Vol. 10, pp. 62-5. Garbett, Arch. Design, pp. 206-7. Koehler, Hist. Art, pis. 66-9. Gwilt, Enc. Arch., pp. 952-4. Clement, Hist. Arch , pp. 99-102, 106-8. Stevenson, Housa Arch , Vol. 1, p. 142. Paley, Gothic Arch., pp. 101-17. 5. The first development of the Gothic system in central and northern France; the suggestion from Sara- cenic architecture, and how obtained. Fergusson, Hist. Arch., Vol. 1, pp. 5 22 -7- Luebke, Hist. Art, Vol. 2, pp. 17-23. Rosengarten, Hist. Arch., p. 341. Gwii.t, Enc. Arch., pp. 231-4. Scott, Mediaeval Arch., Vol 1, pp. 69- 136 — English Church Arch., pp. 126 8. VlOLLET-LE-Duc, Discourses on Arch., Vol. 1, pp. 260-76. 6. The influence of the society of Free Masons on the development of Gothic architecture; the influence of the guilds on art in general. Fkkgi sson, Hist. Arch., Vol. 1, pp. Conway, Early Flemish Painting. 527-31. VlOLLET-LE-Duc, Discourses on Arch., Rosengarten, Art Styles, pp. 289-90. Vol 1, pp. 281-2. 7. Divisions of Gothic architecture required by the degrees of its development in different periods and countries: i 7 8 HISTORY OF ARCHITECTURE. a. Early Gothic or (in England) the Lancet or Plan- tagenet style; simple and severe with circle and fillet traceries. t. Middle Gothic or (in England) the Perfected or Decorated style; elegant enrichment with undulating and intersecting traceries. C. Late Gothic or (on the continent) Flamboyant, or (in England) the Perpendicular or Tudor style; ogee arches, excessive embellishment, roof ribs in fan-shaped systems, open-work roof-trusses and flying buttresses. Rosengarten, Arch. Styles, pp. 229-39. Murray, Mod. London, pp. 99-102 (e). Fergusson, Hist. Arch., Vol. 2, pp. 121- 4. 139-5°- Stevenson, House Arch., Vol. 1, pp. I55-70. Parker, Introduction to Gothic Arch. — ABC of Gothic Arch. Scott, Mediaeval Arch., Vol. 1, pp. I 37~°9- — English Church Arch., pp. 128-3, ^-M 1 , 172-86. 8. The four important typical cathedrals of Gothic France : of Paris, of Chartres, of Rheims, and of Amiens. Fergusson, Hist. Arch., Vol. 1, pp. 53 2 -42. Luebke, Hist. Art, Vol. 2, pp. 18-21; Mon. Art, Vol. 2, pis. 50-1, text pp. 164-7. Knight, Pict. Gal. Arts, Vol. 2, II. p. 105, text p. 106. Gwilt, Enc. Arch., pp. 234-5. King, Med. Arch., Vol. 3, pis. 49-60, 75-88. Garbett, Arch. Design, pp. 183-90. Koehler, Hist. Art, pis. 69-71. D'Agincourt, Hist. Art, Vol. 1, pis. 39-41- Rickman, Gothic Arch., Appendix pp. 53-4- ViOLLET-i.E-Drr, Discourses on Arch., Vol. 1, pp. 307-12,425-8. Reber, Mediaeval Art, pp. 480-516. Parker, Introd. to Gothic Arch, pp. 236-6-. HISTORY OF ARCHITECTURE. 179 9. The two great typical cathedrals of this style in Germany : of Cologne and of Strasburg. Fergusson, Hist. Arch., Vol. 2, pp. 57, 63, 65-8. Luebke, Hist. Art, Vol. 2, pp. 27-40; Ecclesiastical Art, pp. 70 7, 80-1 ; Mon. Art, Vol. 2, pis. 53-4B, text pp. 172-81. Knight, Pict. Gal. Arts, Vol. 2. II. pp. 108-9, text pp. in, 114. Rosengarten, Arch. Styles, pp. 355-8. Garbett, Arch. Design, pp. 179-83. Koehi.er, Hist. Art, pis, 74-6. Gwilt, Enc. Arch., p. 246-7. D'Agixcourt, Hist. Art, Vol. 1, pi. 41. Eidlitz, Nature of Art, pp. 424-54 (Cologne) . Reber, Mediaeval Art, pp. 534-65. 10. Select examples in Spain and Portugal: the cathedrals of Toledo and of Burgos, in Spain; the convent church at Batalha, and the convent churches at Belem and at Thomar, in Portugal. Luebke, Hist. Art, Vol. 2, pp. 58-62; Rosengarten, Arch. Styles, p. 370. Mon. Art, Vol. 2, pi. 58, text p. 188. BaXI.EY, Spain, Vol. 2, pp. 224-7. D'Agincourt, Hist. Art, Vol. 1, pi. 41. Koehler, Hist. Art, pis. 83-4. Fergusson, Hist. Arch., Vol. 2, pp. Gwii.t, Enc. Arch., pp. 250-6. 260-5, 290-2. Reber, Mediaeval Art, pp. 582-8. 1 1. Select examples in Italy: the cathedral of Siena; the Duomo of Florence; the convent Certosa; the cathe- dral of Milan. Fergusson, Hist. Arch., Vol. 2, pp. 328 36, 338-45. Luebke, Hist. Art, Vol. 2, pp. 50 8; Mon. Art, Vol. 2, pi. 57, text pp. 186-7. KNIGHT, Pict. Gal. Arts, Vol. 2, text p. 103. Rosengarten, Arch. Styles, pp. 362 8. ElDI.ITZ, Nature of Art, pp. 424-54 (Milan). Koehler, Hist. Art, pis. 89-90. Guilt, Enc. Arch., pp. 256-60. Nicholson, Enc Arch., Vol. 2, p. 43. Norton, Church Building, chapters 3-4. D'Agincourt, Hist. Art, Vol. 1, pi. 41. SYMONDS, Renaissance, pp. 50-S. Barry, Lcct. on Arch., pp. 350-65. Reiiek, Mediaeval Art, pp. 565-80. Parker, Introd. to Gothic Arch., pp. 283-5- 180 HISTORY OF ARCHITECTURE. 12. Peculiarities of the Gothic Cathedrals in Eng- land: extreme length and double transept; a Lady Chapel or an immense east window instead of the continental apsis; exteriors generally severe and plain, but with admirable proportions; the towers and spires central and the main roofs graded down by the aid of associated buildings — chapels, chapter house, bishop's palace, etc.; diversity of style in the different cathedrals; usual isola- tion by a grassy "close" and thrifty trees. Select examples: the cathedrals of York, of Salis- bury, of Litchfield; the chapels of St. George, at Windsor, of Kings College, at Cambridge, of Henry VII. at West- minster; the new Parliament buildings at Westminster. Fergusson, Hist. Arch., Vol. 2, pp. Scott, Hist. English Church Arch. 163-7, 170-71. Parker, Introd. to Gothic Arch., pp. Rosengarten, Arch. Styles, pp. 229-39. 101-216. Nicholson, Enc. Arch. Barry, Lect. on Arch., pp. 366-80. Winki.es, Cath. Churches in Eng. and Scott, Mediaeval Arch., Vol. 1, pp. 148- Wales 214. Gwtlt, Enc. Arch. Cathedral churches of England and Our National Cathedrals, pp. 1-34, Wales. 69-100. i 7.. The Gothic Revival in England; the restoration of Henry VII's Chapel in 1809; competition and public discussion on plans for the new parliament Buildings, 1 836- 1840; interest excited by Ruskin's critical works, " Modern Painters," " Seven Lamps of Architecture," and the " Stones of Venice." HISTORY OF ARCHITECTURE. 1S1 Eastlake, Hist, of the Gothic Revival, pp. 99-107, 170-86, 264-80, 309-12, 359- Pugin, Revival of Christian Arch, in England. The Nation, Vol. 14, pp. 275-6. Fergusson, Hist. Arch., Vol. 4, see index. Catholic World, Vol. 25, pp. 639-50. IX. RENAISSANCE ARCHITECTURE. For discussion of the topics under this head, consult, above all, Ruskin's works. i. General discussion of Renaissance architecture. Fergusson, Hist. Arch., Vol. 4, pp. Symonds, Renaissance, pp. 67-72, 78-81. 1-10, 144-5. Stevenson, House Arch., Vol. 1, pp. LUEBKE, Hist. Art, Vol. 2, pp. 135-6. I99 216. Nicholson, Enc. Arch., Vol. 2, pp. TUCKERMAN, Hist. Arch., pp. 1 51-3. 40-2, 362. 2. Style of the Florentine Renaissance: Arnolfo (i250?-i3io); Brunelleschi (i 377-1446); Leone Battista Alberti (1 404-1472); churches of San Lorenzo, Santa Maria Novello and San Spirito at Florence; church of St. Andrea, at Mantua; Pitti palace, Riccardi palace, Rucellai palace and Strozzi palace at Florence. 182 HISTORY OF ARCHITECTURE. Fergusson, Hist. Arch., Vol. 4, pp. 42- 55. 93- 101. Luebke, Hist. Art, Vol. 2, pp. 136-42, 150; Mon. Art, Vol. 2, PI. 64, Text pp. 202-4. Gwilt, Enc. Arch., pp. 131-8. Nicholson, Enc. Arch., Vol. 2, pp. 42-4. Rosengarten, Arch. Styles, pp. 375-83. Symonds, Renaissance, pp. 63-7, 72-8. Knight, Pict. Gal. Arts, Vol. 2, Text p. 130. Koehler, Hist. Art, Pis. 98-9, 101-2,105. Barry, Lect. on Arch., pp. 381-96. Scott, Renaissance in Italy, pp. 93-8. Stevenson, House Arch., Vol. 1, pp. 217-21. Clement, Hist. Arch., pp. 134-40. 3. Style of the Venetian Renaissance: San Micheli (1484-1549); Sansovino (1479-15 70); churches of Santa Maria della Salute, Santa Maria Zobenico and San Giorgio Maggiore; Doge's palace, Vandramini palace, Grimini palace and library of St. Mark. Fergusson, Hist. Arch., Vol. 4, pp. 74-5, 81-6, 101-12. Luebke, Hist. Art, Vol. 2, pp. 142-6; Mon. Art, Vol. 2, Pis. 64, 71, Text pp. 204, 216-7. Koehler, Hist. Art, Pis. 97, 101, 103-4. Gwilt, Enc. Arch., pp. 146-51. Nicholson, Enc. Arch., Vol. 2, pp. 40, 46-7. Rosengarten, Arch. Styles, pp. 383-93. Symonds, Renaissance, pp. 85-6. Knight, Pict. Gal. Arts, Vol. 2, Text p. 135- Scott, Renaissance in Italy, pp. 222-9. Stevenson, House Arch., Vol. 1, pp. 225-37- Barry, Lect. on Arch., pp. 405-13. 4. Style of the Roman Renaissance; Bramante (i450?-i5i4); M. Angelo (1475-1564); St. Peters; Bel- vedere court and court of the Loggie, Vatican ; Cancel- laria palace, Farnese palace and Borghese palace. Luebke, Hist. Art, Vol. 2, pp. 146-57; Gwilt, Enc. Arch , pp. 138-45. Mon. Art, Vol. 2, Pis. 71, 87, Text Nicholson, Enc. Arch., Vol. 2, pp. 44 -6. pp. 214-5, 252-5. Rosengarten, Arch. Styles, pp. 393- Fergusson, Hist. Arch., Vol. 4, pp. 415. 51-3, 57-72, 83, 112-26. Symonds, Renaissance, pp. 81-94. HISTORY OF ARCHITECTURE. 183 Knight, Pic. Gal. Arts, Vol. 2, Text pp. 131, 134-5, II. p. 132. Koehler, Hist. Art, Pis. 97, 101-2, 104, 106-7. D'Agincourt, Hist. Art, Vol. 1, Pis. 57 62. Black, M. Angelo, pp. 109-18. Perkins, Raphel and Michael Angelo, p. 238-43. Wey, Rome, pp. 460-555 (Vatican). Bohn, Outlines of Michael Angelo's Works, 5 plates. Scott, Renaissance in Italy, pp. 213-22. Stevenson, House Arch., Vol. 1, pp. 222-4. Barry, Lect. on Arch., pp. 397-405, 414 23. 5. Terracotta architecture of northern Italy, of the Gothic and Renaissance periods; church of Santa Maria del Carmine and the Certosa at Pavia; cathedral of Cremona. Fergusson, Hist. Arch., Vol. 4, pp. 11, Gruner, Terra-cotta Arch., Pis. 7-1 1, 18-9, 53-4- 16-24, 29-33, pp. 1-9, 27-30, 37-9, 41, Hake, It. Cities, Vol. 1, pp. 166-72, 47-52. 234-6. Scott, Renaissance in Italy, pp. 98-102. Rosengarten, Arch. Styles, pp. 375-6. 6. Style of the French Renaissance; Delorme (1518?— 1577); Perrault (1613-1688); Mansard (1645- 1708); St. Eustache; Dome of the Invalides; the Louvre; Luxembourg palace; palace at Versailles; church of St. Genevieve or the Pantheon, of Paris; chateau of Chambord. Fergusson, Hist. Arch., Vol. 4, pp. 279 84, 190-3, 195-200, 207-14, 224-9, 232 9. LUEBKE, Hist. Art, Vol. 2, pp. 162-8. Gwn/r, Enc. Arch., pp. 152-7. Knight, Pict. Gal. Arts, Vol. 2, text pp. 138-9, II. p. 141. Rosengarten, Arch. Styles, pp. 415-32. Koehler, Hist. Art, pis 129-31. VlOLI.E-l.E-Dl'C, Discourses on Arch., Vol. 1, pp. 366-401. Stevenson, House Arch., Vol. 1, pp. 238 57- Clement, Hist. Arch., pp. 153-66. 184 HISTORY OF ARCHITECTURE. 7 Style of the Spanish Renaissance, cathedral of Granada; cathedral of Valladolid, cathedral of Zaragoza; the Escorial. FERGUSSON, Hist. Arch., Vol. 4, pp. Rosengarten, Arch. Styles, p. 433. 146-64. Knight, Pict. Gal. Arts, Vol. 2, text p. Luebke, Hist. Art, Vol. 2, pp. 169-70. 146. Gwilt, Enc. Arch., pp. 160-1. Clement, Hist. Arch., pp., 145-53. 8. Style of the English Renaissance — the Eliza- bethan Style; Inigo Jones (i 572-1 652); Sir Christopher Wren (1632-1723); St. Paul's Church, Covent Garden; Banqueting House, Whitehall; St. Paul's cathedral; St. Stephen's church, Walbrook. Eastlake, Hist, of the Gothic Revival, Bury, Arch. Styles, pp. 136-63, 185-93. pp. i-6, 16-19 (St. Paul); 22-7, 31-5, Winkles, Eng. Cath , Vol. 1, pp. 65-80. 40-1 (Wren). Knight, Pict. Gal. Arts, Vol 2, text pp. FERGUSSON, Hist. Arch., Vol. 4, pp. 147, 150-1, 154, II. pp. 136, 141, 144-5. 268-72, 284-313. Koehler, Hist. Art, pi. 132. Gwilt, Enc. Arch , pp. 195-215. Stevenson, House Arch., Vol. 1, pp. Nicholson, Enc. Arch., Vol. 2, pp. 284-379. 48-53. Barry, Lect. on Arch., pp. 332-49. Rosengarten, Arch. Styles, pp. 433-9- 9. Characteristics of Architecture in Belgium espec- ially in civil and domestic buildings: town halls, trade- halls, guild halls and belfries ; elaborate embellishment of later churches, notably about the pulpits. Select examples. Cloth Hall at Ypres; the town-halls of Ghent, Brussels, Bruges and Louvain, and the belfries connected with them; the churches of St. Jacques, S. Andrews and St. Pauls at Antwerp and St. Gudules (cathedral) at Brussels. HISTORY OF ARCHITECTURE. 185 Fergusson, Hist. Arch., Vol. 2, pp. 588, Murray, Holland and Belgium, pp. 598, 600-606. 147-8, 163-4. Beadeker, Belgium and Holland, pp. Stevenson, House Arch., Vol. 1, pp. XXXVIII, 20, 41, 76-8, 96, 150-3. 258-83. Roscoe, Belgium, pp. 163-6, 168-70, 1/4-5. 177- 10. The great perversions of the Renaissance archi- tecture of the seventeenth century; the rise of the Rococco style culminating in the "Periwig and Pig-tail" period; Lorenzo Bernini (1589-1680); Francesco Bor- romini (1 599-1667); St. Giovanni Laterano; San Carlino alle Quatro Fontaine; Barberini palace; colonnade in front of S. Peters in Rome; church of St. Paul and St. Louis and many other buildings in Paris. Fergusson, Hist. Arch., Vol. 4, pp. 72-4, Gwilt, Enc. Arch., pp. 145-6. 125-6. Nicholson, Enc. Arch , Vol. 2, p. 47. Luebke, Hist. Art, Vol. 2, pp. 159-61, Rosengarten, Arch. Styles, pp. 440-51. 168-70. Koehler, Hist. Art, pis. 104, 106. 11. Architecture of the present day; Opera House at Paris; Theatre and Museum at Berlin; Glyptothek and Ruhmeshalle at Munich; Houses of Parliament at London; St. George's Hall at Liverpool; Capitol at Washington. Luebke, Hist. Art, Vol. 2, pp. 593-601. Koehler, Hist, Art, pi. 142. Fergusson, Hist. Arch ,Vol. 4 pp. 368 Rosengarten, Arch. Styles, pp. 459-501. 74,397-400,403-5,500-6,530-1,540-2. Bt"KY, Arch. Styles, pp. 170-83. KNIGHT, Pict. Gal. Arts, Vol. 2, text pp, CLEMENT, Hist. Arch., pp. 166-83. 142-3, 158-9, II. p. 140 APPENDIX. 187 CATALOGUE OF ALL THE WORKS REFERRED TO IN THESE LESSONS, EXCEPT ENCYCLOPEDIAS AND MAGKAZINES. [new editions or new publishers are given within brackets.] Aberdeen, G. Earl of. Principles of beauty in Grecian architecture. London, Lockwood and Sons, 1874. AGINCOURT, Skkoux d'. History of art by its monuments. 3 vols, in I. London, Quaritch, 1S47. ALBRIZZI, Countess. The works of Canova, in sculpture and modelling. 2 vols. Boston [N. Y., Scribner & Welford], 1876. Ai.COCK, Sir R. Art and art industries in Japan. London, Virtue & Co., 1878. Arnold, G. M. 15. Gainsborough and Constable. (111. biographies of the great artists.) London, Low & Co , 1881. Atkinson, J. B. Art tour to the northern capitals of Europe. London, Macmil- lan & Co., 1873. Audsley, W. J. and G. A. Popular dictionary of architecture and the allied arts, vol. 1-3, A, B. N. Y., Putnam's Sons, 1881-82. Bahei.on, Ernest. Oriental antiquities; tr. by B. T. A. Everts. London, H. Grevel &. Co., 1889. Baedeker's Handbooks for travellers. London, Dulau & Co.; N. Y., Scribner & Sons. Barry', E. M. Lectures on architecture; ed. by A. Barry. London, Murray, 1881. Barry, J., J. OpiE and H. FUSELI. Lectures on painting. Sec Wornum, R. N., ed. 188 APPENDIX. Barthelemy, J. J. Travels of Anacharsis the younger in Greece; transl. from the French. 7 vols, and Atlas. London, 1794. Bartlett, S. C. From Egypt to Palestine. N. Y., Harper & Bros., 1875. Bartlett, W. H. The Nile boat. London, Virtue & Co., 1851. Baxley, H. W. Spain: art remains and art realities. 2 vols. N. Y., Appleton & Co., 1875. Bell, Sir C. Anatomy and philosophy of expression. 7 ed. London, Bell and Sons, 1877. Bell, C. F. M. From Pharaoh to Fellah. London, Gardner, Darton & Co., 1888. BELLOMO, G. La Palo d'oro di S. Marco. Venice, 1847. Benjamin, S. G. W. Art in America. N. Y., Harper & Bros., 1880. Contemporary art in Europe. N. Y., Harper & Bros., 1S77. oSj'e Bickers & Son, pubs. Examples of modern British art. London, 1877. Black, C. C. Michael Angelo Buonarotti; story of his life and labours. London, Macmillan & Co. , 1S75. Blanc, C. Grammar of painting and engraving; tr. by K. N. Doggett. N. Y., Hurd & Houghton, 1875. [3d ed. S. C. Griggs & Co., Chicago, 1879.] History of the painters of all nations; transl. by P. Berlyn, ed. by M. D. Wyatt. London, Cassell, 1855. Bohn, H. G.,pub. Sixty outlines from the works of Michael Angelo Buonarroti. London, [Bell & Sons], 1863. Brande, W. T., and G. W. Cox. Dictionary of science, literature, and art. New ed. 3 vols. London, Longmans & Co. 1867. Britton, J. Architectural antiquities of Great Britain. 5 vols. London, Longmans & Co , 1807. History and antiquities of the cachedral churches of Great Britain. 5 vols. London, Longmans & Co., 1814-28. BRONDSTED, P. O. The bronzes of Siris in the British museum. London, 1836. Bric. ch-Bev, H. History of Egypt under the Pharaohs. New ed. 4 vols. Lon- don, Murray, 1881. Brunn, H. v. Ueber die kunstgeschichtliche Stellung der Pergamenischen Giganto- machie. Berlin, Grote, 1884. Bulfinch, T. Age of fable, or Beauties of mythology. Boston, Tilton & Co., 1855. Burn, R. Old Rome; a handbook to the ruins of the city and the Campagna. Lon- don, Bell & Sons, 1880. Rome and the Campagna. London^ Bell & Sons, 1876. Burnet, J. Rembrandt and his works; re-edited by H. Murray. London, Virtue & Co., 1859. APPENDIX. 189 Composition in pictures; ed. by I. N. Carter. N. Y., Putnam's Sons, 1885. Burtin, F. X. de. Knowledge necessary to amateurs in painting; ed. by R. White. London, Longmans, 1845. BURY, T. T. Styles of architecture of various countries. London, Lockwood & Co., 1877. Buxton, H. J. Wilmot-. English painters. (111. handbooks of art history.) Lon- don, Low & Co., 1883. v ^.X.- < Carr, J. C. Drawings by the Italian masters. London, Chatto & Windus, 1877. Cartwright, J. Mantegna and Francia. (111. biographies of the great artists.) London, Low & Co, 1881. Cassell's art treasures exhibitions, or Masterpieces of celebrated painters. London, Cassell&Co., [1858]. Cathedral churches of England and Wales. London, Cassell & Co., 1884. Cellini, B. Memoirs written by himself; tr. by T. Roscoe. 2 vols. London, Bohn, [Bell& Sons], 1845. Charmes, G. Five months in Cairo and lower Egypt; transl. London, Bentley, 1883. Cheney, Mrs. E. D. Gleanings in the field of art. Boston, Lee & Shepard, 1881. Chesneau, E. The English school of painting. London, Casseil & Co., 1885. Chester, II. M. Russia, past and present. London, S. P. C. K., 1881. Clarke, J. F. Ten great religions. Boston, Houghton, Osgood & Co. [Houghton, Mifflin & Co]., 1870. Cleghorn, G. History of ancient and modern art. 2 ed. 2 vols. Edinburgh, Black woods, 1848. Clement, C. Michelangelo. (111. biographies of the great artists.) London, Low & Co., 18S0. Clement, C. E. Outline history of architecture. N. Y., White, Stokes & Allen, 1886. Outline history of painting. N. Y., White & Stokes, 1883. and L. HUTTON. Artists of the 19th century, and their works. 2 vols. Bos- ton, Houghton, Osgood & Co. [Houghton, Mifflin & Co.], 1879. Ci.odd, E. Childhood of religions. N. Y. , Appleton & Co., 1878. Coli.ig.non, M. Manual of Greek archaeology ; tr. by J. II. Wright. London, Cassell&Co., 1886. Collins, W. L. Homer: The Iliad, and The Odyssey. (Ancient classics for Eng- lish readers.) 2 vols. Philadelphia, Lippincott, 1879. Conway, W. C. The early Flemish artists. London, Macmillan & Co., 1887. 190 APPENDIX. Conway, W. M. Artistic development of Reynolds and Gainsborough. London. Seeley & Co., 1885. Cook, D. Art in England; notes and studies. London, Low & Co., 1869. Copleston, R. S. yEschylus. (Ancient classics for English readers.) Philadel- phia, Lippincott, 1879. Cox, Sir G. W. General history of Greece. N. Y., Harper & Bros,, 1876. "2-v * Crowe, J. A.,andG. B. Cavalcaselle. Early Flemish painters. 2 ed. London, Murray, 1872. Life and times of Titian. 2 ed. 2 vols. London, Murray, 1881. — Raphael, his life and works. 2 vols. London, Murray, 1885. — History of painting in Italy. 3 vols. London, Murray, 1866. ■ — History of painting in north Italy. 2 vols. London, Murray, 1871. Cundall, J. Hans Holbein. (111. biographies of the great artists.) London, Low & Co., 1879. Cunningham, A. British painters and sculptors. 3 vols. N. Y., Harper & Brothers, [1848]. CURTIS, W. E. The land of the nihilist. Chicago, Belford, Clarke & Co. [1888.] Curtius, E. History of Greece, tr. by N. H . Ward. 5 vols. N. Y., Scribner's, Sons, [1867]. #> < n> D'Anvers, N., pseud, of Mrs. N. Bell. Elementary history of art; architecture, sculpture, painting, music. N. Y., Scribner & Welford, 1876. [New rev. ed. London, Low & Co.; N. Y., Scribner's Sons, 18S3] < • Raphael. (111. biographies of the great artists.) London, Low & Co., 1880. Dennis, G. Cities and cemeteries of Etruria. 2 vols. London, Murray, 1883. Dobsom, A. Hogarth. (111. biographies of the great artists.) London, Low & Co. 1879. Dohme, R., ed. Early Teutonic, Italian and French masters ; tr. by A. H. Keane. London, Chatto & Windus, 1880. ■ Kunst und Kiinstler Deutschlands und der Niederlande. 2 vols. Leipzig, Seemann, 1S77-78. Kunst und Kunstler Italiens. 3 vols. Leipzig, Seemann, 1878-80. Kunst und Kunstler Spaniens, Frankreichs und Englands. Leipzig, Seemann, 1880. Douce, F. Holbein's Dance of Death. (Botm'slib.) London, Bell & Sons, 1890. Draper, J. \V. History of the intellectual development of Europe. Rev. ed. 2 vols. N. Y., Harper & Bros., 1876. APPENDIX. 191 Duppa, R., and A. C. Quatremere de Quincy. Life and works of Michael Angelo and Raphael. London, Bohn, [Bell & Sons], 1856. Duruy, V. History of Rome and of the Roman people; ed. by J. P. Mahaffy. 16 vols. Boston, Estes & Lauriat, 1884-87. Dyer, T. H. Pompeii ; its history, buildings, and antiquities. New ed. London, Bell & Sons, 1875. Eastlake, C. L. History of the Gothic revival. London, Longmans & Co., 1872. EasTLAKE, Lady. Five great painters. 2 vols. London, Longmans & Co., 1883. Eaton, C. A. Rome in the 19th century. 5 ed. 2 vols. (Bohn's lib.) London, Bell & Sons, i860. Ebers, G. Egypt, descriptive, historical, and picturesque; tr. by C. Bell. 2 vols. N. Y., Cassell&Co. 1 18S2.] Edwards, A. B. A thousand miles up the Nile. London, Routledge & Sons, 1889. Eidlitz, L. Nature and function of art, more especially of architecture. N. Y. Armstrong & Son, 1881. Eschenberg, J. J. Manual of classical literature ; tr. by N. W. Fiske. 2 ed. Philadelphia, Biddle, 1837. Fairholt, F. W. Dictionary of terms in art. London, Strahan & Co., [1870]. Rambles of an archaeologist : Papers on art. London, Virtue, 1871. Up the Nile and back again. London, Chapman & Hall, 1S62. Fai.ke, J. von. Greece and Rome; tr. by W. II. Browne. N. Y., Holt & Co., 1886. Felton, C. C. Greece, ancient and modern. 2 vols. Boston, Ticknor & Fields, [Houghton, Mifflin & Co.,] 1867. Fergusson, J. History of architecture in all countries. 2 ed. 4 vols. London, Murray, 1S74. [6 vols. N. Y., Dodd, Mead & Co., 1883-91.] The Parthenon. London, Murray, 18S3. Fit/Patrick, T. An autumn cruise in the .Egean. 2d ed. London, Low & Co., iSS 7 Fi.axman, J. Lectures on sculpture. New ed. (Bohn's lib.) London, Bell & Sons, 1874. Freeman, E. A. Historical and architectural sketches, chiefly Italian. London, Macmillan& Co., 1876. Fromentin, E. The old masters of Belgium and Holland; tr. by M. C. Robins. Boston, Osgood & Co. [Houghton, Mifflin & Co.] 1882. FYFFE, C. A. History of Greece. (History primers.) N. Y., Macmillan & Co., 1878. GalLENGA, A. Summer tour in Russia. London, Chapman & Hall, 1882. 192 APPENDIX. Garbett, E. L. Design as deducible from nature. London, Lockwood 8c Co. , 1874. Gell, Sir W., ami], P. Gandy. Pompeiana. London, Chatto & Windus, 1875. Gessert, M. A. Rudimentary treatise on the art of painting on glass, or glass staining. 4 ed. London, Lockwood & Son, 1878. Gibbon, E. History of the decline and fall of the Roman Empire; with notes of Milman, etc. 6 vols. N. Y., Harper & Bros., 1880. Gladstone, W. E. Homer. (Literature primers.) N. Y., Macmillan & Co., 1878. Goodyear, W. A. History of art. N. Y., A. S. Barnes & Co., 1888. Gower, Lord R. Figure painters of Holland. (111. biographies of the great artists.) London, Low & Co., i83o. Grimm, H. Life of Michael Angelo; tr. by F. E. Bunnfett. 9 ed. 2 vols. Boston, Little, Brown & Co , 1877. Grote, G. History of Greece. 12 vols. N Y., Harper & Bros., 1861. Gruner, L., ed. Terra-cotta architecture of North Italy. London, Murray, 1867. Guhl, E., and W. Ko.ner. Life of the Greeks and Romans; tr. by F. Huefter. N. Y., Appleton & Co., 1875. Gwilt, J. Encyclopaedia of architecture; revised by W. Papworth. 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The monuments of Egypt. 2 ed. N. Y., Putnam's Sons, 1S50. Haydon, B. R. Lectures on painting and design. 2 vols. London, Longmans & Co., 1846. APPENDIX. 193 Hazlitt, W. Essays on the fine arts; new ed. by W. C. Hazlitt. London, Reeves & Turner, 1873. Head, P. R. Van Dyck. (111. biographies of the great artists.) London, Low & Co., 1879. HEATH, R. F. Albrecht Diirer. (111. biographies of the great artists.) London. Low & Co., 1881. Titian. (111. biographies of the great artists.) London, Low & Co., 1880. Heaton, Mrs. C. Concise history of painting. London, Macmillan & Co., 1872. [New ed., revised by W. C. Monkhouse. London, Bell & Sons, 1888.] Life of Diirer, with transl. of his letters and journal. 2 ed. London, Seeley & Co., 1881. Masterpieces of Flemish art. London, Bell & Daldy [Bell & Sons], 1869. Heaton, M. C. Correggio. (111. biographies of the great artists.) London, Low &Co., 1882. Homer's Iliad and Odyssey; translations by W. C. Bryant. 4 vols. Boston, Hough- ton, Mifflin & Co. translated by A. Pope. London, Bohn's Lib., Bell & Sons. HORNER, S. and]. Walks in Florence. 2 vols. London, Strahan & Co., 1873. Hokton, C. W. Architecture for general students. N. Y., Hurd & Houghton [Boston, Houghton, Mifflin & Co.], 1874. Howard, F. Colour, as a means of art for amateurs. London, H. Bohn, 1838. HUNT, H., afterwards Mrs. Jackson. Bits of travel. Boston, Roberts Bros., 1872. ILLUSTRATED BIOGRAPHIES of the great artists. 35 vols. London, S. Low & Co.; N. Y., Scribner's Sons, 1879-90. Jameson, Mrs. A. History of our Lord, 2 vols.; Legends of the Madonna; Legends of the monastic orders; Sacred and legendary art, 2 vols. London, Longmans & Co., 1870-72. Memoirs of the early Italian painters. Boston, Houghton, Mifflin & Co., 1S7S. ■ Sketches of an, literature and character. Boston, Ticknor & Fields [Hough. ton, Mifflin & Co.], 1859. Jarves J. J. Art hints. N. Y. Harper & Bros., 1855. Art idea. N. Y., Hurd & Houghton [Hoston, Houghton, Mifflin & Co.], 1870. Art studies: The old masters of Italy; painting. N. Y., Derby & Jackson, 1861. Art thoughts. N. Y., Hurd & Houghton [Boston, Houghton, Mifflin & Co.], 1871. Glimpse at the art of Japan. N. Y., Hurd & Houghton [Boston, Houghton, Mifflin & Co.], 1876. 194 APPENDIX. Johnson, S. Oriental religions: China, India, Persia. 3 vols. Boston, Houghton, Mifflin & Co., 1873-85. Justi, K. Winckelmann; sein Leben, seine Werke und seine Zeitgenossen. 2 vols. Leipzig, Vogel, 1872. Keightley, T. Mythology of ancient Greece and Italy. 3 ed. London, Whittaker & Co , 1854. Kenrick, J. Ancient Egypt under the Pharaohs. 2 vols. London, Fellowes, 1850. Kett, C. W. Rubens. (111. biographies of the great artists.) London, Low & Co., 1879. King, T. H. Study-book of mediaeval architecture and art. 4 vols. London, Sotheran & Co., 1868. Knight, C. Popular history of England. 8 vols. N. Y., Crovvell & Co., 1878. ed. London. 6 vols. London, C. 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Philadelphia, Lippin- cott, [1878]. Reynolds, Sir J. Literary works [being Discourses on art] ; ed. by H. W. Beechey. 2 vols. London, Bohn's lib., [Bell & Sons,] 1846. APPENDIX. 199 Richards, T. A., ed. Examples of British art. London, Virtue & Co., [1872]. Rickman, T. Attempt to discriminate the styles of architecture in England. 5 ed. London, Parker, 1848. Roscoe, T. Belgium in a picturesque tour. London, Longmans & Co., 1841. Roscoe, W. Life of Lorenzo de' Medici. 9 ed. London, Bonn [Bell & Sons], 1847. \ RosENGARTEN, A. Handbook of architectural styles; tr. by W. Collet- Sanders. N. Y., Appleton & Co., 1876. ROSSETTI, W. M. Fine art, chiefly contemporary. London, Macmillan & Co., 1867. Ruskin, J. Aratra Pentelici. N. Y., Wiley & Sons, 1878. Lectures on architecture and painting. N. Y., Wiley & Sons, 1864. Lectures on art. N. Y., Wiley & Sons, 1878. Modern painters. 5 vols. N. Y., Wiley & Sons, 1880. Seven lamps of architecture. N. Y., Wiley & Sons, 1880. Stones of Venice. 3 vols. 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Handbook of pictorial art. Oxford, Clarendon Press, 1S75. Tyti.ER, S., pseud of H. Keddie. Modern painters and their paintings. Boston, Roberts Bros., 1874. The Old masters and their pictures. Boston, Roberts Bros., 1874. Van Dyke, J. C. How to judge of a picture. N. Y., Chautrfuqua Press, [Phillips & Hunt], 1888. Principles of art. N. V., Fords, Howard & Hulbert, 1887. Vasari, G. Lives of painters, sculptors and architects; tr. by Mrs. J. Foster. 5 vols. London, (Bohn's lib.,) Bell & Sons, 1876. Viardot, L. Wonders of European art London, Low & Co., 1871. [New ed. N. Y., Scribner's Sons.] 202 APPENDIX. 1 and others. Illustrated history of painters of all schools. London, Low & ,Co. 1877. Viollet-le-Duc, E. E. Discourses on architecture ; vol. 1 tr. by H. Van Brunt, vol. 2 by B. Bucknall. Boston, Osgood & Co., 1875-81. VlTRUViUS Pollio, M. Architecture; tr. by J. Gwilt. London, Lockwood & Co., 1874. Waagen, G. F. Life of Rubens; ed. by Mrs. Jameson. London, Bohn, 1849. . Waldstein, C. 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Egypt of the Pharaohs and of the Kedive", London, Smith & Elde: - , 1878. SUPPLEMENTARY. Brownell, W. C. French art, classic and contemporary painting and sculpture. N. Y. , Scribner's Sous, 1892. - •<-'■■ French traits, an essay in comparative criticism. N. Y., Scribner's Sons, 1893. Cook, Theodore Andrea. Old Touraine, the life and history of the famous chateaux of France. N. Y., Scribner's Sons, 1892. Child, Theodore. Art and criticism. No. Y., Harper & Bros., 1892. Perkins, Chas C, aWCilAMPLiN, John D. Cyclopedia of painters and paintings; 4 vols. N. Y., Scribner's Sons, 1892. Symonds, J. A. Life of Michelangelo Buonarroti ; 2 vols. London, John C. Nimmo, 1892. Stirling Maxwell, W. Annals of the Artists of Spain ; (new ed. 1891.) 4 vols. London, J. C. Nimmo. Michel, Emile, Rembrandt, his life, work and time ; Eng. ed. by F. Wedmore. London, Wm. Heinemann, 1894. Schuyler, Montgomery. American Architecture; N. Y., Harper & Bros., 1892. Moore, C. H. Development and character of gothic architecture ; London, Macmillan & Co., 1890. INDEX OF ARTISTS AND SUBJECTS OF GENERAL INTEREST IN THESE LESSON! Acr« olis of Athens 18 Agendas of Argos 9 Agoracritos of Paros 16 Alberii, Leon Battista, 67, 181 Alcamenes of Athens. 16 Alma-Tadema 140 Amadeo, Antonio 45 Amphitheatres, Roman.... 164 Andrea 'del Sarto' 72 'Angelico, Fra' 64 Angelo, Michael, as pain- ter 75 Angelo, Michael, as sculp- tor 46 Anglo-Norman architec- ture 171 Apelles 56 Apollodoros 66 Archermos of Chios 7 Aristeas of Aphrodisias ... 80 Arnolfo di Carnbio 181 Art criticism 53 Asiatic architecture 152 Assyrian architecture 153 Babylonian architecture... 153 Babylonian painting 54 Balduccio di Pisa 87 'Bartolommeo, Fra' 71 Basilicas, Pagan and christian 166 Belgian architecture 184 Belgian painting see Flan- ders, also French pain- ting. Bellini, Giovanni 69 Benedetto da Majarno 43 Bernini, Lorenzo 50, 185 Bolognese painting 91 Borromini, Francesco 185 Botticelli, Sandro 67 Boucher, Francois 123 Boughton, George H 141 Bramante, Donato L 182 Brancacci chapel 65 Bronze relief sculptures..89, 64 Brunelleschi, Filippo 181 Buddhist architecture 154 Bularchos 56 Burne-Jones, E 141 Byzantine architecture.... 167 Byzantine art 34, 59 Calamis of Athens 10 Callon of iEgina 9 Campanile, Giotto's 41, 61 Canachos of Sikyon 9 Canova, Antonio 51 'Caravaggio' 94 Caracci, Annibale 92 " Ludovico 91 Caricature in art 141 Carlo Dolce 93 Catacombs, Paintings in... 58 Cellini, Benvenuto 48 Cephisodotus of Athens... 19 Certosa, Monastery of, at Pa via 44 Christ in art, Representa- tions of 60 Christian painting, Early 58 Christian sculpture .'. 88 Chromatic sculpture in Greece 2, 57 Church architecture 167 Cimabue, Giovanni 61 Civitali, Matteo 44 Classic painting in France 123 Claude Lorrain 120 Colotes of Paros 16 Constable, John 135 Copley, John S 182 Corinthian style 160 Cornelius, Peter 112 Corot, Jean B. C 127 'Correggio' 83 Cox, David 140 Cranach, Lucas 109 Criticism of paintings 53 Critios of Athens 9 Croley, N. J 141 Cuyp, Albert 106 Cyclopean architecture 156 Daidalos, or Daedalus 6 David, Jacques L 123 Decamps, Alex. G 127 Delacroix, Eugene 125 Delaroche, Paul 126 Delorme, Philibert 183 Dibutades of Sikyon 7 Dipoinos of Crete 7 Dolce, Carlo 98 ' Donatello' 40 ' Domenichino' 92 Doric style 157 Dow, Gerard 105 Drama, Greek 161 Dravidian architecture 155 Duccio of Siena 61 Diirer, Albert 1(8 Dutch painting 108 Eclectic school of paint- ing 91 Egyptian architecture 148 Egyptian painting 53 Egyptian sculpture 2 Elgin marbles 15 English painting 128 English renaissance architecture 184 Etruscan painting 162 Etruscan sculpture 29 Etruscan vase painting.... 66 Etty, William 187 Faed, Thomas 141 Fiesole, Giovanni da 64 Flanders, Painting in 95 Flaxman, John 51 Florentine renaissance architecture 181 Florentine school of painting... 60, 67 Florentine school of sculp- ture 89 Forum at Rome. 164 French painting 118 French renaissance archi- tecture 188 Funeral chapels 167 Gaddi, Taddeo 68 Gainsborough, Thomas. ... 181 Gericault, J. L. T. A 126 German painting, Early... 107 German painting, Revival of 112 Ghiberti, Lorenzo 89, 64 204 INDEX OF ARTISTS. 205 Ghirlandajo, Domenico.... 70 ' Giorgione' 86 Giotto di Bondone 61 Giunta of Pisa 61 Giovanni of Bologna 49 Glass painting 118, 176 Glaucos of Chios 7 Gothic architecture 175 Gothic revival in Eng- land 180 Gozzoli, Beuozzo 66 Grseco-Roman sculpture... 29 Greek architecture 156 Greek painting 55 Greek sculpture 5 Greenway, Kate Ill Greuze, Jean Baptiste 123 Gros, Antoiue J 124 'Guercino' 93 Guido Reni, 92 Guido of Siena 61 Guilds, Influence on art... 95, 177 Halicarnassus, Mausole- um at 20 Huydon, B. K 136 llerreru, Francisco de 114 Hogarth, William 129 Holbein, Hans U0, 128 Hunt, Holman 140 Illuminations of manu- scripts, Early 59 Images and pictures in church worship 59 Indian architecture 158 Ingres, Joan A. I> 124 Ionic style 159 Italian architecture.... 179, 181 Italian painting 60 Italian sculpture 83 Japanese painting 54 Jones, E. liurne- 141 Jones, Inig< 184 Julius II, Monument of.... 47 Kaulbach, Wilhelm v 118 Kephisodotos of Athens 19 Kneller, Godfrey 128 Landscape painting, Mod- ern French 127 Landaeer, Edwin H 188 'Last Supper* in painting 71 Lawrence, Thomas 188 Lebrun, Charles 121 Leech, John 141 Leighton, Frederick 140 Lely, Sir Peter 128 Leocharcs of A'hens 20 Leonardo da Vinci 73 Leslie, Charles K 187 Lesueur, Eustache 121 Lippi, Fillpplno 69 " Filippc 66 Lorrain, Claude 120 Lysicrates, Monument of.. 22 Lysippos of Sikyon. 23 Macbeth, R. W 140 Maclise, Daniel 137 Madonnas and Holy Fam- ilies 80 Majano, Benedetto da 43 Mansard, Francois 188 " Jules H 183 Mantegna, Andrea 68 Martini, bimone 63 'Masaccio' 65 Matsys, Quentin 97 Modicean influence on art 67 Melas of Chios 7 Memlini?, Hans 96 MichaelAugelo us pointer 75 " " as sculptor 46 Millais, J. E 140, 141 Millet, Jean Francois 128 Mino da Fiesole 42 Mohammedan architec- ture 172 Monument sculptures at Rome 82 Morales, Louis de 114 Mosaics at Ravenna 59 Mosaics, Ancient Roman.. 57 Mosaics, Byzantine 59 Mosques ..." 178 Mulready, Wm 1S6, 141 Murillo, Rartolome E 110 Myron of Bceotia 11 Nesiotes of Atriens 9 Netherlands, tainting in the 103 Nicol, Erskine 141 Norman stvle of architec- ture ." 171 Onatnsof .Egina 9 Omodeo, see Amadeo 45 O'Neil.H 141 Or San Michele, Florence. 87 ( Ircagna, Andrea 37, 68 Oriental painting 54 oriental ]>uinting in France 127 Orvicto cathedral 88 Ostade, Adrian van 105 Overbeck, Friedrich 112 Padua, Panting in 07 Painting, Varieties of 55 l'uionios of Mende 17 •I'alnia' Vecchlo 86 1'apias , 158 Pasiteles, a Greek at Homo 81 I'elasgic architecture 156 Pergamnn 21 Perrault, Claude 188 Persian architecture 15S Perugino, Pietro V 70 Pheidias or Phidias of Athens 14 Pbigaleiuii marbles 18 Pietro della Fraucesca 66 Pisan revival of sculpture 35 Pisan school of painting.. 60 Pisano, Andrea 87 " Giovanni 86 ' Niccola 35, 61 " Nino 37 Pollajuolo, Antonio 42 Polycleitos of Argos 19 Polychromy 2, 57 Polygnotos 56 Pompeii, Art in 67 Portrait puinting as line art 88, 104, I08, 111 Portraic sculptuie.Roman 81 Potter, Paul 106 Poussin, Nicolas 118 PruxLeles of Athens 21 Pre-Raphaelite Brother- hood 140 Protogenes 56 Pyramids 149 Prud'hon, Pierre 1'.- nl 124 Pythagoras of Rhegion.... 10 Quercin, Jacopo della 38 Raphael Sanzio Rembrandt van Ryn Renaissance architecture, " palming " sculpture Reni, Guido Reynolds, Sir Joshua Rhoicos of Samos Ribera, Josef de Robbia, Luca della Robert, Louis L Rococco style of architec- ture .' Roman architecture, An- cient Roman conliscation of Greek art works Roman engineering Roman painting Roman renaissance archi- tecture Roman sculpture Romanesque architecture Romantic painting in Frame Rosa, Salvalor Rossclliuo, Antonio " Bernardo Rousseau, Pierre E. T Rowlalidson, Thomas Rubens, 1'cter Paul 98, Ruskin, John Ruskin's "Modern Paint- ers" Russian architecture' Ruysdiicl, Jacob 103 181 60 45 92 130 7 114 41 127 185 162 30 163 67 182 29 167 125 94 48 48 128 141 128 189 1S9 168 100 2O0 INDEX OF ARTISTS. St. Francis' church at Assisi 61 St. Peter's church at Rome 182 Sausuvino, Andrea 45 •« Jaconc 46, 182 Saracenic architecture 172 Sarto, Andrea del 72 Scheffer. Ary 126 Schon, Martin 107 Scopasof Paros 20 Settignano, Desiderio da.. 44 Sienese school of paint- ing 60 Sienese school of sculp- ture 88 Signorelli, Luca 68 Sistine chapel frescoes 76 " " tapestries... 82 Skvllis of Crete 7 'Spagnoletto, II.' 114 Spanish painting 114 Spanish renaissance architecture 184 Sphinx, The 150 Stanze frescoes in the Vat- ican 80 Style in architecture 161 Tan, Andrea 61 Tatti, Jacopo 46 Temples, Greek 8, 156 Temples, Indian rock- hewn 158 Temples, Roman 165 Teniel, John 141 Teniers, David 101 Terracotta architecture... 183 Theatre in Greece 161 Theodoros of Samos 7 Thorwaldsen, Bertel 61 Thrasymedes of Paros 16 'Tintoretto', 88 Titian 86 Tomb monumentsof XVth century 48 Triumphal arches, Ro- man 164 Trovon, Constant 127 Turner, J. M. W 133 Uccello, Paolo 66 Umbrian school of paint- ing 67 Van der Weyden, R 96 Van Eyck, Hubert & John 95 Van Dyke, Anthony.. ..100, 128 Van Ostade, A 105 Vase painting in Greece.... 56 Velasquez, Diego 115 Venetian painting 86 Venetian renaissance ar- chitecture 182 Vernet, Claude J 122 " Horace 125 Verocchio, Andrea del 42 'Veronese', Paolo 89 Vinci, Leonardo da _ 73 Watteau, Antoine 122 West, Benjamin 132 Wilkie, Sir David 135, 141 Wilson, Richard 130 Winckelmann, J 50 Wohlgemuth, Michael 107 Wouvermans, Philip 106 Wren, Sir Christopher 184 Zeuxis 56 Zurbaran, Francisco 114 AA 000155126 6 .., ,x.& „ \\W^