44 Luini, Daughter of Herodias, Uffizi 102
45 Sodoma, Ecstasy of St. Catherine, Sienna 104
46 Correggio, Marriage of St. Catherine, Louvre 106
47 Giorgione, Ordeal of Moses, Uffizi 111
48 Titian, Venus Equipping Cupid, Borghese, Rome 113
49 Tintoretto, Mercury and Graces, Ducal Pal., Venice 115
50 Veronese, Venice Enthroned, Ducal Pal., Venice 117
51 Lotto, Three Ages, Pitti 119
52 Bronzino, Christ in Limbo, Uffizi 123
53 Baroccio, Annunciation 125
54 Annibale Caracci, Entombment of Christ, Louvre 127
55 Caravaggio, The Card Players, Dresden 129
56 Poussin, Et in Arcadia Ego, Louvre 133
57 Claude Lorrain, Flight into Egypt, Dresden 135
58 Watteau, Gilles, Louvre 137
59 Boucher, Pastoral, Louvre 139
60 David, The Sabines, Louvre 144
61 Ingres, OEdipus and Sphinx, Louvre 146
62 Delacroix, Massacre of Scio, Louvre 148
63 Gerome, Pollice Verso 151
64 Corot, Landscape 157
65 Rousseau, Charcoal Burner's Hut, Fuller Collection 160
66 Millet, The Gleaners, Louvre 163
67 Cabanel, Phaedra 166
68 Meissonier, Napoleon in 1814 169
69 Sanchez-Coello, Daughter of Philip II., Madrid 173
70 Murillo, St. Anthony of Padua, Dresden 175
71 Ribera, St. Agnes, Dresden 178
72 Fortuny, Spanish Marriage 181
73 Madrazo, Unmasked184
74 Van Eycks, St. Bavon Altar-piece, Berlin 187
75 Memling (?), St. Lawrence, Nat. Gal., Lon. 189
76 Massys, Head of Virgin, Antwerp 191
77 Rubens, Portrait of Young Woman 193
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78 Van Dyck, Portrait of Cornelius van der Geest 195
79 Teniers the Younger, Prodigal Son, Louvre 197
80 Alfred Stevens, On the Beach 200
81 Hals, Portrait of a Lady 205
82 Rembrandt, Head of a Woman, Nat. Gal., Lon. 208
83 Ruisdael, Landscape 211
84 Hobbema, The Water Wheel, Amsterdam Mus. 214
85 Israels, Alone in the World 217
86 Mauve, Sheep 220
87 Lochner, Sts. John, Catharine, Matthew, London 224
88 Wolgemut, Crucifixion, Munich 226
89 Durer, Praying Virgin, Augsburg 228
90 Holbein, Portrait, Hague Mus. 230
91 Piloty, Wise and Foolish Virgins 232
92 Leibl, In Church 235
93 Menzel, A Reader 238
94 Hogarth, Shortly after Marriage, Nat. Gal., Lon. 242
95 Reynolds, Countess Spencer and Lord Althorp 244
96 Gainsborough, Blue Boy 246
97 Constable, Corn Field, Nat. Gal., Lon. 248
98 Turner, Fighting Temeraire, Nat. Gal., Lon. 250
99 Burne-Jones, Flamma Vestalis 252
100 Leighton, Helen of Troy 255
101 Watts, Love and Death 258
102 West, Peter Denying Christ, Hampton Court 261
103 Gilbert Stuart, Washington, Boston Mus. 262
104 Hunt, Lute Player 263
105 Eastman Johnson, Churning 265
106 Inness, Landscape 267
107 Winslow Homer, Undertow 269
108 Whistler, The White Girl 270
109 Sargent, "Carnation Lily, Lily Rose" 273
110 Chase, Alice, Art Institute, Chicago 274 [xv]
GENERAL BIBLIOGRAPHY.
(This includes the leading accessible works that treat of painting in general. For works on special periods or schools, see the biblio-graphical references at the head of each chapter. For bibliography of individual painters consult, under proper names, Champlin and Perkins's Cyclopedia, as given below.)
Champlin and Perkins, Cyclopedia of Painters and Paintings, New York. Adeline, Lexique des Termes d'Art.
Gazette des Beaux Arts, Paris.
Larousse, Grand Dictionnaire Universel, Paris. L'Art, Revue hebdomadaire illustree, Paris. Bryan, Dictionary of Painters. New edition. Brockhaus, Conversations-Lexikon.
Meyer, Allgemeines Kunstler-Lexikon, Berlin. Muther, History of Modern Painting. Agincourt, History of Art by its Monuments. Bayet, Precis d'Histoire de l'Art.
Blanc, Histoire des Peintres de toutes les Ecoles. Eastlake, Materials for a History of Oil Painting. Lubke, History of Art, trans. by Clarence Cook. Reber, History of Ancient Art.
Reber, History of Mediaeval Art.
Schnasse, Geschichte der Bildenden Kunste.
5
Girard, La Peinture Antique.
Viardot, History of the Painters of all Schools. Williamson (Ed.), Handbooks of Great Masters. Woltmann and Woermann, History of Painting. [xvii]
HISTORY OF PAINTING. INTRODUCTION.
The origin of painting is unknown. The first important records of this art are met with in Egypt; but before the Egyptian civilization the men of the early ages probably used color in ornamentation and decoration, and they certainly scratched the outlines of men and animals upon bone and slate. Traces of this rude primitive work still remain to us on the pottery, weapons, and stone implements
of the cave-dwellers. But while indicating the awakening of intelligence in early man, they can be reckoned with as art only in a
slight archaeological way. They show inclination rather than accomplishment--a wish to ornament or to represent, with only a crude knowledge of how to go about it.
The first aim of this primitive painting was undoubtedly decoration--the using of colored forms for color and form only, as shown in the pottery designs or cross-hatchings on stone knives or spear-heads. The second, and perhaps later aim, was by imitating the shapes and colors of men, animals, and the like, to convey an idea of the proportions and characters of such things. An outline of a cave-bear or a mammoth was perhaps the cave-dweller's way of telling his fellows what monsters he had slain. We may assume that
it was pictorial record, primitive picture-written history. This early method of conveying an idea is, in intent,[xviii] substantially the same as the later hieroglyphic writing and historical painting of the Egyptians. The difference between them is merely one of development. Thus there is an indication in the art of Primitive Man of the two great departments of painting existent to-day.
1. Decorative Painting.
2. Expressive Painting.
Pure Decorative Painting is not usually expressive of ideas other than those of rhythmical line and harmonious color. It is not our subject. This volume treats of Expressive Painting; but in dealing with that it should be borne in mind that Expressive Painting has always a more or less decorative effect accompanying it, and that must be spoken of incidentally. We shall presently see the intermin-gling of both kinds of painting in the art of ancient Egypt--our first inquiry.
[1] CHAPTER I.