Fashion-Opie supposed to be Self-taught-Examina- tion of this Opinion-Alderman Boydell-His Shak- speare Gallery-His Patronage of Opie-Northcote's "Slighted Beauty"-Michael Angelo, origin of his ON GENIUS, IMAGINATION, AND TASTE Genius a combination of many faculties-Taste-Its rarity-The superior taste of Raphael-Finish deter- mined by taste-Velasquez-Terburg-Cold natures, their taste-Ardent temperaments-Bad taste - Good - The Ideal not always distinct from matter-of-fact- The Elgin Horses-Faults in Flaxman's Animals-- The Ideal is the select-It is not the Beautiful only--- Raphael-The Greeks-Angelico-The connection between Modern and Ancient Art never lost-How the Antique should be studied - Guido's "Aurora"- Raphael, the Painter of Loveliness-Statue of Thalia- M. Angelo's Delphic Sibyl-Perfect Human Beauty not to be found in an Individual, and why?-Proportions of the Figure relatively beautiful-Grace, also relative— Beauty of Old Age-Of Disease—Of Calamity - Of Death-Lord Byron's Remarks on Death-Cast from All Schools, in which drawing the Figure is taught, be- gin with the study of the Antique-Reynolds's Sugges- tion, that Students should paint their Studies-Stothard's Method — Inequality of Excellence in the Antique— Earlier and Later Works-Fault in the Attitude of the "Fighting Gladiator"--Drawing from Nature-Flax- man and Stothard's Practice-The Knowledge of Ana- tomy may be abused-Mr. Haydon's Theory- His Autobiography-His Error respecting Raphael — ON INVENTION AND EXPRESSION-INSTANCES FROM The Powers of Invention and Expression only to be sus- Christ The Religious Sentiment not less displayed in SECTION X. ON INVENTION AND EXPRESSION-INSTANCES FROM Hogarth-His adherence to Nature closer than that of SECTION XI. PAGE 120 ON COMPOSITION The natural principles of Composition—The picturesque . 155 Symmetry of Composition-Irregularity-Perspective, some of its principles explained-Hogarth's faults in Perspective-Titian's "Peter Martyr"-His "Death of Abel," and other like compositions-The Serpentine Line-Hogarth's mistake respecting "The Laocoon". His "Analysis of Beauty"-The Richness of Hogarth's Compositions Their Perspicuity-Drapery-Fashions Wilkie's Opinion of the importance of Colour-Depre- ciation of its value by Reynolds-Rubens's "Descent from the Cross "-Colour compared by Reynolds to Language-P. Veronese-Erroneous estimate of the Flemish and Dutch Schools-Colour not more a sensual element of Art than Form-P. Veronese not more gay in colour than Raphael-His Imitation of Raphael— Their aim in Colour the same-Solemnity of the tones of Titian, Tintoret, and sometimes of P. Veronese- Venetian and Dutch Colour applicable to the most sublime subjects-The admission of this by Reynolds- A taste for Colour always an early development-Vul- garity in Colour of European manufactures compared with those of China and Persia-Colour of the early Italians and the Flemish Painters-The Van Eycks— Failure of Modern Painters in imitating the early Schools —Organisation—Entire Schools have coloured well, and entire Schools have coloured badly-Cause of this- Raphael inferior in Colour to the best Colourists— Probable cause--The best Colourists generally those who have studied Nature only-Students should begin to paint early—Raphael inferior in Colour only when compared with such Painters as Titian-N. Poussin— his Drawing-Colour more difficult of acquirement than - Rubens — N. Poussin - On Copying --- The Drapery of the Saviour in the "Miraculous Draught Quotation from Barry-Rubens-Rembrandt- His dael. |