LONDON : T. C. & E. C. JACK
67 LONG ACRE, W.C., and EDINBURGH
CONTENTS
| [TUSCAN SCHOOLS—] | ||
| PAGE | ||
| [I]. | Giovanni Cimabue | [1] |
| [II]. | Giotto di Bondone | [10] |
| [III]. | The Earlier Quattrocentists | [18] |
| [IV]. | The Later Quattrocentists | [26] |
| [V]. | Leonardo da Vinci | [33] |
| [VI]. | Michelangelo Buonarroti | [40] |
| [VII]. | Raffaello di Santi | [47] |
| [VENETIAN SCHOOLS—] | ||
| [I]. | The Vivarini and Bellini | [59] |
| [II]. | Tiziano Vecellio | [78] |
| [III]. | Paolo Veronese and Il Tintoretto | [99] |
| [SPANISH SCHOOL—] | [109] | |
| [FLEMISH SCHOOL—] | ||
| [I]. | Hubert and Jan van Eyck | [121] |
| [II]. | Peter Paul Rubens | [143] |
| [III]. | The Pupils of Rubens | [157] |
| [DUTCH SCHOOL—] | ||
| [I]. | Frans Hals | [165] |
| [II]. | Rembrandt van Ryn | [171] |
| [III]. | Painters of Genre | [183] |
| [IV]. | Painters of Animals | [191] |
| [V]. | Painters of Landscape | [202] |
| [GERMAN SCHOOLS—] | [211] | |
| [FRENCH SCHOOL—] | ||
| [I]. | The Seventeenth Century | [225] |
| [II]. | The Eighteenth Century | [235] |
| [THE ENGLISH SCHOOL—] | ||
| [I]. | The Early Portrait Painters | [251] |
| [II]. | William Hogarth | [258] |
| [III]. | Sir Joshua Reynolds and Thomas Gainsborough | [267] |
| [IV]. | The Close of the Eighteenth Century | [295] |
| [THE NINETEENTH CENTURY—] | ||
| [I]. | The Spirit of Revolt | [305] |
| [II]. | Eugène Delacroix | [309] |
| [III]. | Ruskin Against the Philistines | [313] |
| [IV]. | Manet and Whistler Against the World | [324] |
| [V]. | The Royal Academy | [329] |
| [INDEX] | [335] | |
LIST OF ILLUSTRATIONS
| Vittore Pisano (called Pisanello)—St Anthony and St George | [Frontispiece] | |
| National Gallery, London | ||
| PLATE | FACING PAGE | |
| [I]. | Filippo Lippi—The Annunciation | [22] |
| National Gallery, London | ||
| [II]. | Sandro Botticelli(?)—The Virgin and Child | [26] |
| National Gallery, London | ||
| [III]. | Sandro Botticelli—Portrait of a Young Man | [28] |
| National Gallery, London | ||
| [IV]. | Sandro Botticelli—The Nativity | [32] |
| National Gallery, London | ||
| [V]. | Leonardo Da Vinci—The Virgin of the Rocks | [36] |
| National Gallery, London | ||
| [VI]. | Pietro Perugino—Central Portion of Altar-Piece | [50] |
| National Gallery, London | ||
| [VII]. | Raphael—The Ansidei Madonna | [52] |
| National Gallery, London | ||
| [VIII]. | Raphael—La Belle Jardinière | [52] |
| Louvre, Paris | ||
| [IX]. | Raphael—Portrait of Baldassare Castiglione | [56] |
| Louvre, Paris | ||
| [X]. | Correggio—Mercury, Cupid, and Venus | [58] |
| National Gallery, London | ||
| [XI]. | Andrea Mantegna—The Madonna della Vittoria | [68] |
| Louvre, Paris | ||
| [XII]. | Giovanni Bellini—The Doge Loredano | [72] |
| National Gallery, London | ||
| [XIII]. | Giorgione—Venetian Pastoral | [78] |
| Louvre, Paris | ||
| [XIV]. | Titian—Portrait said to be of Ariosto | [84] |
| National Gallery, London | ||
| [XV]. | Titian—The Holy Family | [86] |
| National Gallery, London | ||
| [XVI]. | Titian—The Entombment | [88] |
| Louvre, Paris | ||
| [XVII]. | Tintoretto—St George and the Dragon | [102] |
| National Gallery, London | ||
| [XVIII]. | Velazquez—The Infante Philip Prosper | [112] |
| Imperial Gallery, Vienna | ||
| [XIX]. | Velazquez—The Rokeby Venus | [118] |
| National Gallery, London | ||
| [XX]. | Murillo—A Boy Drinking | [120] |
| National Gallery, London | ||
| [XXI]. | Jan van Eyck—Jan Arnolfini and His Wife | [128] |
| National Gallery, London | ||
| [XXII]. | Jan van Eyck—Portrait of the Painter's Wife | [132] |
| Town Gallery, Bruges | ||
| [XXIII]. | Jan Mabuse—Portrait of Jean Carondelet | [136] |
| Louvre, Paris | ||
| [XXIV]. | Sir Peter Paul Rubens—Portrait of Hélène Fourment, the Artist's Second Wife, and two of Her Children | [150] |
| Louvre, Paris | ||
| [XXV]. | Frans Hals—Portrait of a Lady | [168] |
| Louvre, Paris | ||
| [XXVI]. | Rembrandt—Portrait of Hendrickje Stoffels | [176] |
| Louvre, Paris | ||
| [XXVII]. | Rembrandt—Portrait of an Old Lady | [182] |
| National Gallery, London | ||
| [XXVIII]. | Terborch—The Concert | [186] |
| Louvre, Paris | ||
| [XXIX]. | Gabriel Metsu—The Music Lesson | [188] |
| National Gallery, London | ||
| [XXX]. | Pieter de Hooch—Interior of a Dutch House | [190] |
| National Gallery, London | ||
| [XXXI]. | Jan Vermeer—The Lace Maker | [192] |
| Louvre, Paris | ||
| [XXXII]. | "The Master of St Bartholomew"—Two Saints | [212] |
| National Gallery, London | ||
| [XXXIII]. | Hans Holbein—Portrait of Christina, Duchess of Milan | [224] |
| National Gallery, London | ||
| [XXXIV]. | Antoine Watteau—L'Indifférent | [236] |
| Louvre, Paris | ||
| [XXXV]. | Jean-baptiste Greuze—The Broken Pitcher | [244] |
| Louvre, Paris | ||
| [XXXVI]. | Jean Honoré Fragonard—L'Étude | [248] |
| Louvre, Paris | ||
| [XXXVII]. | Hans Holbein—Anne of Cleves | [256] |
| Louvre, Paris | ||
| [XXXVIII]. | William Hogarth—The Shrimp Girl | [260] |
| National Gallery, London | ||
| [XXXIX]. | Sir Joshua Reynolds—Lady Cockburn and Her Children | [274] |
| National Gallery, London | ||
| [XL]. | Sir Joshua Reynolds—The Age of Innocence | [284] |
| National Gallery, London | ||
| [XLI]. | Thomas Gainsborough—The Market Cart | [290] |
| National Gallery, London | ||
| [XLII]. | George Romney—The Parson's Daughter | [298] |
| National Gallery, London | ||
| [XLIII]. | George Romney—Mrs Robinson—"Perdita" | [300] |
| Hertford House, London | ||
| [XLIV]. | Jacques Louis David—Portrait of Mme. Récamier | [306] |
| Louvre, Paris | ||
| [XLV]. | Eugène Delacroix—Dante and Virgil | [310] |
| Louvre, Paris | ||
| [XLVI]. | John Constable—The Hay Wain | [312] |
| National Gallery, London | ||
| [XLVII]. | J. M. W. Turner—Crossing the Brook | [316] |
| National Gallery of British Art, London | ||
| [XLVIII]. | Édouard Manet—Olympia | [326] |
| Louvre, Paris | ||
| [XLIX]. | J. M. Whistler—Lillie in Our Alley | [328] |
| In the possession of John J. Cowan, Esq. | ||
INTRODUCTORY
So far as it concerns pictures painted upon panel or canvas in tempera or oils, the history of painting begins with Cimabue, who worked in Florence during the latter half of the thirteenth century. That the art was practised in much earlier times may readily be admitted, and the life-like portraits in the vestibule at the National Gallery taken from Greek tombs of the second or third century are sufficient proofs of it; but for the origin of painting as we are now generally accustomed to understand the term we need go no further back than to Cimabue and his contemporaries, from whose time the art has uninterruptedly developed throughout Europe until the present day.
Oddly enough it is to the Christian Church, whose early fathers put their heaviest ban upon all forms of art, that this development is almost wholly due. The reaction against paganism began to die out when the Christian religion was more firmly established, and representations of Christ and the Saints executed in mosaic became more and more to be regarded as a necessary, or at any rate a regular embellishment of the numerous churches which were built. For these mosaics panel paintings began in time to be substituted; but it was long before any of the human feeling of art was to be found in them. The influence of S. Francis of Assisi was needed to prepare the way, and it was only towards the close of the thirteenth century that the breath of life began to be infused into these conventional representations, and painting became a living art.