Art in Theory 1648-1815 / Edition 1

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Overview

Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.

Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations.

Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.

Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.

For more details of our book and journal list in Art, visit http://www.blackwellpublishing.com/arttheory

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Editorial Reviews

From the Publisher
"All three of these books are essential additions to any public orprivate library concerned with Art. For the reader who comes anovice to this discipline they provide a superb first entry pointto an otherwise bewildering array of publications concerned withthe theory of art. Rather like a jigsaw puzzle they encourage thereader to make the connections that will complete the picture. Butmore importantly, what each of these anthologies does brilliantlyis to tempt the relative novice to go further with their research.By presenting an overview of the evolution of a set of ideas withindefined parameters and over a specified period of time through theerudite selection of sensitively edited primary texts, the readeris subtly invited to seek out the originals and flesh out theirunderstanding. For those who are more experienced in the field theycleverly provide a means of prompting new ideas within the reader'sfield of enquiry."
Journal of Art & Design
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Product Details

  • ISBN-13: 9780631200642
  • Publisher: Wiley
  • Publication date: 6/28/2001
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 1244
  • Sales rank: 821,826
  • Product dimensions: 6.75 (w) x 9.70 (h) x 2.00 (d)

Meet the Author

Charles Harrison is co-editor of Art in Theory 1900 -1990 (Blackwell, 1992) and of Art in Theory 1815 - 1900(Blackwell, 1997). He is the author of English Art and Modernism1900 - 1939 (1994), of Essays on Art & Language, andof Modernism (1997) in the series "Movements in Modern Art".He has lectured widely in England, Europe and the USA and has beenvisiting Professor in History of Art at the University of Texas atAustin. He is currently Professor of the History and Theory of Artand Staff tutor in Arts at the Open University.

Paul Wood is co-editor of Art in Theory 1900 -1990 (1992) and of Art in Theory 1815 - 1900 (1998). Hehas published widely on modern art and art history in a variety ofjournals and exhibition catalogues. He has edited The Challengeof the Avant Garde (1998) and co-edited Investigating ModernArt (1996) and has contributed to Realism, Rationalism,Surrealism, and Modernism in Dispute (both 1993) and toCritical Terms for Art History (1996). He is Senior Lecturerin the Department of Art History at the Open University.

Jason Gaiger is co-editor of Art in Theory 1915 -1900 (1997). He has published various articles in the field ofart history and aesthetics, and has been a visiting lecturer at theUniversities of Essex, York and North London. He is currentlyLecturer in Art History at the Open University.

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Table of Contents

Acknowledgements.

A Note on the Presentation and Editing of Texts.

General Introduction.

Part I: Establishing the Place of Art:.

Introduction.

1. Ancients and Moderns:.

1. From The Painting of the Ancients 1637: FranciscusJunius.

2. Letter to Junius 1637: Peter Paul Rubens.

3. From The Art of Painting, its Antiquity and Greatness1649: Francisco Pacheco.

4. Dedication to Constantijn Huygens from Icones I 1660:Jan de Bisschop.

5. From Painting Illustrated in Three Dialogues 1685:William Aglionby.

6. 'A Digression on the Ancients and the Moderns' 1688: Bernardle Bovier de Fontenelle.

7. Preface and 'Second Dialogue' from Parallel of theAncients and Moderns 1688: Charles Perrault.

8. From Reflections upon Ancient and Modern Learning1694: William Wotton.

2. The Academy: Systems and Principles:.

9. Letters to Chantelou and to Chambray 1647/1665: NicholasPoussin.

10. Observations on Painting c. 1660-5: Nicholas Poussin.

11. Recollections of Poussin 1662-1685: Various Authors.

12. Petition to the King and to the Lords of his Council 1648:Martin de Charmois.

13. Statutes and Regulations of the Académie Royale dePeinture et de Sculpture 1648.

14. From An Idea of the Perfection of Painting 1662:Roland Fréart de Chambray.

15. Letter to Poussin c. 1665: Jean Baptiste Colbert.

16. 'The Idea of the Painter, Sculptor and Architect' 1664:Giovanni Pietro Bellori.

17. From Conversations on the Lives and Works of the MostExcellent Ancient and Modern Painters 1666: AndréFélibien.

18. Preface to Seven Conferences 1667: AndréFélibien.

19. 'First Conference' 1667: Charles LeBrun.

20. 'Second Conference' 1667: Philippe de Champaigne.

21. 'Sixth Conference' 1667: Charles LeBrun.

22. 'Conference on Expression' 1668: Charles LeBrun.

23. Table of Precepts: Expression 1680: Henri Testelin.

3. Form and Colour:.

24. 'De Imitatione Statuorum', before 1640: Peter PaulRubens.

25. From The Microcosm of Painting 1657: FrancescoScannelli.

26. From 'Diary of the Cavaliere Bernini's Visit to France'1665: Paul Fréart de Chantelou.

27. From De Arte Graphica 1667: Charles-Alphonse DuFresnoy.

28. 'Remarks on De Arte Graphica' 1668: Roger dePiles.

29. From The Rich Mines of Venetian Painting 1676: MarcoBoschini.

30. 'Conference on Titian's Virgin and Child with StJohn' 1671: Phillipe de Champaigne.

31. 'Conference on the Merits of Colour' 1671: Louis GabrielBlanchard.

32. 'Thoughts on M. Blanchard's Discourse on the Merits ofColour' 1672: Charles LeBrun.

33. From Dialogue upon Colouring 1673: Roger dePiles.

34. From Practical Discourse on the Most Noble Art ofPainting c. 1675: Jusepe Martinez.

35. From The Antiquity of the Art of Painting c. 1690:Felix da Costa.

4. The 'je ne sais quoi':.

36. From The Hero 1637: Baltasar Gracián.

37. From The Art of Worldly Wisdom 1647: BaltasarGracián.

38. 'Answer to Davenant's Preface to Gondibert' 1650:Thomas Hobbes.

39. From Fire in the Bush and The Law of Freedom in aPlatform 1650/2: Gerrard Winstanley.

40. From Pensées c.1654-1662: Blaise Pascal.

41. On Grace and Beauty from Conversations on the Lives andWorks of the Most Excellent Ancient and Modern Painters 1666:André Félibien.

42. From The Conversations of Aristo and Eugene 1671:Dominique Bouhours.

43. From A Compleat Body of Divinity 1689/1701: SamuelWillard.

44. On Art and Beauty, Before 1716: Gottfried WilhelmLeibniz.

5. Practical Resources:.

45. From Miniatura; or The Art of Limning, Revised 1648:Edward Norgate.

46. On Rembrandt and Jan Lievens c.1630: ConstantijnHuygens.

47. Letters to Constantijn Huygens 1636-9: Rembrandt vanRijn.

48. From In Praise of Painting 1642: Philips Angel.

49. From The Art of Painting, its Antiquity and Greatness1649: Francisco Pacheco.

50. Preface to Perspective Practical 1651: JeanDubreuil.

51. From Introduction to the Academy of Painting; or, TheVisible World 1678: Samuel van Hoogstraten.

52. 'The Excellency of Painting' from A Treatise ofPerspective 1684: R. P. Bernard Lamy.

53. From Principles for Studying the Sovereign and Most NobleArt of Painting 1693: José Garcia Hidalgo.

Part II: The Profession of Art:.

Introduction.

6. Painting as a Liberal Art:.

54. From The Great Book on Painting 1707: Gerard deLairesse.

55. From The Principles of Painting 1708: Roger dePiles.

56. On Feminine Studies, After 1700: Rosalba Carriera(1675-1757).

57. 'To the Reader' 1710: Mary Chudleigh.

58. From The Pictorial Museum and Optical Scale 1715-24:Antonio Palomino y Velasco.

59. From Essay on the Theory of Painting 1715: JonathanRichardson.

60. From The Science of a Connoisseur 1719: JonathanRichardson.

61. On the Grand Manner, from 'On the Aesthetic of the Painter'1721: Antoine Coypel.

62. From 'On the Excellence of Painting' 1721: AntoineCoypel.

63. From Cyclopaedia 1728: Ephraim Chambers.

64. 'On Drawings' 1732: Comte de Caylus.

65. 'The Life of Antoine Watteau' 1748: Comte de Caylus.

7. Imagination and Understanding:.

66. 'Of the Association of Ideas' from An Essay ConcerningHuman Understanding 1700: John Locke.

67. From 'The Moralists, A Philosophical Rhapsody' 1709: AnthonyAshley Cooper, Third Earl of Shaftesbury.

68. From 'A Notion of the Historical Draught of the Tablature ofthe Judgement of Hercules' 1712: Anthony Ashley Cooper, Third Earlof Shaftesbury.

69. 'On the Pleasures of the Imagination' 1712: JosephAddison.

70. From Treatise on Beauty 1714: Jean-Pierre deCrousaz.

71. From Critical Reflections on Poetry and Painting1719: Abbé Jean-Baptiste du Bos.

72. Preface to An Inquiry into the Original of our Ideas ofBeauty and Virtue 1725: Francis Hutcheson.

73. 'Third Dialogue' from Alciphron, or the MinutePhilosopher 1732: George Berkeley, Bishop of Cloyne.

74. 'Of the Sublime' 1725: Jonathan Richardson.

75. 'The Beau Ideal' 1732: Lambert Hermanson ten Kate.

76. From The Philosopher's Cabinet 1734: Pierre deMarivaux.

77. 'The Beauty of the World' c.1750: Jonathan Edwards.

Part III: Judgement and the Public Sphere:.

Introduction.

8. Classical and Contemporary:.

78. From A Treatise on Ancient Painting 1740: GeorgeTurnbull.

79. From 'Discourse on the Arts and Sciences' 1750: Jean-JacquesRousseau.

80. From 'Discourse on the Origins of Inequality' 1755:Jean-Jacques Rousseau.

81. From Observations upon the Antiquities of the Town ofHerculaneum 1753: Jérôme-Charles Bellicard andCharles Nicolas Cochin fils.

82. From Reflections on the Imitation of Greek Works inPainting and Sculpture 1755: Johann Joachim Winckelmann.

83. From An Inquiry into the Beauties of Painting 1761:Daniel Webb.

84. From The Antiquities of Athens 1762: James Stewartand Nicholas Revett.

85. From A History of Ancient Art 1764: Johann JoachimWinckelmann.

86. 'Of the Camera Obscura' from Essay on Painting 1764:Francesco Algarotti.

87. From Laocoön: on the Limitations of Painting andPoetry 1766: Gotthold Ephraim Lessing.

9. Aesthetics and the Sublime:.

88. From Reflections on Poetry 1735: Alexander GottliebBaumgarten.

89. 'Prolegomena' to Aesthetica 1750: Alexander GottliebBaumgarten.

90. From The Analysis of Beauty 1753: WilliamHogarth.

91. 'Dialogue on Taste' 1755: Allan Ramsay.

92. 'Of the Standard of Taste' 1757: David Hume.

93. From A Philosophical Inquiry into the Origin of our Ideasof the Sublime and the Beautiful 1757: Edmund Burke.

94. 'An Essay on Taste' 1757: Charles-Louis de Secondat, Baronde Montesquieu.

95. 'Essay on Taste' 1757: Voltaire.

96. Letters to 'The Idler' 1759: Joshua Reynolds.

97. From Conjectures on Original Composition 1759: EdwardYoung.

98. From Giphantia 1760: Charles François Tiphaignede la Roche.

99. From Aesthetica in Nuce 1762: Johann GeorgHamann.

100. From Reflections on Beauty and Taste in Painting1762: Anton Raphael Mengs.

101. 'Beautiful, Beauty' from Philosophical Dictionary1764: Voltaire (Francois-Marie Arouet).

102. 'Of Taste' from Essays on the Intellectual Powers ofMan 1785: Thomas Reid.

10. The Practice of Criticism:.

103. Reflections on Some Causes of the Present State ofPainting in France 1747: Etienne La Font de Saint-Yenne.

104. From 'Letter on the Exhibition of Works of Painting,Sculpture, etc.' 1747: Jean-Bernard, Abbé le Blanc.

105. From 'Letter on Painting, Sculpture and Architecture' 1748:Louis-Guillaume Baillet de Saint-Julien.

106. 'On Composition' 1750: Comte de Caylus.

107. From Essay on Architecture 1753: Marc-Antoine,Abbé Laugier.

108. 'Letter to M. de Bachaumont on Taste in the Arts andLetters' 1751: Jean-Baptiste de La Curne de Sainte-Palaye.

109. 'Art' from the Encyclopédie 1751: DenisDiderot.

110. 'Genius' from the Encyclopédie 1757:Jean-Francois, Marquis de Saint-Lambert.

111. 'Observation' from the Encyclopédie 1765:Anonymous.

112. From the Correspondence Littéraire 1756:Friedrich Melchior, Baron Grimm.

113. 'Reflexions on Sculpture' 1761: Etienne Falconet.

114. From the 'Salon of 1763', 1763: Denis Diderot.

115. From the 'Salon of 1765' and 'Notes on Painting' 1765:Denis Diderot.

116. From the 'Salon of 1767', 1768: Denis Diderot.

Part IV: A Public Discourse:.

Introduction.

11. Consolidation and Instruction:.

117. Letter to Richard Graves 1760: William Shenstone.

118. 'Of Academies' c.1760-1: William Hogarth.

119. From 'Letter on Sculpture' 1765: Frans Hemsterhuis.

120. 'A Discourse upon the Academy of Fine Art at Madrid' 1766:Anton Raphael Mengs.

121. Correspondence 1766-7: Benjamin West and John SingletonCopley.

122. On the Death of General Wolfe c.1771: BenjaminWest.

123. From Discourses on Art, III, VI and XI 1770-82:Joshua Reynolds.

124. Discourse IX 1780: Joshua Reynolds.

125. On Exhibtions by Angelica Kauffman 1775-86: VariousReviewers.

126. From An Inquiry into the Real and Imaginary Obstructionsto the Acquisition of the Arts in England 1774: JamesBarry.

127. From 'Disconnected Thoughts on Painting, Sculpture andPoetry' 1781: Denis Diderot.

128. From Treatise on the Principles and Rules ofPainting 1781: Jean-Etienne Liotard.

129. From A Review of the Polite Arts in France 1782:Valentine Green.

130. 'Address to the Royal Academy of San Fernando regarding theMethod of Teaching the Visual Arts' 1792: Francisco Goya.

131. From the Dictionnaire des Arts de Peinture, Sculpture etGravure 1792: Claude-Henri Watelet and Pierre-CharlesLévesque.

132. A Letter to the Dilettanti Society 1798: JamesBarry.

12. Revolution:.

133. From Mémoires Secrets 1783-5: Anonymous.

134. Letter to Joseph-Marie Vien 1789:Charles-Étienne-Gabriel Cuvillier.

135. Review of the Salon of 1789: Comte de Mende Maupas.

136. 'Artists' Demand' 1789: Students of the AcadémieRoyale des Beaux-Arts.

137. Letter to Thomas Jefferson 1789: John Trumbull.

138. Response to Edmund Burke 1790: Mary Wollstonecraft.

139. 'On the System of Teaching' from Considerations on theArts of Design in France 1791: Antoine Quatremère deQuincy.

140. On his Picture of Le Peletier 1793: Jacques-LouisDavid.

141. Preliminary Statement to the Official Catalogue of theSalon 1793: Gazat, Minister of the Interior/Anonymous.

142. 'The Jury of Art' 1793: Jacques-Louis David.

143. Proposal for a Monument to the French People 1793:Jacques-Louis David.

144. Project for the Apotheoses of Barra and Viala 1794:Jacques-Louis David.

145. 'Foreword' to the Historical and ChronologicalDescription of the Monuments of Sculpture 1795/7: AlexandreLenoir.

Part V: Nature and Human Nature:.

Introduction.

13. The Human as Subject:.

146. Letters 1758-73: Thomas Gainsborough.

147. On Thomas Gainsborough 1788: Joshua Reynolds.

148. 'Of the Effects of Genius' 1770: William Duff.

149. 'On German Architecture' 1772: Johann Wolfgang Goethe.

150. On London, from Letter to Baldinger 1775: Georg ChristophLichtenberg.

151. From Essays on Physiognomy 1775-8: Johann KasparLavater.

152. From Sculpture: Some Observations on Form and Shape fromPygmalion's Creative Dream 1778: Johann Gottfried Herder.

153. 'What is Enlightenment?' 1784: Immanuel Kant.

154. From 'On the Creative Imitation of Beauty' 1788: KarlPhillip Moritz.

155. From Critique of Judgment 1790: Immanuel Kant.

156. From Essays on the Nature and Principles of Taste1790: Archibald Alison.

157. From Letters on the Aesthetic Education of Man1795-6: Friedrich Schiller.

158. From 'On Naive and Sentimental Poetry' 1795-6: FriedrichSchiller.

159. Letter to Karl Friedrich von Heinitz 1796: Asmus JakobCarstens.

160. The 'Earliest System-Programme of German Idealism' c.1796:Georg Wilhelm Friedrich Hegel.

14. Landscape and the Picturesque:.

161. 'Unconnected Thoughts on Gardening' 1764: WilliamShenstone.

162. 'The Principles of Painting' from Essays on Prints1768: William Gilpin.

163. 'Letter on Landscape Painting' 1770: Salomon Gessner.

164. Exchange of Letters on Landscape Painting 1784: SalomonGessner and Konrad Gessner.

165. From Observations on the River Wye 1782: WilliamGilpin.

166. 'Landscape (Arts of Design)' from General Theory of theFine Arts 1771-4: Johann Georg Sulzer.

167. Review of The Fine Arts in their Origin, their TrueNature and Best Application, by J.G. Sulzer 1772: JohannWolfgang Goethe.

168. 'Nature' 1782-3: Georg Christof Tobler.

169. 'A New Method of Assisting the Invention in DrawingOriginal Compositions of Landscape' 1785: Alexander Cozens.

170. 'On Landscape Painting' 1790: Johann Kaspar Lavater.

171. From 'On Picturesque Beauty' and 'On Picturesque Travel'1792: William Gilpin.

172. 'On Landscapes and Seapieces' from Charis, or on Beautyand the Beautiful in the Imitative Arts 1793: FriedrichRamdohr.

173. From 'An Essay on the Picturesque' 1794: Sir UvedalePrice.

174. From The Landscape: A Dramatic Poem 1795: RichardPayne Knight.

175. From 'A Dialogue on the Distinct Characters of thePicturesque and the Beautiful' 1801: Sir Uvedale Price.

176. Notebook and Diary Entires, c.1790 to 1797: KatherinePlymley.

177. 'Letter on Landscape Painting' 1795: Francois René,Comte de Chateaubriand.

178. 'On Poetry and Our Relish for the Beauties of Nature' 1797:Mary Wollstonecraft.

179. From Northanger Abbey c.1799-1803: Jane Austen.

Part VI: Romanticism:.

Introduction.

15. Romantic Aesthetics:.

180. From 'Critical Fragments' 1797: Friedrich Schlegel.

181. From 'Athenaeum Fragments' 1798: Friedrich Schlegel.

182. 'Fugitive Thoughts' 1798-1801: Novalis.

183. From Aphorisms on Art 1802: Joseph Görres.

184. 'Advertisement' from Lyrical Ballads 1798: WilliamWordsworth.

185. From Preface to Lyrical Ballads 1800: WilliamWordsworth.

186. From Description of Paintings in Paris and theNetherlands in the Years 1802-04 1805: Friedrich Schlegel.

187. From 'Concerning the Relation of the Plastic Arts toNature' 1807: Friedrich Schelling.

188. 'The Spirit of True Criticism' from A Course of LecturesDramatic Art and Literature 1808: August Wilhelm Schlegel.

189. From 'Aphorisms on Art' 1788-1818: Henry Fuseli.

190. 'On the Principles of Genial Criticism' 1814: Samuel TaylorColeridge.

191. From A Philosophical View of Reform 1819-20: PercyBysshe Shelley.

16. Painting and Fiction:.

192. From Confessions from the Heart of an Art-LovingFriar 1796: Wilhelm Wackenroder.

193. From Franz Sternbald's Wanderings 1798: LudwigTieck.

194. On the Caprichos 1799: Francisco de Goya.

195. The Blue Flower from Henry of Ofterdingen 1799-1801:Novalis (Friedrich von Hardenberg).

196. Letters 1802: Philipp Otto Runge.

197. From Corinne 1807: Madame de Staël.

198. Letters 1799-1805: William Blake.

199. Marginal Notes to Reynolds' Discourses 1801-9:William Blake.

200. From Descriptive Catalogue 1809: William Blake.

201. Introduction to The Grave 1808: Henry Fuseli.

202. From Views on the Dark Side of Natural Science 1808:Gotthilf Heinrich Schubert.

203. 'Remarks Upon a Landscape Painting Intended as an AltarPiece by Herr Friedrich' 1809: Friedrich Ramdohr.

204. On The Cross in the Mountains, Letter to Schulz1809: Caspar David Friedrich.

205. 'Various Emotions before a Seascape by Friedrich' 1810:Clemens Brentano.

206. 'Emotions before Friedrich's Seascape' 1810: HeinrichKleist.

207. 'Letter from a Young Poet to a Young Painter' 1810:Heinrich Kleist.

208. 'Beethoven's Instrumental Music' 1813: E.T.A. Hoffmann.

209. Letter to Arndt 1814: Caspar David Friedrich.

Part VII: Observation and Tradition:.

Introduction.

17. Objects of Study:.

210. Introduction to the Propyläen 1798: JohannWolfgang Goethe.

211. From Reflections on the Present Condition of the FemaleSex 1798: Priscilla Wakefield.

212. From 'Advice to a Student on Painting, and Particularly onLandscape' 1800: Pierre-Henri de Valenciennes.

213. Letters to Dunthorne 1799-1814: John Constable.

214. 'An Account of a Method of Copying Paintings Upon Glass,and of Making Profiles' 1802: Thomas Wedgwood and Humphry Davy.

215. 'On Landscape Painting' 1803: Karl Ludwig Fernow.

216. From Essays on the Anatomy of Expression in Painting1806: Charles Bell.

217. Letter to Goethe 1806: Philipp Otto Runge.

218. From Theory of Colours 1810: Johann WolfgangGoethe.

219. 'Backgrounds, Introduction of Architecture and Landscape'1811: Joseph Mallord William Turner.

220. From A Treatise on Landscape Painting and Effect inWater Colours 1813-14: David Cox.

221. Preface to Etchings of Rustic Figures 1815: WilliamHenry Pyne.

222. From Daylight: A Recent Discovery in the Art ofPainting 1817: Henry Richter.

223. Advice on the Painting of Portraits c.1820-30: ElizabethVigée-Lebrun.

18. The Continuity of Symbols:.

224. 'Discourse to the Students of the Royal Academy' 1792:Benjamin West.

225. 'The Painting of the Sabines' 1799: Jacques-LouisDavid.

226. 'Discourse Addressed to Vien' 1800: Pupils of David.

227. 'Of the Subjects of Pictures' from The Genius ofChristianity 1802: François-René, Comte deChateaubriand.

228. Letter to Passavant 1808: Franz Pforr.

229. 'The Three Ways of Art' 1810: Friedrich Overbeck.

230. Letter to Joseph Görres 1814: Peter Cornelius.

231. From The Description of Egypt 1809-20: EdméFrançois Jomard (ed., et al).

232. 'Style' after 1810: John Flaxman.

233. From Symbolism and Mythology of the Ancient Peoples,Particularly the Greeks 1810: Georg Friedrich Creuzer.

234. The Debate on the Elgin Marbles 1808-1816:.

Letter to the Monthly Magazine 1808: GeorgeCumberland.

Letter to the Earl of Elgin 1809: Benjamin West.

Letters to de Quincy and the Earl of Elgin 1815: AntonioCanova.

From Report of the Parliamentary Select Committee on the Earlof Elgin's Collection of Marbles 1816.

From The Judgement of Connoisseurs upon Works of Art1816: Benjamin Robert Haydon.

'The Fine Arts' from Supplement to the EncyclopaediaBritannica 1816: William Hazlitt.

235. From Notebooks and Letters c.1813-21: Jean AugusteDominique Ingres.

236. From An Inquiry into the Symbolical Language of AncientArt and Mythology 1818: Richard Payne Knight.

Bibliography.

Copyright Acknowledgements.

Index.

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