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In Italy in 1806 Coleridge's experience of art deepened, thanks to the American artist Washington Allston, who taught him to see the artistic sights of Rome with a painter's eye. Coleridge also visited Florence and Pisa, and later said of the frescoes in Pisa's Camp Santo: 'The impression was greater, I may say, than that any poem ever made upon me.'
Back in England, Coleridge visited London exhibitions, country house collections, and even artists' studios. In 1814 both Coleridge and Allston were in Bristol-Coleridge lecturing. Allston exhibiting. Coleridge's 'On the Principles of Genial Criticism' began as a defence of Allston's paintings but became a statement about all the arts. This book, an important contribution to Coleridge's intellectual biography, will make readers aware of a dimension of his thinking that has been largely ignored until now.
About the Author:
Morton D. Paley is Emeritus Professor of English at the University of California, Berkeley
List of Illustrations
1 Initiation 1
2 Italy 25
3 What Coleridge Saw 67
4 Allston Redux 93
5 Coleridge on the Fine Arts 136
6 The Principles Common to the Fine Arts 210
1 William Collins's Portrait of Sara Coleridge 235
2 Coleridge's Use of Artistic Terms 238
3 F. A. M. Retzsch's Illustrations in Faustus from the German of Goethe 241