Chapter 9

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LIST OF THE FIRST 806 VOLUMESARRANGED UNDER AUTHORS

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FOOTNOTES:[1]Lib. 2. in Timæum Platonis, as cited by Junius de Pictura Veterum. R.[2]Essays, p. 252, edit. 1625.[3]“Those,” says Quintilian, “who are taken with the outward show of things, think that there is more beauty in persons, who are trimmed, curled, and painted, than uncorrupt nature can give; as if beauty were merely the effect of the corruption of manners.” R.[4]Dicendo, che molto gli piaceva il colorito suo, e la maniera; mà che era un peccato, che a Venezia non s’imparasse da principio a disegnare bene, e che non havessano que’ pittori miglior modo nello studio. Vas. tom. iii. p. 226. Vita di Tiziano.[5]Nelle cose della pittura, stravagante, capriccioso, presto, e resoluto, et il più terrible cervello, che habbia havuto mai la pittura, come si può vedere in tutte le sue opere; e ne’ componimenti delle storie, fantastiche, e fatte da lui diversamente, e fuori dell’ uso degli altri pittori: anzi hà superato la stravaganza, con le nuove, e capricciose inventioni, e strani ghiribizzi del suo intelleto, che ha lavorato a caso, e senza disegno, quasi monstrando che quest’ arte è una baia.[6]Que cette application singulière n’était qu’un obstacle pour empêcher de parvenir au véritable but de la peinture, et celui qui s’attache au principal, acquiert par la pratique une assez belle manière de peindre. Conférence de l’Acad. Franç.[7]A more detailed character of Rubens may be found in the “Journey to Flanders and Holland,” near the conclusion. M.[8]Sed non qui maxime imitandus, etiam solus imitandus est.—Quintilian.[9]In the Cabinet of the Earl of Ashburnham.[10]In the Cabinet of Sir Peter Burrel.[11]Dr. Goldsmith.[12]Nulla ars, non alterius artis, aut mater, aut propinqua est.—Tertull, as cited byJunius.[13]Omnes artes quæ ad humanitatem pertinent, habent quoddam commune vinculum, et quasi cognatione inter se continentur.—Cicero.[14]Put off thy shoes from off thy feet; for the place whereon thou standest is holy ground.—Exodus, iii. 5.[15]Discourses II. and VI.[16]This was inadvertently said. I did not recollect the admirable treatise “On the Sublime and Beautiful.”[17]Sir William Chambers.[18]See “Il reposo di Raffaelle Borghini.”[19]Some years after this Discourse was written, Bernini’s “Neptune” was purchased for our author at Rome, and brought to England. After his death it was sold by his Executors for £500 to Charles Anderson Pelham, Esq., now Lord Yarborough. M.[20]Discourse III.[21]In Ben Jonson’s “Catiline” we find this aphorism, with a slight variation:“A serpent, ere he comes to be a dragon,Must eat a bat.” M.[22]The addition ofacciodenotes some deformity or imperfection attending that person to whom it is applied. R.[23]Towers and battlements it seesBosom’d high in tufted trees.—Milton, “L’Allegro.” R.[24]Mr. Hodges.[25]This fine picture was in our author’s collection; and was bequeathed by him to Sir George Beaumont, Bart. M.[26]Dr. Johnson.[27]James Harris, Esq. R.[28]Pictura quoque non alium exitum fecit, postquam Ægyptiorum audacia tam magnæ artis compendiariam invenit. R.[29]Che Raffaelle non ebbe quest’ arte da natura, ma per longo studio.R.[30]Unfortunately for mankind, thesewerethe last words pronounced by this great painter from the Academical chair. He died about fourteen months after this Discourse was delivered. M.

FOOTNOTES:

[1]Lib. 2. in Timæum Platonis, as cited by Junius de Pictura Veterum. R.

[2]Essays, p. 252, edit. 1625.

[3]“Those,” says Quintilian, “who are taken with the outward show of things, think that there is more beauty in persons, who are trimmed, curled, and painted, than uncorrupt nature can give; as if beauty were merely the effect of the corruption of manners.” R.

[4]Dicendo, che molto gli piaceva il colorito suo, e la maniera; mà che era un peccato, che a Venezia non s’imparasse da principio a disegnare bene, e che non havessano que’ pittori miglior modo nello studio. Vas. tom. iii. p. 226. Vita di Tiziano.

[5]Nelle cose della pittura, stravagante, capriccioso, presto, e resoluto, et il più terrible cervello, che habbia havuto mai la pittura, come si può vedere in tutte le sue opere; e ne’ componimenti delle storie, fantastiche, e fatte da lui diversamente, e fuori dell’ uso degli altri pittori: anzi hà superato la stravaganza, con le nuove, e capricciose inventioni, e strani ghiribizzi del suo intelleto, che ha lavorato a caso, e senza disegno, quasi monstrando che quest’ arte è una baia.

[6]Que cette application singulière n’était qu’un obstacle pour empêcher de parvenir au véritable but de la peinture, et celui qui s’attache au principal, acquiert par la pratique une assez belle manière de peindre. Conférence de l’Acad. Franç.

[7]A more detailed character of Rubens may be found in the “Journey to Flanders and Holland,” near the conclusion. M.

[8]Sed non qui maxime imitandus, etiam solus imitandus est.—Quintilian.

[9]In the Cabinet of the Earl of Ashburnham.

[10]In the Cabinet of Sir Peter Burrel.

[11]Dr. Goldsmith.

[12]Nulla ars, non alterius artis, aut mater, aut propinqua est.—Tertull, as cited byJunius.

[13]Omnes artes quæ ad humanitatem pertinent, habent quoddam commune vinculum, et quasi cognatione inter se continentur.—Cicero.

[14]Put off thy shoes from off thy feet; for the place whereon thou standest is holy ground.—Exodus, iii. 5.

[15]Discourses II. and VI.

[16]This was inadvertently said. I did not recollect the admirable treatise “On the Sublime and Beautiful.”

[17]Sir William Chambers.

[18]See “Il reposo di Raffaelle Borghini.”

[19]Some years after this Discourse was written, Bernini’s “Neptune” was purchased for our author at Rome, and brought to England. After his death it was sold by his Executors for £500 to Charles Anderson Pelham, Esq., now Lord Yarborough. M.

[20]Discourse III.

[21]In Ben Jonson’s “Catiline” we find this aphorism, with a slight variation:“A serpent, ere he comes to be a dragon,Must eat a bat.” M.

[21]In Ben Jonson’s “Catiline” we find this aphorism, with a slight variation:

“A serpent, ere he comes to be a dragon,Must eat a bat.” M.

[22]The addition ofacciodenotes some deformity or imperfection attending that person to whom it is applied. R.

[23]Towers and battlements it seesBosom’d high in tufted trees.—Milton, “L’Allegro.” R.

[23]

Towers and battlements it seesBosom’d high in tufted trees.—Milton, “L’Allegro.” R.

[24]Mr. Hodges.

[25]This fine picture was in our author’s collection; and was bequeathed by him to Sir George Beaumont, Bart. M.

[26]Dr. Johnson.

[27]James Harris, Esq. R.

[28]Pictura quoque non alium exitum fecit, postquam Ægyptiorum audacia tam magnæ artis compendiariam invenit. R.

[29]Che Raffaelle non ebbe quest’ arte da natura, ma per longo studio.R.

[30]Unfortunately for mankind, thesewerethe last words pronounced by this great painter from the Academical chair. He died about fourteen months after this Discourse was delivered. M.

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