Table of Contents
Introduction: Taste—Principles of Imitative Art
Section One: Sculpture.
Chapter I. Egyptian and Oriental Sculpture—Indian Monuments
Chapter II. Early Schools of Greece—Perfection of Material Art
Chapter III. Ideal Art—Phidias—Elgin Marbles—Methods of Composition Among the Greek Sculptors
Chapter IV. School of Beauty—Lysippus and Praxiteles—Historical Remarks
Chapter V. Sculpture in Ancient Italy—Etruscan Art—Roman Busts—Decline
Chapter VI. Revival of Sculpture in Italy—Italian Republics—Influence of Liberty—Early Schools of Modern Art
Chapter VII. Michael Angelo and his Contemporaries
Chapter VIII. School of Bernini—Decline of Sculpture—Causes of Decay
Chapter IX. Revival—Canova—Thorwaldsen—Flaxman—Conclusion
Section Two: Painting.
Chapter X. Ancient Painting—Schools of Greece—Zeuxis, Appelles—Historical Remarks
Chapter XI. Modern Schools in Italy—Roman, Raphael—Florentine, Michael Angelo—Comparison between the two—Lombard School, Coreggio—Venetian School, Titian— Eclectic School, Caracci
Chapter XII. German School, Holbein, Daur—Flemish School, Rubens, Vandyke—Dutch School, Teniers—French School, David—Anecdote of Napoleon
Chapter XIII. English School—Historical Remarks—Causes of Inferiority in the Art—Influence of the Reformation not Hostile to the Fine Arts in Britain, &c
Chapter XIV. English School continued—History—Portrait—Landscape—Reynolds—West—Wilson—Laurence—Defects of English Style—Conclusion
Section Three: Architecture.
Chapter XV. Early History and Principles of Architectural Design—Egyptian—Syrian—Indian Architecture
Chapter XVI. Greek Architecture—Three Orders: Doric Remains, Ionic Remains, Corinthian Remains—Roman Architecture—Decline
Chapter XVII. Architecture of the Middle Ages—Divisions of the Gothic—Revival of Classic Architecture—Italian, French, and English Masters—Conclusion