ng of the Houses of
Parliament, etc., etc. London, 1847.

2. "Theophili, qui et Rugerus, Presbyteri et Monachi, Libri III. de
Diversis Artibus; seu Diversarum Artium Schedula. (An Essay upon Various
Arts, in Three Books, by Theophilus, called also Rugerus, Priest and
Monk, forming an Encyclopaedia of Christian Art of the Eleventh Century."
Translated, with Notes, by Robert Hendrie.) London, 1847.

[14] "A Critical Essay on Oil-Painting," London, 1781.

[15] "The mediaeval painters were so accustomed to this appearance in
varnishes, and considered it so indispensable, that they even supplied
the tint when it did not exist. Thus Cardanus observes that when white
of eggs was used as a varnish, it was customary to tinge it with red
lead."--_Eastlake_, p. 270.

[16] "Si je dis tant de mal de la peinture flamande, ce n'est pas
qu'elle soit entierement mauvaise, mais elle veut _rendre avec
perfection_ tant de choses, dont une seule suffirait par son importance,
qu'elle n'en fait aucune d'une maniere satisfaisante." This opinion of
M. Angelo's is preserved by Francisco de Ollanda, quoted by Comte
Raczynski, "Les Arts en Portugal," Paris, 1846.

[17] "Arte de Pintura." Sevilla, 1649.

[18] The preparations of Hemling, at Bruges, we imagine to have been in
water-color, and perhaps the picture was carried to some degree of
completion in this material. Van Mander observes that Van Eyck's dead
colorings "were cleaner and sharper than the finished works of other
painters."

[19] [See _Stones of Venice_, vol. iii. Venetian Index, _s._ Rocco,
Scuola di San, Sec. 20, _Temptation_.--ED. 1899.]

[20] _Art Journal_, March 1849.--ED.

[21] We do not mean under this term to include the drawings of professed
oil-painters, as of Stothard or Turner.

[22] _Cornhill Magazine_, March, 1860.--ED.

[23] As showing gigantic power of hand, joined with utmost accuracy and
rapidity, the folds of drapery under the breast of the Virgin are,
perhaps, as marvelous a piece of work as could be found in any picture,
of whatever time or master.

[24] The reader must observe that I use the word here in a limited
sense, as meaning only the effect of careful education, good society,
and refined habits of life, on average temper and character. Of deep and
true gentlemanliness--based as it is on intense sensibility and
sincerity, perfected by courage, and other qualities of race; as well as
of that union of insensibility with cunning, which is the es