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. 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. 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: Franciscus Junius.2. Letter to Junius 1637: Peter Paul Rubens.3. From The Art of Painting, its Antiquity and Greatness 1649: 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: Bernard le Bovier de Fontenelle.7. Preface and Second Dialogue from Parallel of the Ancients and Moderns 1688: Charles Perrault.8. From Reflections upon Ancient and Modern Learning 1694: William Wotton.2. The Academy: Systems and Principles:.9. Letters to Chantelou and to Chambray 1647/1665: Nicholas Poussin.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 de Peinture 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 Most Excellent Ancient and Modern Painters 1666: André Félibien.18. Preface to Seven Conferences 1667: André Félibien.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 Paul Rubens.25. From The Microcosm of Painting 1657: Francesco Scannelli.26. From Diary of the Cavaliere Bernini s Visit to France 1665: Paul Fréart de Chantelou.27. From De Arte Graphica 1667: Charles Alphonse Du Fresnoy.28. Remarks on De Arte Graphica 1668: Roger de Piles.29. From The Rich Mines of Venetian Painting 1676: Marco Boschini.30. Conference on Titian s Virgin and Child with St John 1671: Phillipe de Champaigne.31. Conference on the Merits of Colour 1671: Louis Gabriel Blanchard.32. Thoughts on M. Blanchard s Discourse on the Merits of Colour 1672: Charles LeBrun.33. From Dialogue upon Colouring 1673: Roger de Piles.34. From Practical Discourse on the Most Noble Art of Painting 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: Baltasar Gracián.38. Answer to Davenant s Preface to Gondibert 1650: Thomas Hobbes.39. From Fire in the Bush and The Law of Freedom in a Platform 1650/2: Gerrard Winstanley.40. From Pensées c.1654 1662: Blaise Pascal.41. On Grace and Beauty from Conversations on the Lives and Works 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: Samuel Willard.44. On Art and Beauty, Before 1716: Gottfried Wilhelm Leibniz.5. Practical Resources:.45. From Miniatura; or The Art of Limning, Revised 1648: Edward Norgate.46. On Rembrandt and Jan Lievens c.1630: Constantijn Huygens.47. Letters to Constantijn Huygens 1636 9: Rembrandt van Rijn.48. From In Praise of Painting 1642: Philips Angel.49. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco.50. Preface to Perspective Practical 1651: Jean Dubreuil.51. From Introduction to the Academy of Painting; or, The Visible World 1678: Samuel van Hoogstraten.52. The Excellency of Painting from A Treatise of Perspective 1684: R. P. Bernard Lamy.53. From Principles for Studying the Sovereign and Most Noble Art 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 de Lairesse.55. From The Principles of Painting 1708: Roger de Piles.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: Jonathan Richardson.60. From The Science of a Connoisseur 1719: Jonathan Richardson.61. On the Grand Manner, from On the Aesthetic of the Painter 1721: Antoine Coypel.62. From On the Excellence of Painting 1721: Antoine Coypel.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 Concerning Human Understanding 1700: John Locke.67. From The Moralists, A Philosophical Rhapsody 1709: Anthony Ashley Cooper, Third Earl of Shaftesbury.68. From A Notion of the Historical Draught of the Tablature of the Judgement of Hercules 1712: Anthony Ashley Cooper, Third Earl of Shaftesbury.69. On the Pleasures of the Imagination 1712: Joseph Addison.70. From Treatise on Beauty 1714: Jean Pierre de Crousaz.71. From Critical Reflections on Poetry and Painting 1719: Abbé Jean Baptiste du Bos.72. Preface to An Inquiry into the Original of our Ideas of Beauty and Virtue 1725: Francis Hutcheson.73. Third Dialogue from Alciphron, or the Minute Philosopher 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 de Marivaux.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: George Turnbull.79. From Discourse on the Arts and Sciences 1750: Jean Jacques Rousseau.80. From Discourse on the Origins of Inequality 1755: Jean Jacques Rousseau.81. From Observations upon the Antiquities of the Town of Herculaneum 1753: Jérôme Charles Bellicard and Charles Nicolas Cochin fils.82. From Reflections on the Imitation of Greek Works in Painting 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 Stewart and Nicholas Revett.85. From A History of Ancient Art 1764: Johann Joachim Winckelmann.86. Of the Camera Obscura from Essay on Painting 1764: Francesco Algarotti.87. From Laocoön: on the Limitations of Painting and Poetry 1766: Gotthold Ephraim Lessing.9. Aesthetics and the Sublime:.88. From Reflections on Poetry 1735: Alexander Gottlieb Baumgarten.89. Prolegomena to Aesthetica 1750: Alexander Gottlieb Baumgarten.90. From The Analysis of Beauty 1753: William Hogarth.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 Ideas of the Sublime and the Beautiful 1757: Edmund Burke.94. An Essay on Taste 1757: Charles Louis de Secondat, Baron de Montesquieu.95. Essay on Taste 1757: Voltaire.96. Letters to The Idler 1759: Joshua Reynolds.97. From Conjectures on Original Composition 1759: Edward Young.98. From Giphantia 1760: Charles François Tiphaigne de la Roche.99. From Aesthetica in Nuce 1762: Johann Georg Hamann.100. From Reflections on Beauty and Taste in Painting 1762: Anton Raphael Mengs.101. Beautiful, Beauty from Philosophical Dictionary 1764: Voltaire (Francois Marie Arouet).102. Of Taste from Essays on the Intellectual Powers of Man 1785: Thomas Reid.10. The Practice of Criticism:.103. Reflections on Some Causes of the Present State of Painting 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 and Letters 1751: Jean Baptiste de La Curne de Sainte Palaye.109. Art from the Encyclopédie 1751: Denis Diderot.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 Singleton Copley.122. On the Death of General Wolfe c.1771: Benjamin West.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: Various Reviewers.126. From An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England 1774: James Barry.127. From Disconnected Thoughts on Painting, Sculpture and Poetry 1781: Denis Diderot.128. From Treatise on the Principles and Rules of Painting 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 the Method of Teaching the Visual Arts 1792: Francisco Goya.131. From the Dictionnaire des Arts de Peinture, Sculpture et Gravure 1792: Claude Henri Watelet and Pierre Charles Lévesque.132. A Letter to the Dilettanti Society 1798: James Barry.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 Académie Royale 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 the Arts of Design in France 1791: Antoine Quatremère de Quincy.140. On his Picture of Le Peletier 1793: Jacques Louis David.141. Preliminary Statement to the Official Catalogue of the Salon 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 Chronological Description of the Monuments of Sculpture 1795/7: Alexandre Lenoir.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 Christoph Lichtenberg.151. From Essays on Physiognomy 1775 8: Johann Kaspar Lavater.152. From Sculpture: Some Observations on Form and Shape from Pygmalion s Creative Dream 1778: Johann Gottfried Herder.153. What is Enlightenment? 1784: Immanuel Kant.154. From On the Creative Imitation of Beauty 1788: Karl Phillip Moritz.155. From Critique of Judgment 1790: Immanuel Kant.156. From Essays on the Nature and Principles of Taste 1790: Archibald Alison.157. From Letters on the Aesthetic Education of Man 1795 6: Friedrich Schiller.158. From On Naive and Sentimental Poetry 1795 6: Friedrich Schiller.159. Letter to Karl Friedrich von Heinitz 1796: Asmus Jakob Carstens.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: William Shenstone.162. The Principles of Painting from Essays on Prints 1768: William Gilpin.163. Letter on Landscape Painting 1770: Salomon Gessner.164. Exchange of Letters on Landscape Painting 1784: Salomon Gessner and Konrad Gessner.165. From Observations on the River Wye 1782: William Gilpin.166. Landscape (Arts of Design) from General Theory of the Fine Arts 1771 4: Johann Georg Sulzer.167. Review of The Fine Arts in their Origin, their True Nature and Best Application, by J.G. Sulzer 1772: Johann Wolfgang Goethe.168. Nature 1782 3: Georg Christof Tobler.169. A New Method of Assisting the Invention in Drawing Original 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 Beauty and the Beautiful in the Imitative Arts 1793: Friedrich Ramdohr.173. From An Essay on the Picturesque 1794: Sir Uvedale Price.174. From The Landscape: A Dramatic Poem 1795: Richard Payne Knight.175. From A Dialogue on the Distinct Characters of the Picturesque and the Beautiful 1801: Sir Uvedale Price.176. Notebook and Diary Entires, c.1790 to 1797: Katherine Plymley.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: William Wordsworth.185. From Preface to Lyrical Ballads 1800: William Wordsworth.186. From Description of Paintings in Paris and the Netherlands in the Years 1802 04 1805: Friedrich Schlegel.187. From Concerning the Relation of the Plastic Arts to Nature 1807: Friedrich Schelling.188. The Spirit of True Criticism from A Course of Lectures Dramatic 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 Taylor Coleridge.191. From A Philosophical View of Reform 1819 20: Percy Bysshe Shelley.16. Painting and Fiction:.192. From Confessions from the Heart of an Art Loving Friar 1796: Wilhelm Wackenroder.193. From Franz Sternbald s Wanderings 1798: Ludwig Tieck.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 Altar Piece by Herr Friedrich 1809: Friedrich Ramdohr.204. On The Cross in the Mountains, Letter to Schulz 1809: Caspar David Friedrich.205. Various Emotions before a Seascape by Friedrich 1810: Clemens Brentano.206. Emotions before Friedrich s Seascape 1810: Heinrich Kleist.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: Johann Wolfgang Goethe.211. From Reflections on the Present Condition of the Female Sex 1798: Priscilla Wakefield.212. From Advice to a Student on Painting, and Particularly on Landscape 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 Painting 1806: Charles Bell.217. Letter to Goethe 1806: Philipp Otto Runge.218. From Theory of Colours 1810: Johann Wolfgang Goethe.219. Backgrounds, Introduction of Architecture and Landscape 1811: Joseph Mallord William Turner.220. From A Treatise on Landscape Painting and Effect in Water Colours 1813 14: David Cox.221. Preface to Etchings of Rustic Figures 1815: William Henry Pyne.222. From Daylight: A Recent Discovery in the Art of Painting 1817: Henry Richter.223. Advice on the Painting of Portraits c.1820 30: Elizabeth Vigée 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 Louis David.226. Discourse Addressed to Vien 1800: Pupils of David.227. Of the Subjects of Pictures from The Genius of Christianity 1802: François René, Comte de Chateaubriand.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: Edmé François 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: George Cumberland.Letter to the Earl of Elgin 1809: Benjamin West.Letters to de Quincy and the Earl of Elgin 1815: Antonio Canova.From Report of the Parliamentary Select Committee on the Earl of Elgin s Collection of Marbles 1816.From The Judgement of Connoisseurs upon Works of Art 1816: Benjamin Robert Haydon. The Fine Arts from Supplement to the Encyclopaedia Britannica 1816: William Hazlitt.235. From Notebooks and Letters c.1813 21: Jean Auguste Dominique Ingres.236. From An Inquiry into the Symbolical Language of Ancient Art and Mythology 1818: Richard Payne Knight.Bibliography.Copyright Acknowledgements.Index.