Ornamental painting embraces the executing of friezes and the decorative parts of architecture in chiara obscura, or light and shade on walls and ceilings. It requires, in the first place, a ground to be well painted of the tint it is proposed to remain, and exactly drawn into the width it is intended to be left on such a ground so formed. The ornament to be painted is to be drawn out neatly with a black-lead pencil, and then to be painted and shaded, to give it its due effect. Such kind of painting is often painted on slips of paper, or Irish cloth, and pasted up afterwards; some artists also, to facilitate their work, and when the ornament is of a similar pattern all through, do it by what is termed stinselling; this method consists in drawing out a certain length of the pattern to be painted very accurately on paper, and then pricking a large sized needle in regular distances all round the pattern through the paper, which they afterwards lay smoothly against the wall to be ornamented and strike its outer surface, which has been pricked through with a small linen bag containing powdered chalk the powder enters the apertures in the pattern, and fixes itself against the wall, exhibiting the exact outline of the ornaments which the painter immediately fixes by painting it on the wall; by this means a great saving of his time is accomplished. Some paintings in this manner are heightened with gold; this is performed after the ornament is painted in, as it is termed, by the process known as gilding in oil. Letter or inscription writing is performed by persons known in the trade as letter-writers. The process is similar to ornament painting, excepting the superior ability and taste required in the one, whereas the other is a mere mechanical operation. The letter writer sketches out in pencil the words he has to write, and afterwards corrects the outline by the color which he applies with a camels' hair pencil. When the letters are to be gilt, the process is similar, and as the letters are painted, they are covered with leaf-gold, and when completely covered it is left to fix itself by the drying of the painting on which it has been laid. After which a sponge and water is used to clear away the superfluous gold; the whole is then covered by a coat of good oil varnish. Letter writing is charged by the inch, viz. the height of one of the letters being taken, will, by being multiplied by the number on the whole inscription, denote exactly the quantity of inches which has been written. The price varies, inasmuch as shadowed letters are a halfpenny an inch more than plain ones, and gilt letters are treble the price of either. Twopence an inch is about the average price of inscription letters. Painters' work is measured by the yard superficial, of nine square feet, and the painter is allowed to take his dimensions over and into every part where the brush has passed. Sash frames are valued at per piece, and sash squares at per dozen, as well as window bars, balusters of stairs, stay bars, &c. Painting done on new stucco is allowed one penny per yard more than when on wooden work, and colors are charged an additional penny more than when done in plain whites. The pa n.ers' charges are regula ted in London by the surveyors, and their regu lations are made from an average of the price of the best materials of every kind; but painting is frequently offered to be done at from fifteen to twenty per cent. less than the price so regulated. But, perhaps, no branch of trade requires more exact description than painting, as oil and colors may be purchased of all degrees of purity: hence painting, like the gold of the jewellers, will vary in its quality, or fineness, as it varies in the ratio of its alloy or adulteration. We add, from Mr. Elmes's Dictionary of the Fine Arts, a copious list of books on painting. In the work of Junius, De Picturâ Veterum, book 2, chap. iii. sect. 3, and in the Bibliotheca Græca of Fabricius, book 3, chap. xxiv. sect. 10, are catalogues of Greek authors who have written upon painting; of which, however, few have reached our times. Among this number are the Icones of the two Philostrates; which have been translated into French under the title of Les Tableaux de Plate Peinture, &c., by Blaise de Vigenere, corrected and augmented by Th. Embry, Paris, 1615, 1617, in fol. An excellent commentary upon this work may be found in a Memoir of Count Caylus, inserted in the twentyninth volume of Mémoires de l'Académie des Belles Lettres. To some editious of the works of Philostrates are added a work of Callistrates, entitled Exoparis (that is, explanations or descriptions). The ancient work which gives the most detailed accounts of the art of painting among the an cients is the Natural History of Pliny, who, in speaking of minerals, takes occasion to speak of colors, and their use in painting; in which subject he treats of the history of ancient painting, in several chapters of the thirty-fifth book. These chapters have been published separately, and commented upon by Durand, in a work entitled Histoire de la Peinture ancienne, published at London in 1725, in fol. M. Falconet has also published a translation of the thirty-fourth, thirty-fifth, and thirty-sixth, books of Pliny, with notes, Amsterdam, 1772, 8vo. These chapters of Pliny have also been commented upon, in several articles inserted in the Memoirs of the Academy of Inscriptions and Belles Lettres. (An English translation of the whole work, by P. Holland, was published in 2 vols. fol., London, 1634.) Count Caylus has given, in the nineteenth volume of the same work, Eclaircissemens sur quelques Passages de Pline qui concernent les Arts dependans du Dessin; and, in the twentyfifth volume, three Memoirs, entitled Réflexions sur quelques Chapitres du trente-cinquième Livre de Pline. In the second of these memoirs the reflections of the author are particularly directed to the kind and manner of ancient paintings; and in the third the character and manner of the Greek painters. The twenty-fifth volume contains also a Memoir of M. de la Nauze, upon the manner in which Pliny has treated the art of painting. M. Quatremere de Quincy, the learned author of part of the Encyclopédie Méthodique, and of Letters from London, in 1818, to Canova, on the Elgin Marbles, announced in 1805 a Among modern works upon painting we will first mention those which are written in Latin; among the principal of which are:-L. Bapt. Alberti, de Pictura, libri iii. Basil, 1540, in 8vo. Among the best translations of this work are, one in Italian, published in Venice, 1547, 8vo.; one in French by Jean Martin, among the works of Alberti upon architecture, Paris, 1553, fol.; and one in English, in the edition of his work upon architecture, by Leoni, 1726 and 1739, 3 vols. fol. Also, Joh. Molani de Picturis et Imaginibus Sacris, libri ii., Leovard, 1570 and 1594, 8vo. Robert Fludd, or De Fluctibus, Tractatus de Arte Picturæ, Francof., 1624, fol. Jul. Cæs. Bulenger, de Pictura, Plastice, et Statuaria Veterum, printed in his Opuscula, Ludg. Batav. 1621, 8vo.; and also separately under the same title, in 8vo. 1627, as well as in the ninth volume of Trésor de Gronovius. Of this work Thomas Malie has given an English translation, London, 1657, fol. It is merely a nomenclature of the various articles used in painting, and of the manner in which they are prepared. The next in chronological order is the work of Franciscus Junius (Francis Dujong, or Young), entitled de Pictura Veterum, Amst. 1637, in 4to. A new edition of it, much augmented and corrected, was published by Grævius at Rotterdam, in 1694, fol., which is reckoned preferable to the first. At the end of the work is a list of ancient artists, in alphabetical order, which is, perhaps, one of the best parts of the work. new translation of this book; but we are not Trattatello della nobilissima Pittura, e della sua certain that he published it. Arte, della Dottrina, e del Modo per conseguirla agevolmente, da Mich. Ang. Biondi, Ven. 1549, 8vo.: a little and very superficial work. II Disegno del Anton. Franc. Doni, dove si tratta della Scoltura, Pittura, de Colori, de Getti, de Modegli, con molte cose appertinenti a quest' Arti, Venegia, 1549, 8vo. :-a useful little work stored with excellent directions. Della nobilissima Pittura, e della sua Arte, del modo e della Dottrina di conseguirla agevolmente e Presto, da Biondo, Venice, 1549, 8vo. Introduzzione alle tre Arti del Disegno, thirty-five chapters (for an account of which see Vite de Pittori da Vasari. L'Aretino, Dialogo della Pittura, di Lod. Dolce, nel quale si raginao della Dignità di essa Pittura, e di tutte le Parte necessarie che a perfetto Pittore si acconvengano: con Esempi di Pittori ant. e Mod. e nel Fine si fa menzione delle Virtù e delle Opere del divin Tiziano, Venice, 1557; of which there is a more modern edition, with a French translation (printed at Rome, 8vo.), and a long preface by the translator; also an English translation published in London, 1782, 12mo. Osservazioni nella Pittura, di M. Cristofane Sorte, Venice, 1580, 4to. Lettera di Bartolomeo Ammanati, sopra le Pitture men che oneste, Firenze, 1582, 4to. II Riposo di Raffaelo Borghini, in cui si favella della Pittura e delle Scoltura, et de più illustri Pittori e Scultori, antiche e moderni, Firenze, 1584, in 8vo.; of which there has been a new edition, augmented and corrected by Antonio Maria Biscioni, Firenze, 1730, 4to.; and a much later one in 3 vols. 8vo. Parere sopra la Pittura, di M. Bernard Campi, Pittore Cremonese, Cremona, 1584, 4to. Discorso d'Allessandro Lamo intorno alla Scoltura et Pittura, Cremona, 1584, 4to. Trattato dell' Arte della Pittura, ne' quali si contiene tutta la Teorica e la Prattica di essa Pittura, da Giovanni Paolo Lomazzo, Mil. Pittori, div. in vii. libri, Milano, 1584 4to. The same work is also to be found under the following title, Trattato dell' Arte della Pittura, Scoltura, et Architettura, da G. P. Lomazzo, Mil. Pitt. div. in vii. libri ne' quali si discorre della Proporzione, de' Moti,' de Colori, de' Lumi, della prospettiva, della Prattica, della Pittura, e finalmente de le Istorie d'essa Pittura, con una Tavola de' Nomi de tutti le Pittori, Scultori, Architetti, e Matematici, antichi e moderni, Milan, 1585 and 1590, in 4to. There is an English translation of this work by Haydok, London, 1598, fol.; and a French translation of the first book, which appeared at Toulouse in 1649, in folio. To this work we must add another by the same author, entitled Idea del Tempio della Pittura nella quale si discorre dell' Origine e del Fondamento delle cose contenente del trattato, dell' Arte della Pittura, Milan, 1571, in 4to. De' veri Precetti della Pittura de Giovanni Bat. Armenini da Faenza, lib. i. ne' quali con bell' Ordine d' utili e buoni Avvertimenti per chi desidera in essa Farsi con prestezza eccellente si dimostrano i Modi principali del disegnare e del dipingere, di fare le Pitture che si convengono alle Condizioni de' Luoghi e delle Persone, Ravenna, 1587, in 4to., and Venice, 1678, in 4to. Il Filogino, Ovvero dek Among the Latin works which treat of the theory and practice of the art, we find :-Speculum Imaginum Veritatis occulta per Symbola et Emblemata, Auct. Jac. Mosenio, Col. 1661, 1681, 8vo. De Graphice sive Arte Pingendi; which is the fifth chapter of the work of Ger. J. Vossius, entitled de Natura Artium. Joannes Schefferi, Argentinensis, Graphice, id est de Arte pingendi, Norimb. 1669; Upsal, 1699, 8vo. This is an interesting little work, and is well written. De Inanibus Picturis, Diss. Joa. Fr. Jungeri, Lips. 1679, in 4to. By picturæ inanes' the author appears to mean those paintings which represent imaginary beings, or scandalous subjects. Dissert. de Pictura, Auct. Hulderic. Sigism. Rothmaler, Jen. 1692, 4to. De Lectione Poetarum recentiorum Pictoribus commendanda, Programma, Joh. G. Jacobi; Hal. 1766, 4to. De pictura contumeliosa, Diss. Joh. Lud. Kluber, Erl. 1787, in 4to. Car. Hodoby de Hoda, Ars delineandi Coloribusque localibus adumbrandi, 1790, 8vo. Car. Adol. Du Fresnoy, de Arte graphica, Paris, 1658.-A poem on the art, with the French version by De Piles, of which Dryden published a prose translation in 1694; Wills, an English painter, a metrical translation without rhymes; and again Mason, in 1782, a translation, with notes by Sir Joshua Reynolds. Among the works written in Italian are, Discorso eruditissimo della Pittura, con molte segrete Allegorie, circa le muse, published in the Instituzione al comporre in ogni Sorte, di Rima, &c., of Mar. Equicola, Milan, 1541, 4to. Dialogo de Pittura, di Paolo Pino, Ven. 1548, 4to. Fine della Pittura; Dialogo del P. D. Gregorio Commanino, Canon. Later. nel quale s mostra qual sia l'imitare più perfetto, o il Pittore, o il Poeta, Mantova, 1591, 4to. Difinizione e Divizione della Pittura, di Giovan. Batt. Paggi, Nobile Genov. e Pittore, Geneva, 1607, folio. L'Idea de Pittori, de' Scultori, e degli Architetti, del Cav. Feder. Zuccheri, in due libri, Torino, 1607, 4to. This work is to be seen also in the sixth volume of the Raccolta di Lettere sulla Pittura, Scultura, e Architettura, Rome, 1754, 7 vols. 4to. Avvertimenti e Regole sopra l'Architettura, civile e militare, la Pittura, Scultura, e Prospettiva, da Pier' Antonio Barca, Milan, 1620, folio. Trattato della Pittura, fatto a commune Beneficio de' Virtuosi, da Fra. Dom. Francesco Bisagno, Cavaliere di Malta, Ven. 1642, 8vo. La prima Parte della Luce del dipingere, di Crisp. del. Passo, Amsterd. 1643, folio. Trattato della Pittura, de Lionardo da Vinci, dato in Luce con la Vita dell' istesso Autore scritta da Raff. Du Fresne, Paris, 1651, and Naples, 1733, folio, with engravings after designs made by Poussin. There was a new edition of it published at Florence, 1792, 4to., augmented with the life of the author by Franc. Fontani. There is also a translation of it into French by Rol. Freart. de Chambray, 1651, fol. 1716, 1724, &c., and an English translation, London, 1721, 8vo. Trattato della Pittura e Scultura, uso ed abuso loro, composto da un Teologo (Pere Ottonelli), e da un Pittore (Pietro di Cortona), in cui si risilvono molti Cası di Coscienza intorno al fare e tenere, le Immagine sacre e profane; si riferiscono molte Historie antiche e moderne, si considerano alcune Cose d'alcuni Pittori morti e famosi del nostro Tempo, e si notano certi avvisi e certi particolarità circa l'operare secondo l'Osservazioni fatte in alcune pere, di Valent. Luomi Firenza, 1652, 4to. Il Microcosmo della Pittura, di Franc. Scanelli da Forli; Cesena, 1657, 4to. Carta del Navigar pittoresco, dial. in quarta Rima, in Dialetto Venez. da Marco Boschini, Venezia, 1660, 8vo. Le Minere della Pittura, di M. Boschini, Venice, 1664, 4to. In the Prodromo alle Arte maestra, di. Franc. Lana, Brescia, 1670, fol.: the author treats of invention, of design, of colors, and of the different kinds of painting. Riflessioni sopra la Pittura di Nico-. las Poussin, printed in the Vite de' Pittori, de' Scultori, ed Architetti moderni, par Bellori, Rome, 1672, 4to. Il Vocabolario Toscano dell' Arte del Disegno, co' propri Termini e Voci non sola della Pittura, Scultura, e d'Architettura, ma Ancora di altre Arti, e che hanno per Fondamento il Disegno, di Fil. Baldinucci, I irenza, 1681, 4to., of which Ant. Mar. Biscioni has given a new edition, published at Florence, 1730, 4to. Baldinucci is also the author of Lettera nelle quale si risponde ad alcuni quesiti in Materie di Pittura e Scultura, Rome, 1681, 4to.; and of La Veglia, Dialogo di Sincero Vero (Philip Baldinucci), in cui si disputano, e scogliono varie Difficultà pittoriche, Lucea, 1684, 8vo., and in the Raccolta di alcuni Opus coli, da Fil. Baldinucci, Fir. 1765, 4to. Bellori, della Pittura antica, Venez. 1697. Le Pittura in Parnasso, da Giovanni Maria Ciocchi, Fittore, Firenza, 1725, 4to. La Teorica della Pittura, ovvero Trattato delle Materie più necessarie per apprendere con Fondamento quest' Arte, com posto da Ant. Franchi, pittore Lucchese, Lucca, 1739, 8vo. Sfogamenti d'ingegno sopra la Pittura e la Scultura, da P. Franc. Minozzi, Venice, 1739, 12mo. Dialoghi sopra le Arti del Distğno, by Bottari, Lucca, 1754, 8vo. Avvertimenti di Giamp. Cavezzoni Zanotti, per lo incaminamento di un Giovane alla Pittura. Bal. 1756, 8vo. Dissertazione sopra l'Arte della Pittura dell' Abbate Giovanni Andrea Lazzarini, in the ninety-seventh and following pages of the second volume of the Nuova Raccolta d'Opusculi scientif. et filol. reprinted at Pesaro, 1763, 4to.; and in the Catalogo delle Pitture nelle chiese di Pesaro, Pes. 1783, 8vo. Saggio sopra la Pittura, by count Algarotti, Livorno, 1763, 8vo.; of which there is a French translation by Pingeron, Paris, 1762, 12mo., and an English translation, 12mo. London, 1783. L'Idea del profetto Pittore del servire di Regola nel Guidizio, che si deve formare Intorno all' Opere de' Pittori, accresciuta della Mamiera di dipingere sopra le Porcellane, Smalto, Vetro, Metalli, e Pietre, Venice, 1771, 4to. Dell' Are di vedere nelle belli Arti del Disegno, secon lo li Principi di Sulzer e di Mengs, Venice, 1781, 8vo. The works of Mengs, in their various editions and translations. A poem, entitled dell Arte Pittorica, in eight cantos, by count Ad. Chiusole, Venice, 1768, 8vo., will afford some pleasure; it has been abridged into four cantos, under the title of Precetti della Pittura, Vic. 1781, 8vo. Storia della Pittura in Italia da Luigi Lanzi. The best edition of which is in six volumes 8vo., Bassano, 1809. Vicenzo Requeno, saggi sul Ristabilimento dell' antica Arte de' Greci e Romani Pittori, Rome, 1786. A second edition of which appeared in 2 vols. Parm. 1787. Storia della Pittura e della Scultura dai Tempi antichi. This work, which is written in Italian and English, has also the following title:-The History of Painting and Sculpture, by Thomas Hickay, and was published at Calcutta in 1788, 4to. Among the works written in Spanish upon the theory of painting are the following, namely:Arte dei Pintura, symmetria y perspectiva, por Phil. Nunnez, in Lisbon, 1615, 4to. Memorial informatorio, por los l'intores, Madrid, 1629, 4to. Dial. de la Pintura, su Defensa, Origen, Essencia, Definicion, Modos, y Differencias, por Vine. Carducho, Firent. Madrid, 1633 and 1637, 4to. Trattato de la Pintura, su antiguedad y grandezas, por Franc. Pacheco, Seville, 1649, in 4to. El Museo pintorico, y escala Optica, por Ant. Palamino Velasco, Madrid, 1715, 1724, 3 vols. fol. Under the title of La Pittura, Diego Ant. Rezon de Silva has printed in 1788, at Segovia, a poem in three cantos, of which painting is the subject. Among the works of French authors on this subject are the following:-Ideé de la Perfection de la Peinture démontrée par les Principes de l'Art et par des Exemples conformes aux Observations que Pline et Quintilien ont faits sur les plus célebres Tableaux des anciens Peintres, mis en Parallèle avec quelques Ouvrages de nos meilleurs Peintres modernes, Lion. da Vinci, Raffaelle, Jules Romain, et Le Poussin, par Roland Freart, Sieur de Chambray, au Mans, 1662, 4to.; Paris, 1672, 8vo. Le Peintre converti aux Règles précises et universelles de son Art, avec un Raisonnement au Sujet des Tableaux, by Abr. Bosse, Paris, 1667, 4to. Des Principes de l'Architecture, de la Peinture, Sculpture, et des autres Arts qui en dépendent, avec un Dictionnaire propre à chacun de ces Arts, par André Felibien, Paris, 1669, 1697, 4to. Conférences de l'Académie royale de Peinture et de Sculpture pendant l'Année 1667, Paris, 1669, 4to.; Amst. 1706, in 12mo.; and in the fifth volume of Entretiens sur les Vies des Peintres, by the same, Trev. 1725, in 12mo. Traité de la Pratique de la Peinture, par Philippe de la Hire, in l'Histoire de l'Académie des Sciences de Paris, 1666-1669, vol. ix. page 635, and following. L'Académie de la Peinture nouvellement mise au jour pour instruire la Jeunesse à bien peindre en Huile et en Miniature, par la Fontaine, Paris, 1679, 12mo. Conférence de l'Académie, avec les Sentimens des plus habiles Peintres sur la Pratique de la Peinture et de la Sculpture, avec plusieurs Discours academiques, par Henry Testelin, Paris, 1696, fol. Livre de Secrets pour faire la Peinture, 1682, 12mo. Cours de Peinture par Principes, by M. Roger de Piles, Paris, 1708, 1720, 12mo. This work forms the second volume of his Euvres diverses, Amsterdam, 1766, 12mo. Elémens de la Peinture-pratique, by the same, Paris, 1684, 12mo.; 1708, 12mo. Ch. Ant. Jombert has given an enlarged edition of it, 1766, 8vo., which forms the third volume of his Œuvres diverses, Amster. 1766, 12mo. Many authors, and among others M. de Murr, in his Bibliothèque de Peinture, at page 151, have attributed this work to Jean Baptiste Corneille, who is not the author of the engravings which are in it. Traité sur la Peinture, pour en apprendre la Théorie et se perfectionner dans la Pratique, par Barnard Dupui du Grez, Toulouse, 1699, 4to. Réflexions sur la Poésie et sur la Peinture, by the Abbé Jean Baptiste Dubos, Paris, 1719, 2 vols. 12mo. There have appeared enlarged editions of it in 1733, and 1740, in 3 vols. 12mo. Discours prononcés dans les Conférences de l'Académie royale de Peinture et de Sculpture, by Antoine Coypel, Paris, 1721, 4to. Dialogues sur la Peinture, by Fenelon. They are joined to the Life of Mignard, by the abbot Monville, Amst. 1731, in 12mo. In the Choix des Mercures, vol. ii. p. 167, is a letter upon painting, M. Brossard de Mantenei. Observations sur la Peinture, London, 1736, 8vo. Réflexions sur la Peinture, by M. de la Font de Saint Yenne, 1746, 12mo. Lettres sur la Peinture, à un Amateur, par Louis Guillaume Baillet de Saint Julien, Genève, 1750, 12mo. Essai sur la Peinture, Sculpture, et Architecture, by Louis de Bachaumont, Paris, 1752, 8vo. Jaq. Gautier, Observations sur l'Hist. naturelle, sur la Physique, et sur la Peinture, Paris, 1752, 6 vols. Observations sur la Peinture et sur les Tableaux anciens et modernes, by the same, Paris, 1753, 2 vols, 12mo. In the Recueil de quelques Piéces concernant les Arts, by Cochin, Paris, 1757, 12mo. page 121, is a Mémoire sur la Peinture, which had already appeared in the Mercure de France. Discours sur la Peinture et sur l'Architecture, by M. du Perron, Paris, 1758, 8vo. Réflexions sur les différentes Parties de la Peinture, is found with l'Art de Peindre of Watelet, Paris, 1760, 4to. 1761, 12mo. In l'Amateur; ou, Nouvelles Pièces et Dissertations pour servir aux Progrès du Goût et des Beaux Arts, Paris, 1762, 8vo., are some reflections upon colors. Traité de la Peinture, suivi d'un Essai sur la Sculpture, pour servir d'Introduction à une Histoire universelle relative à ces beaux Arts, by André Bardon, Paris, 1765, 2 vols. in 12mo. Observations raisonneés sur l'Art de la Peinture appliqueés à la Galérie de Dusseldorf, by Fredon de la Bretonniere, Dusseldorf, 1776, 8vo. Principes abrégés de Peinture, par M. Dutems, Tours, 1779, 8vo. Traité des Principes et des Règles de la Peinture, by M. Liotard, Genève, 1781, 8vo. Réflexions sur la Peinture et la Gravure, by C. F. Joullain, 1785, 12mo. The author of this work speaks particularly of the dealing in pictures. There are also several memoirs upon this matter in the Bibliotheq. des Artistes et des Amateurs, by the Abbé Jean Raymond de Petity, 1766, 3 vols. 4to. Many French didactic poems have been written on painting; such are:-La Peinture, a poem, 1755, 12mo. L'Art de peindre, by Watelet, Paris, 1760, 4to., Amst.; 1761, 12mo. La Peinture, a poem, crowned at the floral games in 1767, by M. Mich. d'Avignon, Lyons, 12mo. La Peinture, a poem in three cantos, by La Mierre, Paris, 1770, 4to.; Amst. 1770. 12mo. There are also to be found some interesting articles in the Grand Livre des Peintres ou l'Art de la Peinture, considéré dans toutes ses Parties et démontré par Principes avec des Réflexions sur les Ouvrages de quelques bons Maitres et sur les Défauts qui s'y trouvent, par Gerard de Lairesse, Paris, 1787, 2 vols. 8vo. Among the older works in the English language upon this subject are:-A proper Treatise wherein is briefly set forth the Art of Limning, London, 1625, 4to. Ars Pictoria; or, an Academy treating of Drawing, Painting, Limning, and Etching; to which are added thirty copper plates, expressing the choicest, neatest, and most exact grounds and rules of symmetry collected out of the most eminent Italian, German, and Netherland authors, by Alexander Brown, London, 1660, 8vo.; 1669 and 1675, small folio. Introduction to the general Arts of Drawing and Limning, London, 1674, 4to. Painting illustrated, in three Dialogues, containing some choice Observations upon the Art; together with the lives of the most eminent Painters from Cimabue to the time of Raffaelle and Michel Angiolo, with an explication of the difficult terms, Lond. 1685, 4to., 1719, 4to., 1785, 4to., by Will. Aglionby, and the lives of painters are corrected after Vasari. Polygraphice; or the Art of Drawing, Engraving, Etching, Limning, Painting, Washing, by Salmon, Lond. 1678, 2 vols. 8vo. ; 1701, 2 vols. 8vo. The Art of Painting of the best Italian, French, and German Masters, London 1692, fol. Art of Painting in Oil, and Method of Coloring, by J. Smith, London, 1753, 12mo. Art of Painting after the Italian Manner, by M. Elsum, London, 1704, 8vo. Essay upon the Theory of Painting, by Richardson, London, 1719, 8vo. This work forms the first volume of a Treatise on Painting, of the same author, which has been translated into French by A. Rutgers; Amst. 1728, 8vo. 4 parts in three vols. The Art of Drawing and Painting in Water Colors, by J. Smith, London, 1730, 1732, 1757, and 1779, in 12mo. Essay upon Poetry and Painting, with relation to the Sacred and Profane History, by Charles La Motte, London, 1730, 12mo. The Principles of Painting, London, 1744, 8vo. Polymetis; or, an Enquiry concerning the Agreement between the Works of the Roman Poets and the Remains of the ancient Artists, by John Spence, London, 1747, 1755, and 1774, fol. Tindal has given an abridgment of it, London, 1765, repubished in 1786, 8vo. Plan of an Academy of Painting, Sculpture, &c., London, 1755, 4to. Practice of Painting and Perspective, in which is contained the Art of Painting in Oil, with the method of Coloring; first Painting or Dead Coloring, second Painting, third or last Painting, Painting Backgrounds, Copying, Drapery, and Landscape Painting, by Th. Bardwell, London, 1756, 1773, and 1782, 4to. Enquiry into the Beauties of Painting, and into the Merit of the most celebrated Painters, ancient and modern, by Dan. Webb, London, 1777, 4to. A Letter on Poetry, Painting, and Sculpture, by King, London, 1768, 12mo. Seven Discourses delivered in the Royal Academy by the President Sir Joshua Reynolds, London, 1778, 8vo. There was a French translation of it published in Paris in 1787, 2 vols. 12mo. Several other Discourses of Reynolds have since been published, and are now collected in his works, London, 4to., 1796, &c. Sketches on the Art of Painting, by Talbot Dillon, 1782, 8vo. The Artist's Repositary and Drawing Magazine, exhibiting the Principles of the polite Arts in their various Branches, London, 1784, in 4to. There are to be found also some curious details upon painting in the Handmaid to the Arts, by M. Dossie, London, 1764, 2 vols. 8vo., as in the School of Arts, London, 1785, 8vo. Among the English poems upon painting are -A Poetical Epistle to an eminent Painter, 1778, 4to., by W. Hayley, Esq.; and the Beauties of Painting, by Pollinger Robinson, 1783, 4to. More modern works by Opie, Fuseli, West, and others, are so well known that they are omitted to make room for the enumeration of others less common. In the Dutch language are-Inleyding tot de hooghe School der Schilderkonst door Sam. Van. Hoogstraeten, Middelb. 1641. 4to; Rotterd. 1678, 4to. Will Gare, Natuurlyk en schilderkonstig Ontwerp der Menschenkunde: leerende niet alleen de Kennis van de Gestalte, Proportie, Schoonheyd, Muskelen, Bewegingen, Actien, Passien en Welstand des menschenbeelden, tot de Teykenkunde, Schilderkunde, Beldhouwery, Botseer en Giet-Oeffening toe passen; maar ook hoe sich een mensch na deselve Regelen, in al lerhand Doeningh van Gaan, Staan, Loopen, Torssen, Dragen, Arbeyden, Spreken en Andere gebeerden bevallig en verstandelijk aanstelen zal, Amst. 1682. An excellent work, with many fine engravings. Der leermeester der schilderkoust, eertyds in rym gestelt door Karel van Mender, weder aan't licht gegeeven en ontrymi'd door Wibrandus de Geest, Schilder, Leawarden, 1712, 8vo. Among works upon painting written in German, whose titles we have been able to collect, we shall mention-Le Livre curieux des Arts à l'Usage des Peintres, Sculpteurs, et Orfevres, par Henri Vogtheren, Strasburg, 1543, 4to. Le Manuel des Arts de Sébald Beham, propre à apprendre à peindre et à dessiner d'après les véritables Proportions et Divisions du Cercle à l'usage des Peintres et des Artistes, Francfort, 1605, 4to., with fifty-seven engravings in wood. L'Academia tedesca della Architettura, Scultura, e Pittura, Nurembourg, 1675, 1679, 2 vols. fol. Le vrai Chemin à suivre pour apprendre a peindre, par Guillaume Stettler, Berne, 1679, 12mo. Le Peintre curieux, Dresden, 1679, 8vo,, with engravings. Le Peintre instruit, habile, galant, et édifiant, par J. Dauw, Copenhagen, 1721, 8vo.; an enlarged octavo edition by Charles Bertrand, ib., 1755, 8vo. Principes de la Peinture et du Dessin, par Joseph Widtmaisser, Vienna, 1731, 4to. Le Peintre instituteur, montrant aux Amateurs comment il faut s'y prendre pour apprendre à peindre en Huile, en Pastel, en Fresque, &c., by Jean Melchior Croecker, Jena, 1778, 8vo. Idées sur l'Imitation des Monumens Grecs en Peinture et Sculpture, Dresden, 1754 and 1756. Epitre au Sujet de l'Ouvrage précédent, Dresden, 1755, 4to. Dissertations upon the work: Idées sur l'Imitation des Monumens Grecs, ib. 1756, 4to., Jean Winckelmann. La Manière d'apprendre à peindre: Ouvrage dans lequel on montre l'Excellence et l'Utilité de cet Art, l'Usage qu'on doit en faire, et comment on doit s'y perfectionner, &c., Leipsic, 1756, 8vo. Réflexions sur la Peinture, by Chrétien Louis de Hagedorn, Leipsic, 1762, 2 vols. 8vo. This work has been translated by Huber, Leipsic, 1775, 8vo. Du Laocoon; ou, des Limites respectives de la Poésie et de la Peinture, by G. E. Lessing, Berlin, 1766. M. Charles Vanderbourg has given a French translation of it, Paris, Renouard, 1802, 8vo. Dissertations sur la Théorie de la Peinture et du Dessin, où on établit les vrais Principes propres pour former le Goût dans les Arts, Francfort et Leipsic, 1769, in 8vo. Sur la Nature et l'Art dans les Tableaux, la Sculpture, l'Architecture, et la Gravure, Leipsic, 1770, 2 vols. 8vo. par Christophe Scheyb. The same author has also published another work upon this subject: it is entitled Orestrio sur les Arts du Dessin, avec un Appendix sur la Manière de faire des Empreintes en Souffre, Plâtre, et Verre, et graver en Pierres dures, &c., Vienna, 1764, 2 vols. 8vo. Instruction sur l'Etude de la Peinture en tant qu'elle appartient aux beaux Arts, et la Peinture comme métier, prouvée d'une Manière pratique, par E. L. D. Huch, Halle, 1773, 8vo. L'Etude du Dessin et de la Peinture, à l'Usage des Commençans, suivi d'une Liste des plus célèbres Peintres, Sculpteurs, et Archi |