I. DESCRIPTION OF PAINTINGS IN PARIS AND THE NETHERLANDS IN

THE YEARS 1802-1804.

LETTER I.-The Gallery of the Louvre and the Collection of Pictures

there exhibited. Observations on some Works of the old Italian

School, and the peculiar Genius and allegorical Style of Correggio's

Compositions. On the Resemblance between Correggio and Leonardo,

and their Style and School. On the various Styles of Portrait

Painting adopted by the old Masters, Holbein, Leonardo, Titian,

and Raphael. Conclusion, and Description of a few old Dutch

Pictures by John Van Eyck, Hemmelink, and Dürer

1

LETTER II. Characteristics of Raphael. The difference between

the old Schools of Italian Painting and the Modern Style. On the

Selection of Christian Subjects for Painting, and the Manner in

which the old Masters treated Mythological Subjects. Description

of a few remarkable Paintings of the Spanish School, with Observa-

tions on the general Principles on which the Distinction between

different Branches of the Art of Painting is founded

42

LETTER III.-The Treasures of the Art exemplified in a recapitula-

tion of different Paintings belonging to the old Italian School.

The "Carità" of Andrea del Sarto, and a " 'Deposition from the

Cross," by Bramante; the "St. Agatha " by Sebastian del Piombo.

On Martyrdom as a theme for the Art, and the earliest Subjects of

Christian Paintings. On Dürer's Designs, considered as suggestive

Ideas for Paintings. The "Madonna della Sedia" and the "Saint

Cecilia," of Raphael. Painting by Le Sueur. Remarks on a few

antique early French Monuments; on Painting on Glass.

"Antiope" of Titian

The

72

LETTER IV. The "Victory of Alexander," by Altdorfer.

Paint-

ings of the old School of the Netherlands at Brussels; Great Altar-

piece by Raphael in the same City. The Gallery at Dusseldorf;

"The Grand Martyrdom," by Dürer; the "St. John," and a

Holy Family," by Raphael. Guido and Rubens considered as

the two opposite extremes of Mannerism in Painting. A Duplicate

of the "St. Margaret" of Raphael at Cologne; a few Figures of

Saints on a gold ground by Dürer. Old Cologne School of Paint-

ing; a grand Altar-piece of the Three Kings, and the patron

Saints of the City of Cologne. A Series of old Pictures of the

Passion of Christ in the Lieversberg Collection. Portrait of the

Emperor Maximilian. Remarks addressed to the Painters of the

present Day

II. PRINCIPLES OF GOTHIC ARCHITECTURE.

Page 111

Notes of a Journey through the Netherlands, the Rhine Country,

Switzerland, and a part of France, in the Years 1804, 1805.

149

III. CONTRIBUTIONS IN AID OF THE STUDY OF ROMANTIC POETRY AND

GENIUS.

1. On the Poetical Works of Giovanni Boccaccio, 1801

200

2. On the Romantic Poetry of the Middle Ages. Notice of a few

rare Italian and Spanish Poetical Works. Observations on Ca-

moens and Portuguese Poetry in general, with a Review of the

Provençal MSS. at Paris

3. On the Poetry of the North

-

224

243

4. Further Observations on Shakspeare's early Dramatic Works

272

IV. MODERN GERMAN PAINTINGS.

On the German Paintings exhibited at Rome in the Year 1819

283

V. ROMANTIC FICTIONS OF THE MIDDLE AGES.

Preface

309

"Lother and Maller," a Tale of Chivalry, from an unpublished Ger-

man Manuscript

- 310

VIII. ON THE LANGUAGE AND PHILOSOPHY OF THE INDIANS.

4.

On the two Principal Branches of Languages, accord-

ing to their internal Construction

446

5.

On the Origin of Language

453

6.

On the Difference existing between the most closely

connected Languages, and a few remarkable inter-

mediate Dialects

458

2.

3.

Preliminary Remarks

On the Doctrines of the Metempsychosis, and on

Emanation

468

On Astrological Belief, and the wild Worship of Na-

4.

5.

The Doctrine of the Two Principles of Dualism

On Pantheism

On the general Importance of the Study of the Oriental

and Indian Literature, and its true Aim and Object.

DESCRIPTION OF PAINTINGS

IN

PARIS AND THE NETHERLANDS

IN

THE YEARS 1802-1804.

LETTER I.

The Gallery of the Louvre, and the Collection of Pictures there exhibited. - Observations on some Works of the old Italian School, and the peculiar Genius and allegorical Style of Correggio's Compositions. On the Resemblance between Correggio and Leonardo, and their Style and School. - On the various Styles of Portrait Painting adopted by the old Masters, Holbein, Leonardo, Titian, and Raphael. - Preliminary Observations on the general Character of Raphael.— Conclusion, and Description of a few old Dutch Pictures. by John Van Eyck, Hemmelink, and Dürer.

ADDRESSED TO A FRIEND AT DRESDEN.

September, 1802.

BEFORE entering into an examination of the pictures now exhibited in the Louvre, I shall attempt to give you some idea of the gallery itself, as this will, I think, contribute to render my description of the pictures more intelligible.

The palace of the Louvre, though an ancient building, can boast but little architectural beauty; certainly not in that part of it adjoining the entrance to the Musée it is, in fact, a gloomy, irregular edifice, such as in past years must have formed a fitting residence for the powerful and arbitrary sovereigns of those turbulent and uncivilised times. Under this character, the page of history has made its name

B