Books Recommended: Armstrong, Sir Henry Raeburn; Armstrong, Gainsborough; Armstrong, Sir Joshua Reynolds; Burton, Catalogue of Pictures in National Gallery; Chesneau, La Peinture Anglaise; Cook, Art in England; Cunningham, Lives of the most Eminent British Artists; Dobson, Life of Hogarth; Gilchrist, Life of Etty; Gilchrist, Life of Blake; Hamerton, Life of Turner; Henderson,Constable; Hunt, The Pre-Raphaelite Brotherhood (Contemporary Review, Vol. 49); Leslie, Sir Joshua Reynolds; Leslie, Life of Constable; Martin and Newbery, Glasgow School of Painting; McKay, Scottish School of Painting; Monkhouse, British Contemporary Artists; Redgrave, Dictionary of Artists of the English School; Romney, Life of George Romney; Rossetti, Fine Art, chiefly Contemporary; Ruskin, Pre-Raphaelitism; Ruskin, Art of England; Sandby, History of Royal Academy of Arts; William Bell Scott, Autobiography; Scott, British Landscape Painters; Stephens,Catalogue of Prints and Drawings in the British Museum; Swinburne, William Blake; Temple, Painting in the Queen's Reign; Van Dyke, Old English Masters; Wedmore, Studies in English Art; Wilmot-Buxton, English Painters; Wright, Life of Richard Wilson.


BRITISH PAINTING: It may be premised in a general way, that the British painters have never possessed the pictorial cast of mind in the sense that the Italians, the French, or the Dutch have possessed it. Painting, as a purely pictorial arrangement of line and color, has been somewhat foreign to their conception. Whether this failure to appreciate painting as painting is the result of geographical position, isolation, race temperament, or mental disposition, would be hard to determine. It is quite certain that from time immemorable the English people have not been lacking in the appreciation of beauty; but beauty has appealed to them, not so much through the eye in painting and sculpture, as through the ear in poetry and literature. They have been thinkers, reasoners, moralists, rather than observers and artists in color. Images have been brought to their minds by words rather than by forms. English poetry has existed since the days of Arthur and the Round Table, but English painting is of comparatively modern origin, and it is not wonderful that the original leaning of the people toward literature and its sentiment should find its way into pictorial representation. As a result one may say in a very general way that English painting is more illustrative than creative. It endeavors to record things that might be more pertinently and completely told in poetry, romance, or history. The conception of large art—creative work of the Rubens-Titian type—has not been given to the English painters, save in exceptional cases. Their success has been in portraiture and landscape, and this largely by reason of following the model.