Mr. Malone has mentioned the Collection
of Pictures by ancient masters, belong-
ing to Sir Joshua Reynolds, was in
March, 1795, sold by auction for
And in April, 1796, various historical and
fancy pieces of his own painting, toge-
ther with some unclaimed portraits, for
To which may be added, that his Collec-
tion of Drawings and Prints was sold by
auction in March, 1798, for

Lately Published

BY T. CADELL AND W. DAVIES, STRAND.

1. THE LIFE OF SAMUEL JOHNSON, LL.D. comprehending an account of his Studies, and numerous Works, in chronological order; a series of his epistolary Correspondence, and Conversations with many eminent Persons; and various Original Pieces of his composition, never before published: the whole exhibiting a view of Literature and Literary Men in Great Britain, for near half a century, during which he flourished. By JAMES BOSWELL, Esq. A new Edition (being the Eighth), revised and augmented, handsomely printed in 4 volumes, 8vo., with a Portrait from an original Picture, price 17. 16s. in boards.

1. THE SAME WORK, handsomely printed in five volumes, 18mo. with a Portrait, price 17. 5s. in boards.

2. A JOURNAL of a TOUR to the HEBRIDES, with Samuel Johnson, LL.D. By JAMES BOSWELL, Esq., containing some Poetical Pieces, by Dr. Johnson, relative to the Tour, and never before published; a Series of his Conversation, Literary Anecdotes, and Opinion of Men and Books; with an authentic Account of the Distresses and Escape of the Grandson of King James II. in the year 1746. The Sixth Edition, revised and corrected, with a Portrait of the Author, 8vo. price 9s. in boards.

2. THE SAME WORK, handsomely printed in a Pocket Volume, with a Portrait of the Author, price 7s. 6d. in boards.

CONTENTS

OF

THE FIRST VOLUME.

DISCOURSE I.

The advantages proceeding from the institution of

a Royal Academy. - Hints offered to the con-

sideration of the Professors and Visiters;

That an implicit obedience to the rules of Art

be exacted from the young students;— That a

premature disposition to a masterly dexterity be

repressed;-That diligence be constantly recom-

mended, and (that it may be effectual) directed

to its proper object.
Page 1

DISCOURSE II.

The course and order of study. The different

stages of Art.-Much copying discountenanced.

-The Artist at all times and in all places should

be employed in laying up materials for the

exercise of his art......

DISCOURSE III.

23

The great leading principles of the Grand Style.

-Of Beauty.-The genuine habits of nature

to be distinguished from those of fashion.. 51

cccvi

CONTENTS.

DISCOURSE IV.

General Ideas, the presiding principle which re-

gulates every part of Art; Invention, Expres-

sion, Colouring, and Drapery: Two distinct

styles in History-Painting; the Grand, and

the Ornamental.

is to be found.

The Schools in which each

The Composite style. The

style formed on local customs and habits, or a

partial view of Nature...

DISCOURSE V.

Page 79

Circumspection required in endeavouring to unite

contrary Excellencies. The expression of a

mixed passion not to be attempted.-Examples

of those who excelled in the Great Style; Raf-

faelle, Michael Angelo. Those two extra-

ordinary men compared with each other.—The

characteristical Style.-Salvator Rosa mentioned

as an example of that style; and opposed to

Carlo Maratti.-Sketch of the characters of

Poussin and Rubens. These two Painters en-

tirely dissimilar, but consistent with themselves.

This consistency required in all parts of the Art.

DISCOURSE VI.

115

Imitation.- Genius begins where Rules end.-

Invention; acquired by being conversant with

the inventions of others. The true method of

CONTENTS.

imitating. Borrowing, how far Something to be gathered from

cccvii

allowable.every School.

Page 145

DISCOURSE VII.

The reality of a standard of Taste, as well as of corporal Beauty. Beside this immutable truth, there are secondary truths, which are variable; both requiring the attention of the Artist, in proportion to their stability or their influence. 189

DISCOURSE VIII.

The principles of Art, whether Poetry or Painting, have their foundation in the mind; such as Novelty, Variety, and Contrast; these in their excess become defects. Simplicity. Its excess disagreeable.-Rules not to be always observed in their literal sense: sufficient to preserve the spirit of the law. Observations on the PrizePictures

245