cus.

Translated from the Latin. London, 1638. Gift of Henry

The same. P.

Cox. Junius, 1312, Q. Fresnoy, 245, O. Fresnoy's art of painting; with remarks. Translated into English, with an original preface, containing a parallel between paint

ing and poetry, by Mr. Dryden. Also an account of the most eminent painters, by Richard Graham. London, 1750.

Fuseli, 903, & 2115, Q. Lectures on painting. By Henry Fuseli. With additional observations and notes. London, 1801.

Grose, 3134, O. 3. Rules for drawing carricaturas; with an essay on comic painting, and plates. By Francis Grose, Esq. 2d edit. London, 1791. P.

Harrington, 8564, O. A schizzo on the genius of man; in which the merit of Mr. Thomas Barker, the celebrated painter, is particularly considered, and his pictures reviewed. By Edward Harrington. Bath, 1793. Hassell, 8589, O. 2. The speculum; or, art of drawing in water colours; with instructions for sketching from nature. By J. Hassell. London, 1816. Par M. Hem

Hemsterhys, 294, Q. 2. Lettre sur la sculpture à Monsr. Smeth.

sterhys. A la Haye, 1765.

Hoare, 4433, D. An inquiry into the requisite cultivation and present state of the art of design in England. By Prince Hoare. London, 1806. Hodson, 1487, Q. The cabinet of the arts; being a new and universal drawing book; containing the whole theory and practice of the fine arts in general; illustrated with sixty engravings. By T. Hodson and I. Dougall. London, 1805.

Hogarth, 160, 4. 208, Q. 3. 2163, & 7403, O.

The analysis of beauty; with

plates. Written with a view of fixing the fluctuating ideas of taste. By William Hogarth. London, 1753-1810.

Hullmandel, 1891, Q. The art of drawing in stone; giving a full explanation of the various styles, of the different methods to be employed to ensure success, and of the modes of correcting. By C. Hullmandel. London, 1824.

James, 5372, O. The Italian schools of painting; with observations on the present state of the art. By the Rev. J. T. James. London, 1820.

5611, O. The Flemish, Dutch, and German schools of painting. By the Rev. J. S. James. London, 1822.

Kirby, 243, Q. Doctor Brook Taylor's method of perspective made easy; both in theory and practice. By Joshua Kirby. 3d edit. London, 1765. 288, F. Kirby's perspective plates.

Lairesse, de, 2176, Q. The art of painting, in all its branches, methodically demonstrated by discourses and plates, and exemplified by remarks on the paintings of the best masters. By Gerard de Lairesse. Translated by J. F. Fritsch. London, 1738.

Lamy, 4431, D. Traité de perspective, où sont contenus les fondemens de la peinture. Par B. Lamy. A Paris, 1701.

Landseer, 8501, O.

Lectures on engraving, delivered at the royal institution of Great Britain. By John Landseer. London, 1807.

Lanzi, 6365, O. The history of painting in Italy, from the period of the revival of the fine arts to the end of the 18th century. Translated from the Italian of the Abbate Luigi Lanzi. By Thomas Roscoe. 6 vols. London, 1818.

Malton, 562, F. A complete treatise on perspective, in theory and practice; on the true principles of Dr. Brook Taylor; with plates. By Thomas Malton. 2d edit. London, 1779.

Meng, 3321, O. The works of Anthony Raphael Meng, first painter to his Catholic Majesty Charles third. Translated from the Italian. 2 vols.

London, 1796. P.

Noble, 7830, O. The elements of linear perspective, demonstrated by geometrical principles, and applied to the most general and concise modes of practice. By Edward Noble. London, 1771.

Oram, 2254, Q. Precepts and observations on the art of colouring and landscape painting. By William Oram. London, 1810.

Ottley, 1678, Q. An inquiry into the origin and early history of engraving on
copper and in wood, with an account of engravers and their works.
By William Young Ottley, F. S A. 2 vols. London, 1816.
Phillips, 8964, O. Lectures on the history and principles of painting. By
Thomas Phillips. London, 1833.

Piles, de, 4425, D. The art of painting, and the lives of the painters, done from the French of M. de Piles. With an essay towards an English school. London, 1706.

Pilkington, 819, Q. The gentleman's and connoisseur's dictionary of painters; containing a complete account of the most distinguished painters in Europe, from the year 1250, to the year 1767. By M. Pilkington. With a supplement, containing anecdotes of the latest and most celebrated artists, and remarks on the present state of the art of painting, by James Barry. London, 1798.

Priestley, 1080, O. An introduction to the theory and practice of perspective. By Joseph Priestley. London, 1770.

Requeno, 8565, O. Saggi sul ristabilimente dell' antica arte de Greci e di Romani pittori. Del Segnor Abate D. Vincenzo Requeno. In Venetia, 1784.

Reveley, 5493, O. Notices illustrative of the drawings and sketches of some of the most distinguished masters in all the principal schools of design. By the late Henry Reveley, Esq. London, 1820.

Reynolds, 294, Q. 1. Discourses on painting, delivered to the students of the royal academy, on the distribution of the prizes, December 10, 1771. By the president thereof, Sir Joshua Reynolds. London, 1772. 375, Q. 2. A discourse on painting, delivered to the students of the royal academy, on the distribution of the prizes, December 10, 1782. By the president thereof, Sir Joshua Reynolds. London, 1783. Richardson, 3293, & 7877, O. 1. The works of Mr. Jonathan Richardson; consisting of 1st, the theory of painting; 2d, essay on the art of criticism, so far as it relates to painting; 3d, the science of a connoisseur: all corrected and prepared for the press, by his son, Mr. J. Richardson. London, 1773.

2167, Q. The same. London, 1792.

Roberts, 2092, Q. Introductory lessons, with familiar examples in landscape, for the use of those who are desirous of gaining some knowledge of the art of painting in water colours; to which are added, instructions for executing transparencies. By James Roberts. London, 1800. Robson, 2106, Q. Grammigraphia; the grammar of drawing: a system of appearance, which, by easy rules, communicates its principles, and shows how it is to be presented by lines. By William Robson. London, 1799. Russell, 648, Q. & 8426, O. Elements of painting with crayons. By John Russell. London, 1792, & Dublin, 1773.

Sandrart, De, 714, F. Joachimo de Sandrart sculpturæ veteris admiranda sive delineatio vera perfectissimarum eminentissimarumque statuarum. Norimbergiæ, 1680. P.

Savage, 1873, Q.

Salmon, 1518, & 8379, O. Polygraphia; or, the arts of drawing, engraving, painting, gilding, &c. By William Salmon, M. D. London, 1701. Practical hints on decorative printing, with illustrations engraved on wood, and printed in colours at the type press. By Wm. Savage. London, 1822.

Senefelder, 1766, Q. A complete course of lithography; containing clear and explicit instructions in all the different branches and manners of that art, accompanied by specimens of drawings. By Alois Senefelder. With a preface, by Frederic Von Schlichtegroll. Translated from the German. London, 1819.

Shaftesbury, 3294, O. 1. A letter concerning the art and science of design; written from Italy. By the earl of Shaftesbury. London, 1737. P. Taylor, 8507, O. Linear perspective; or, a new method of representing justly all manner of objects, as they appear to the eye in all situations. By Brook Taylor, LL. D. London, 1742.

Thénot, 9073, O. Practical perspective, for the use of students. Translated from the French of T. P. Thénot, by one of his pupils. New York, 1834.

Titi, 3582, O. Descrizione delle pitture, sculture, é architecture exposte al publico, in Roma dall' abate Filippo Titi. Roma, 1763. P.

Tortebat, 727, F. Francois Tortebat abregé d'anatomie, accommodé aux arts de peinture et de sculpture. Paris. P.

Turnbull, 658, F. A treatise upon ancient painting; containing observations on the rise, progress, and decline of that art amongst the Greeks and Romans; adorned with fifty pieces, ancient paintings. By George Turnbull, LL. D. London, 1740.

P.

Vasari, 1244, Q. Ragionamenti pittore et architetto areteno, del Sig, Cavaliere Giorgio Vassari. Firenze, 1588. P.

Vinci, 2051, & 8375, O. Leonardo da Vinci's treatise of painting; with plates. Translated from the Italian. To which is prefixed the life of the author, translated from the French. London, 1721.

Walpole, 251, Q. & 3526, O. Anecdotes of painting in England; with some account of the principal artists, and notes on other arts. Collected by the late Mr. George Vertue; and digested by Horace Walpole. 4 vols. London, 1782-1765. P.

252, Q. A catalogue of engravers, who have been born or resided in
England; digested from the manuscripts of George Vertue.
race Walpole. Strawberryhill, 1765.

3413, O.

The same. London, 1782. P.

By Ho

Webb, 31, & 4536, D. An inquiry into the beauties of painting, and into the merits of the most celebrated painters, ancient and modern. By Daniel Webb, Esq. London, 1760-—1777.

Wood, 2075, Q. Lectures on the principles and practice of perspective, illustrated by engravings. By John George Wood. 2d edit. London, 1809.

8105, O. Elements of perspective; containing the nature of light and colours, and the theory and practice of perspective; to which are added, rules for painting in transparent water colours. By John Wood. London, 1799.

922, Q. 4. Painting on and annealing in glass; with the true receipts of the colours; as practised about the year 1500, supposed to be then in its perfection. London, 1801.

1409, Q. 13. Catalogue of pictures, selected by J. Trumbull, Esq. and sold by Mr. Christie in 1797.

2150, Q. Calcografia delle piu' belle statue antiche, che si veggono in Roma nei Palazzi, nelle ville e ne' musei di questa superba citta. In Roma, 1779.

196, O. The method of learning to draw in perspective, made easy and fully explained; also the art of painting upon glass, and drawing in crayons; likewise a new and curious method of japanning either upon glass, wood, or any metal, so as to imitate china. With plates. 3d edit. London, 1735.

2942, O.

Artist's assistant; or school of science; forming a practical intro

duction to the arts of painting, drawing, designing, &c. with directions for japanning, enamelling, gilding, &c.; with plates. Birmingham, 1801.

3242, O. A concise introduction to the knowledge of the most eminent painters. London, 1778. P.

3296, O. Della pittura Veneziana e delle opere publiche de Veneziani maestri. Libri V. Venezia, 1771. P.

7592, O. Review of publications of art. Vol. 1. London, 1808.

7878, O. The artist's repository, and drawing magazine; exhibiting the principles of the polite arts in their various branches. 4 vols. London, 1784. 8987, O. Practical treatise on painting in oil colours. London, 1795.

801, D. 4. A collection and explanation of the several marks and cyphers by which the best engravers are distinguished; with an index of their names, places of abode, and times in which they lived. London, 1730.

4651, D. A chronological series of engravers, from the invention of the art to the beginning of the present century. Cambridge, 1770.

801, 1. & 5303, D. 1. The art of drawing and painting in water colours; wherein the principles of drawing are laid down after a natural and easy manner. 7th edit. London, 1763-1791.

801, 2. & 5303, D. 2. The art of drawing in perspective; wherein the doctrine of perspective is treated of upon geometrical principles. To which are added, the art of painting upon glass, etching, and japanning, &c. 5th edit. London, 1763-1791.

BOOKS OF PRINTS, CATALOGUES AND DESCRIPTIONS OF

PICTURES, &c.

Ames, 1578, O. 1. A catalogue of English heads; or an account of about two thousand prints, with some particulars relating to the lives of the persons drawn. By J. Ames. London, 1748.

Angelo, 651, F. Engravings from the paintings of Michael Angelo of the day of judgment. P. ›

Beaumont, 551, F. Select views of the antiquities and harbours in the south of France; with topographical and historical descriptions. With plates. By Albanis Beaumont. London, 1794.

Berrettinus, 306, F. Heroicæ virtutis imagines; quas Eques Petrus Berrettinus Cortonensis pinxit Florentiæ in ædibus sereniss. Magni Ducis Hetruriæ in tribus cameris Jovis, Martis, et Veneris. Curà et sumptibus Joannis Jacobi de Rubeis. Romæ, 1691.

Bellorius, 771, F. Petri Bellorii veterum illustrium philosophorum, poetarum, rhetorum et oratorum imagines. Romæ, 1685. P.

Boydell, 1138, F. 2. A collection of views of gentlemen's seats, castles, and romantick places, in North Wales. Drawn and engraved by eminent artists.

Published by Boydell. London, 1792.

553, F. History of the principal rivers of Great Britain; with plates.
By John and Josiah Boydell. 2 vols. London, 1794.
1090, F. Boydell's graphic illustrations of the dramatic works of
Shakspeare, engraved from pictures purposely painted by the very
first artists, and exhibited at the Shakspeare gallery. London, 1798,
1800.

Britton, 8551, O. An historical account of Corsham House, in Wiltshire, with
a catalogue of the celebrated pictures, with a review of the arts in
England. Also biographical sketches of artists. By John Britton.
London, 1806.

Blake, 983, Q. 3. Designs to a series of ballads, written by William Hayley,

and founded on anecdotes relating to animals, drawn, engraved, and published, by William Blake. Chichester, 1802.

Brayley, 2281, Q. The graphic and historical illustrator; an original miscellany of literary and topographical information; with wood-cuts. Edited by Edward W. Brayley, Esq. London, 1834.

Cardonnel, de, 3651, O. Picturesque antiquities of Scotland. By Adam de Cardonnel. London, 1788. P.

Carraci, 634, F. Imagines Farnesiani cubiculi cum ipsarum monocromatibus et ornamentis Romæ ædibus sereniss. Ducis Parmensis, ab Annibale Carracio. Romæ. P.

686, F. Annibal Carraci l'arti pervia di Bologna. Roma, 1660. P. 694, F. Annibali Carracci argumento della Galeria Farnese, depinta da Roma, 1657. P.

698, F.
logna.

Claude, 1092, F.

Lodovico Carracci claustro di St. Michele in bosco di Bo-
Bologna, 1694. P.

Liber veritatis: or a collection of two hundred prints, after the original design of Claude de Lorrain, in the collection of the Duke of Devonshire, executed by Richard Earlom, in the manner and taste of the drawings, to which is added, a descriptive catalogue of each print, together with the names of those for whom, and of the places for which the original pictures were first printed. 2 vols. London, 1777.

Cowdry, 3527, O. 1. A description of the pictures, statues, bustos, basso relievos, and other curiosities at the Earl of Pembroke's house at Wilton. By Richard Cowdry. London, 1751. P. .

Cozens, 1081, F. Principles of beauty relative to the human head. By Alexander Cozens. London, 1778.

Hervey, 1183, F. Illustrations of modern sculpture, a series of engravings; with descriptive prose and illustrative poetry. By T. K. Hervey. London, 1834.

Hodge, 628, F. Select views in India, drawn on the spot in the years, 1780, 1781, 1782 and 1783, and executed in aqua tinta. By William Hodge. London. P.

Hamilton, 988, F. Plates to Hamilton's Turkey. London, 1809.

Hogarth, 129, & 130, F. A collection of prints. Designed, engraved and published by William Hogarth. London, 1764.

1077, F. The original works of William Hogarth. (Boydell.) London, 1790.

1926, & 1958, & 7421, O. Hogarth illustrated. By John Ireland. 2 vols. London, 1790. 3 vols. London, 1791.

4096, O. The works of William Hogarth, elucidated by descrip-
tions, critical, moral and historical. By Thomas Clerk. 2 vols. Lon-
don, 1810.

5279, O. 1. Clavis Hogarthiana; or illustrations of Hogarth, from pas-
sages in authors he never read and could not understand.
London, 1819.

2d edit.

7326, O. Hogarth moralized; a complete edition of all the most_ca-
pital and admired works of William Hogarth, accompanied with con-
cise and comprehensive explanations of their moral tendency. By the
late Rev. Dr. Trusler. London, 1768.
7403, O. The analysis of
fluctuating ideas of taste.
gravings; a new edition.

beauty; written with a view of fixing the
By William Hogarth. Illustrated by en-
London, 1810.

The same. London, 1753.

160, 4. 208, 3. & 2163, Q. Holbein, 489, Q. La danse des morts comme elle est depeinte dans la ville de Basle. Franc. et Alleman. Avec des figures. Par Holbien. A Basle,