Beaux Arts_, Paris.

Larousse, _Grand Dictionnaire Universel_, Paris.

_L'Art, Revue hebdomadaire illustree_, Paris.

Bryan, _Dictionary of Painters_. _New edition_.

Brockhaus, _Conversations-Lexikon_.

Meyer, _Allgemeines Kuenstler-Lexikon_, Berlin.

Muther, _History of Modern Painting_.

Agincourt, _History of Art by its Monuments_.

Bayet, _Precis d'Histoire de l'Art_.

Blanc, _Histoire des Peintres de toutes les Ecoles_.

Eastlake, _Materials for a History of Oil Painting_.

Luebke, _History of Art, trans. by Clarence Cook_.

Reber, _History of Ancient Art_.

Reber, _History of Mediaeval Art_.

Schnasse, _Geschichte der Bildenden Kuenste_.

Girard, _La Peinture Antique_.

Viardot, _History of the Painters of all Schools_.

Williamson (Ed.), _Handbooks of Great Masters_.

Woltmann and Woermann, _History of Painting_.

* * * * *

HISTORY OF PAINTING.

INTRODUCTION.

The origin of painting is unknown. The first important records of this
art are met with in Egypt; but before the Egyptian civilization the
men of the early ages probably used color in ornamentation and
decoration, and they certainly scratched the outlines of men and
animals upon bone and slate. Traces of this rude primitive work still
remain to us on the pottery, weapons, and stone implements of the
cave-dwellers. But while indicating the awakening of intelligence in
early man, they can be reckoned with as art only in a slight
archaeological way. They show inclination rather than accomplishment--a
wish to ornament or to represent, with only a crude knowledge of how
to go about it.

The first aim of this primitive painting was undoubtedly
decoration--the using of colored forms for color and form only, as
shown in the pottery designs or cross-hatchings on stone knives or
spear-heads. The second, and perhaps later aim, was by imitating the
shapes and colors of men, animals, and the like, to convey an idea of
the proportions and characters of such things. An outline of a
cave-bear or a mammoth was perhaps the cave-dweller's way of telling
his fellows what monsters he had slain. We may assume that it was
pictorial record, primitive picture-written history. This early method
of conveying an idea is, in intent, substantially the same as the
later hieroglyphic writing and historical painting of the Egyptians.
The difference between them is merely one of development. Thus there
is an indic