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Project Gutenberg's The Old Masters and Their Pictures, by Sarah Tytler This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Old Masters and Their Pictures For the Use of Schools and Learners in Art Author: Sarah Tytler Release Date: November 19, 2006 [EBook #19863] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE OLD MASTERS AND THEIR PICTURES *** Produced by Peter Yearsley, Ted Garvin and the Online Distributed Proofreaders Europe at http://dp.rastko.net THE OLD MASTERS AND THEIR PICTURES _For the Use of Schools and Learners in Art_ BY SARAH TYTLER AUTHOR OF "PAPERS FOR THOUGHTFUL GIRLS" ETC. _NEW AND ENLARGED EDITION_ * * * * * LONDON ISBISTER AND COMPANY LIMITED 15 & 16 TAVISTOCK STREET COVENT GARDEN 1893 [_The Right of Translation is Reserved_] LONDON: PRINTED BY J.S. VIRTUE AND CO., LIMITED, CITY ROAD. PREFACE TO FIRST EDITION. I wish to say, in a very few words, that this book is intended to be a simple account of the great Old Masters in painting of every age and country, with descriptions of their most famous works, for the use of learners and outsiders in art. The book is not, and could not well be, exhaustive in its nature. I have avoided definitions of schools, considering that these should form a later and more elaborate portion of art education, and preferring to group my 'painters' according to what I hold to be the primitive arrangements of time, country, and rank in art. PREFACE TO NEW EDITION. The restrictions with regard to space under which the little volume called "The Old Masters" was originally written, caused me to omit, to my regret, many names great, though not first, in art. The circulation which the book has attained induces me to do what I can to remedy the defect, and render the volume more useful by adding two chapters--the one on Italian and the other on German, Dutch, and Flemish masters. These chapters consist almost entirely of condensed notes taken from two trustworthy sources, to which I have been already much indebted--Sir C, and Lady Eastlake's version of Kugler's "Handbook of Italian Art," and Dr. Waagen's
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