xv

Harding, James Duffield
_Vico, Bay of Naples_ xx

Hearne, Thomas
_View of Gloucester_ iv

Holland, James
_A Shrine in Venice_ xxii

Hunt, William Henry
_Plucking the Fowl_ xxi

Malton, Thomas, Jun.
_Old Palace Yard, Westminster_ vi

Prout, Samuel
_Palazzo Contarini Fasan
on the Grand Canal, Venice_ xix

Pyne, James Baker
_View in Italy_ xxiii

Rooker, A.R.A., Michael (Angelo)
_Village Scene_ iii

Rowlandson, Thomas
_Entrance to Vauxhall Gardens_ ix

Sandby, R.A., Paul
_Windsor Castle: View of the Round
and Devil's Towers from the Black Rock_ i

Towne, Francis
_On the Dart_ ii

Turner, R.A., J. M. W.
_Lucerne: Moonlight_ xii

Varley, John
_Hackney Church_ xiv

Wheatley, R.A., Francis
_Preparing for Market_ viii

The Editor desires to acknowledge
his indebtedness to Mr. A. E.
Hutton, Mr. R. W. Lloyd, Mr.
Victor Rienaecker, Mr. G. Bellingham
Smith and Messrs. Thos.
Agnew & Sons who have kindly
lent their drawings for reproduction
in this volume.

INTRODUCTION

The earliest form of painting was with colours ground in water. Egyptian
artists three thousand years B.C. used this method, and various mediums,
such as wax and mastic, were added as a fixative. It was what is now
known as tempera painting. The Greeks acquired their knowledge of the
art from the Egyptians, and later the Romans dispersed it throughout
Europe. They probably introduced tempera painting into this country for
decoration of the walls of their houses. The English monks visited the
Continent and learnt the art of miniature painting for illuminating
their manuscripts by the same process. Owing to opaque white being mixed
with the colours the term of painting in body-colour came in use.
Painting in this manner was employed by artists throughout Europe in
making sketches for their oil paintings.

Two suc