Jameson, Anna: Companion to the most celebrated private galleries of art in London: containing accurate catalogues, arranged alphabetically, for immediate reference, each preceded by an historical & critical introduction, with a prefactory essay on art, artists, collectors & connoisseurs (London: Saunders and Otley, 1844)

CONTENTS.


GENERAL INTRODUCTION.
Plan of the work.—A sketch of the history of collectors and col-
lections of pictures in England, from the Earl of Arundel to the
present time.—The taste which prevailed in the beginning of the
last century.—Collections formed between 1760 and 1790.—The
Orleans Gallery.—The plunder of Italy, Spain, and the Nether-
lands, during the late wars.—The collections and galleries formed
in England between 1795 and 1840.—Those dispersed, and those
at present existing.—The advantage of numerous scattered col-
lections The injury and disadvantage of amalgamating, if it were
possible, all these collections in one.—The reciprocal duties of
those who have galleries and those who visit them.—Collections
of English pictures Those of Mr. Sheepshanks and Mr. Vernon.
—Pedantry of connoisseurship as regards the old masters.—Their
true value and character.'—Advantage of a taste for art.—Prefer-
ences, and predilections.—Taste of the women.—The difference
between a liking for pretty things, and the feeling and compre-
hension for art.—Conclusion p. xvii


THE QUEEN’S GALLERY.
Introduction.—Formation of the gallery by George III.—Purchase
of Sir Francis Baring’s collection.—Valuation by Mr. Seguier.—
General remarks on the Dutch painters.—How classed and cha-
racterized.—Their power to impart pleasure.—Advantage of cul-
tivating a catholic taste in art.—Remarks on Rembrandt.—His
character as a painter.—Remarkable specimens of Rembrandt in
the gallery.—Of English painters 4