RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I.
Si l'on en croit la préface du Traité de la peinture et de la sculpture, l'initiative de la traduction française des écrits sur l’art de Richardson (1667-1745) serait due à l'éditeur hollandais Herman Uytwerf. L’entreprise a été supervisée par deux connaisseurs hollandais : Antoine Rutgers et Ten Kate et a été revue par Richardson-même. Cette traduction comporte deux volumes contenant trois tomes. Le premier volume est composé de la traduction du premier texte de théorie d'art écrit par Richardson, publié en 1715, et réédité en 1725, An Essay on the Theory of Painting (intitulée Essai sur la théorie de la peinture). Dans ce texte, Richardson s’intéresse à l’art du point de vue de l’artiste. Il définit ainsi huit parties de la peinture (invention, expression, composition, dessin, coloris, maniement, grâce et grandeur, sublime) et précise divers principes que le peintre doit respecter.
Le premier volume du Traité de la peinture contient aussi la traduction des Two Discourses, texte publié en 1719, intitulé L'Essai sur l'art de critiquer en fait de peinture. Dans ce texte, plutôt adressé aux amateurs d’art, Richardson donne divers conseils afin de bien juger une œuvre d’art. Il indique ainsi comment reconnaître l’auteur d’une peinture ou encore une copie d’un original.
Enfin, le second volume du Traité de la peinture, contient un court texte de Ten Kate, Discours préliminaire sur le beau idéal, de même que la traduction de An Account on the Statues, Bas-Reliefs, Drawings and Picture in Italy, France, etc. with Remarks (Description de plusieurs des statues, tableaux, dessins, &c. qui se trouvent en Italie), texte coécrit par Richardson et son fils, Jonathan Junior, et publié en 1722. Cet ouvrage contient, comme l’indique son titre, une description d’objets d’art que Jonathan Junior a pu voir lors de son séjour en Italie.
La traduction du premier volume demeure assez fidèle aux textes de Richardson, bien que certains passages des Two Discourses aient été supprimés. Il s'agit surtout de passages dans lesquels Richardson évoque Dieu ou des théories de John Locke. Comme le note C. Gibson-Wood, ce texte en français « is not simply a translation, but also a revised edition of the three volumes [1] ».
Élodie Cayuela
[1] Gibson-Wood, 2000, p. 225 ; voir aussi C. Gibson-Wood, 2000, p. 225 et suivantes à propos de la préface à la Description de plusieurs tableaux […] et de la volonté de Richardson d'affirmer l'importance de l'Angleterre dans l'étude des arts.
Le premier volume du Traité de la peinture contient aussi la traduction des Two Discourses, texte publié en 1719, intitulé L'Essai sur l'art de critiquer en fait de peinture. Dans ce texte, plutôt adressé aux amateurs d’art, Richardson donne divers conseils afin de bien juger une œuvre d’art. Il indique ainsi comment reconnaître l’auteur d’une peinture ou encore une copie d’un original.
Enfin, le second volume du Traité de la peinture, contient un court texte de Ten Kate, Discours préliminaire sur le beau idéal, de même que la traduction de An Account on the Statues, Bas-Reliefs, Drawings and Picture in Italy, France, etc. with Remarks (Description de plusieurs des statues, tableaux, dessins, &c. qui se trouvent en Italie), texte coécrit par Richardson et son fils, Jonathan Junior, et publié en 1722. Cet ouvrage contient, comme l’indique son titre, une description d’objets d’art que Jonathan Junior a pu voir lors de son séjour en Italie.
La traduction du premier volume demeure assez fidèle aux textes de Richardson, bien que certains passages des Two Discourses aient été supprimés. Il s'agit surtout de passages dans lesquels Richardson évoque Dieu ou des théories de John Locke. Comme le note C. Gibson-Wood, ce texte en français « is not simply a translation, but also a revised edition of the three volumes [1] ».
Élodie Cayuela
[1] Gibson-Wood, 2000, p. 225 ; voir aussi C. Gibson-Wood, 2000, p. 225 et suivantes à propos de la préface à la Description de plusieurs tableaux […] et de la volonté de Richardson d'affirmer l'importance de l'Angleterre dans l'étude des arts.
RICHARDSON, Jonathan, Traité de la peinture et de la sculpture, trad. par RUTGERS, Antoine et TEN KATE, Lambert, Genève, Minkoff Reprint, 1972.
RICHARDSON, Jonathan, Traité de la peinture et de la sculpture, BAUDINO, Isabelle et OGÉE, Frédéric (éd.), Paris, École nationale supérieure des Beaux-Arts, 2008.
RICHARDSON, Jonathan, An Essay on the Theory of Painting, London, W. Bowyer, 1715.
RICHARDSON, Jonathan et RICHARDSON, Jonathan Junior, Traité de la peinture, et de la Sculpture. Par M. Richardson, Père & Fils. Divisé en trois tomes, Description de divers fameux tableaux, desseins, statues, bustes, bas-reliefs, &c., qui se trouvent en Italie ; Avec des remarques par Mrs Richardson, père & fils. Traduite de l'Anglois : Revue, Corrigée, & considérablement augmentée, dans cette traduction, par les auteurs. Où l'on a ajouté un discours préliminaire sur le beau idéal, des peintres, sculpteurs, & poëtes, par L. H. Ten Kate, trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. II.
RICHARDSON, Jonathan, Traité de la peinture et de la sculpture, trad. par RUTGERS, Antoine et TEN KATE, Lambert, Genève, Minkoff Reprint, 1972.
GIBSON-WOOD, Carol, Jonathan Richardson: Art Theorist of the English Enlightenment, New Haven - London, Yale University Press, 2000.
TERMS
· p. 6.
translation from GOOD in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 13-15
· p. 6.
translation from INCORRECT in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 13-14
· p. 17.
translation from INVENTION in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35
· p. 17.
translation from PENCIL in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35-36
· p. 17.
translation from EXPRESSION in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35-36
· p. 17.
translation from GREATNESS in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35-36
· p. 17.
translation from GRACE in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35-36
· p. 17.
translation from PORTRAIT PAINTING in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35-36
· p. 17.
translation from HISTORY in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 35-36
· p. 17.
translation from SUBLIMITY in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 37
· p. 17.
translation from EFFECT in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 37
· p. 17.
translation from SUBLIME in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 37
· p. 28.
translation from GRATEFUL in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 53-54
· p. 30
translation from HARSH in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 57-59
· p. 35-36.
translation from PORTRAIT in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 65-66
· p. 62.
translation from PRINT in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Knowledge of Hands, p. 103
· p. 90-91
translation from STILL LIFE in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; of Originals and Coppies, p. 150-152
· p. 72-73.
translation from IMPROPER in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Expression, p. 91-92
· p. 74
translation from IMPROPER in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Expression, p. 93- 94
· p. 156-157.
translation from ACADEMY in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., A discourse on the dignity […] ; Section I, p. 56-57
· p. 117-118.
translation from ACADEMY in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Design or Drawing, p. 146-147
· p. 185-186.
translation from ACTOR in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., A discourse on the Dignity […] ; Sect. II, p. 130-132
· p. 41-42.
translation from ACTION in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Invention, p. 53-55
· p. 82.
translation from ACTION in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Invention, p. 56-57
· p. 47-48.
translation from ACTION in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Invention, p. 60-61
· p. 51-52.
translation from BEAUTIFUL in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 88-90
· p. 28.
translation from DELIGHTFUL in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 53-54
· p. 51-52.
translation from DELIGHTFUL in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 88-90
· p. 51-52.
translation from AGREEABLE in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 88-90
· p. 88-89.
translation from AGREEABLE in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Expression, p. 110-111
· p. 125-126.
translation from AGREEMENT in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Colouring, p. 156-157
· p. 78.
translation from AIR OF HEAD in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Expression, p. 98-99
· p. 105.
translation from NATURALNESS in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 193
· p. 88-89.
translation from ALLEGORICAL in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Expression, p. 110-111
· p. 29.
translation from LOVER (OF ART) in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 55
· p. 116.
translation from LOVER (OF ART) in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., A discourse on the Dignity […] ; Introduction, p. 6
· p. 7-8.
translation from LOVER (OF ART) in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Introduction, p. 9-10
· p. 66.
translation from ANATOMY in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of Invention, p. 84
· p. 21-22.
translation from ANIMAL in RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719., An Essay on the whole art of criticism […] ; Of the Goodness of a Picture, &c., p. 44-45
· p. 164-165.
translation from ANTIQUE in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of GRACE and GREATNESS, p. 203-204
· p. 168.
translation from ANTIQUE in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of GRACE and GREATNESS, p. 209
· p. 200-202.
translation from ANTIQUE in RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725., Of the SUBLIME, p. 248-250