APPENDIX

1 APPENDIX 1

1.1 THE SPANISH MAID

Five weary months sweet Inez numbered, From that unfading, bitter day, When last she heard the trumpet bray, That called her Isidore away,—, That never to her heart has slumbered.

She hears it now, and sees, far bending, Along the mountain's misty side, His plumed troop, that, waving wide, Seems like a rippling, feathery tide, Now bright, now with the dim shore blending.

She hears the cannon's deadly rattle,—, And fancy hurries on to strife, And hears the drum and screaming fife, Mix with the last sad cry of life. O, should he, —should he fall in battle!

Yet still his name would live in story, And every gallant bard in Spain, Would fight his battles o'er again. And would she not for such a strain, Resign him to his country's glory?

Thus Inez throught, and plucked the flower, That grew upon the very bank, Where first her ear bewildered drank, The plighted vow,—where last she sank, In that too bitter parting hour.

But now the sun is westward sinking;, And soon, amid the purple haze, That showers from his slanting rays, A thousand Loves there meet her gaze, To change her high, heroic thinking.

Then hope, with all its crowding fancies. Before her fitts and fills the air;, And, decked in Victory's glorious gear, In vision Isidore is there. Then how her heart 'mid sadness dances!

Yet little thought she, thus forestalling, The coming joy, that in that hour, The Future, like the colored shower, That seems to arch the ocean o'er, Was in the living Present falling.

The foe is slain. His sable charger, All flecked with foam, comes bounding on. The wild Morena rings anon;, And on its brow the gallant Don, And gallant steed grow larger, larger;

And now he nears the mountain-hollow;, The flowery bank and little lake, Now on his startled vision break,—, And Inez there.—He's not awake!, Yet how he'll love this dream to-morrow!

But no,—he surely is not dreaming, Another minute makes it clear. A scream, a rush, a burning tear, From Inez' cheek, dispel the fear, That bliss like his is only seeming.

REFERENCES

Allston, Washington. 1967. Lectures on art and poems. [1850] Introduction by Nathalia Wright. Gainsville: Scholars' Facsimilies and Reprints.

Coburn, Kathleen. 1944.Notes on Washington Allston from the unpublished notebooks of S.T. Coleridge. Gazette des Beaux-Arts 25, Ser.6:249–52.

Dana, H.W.L.1943. Allston at Harvard 1796–1800; Allston at Cambridgeport 1830–43, Cambridge Historical Society Publications29:13–67.

Dunlap, William. 1918. A history of the rise and progress of the arts of design in the United States. Vol. 2. Boston: C. E.Goodspeed.

Flagg, Jared B.1893. The life and letters of Washington Allston. London: Richard Bentley and Son.

Gerdts, William H.1969. Washington Allston and the German romantic classicists in Rome. Art Quarterly32:166–96.

Greenough, Henry. 1966. Washington, Allston: American artist as a painter. [1892] Ed.H. DouglasCurry. Bath, England: Wyatt and Reynolds.

Harris, Neil. 1966. Artist in American Society. New York: George Braziller.

Johns, Elizabeth. 1977. Washington Allston: Method, imagination and reality. Winterthur Portfolio12:1–18.

Johns, Elizabeth. 1979. Washington Allston's Dead Man Revived. Art Bulletin61 (March):78–99.

Jones, Elizabeth H.1947. Washington Allston's painting technique and his place in the coloristic tradition. Unpublished typescript. Boston: Museum of Fine Arts.

Leslie, Charles R.1860. Autobiographical recollections. Ed.TomTaylor. Boston: Ticknor and Fields.

Mandeles, Chad. 1980. Washington Allston's The Evening Hymn. Arts Magazine54(December-January):142–145.

Morgan, John Hill. 1939. Nathaniel Jocelyn's record of the palettes of Gilbert Stuart and Washington Allston. New York: Historical Society Quarterly Bulletin23(October):131–34.

Page, William. 1845. The art and the use of color in imitation in painting. no 6: Reynolds, Alston [sic], Stuart. Broadway Journal (March 29):201–2.

Richardson, E. P.1944. Allston and the development of romantic color. Art Quarterly7(Winter):33–57.

Richardson, E. P.1948. Washington Allston: A study of the romantic artist in America. New York: Thomas Y.Crowell.

Sully, Thomas. 1965. Hints to young painters. [1873] New York: Reinhold.

AUTHOR INFORMATION

JOYCE HILL STONER is the Director of the Art Conservation Program sponsored jointly by the University of Delaware and the Winterthur Museum and for which she has taught Painting Conservation and the History of Conservation for 14 years. She was also the Managing Editor of Art and Archaeology Technical Abstracts for 17 years. She received her Master's degree and her conservation training at the Conservation Center of New York University. She has been a visiting scholar in the painting conservation departments of the Metropolitan Museum and the J. Paul Getty Museum. She has recently completed the course work for a Ph.D. in Art History and plans to write her dissertation on Whistler. She is now consulting on the treatment of Whistler's Peacock Room at the Freer Gallery of Art. Address: Art Conservation Program, University of Delaware, 303 Old College, Newark, Delaware 19716.