Choice Literature, Volum 4J. B. Alden, 1880 |
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Side 20
... Figure paint- ing culminated in Michael Angelo and Raphael nearly a century before the birth of Claude , who may ... figures , but few , if any , landscapes complete in themselves , having for their sole or main object the representation ...
... Figure paint- ing culminated in Michael Angelo and Raphael nearly a century before the birth of Claude , who may ... figures , but few , if any , landscapes complete in themselves , having for their sole or main object the representation ...
Side 21
... figures in the Sistine Chapel , the Madonna di San Sisto , the Transfigura- tion , and a few others , such as we are ... figure . It would be doing historical painting no injustice to describe its ultimate object as the expression of the ...
... figures in the Sistine Chapel , the Madonna di San Sisto , the Transfigura- tion , and a few others , such as we are ... figure . It would be doing historical painting no injustice to describe its ultimate object as the expression of the ...
Side 23
... figure , and that , pace Turner and Ruskin , it has not yet produced its Raphael or its Michael Angelo . Nor is this ... figure can be painted indoors , the model can be posed , the drapery can be hung on the lay - figure , the light can ...
... figure , and that , pace Turner and Ruskin , it has not yet produced its Raphael or its Michael Angelo . Nor is this ... figure can be painted indoors , the model can be posed , the drapery can be hung on the lay - figure , the light can ...
Side 26
... figure is , and further , the realism of the portrait , however great , is subdued by the greater realism and force of the surrounding objects - greater in proportion as nature's light is stronger than the artist's white paint . But ...
... figure is , and further , the realism of the portrait , however great , is subdued by the greater realism and force of the surrounding objects - greater in proportion as nature's light is stronger than the artist's white paint . But ...
Side 29
... figures , which were presentable in his early days , when he painted " A Frosty Morning , " became latterly quite intolerable . Mr. Ruskin of course defends them , and denounces the ignorance of those who would desire them to be made ...
... figures , which were presentable in his early days , when he painted " A Frosty Morning , " became latterly quite intolerable . Mr. Ruskin of course defends them , and denounces the ignorance of those who would desire them to be made ...
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æsthetic artistic Austria Austria-Hungary Austrian language Bank beauty Belemnite Burns Burschenschaften Byzantine Byzantine art called Catholic cause century character Chaucer Christian Church Cimabue clergy color Dalmatia diamond doubt emperor empire England English Europe existence eyes façade fact feel France French German give hand Herodotus Hitopadesa horse human Hyrieus interest Jesuits Jötun kind king labor land landscape landscape art less liberty live look Magyar Mark's matter means ment mind nation nature never Odin once opinion ourselves painters painting perhaps poet poetic poetry political present question reason religion religious Republic republicans Russia sculpture seems sense speak spirit story suicide tale tank thief things Thoreau thought tion true truth village Wandering Jew whole Wild Huntsman Wodan words Zadig
Populære avsnitt
Side 122 - Tho' they may gang a kennin wrang, To step aside is human : One point must still be greatly dark, The moving Why they do it ; And just as lamely can ye mark, How far perhaps they rue it. Who made the heart, 'tis He alone Decidedly can try us, He knows each chord its various tone, Each spring its various bias : Then at the balance let's be mute, We never can adjust it ; What's done we partly may compute, But know not what's resisted.
Side 111 - Led on the eternal Spring. Not that fair field Of Enna, where Proserpine gathering flowers, Herself a fairer flower by gloomy Dis Was gathered, which cost Ceres all that pain To seek her through the world...
Side 111 - Wilt thou upon the high and giddy mast Seal up the ship-boy's eyes, and rock his brains In cradle of the rude imperious surge ; And in the visitation of the winds, Who take the ruffian billows by the top, Curling their monstrous heads, and hanging them With deafning clamours in the slippery clouds, That, with the hurly, death itself awakes ? Canst thou, O partial sleep!
Side 104 - There is not a creed which is not . shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve.
Side 118 - I was confirmed in this opinion, that he who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem...
Side 124 - We'll tak a cup o' kindness yet, For auld lang syne. We twa hae run about the braes, And pu'd the gowans fine ; But we've wander'd mony a weary foot Sin auld lang syne. For auld, &c. We twa hae paidl't i' the burn, From mornin sun till dine ; But seas between us braid hae roar'd Sin auld lang syne. For auld, &c. And here's a hand, my trusty fiere, And gie's a hand o' thine ; And we'll tak a right guid willie-waught, For auld lang syne.
Side 57 - To be what we are, and to become what we are capable of becoming, is the only end of life.
Side 92 - He shall not cry, nor lift up, Nor cause his voice to be heard in the street. A bruised reed shall he not break, and the smoking flax shall he not quench : He shall bring forth judgment unto truth. He shall not fail nor be discouraged, till he have set judgment in the earth : And the isles shall wait for his law.
Side 111 - What though the field be lost? All is not lost; the unconquerable will, And study of revenge, immortal hate, And courage never to submit or yield: And what is else not to be overcome?
Side 49 - Books, not which afford us a cowering enjoyment, but in which each thought is of unusual daring; such as an idle man 'cannot read, and a timid one would not be entertained by, which even make us dangerous to existing institutions — such I call good books.