A Handbook of Pictorial Art

Clarendon Press, 1868 - 480 sider

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Side 28 - For, don't you mark, we're made so that we love First when we see them painted, things we have passed Perhaps a hundred times nor cared to see; And so they are better, painted— better to us, Which is the same thing. Art was given for that — God uses us to help each other so, Lending our minds out.
Side 289 - I should not scruple to say they would not only receive no advantage, but would lose, in a great measure, the effect which they now have on every mind susceptible of great and noble ideas. His works may be said to be all genius and soul; and why should they be loaded with heavy matter, which can only counteract his purpose by retarding the progress of the imagination...
Side 122 - Angelico in perpetual peace. Not seclusion from the world ; no shutting out of the world is needful for him. There is nothing to shut out. Envy, lust, contention, discourtesy, are to him as though they were not, and the cloister walk of Fiesole no penitential solitude, barred from the stir and joy of life, but a possessed land of tender blessing, guarded from the entrance of all but holiest sorrow. The little cell was as one of the houses of heaven prepared for him by his Master.
Side 73 - At length the freshening western blast Aside the shroud of battle cast; And first the ridge of mingled spears Above the brightening cloud appears; And in the smoke the pennons flew, As in the storm the white sea-mew. Then marked they, dashing broad and far, The broken billows of the war, And plumed crests of chieftains brave Floating like foam upon the wave...
Side 72 - Whithersoever the spirit was to go, they went, thither was their spirit to go; and the wheels were lifted up over against them: for the spirit of the living creature was in the wheels.
Side 289 - The Italian attends only to the invariable, the great and general ideas which are fixed and inherent in universal nature ; the Dutch, on the contrary, to literal truth and a minute exactness in the detail, as I may say, of Nature modified by accident. The attention to these petty peculiarities is the very cause of this naturalness so much admired in the Dutch pictures, which, if we suppose it to be a beauty, is certainly...
Side 47 - The places that were decorated were the Catacombs; the chapels were all surrounded by the dead; the altar upon which the sacred mysteries were celebrated was the tomb of a martyr . . . it would seem but natural that the great and terrible scenes of Christian vengeance should be depicted. Yet nothing of this kind appears in the Catacombs; with two doubtful exceptions, there are no representations of martyrdoms.
Side 393 - The hand of Douglass is his own." " The world is all before him, where to choose : " and poor as may be my opinion of the British parliament, I cannot believe that it will ever sink to such a depth of infamy as to pass a law for the recapture of fugitive Irishmen! The shame and scandal of kidnapping will long remain wholly monopolized by the American congress. The Irishman has not only...
Side 48 - The Good Shepherd entirely disappeared, the miracles of mercy became less frequent, and were replaced by the details of the Passion and the terrors of the Last Judgment. The countenance of Christ became sterner, older, and more mournful. About the twelfth century, this change became almost universal. From this period, writes one of the most learned of modern archnsologists, ' Christ appears more and more melancholy, and often truly terrible.
Side 358 - A paviour cannot be said to compose the heap of stones which he empties from his cart, nor the sower the handful of seed which he scatters from his hand. It is the essence of composition that everything should be in a determined place, perform an intended part, and act, in that part, advantageously for everything that is connected with it.

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