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acquired admirable Albert Durer ancient appear artist attain attention Burke called Carlo Maratti character Claude Lorrain colours composition considered contrary copy Correggio defects dignity Discourses distinguished drapery drawing dress Duke Earl Edmond Malone effect elegance endeavour equal excellence exhibited expression figure genius gentlemen give grace Gwatkin habit honour imagination imitation invention James Boswell Jervais Johnson judgement justly kind labour learned light lived Lord manner masters means merit Michael Angelo mind models modern nature never object observed opinion ornaments painter painting passions Paul Veronese peculiar Pellegrino Tibaldi perfection perhaps Phidias picture pleasure poet portraits possessed Poussin practice prejudices principles produced publick racter Raffaelle reason Rembrandt respect ROYAL ACADEMY Rubens rules schools simplicity Sir Joshua Reynolds spectator Students style suppose taste thing thought Tintoret tion Titian truth ture Vandyck variety Venetian Venetian School whole
Side 61 - A man cannot tell, whether Apelles or Albert Durer were the more trifler; whereof the one would make a personage by geometrical proportions, the other by taking the best parts out of divers faces to make one Excellent.
Side 40 - Excellence is never granted to man, but as the reward of labour. It argues indeed no small strength of mind to persevere in habits of industry, without the pleasure of perceiving those advances; which, like the hand of a clock, whilst they make hourly approaches to their point, yet proceed so slowly as to escape observation.
Side cxxi - Sir Joshua Reynolds was, on very many accounts, one of the most memorable men of his time. He was the first Englishman who added the praise of the elegant arts to the other glories of his country. In taste, in grace, in facility, in happy invention, and in the richness and harmony of colouring, he was equal to the great masters of the renowned ages.
Side 70 - He will permit the lower painter, like the florist or collector of shells, to exhibit the minute discriminations which distinguish one object of the same species from another; while he, like the philosopher, will consider nature in the abstract, and represent in every one of his figures the character of its species.
Side 157 - ... far from being contented to make such habits the discipline of our youth only, we should, to the last moment of our lives, continue a settled intercourse with all the true examples of grandeur.
Side 44 - You must have no dependence on your own genius. If you have great talents, industry will improve them ; if you have but moderate abilities, industry will supply their deficiency. Nothing is denied to well-directed labour: nothing is to be obtained without it...
Side 253 - Homer; who, from the midst of battles and horrours, relieves and refreshes the mind of the reader, by introducing some quiet rural image, or picture of familiar domestic life. The writers of every age and country, where taste has begun to decline, paint and adorn every object they touch; are always on the stretch; never deviate or sink a moment from the pompous and the brilliant. Lucan...
Side civ - Of men by laws less circumscribed and bound, They led their wild desires to woods and caves And thought that all but savages were slaves.
Side 79 - HE value and rank of every art is in proportion to the mental labour employed in it, or the mental pleasure produced by it. As this principle is observed or neglected, our profession becomes either a liberal art, or a mechanical trade.
Side 5 - It is indeed difficult to give any other reason why an empire like that of Britain should so long have wanted an ornament so suitable to its greatness, than that slow progression of things which naturally makes elegance and refinement the last effect of opulence and power.