Two Discourses: I. An Essay on the Whole Art of Criticism, as it Relates to Painting ... II. An Argument in Behalf of the Science of a Connoisseur; Wherein is Shewn the Dignity, Certainty, Pleasure, and Advantage of it |
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Page 39
... follow how- ever that upon the foot of the ac- count One is more Happy than the Other , because that delicacy , and Acuteness of Mind which is fuf ceptible of the greatest Pleasure , is proportionably fo with respect to its Contrary ...
... follow how- ever that upon the foot of the ac- count One is more Happy than the Other , because that delicacy , and Acuteness of Mind which is fuf ceptible of the greatest Pleasure , is proportionably fo with respect to its Contrary ...
Page 151
... follow Nature before our eyes , the on- ly difference being that in the Latter cafe these Ideas are fresh taken in , and immediately made ufe of , in the other they have been repofited there , and are less Clear , and Lively . . So So ...
... follow Nature before our eyes , the on- ly difference being that in the Latter cafe these Ideas are fresh taken in , and immediately made ufe of , in the other they have been repofited there , and are less Clear , and Lively . . So So ...
Page 152
... follow it Intirely , nor intend fo to do , but Add , or Retrench by the help of preconceiv'd Ideas of a Beauty , and Perfection we imagine Nature is capable of , tho'tis Rarely , or Never found .. We a fay a Picture is done by the Life ...
... follow it Intirely , nor intend fo to do , but Add , or Retrench by the help of preconceiv'd Ideas of a Beauty , and Perfection we imagine Nature is capable of , tho'tis Rarely , or Never found .. We a fay a Picture is done by the Life ...
Page 174
... follow every Stroak , and Touch it ceases not to be a Coppy ; as that is truly a Tranflation where the Sence is kept tho ' it be not ex- actly Literal . If a Larger Picture be Coppied tho ' in Little , and what was done in Oyl is ...
... follow every Stroak , and Touch it ceases not to be a Coppy ; as that is truly a Tranflation where the Sence is kept tho ' it be not ex- actly Literal . If a Larger Picture be Coppied tho ' in Little , and what was done in Oyl is ...
Page 177
... follows , yet in the Particular Manner of that Mafter he is to imitate he may not Van - Dyck ( for Example ) might have as fine a Pencil as Coreggio ; Parmeggiano might handle · handle a Pen , or Chalk as well as Raffaele ( 177 )
... follows , yet in the Particular Manner of that Mafter he is to imitate he may not Van - Dyck ( for Example ) might have as fine a Pencil as Coreggio ; Parmeggiano might handle · handle a Pen , or Chalk as well as Raffaele ( 177 )
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Other editions - View all
Two Discourses: I. an Essay on the Whole Art of Criticism, As It Relates to ... Jonathan Richardson No preview available - 2023 |
Two Discourses: I. an Essay on the Whole Art of Criticism, as it Relates to ... No preview available - 2020 |
Two Discourses: I. an Essay on the Whole Art of Criticism, as It Relates to ... Jonathan Richardson No preview available - 2016 |
Common terms and phrases
Affent Albert Durer alfo almoſt alſo amongſt Annibale Annibale Caracci Antique Battista Franco Beauty becauſe Beft Beſt buſineſs Cafe Cauſes Circumſtances Colouring confequently confider confider'd confiderable Connoiffeur Coppy Count Ugolino Countrey Defign Degree Demonftration diſtinguiſh Divine Drawing eaſily efpecially Evidence Excellent Expreffion faid fame feen felf feveral fhall fhew fhould firſt fome fters fuch fure Gentlemen Giulio Romano Goodneſs greateſt Greatneſs Guelfs Guido Reni Hand himſelf Hiſtory Ideas imitated impoffible Inftances Inftruct intirely judg'd judge Juft juſt kind leaſt Lefs Mafter Manner Michelangelo Mind moft moſt muſt Nature neceffary never Noble Number obferve occafion Original Otherwife Paffions Painters Painting Parmeggiano Picture Pleaſe Pleaſure poffibly prefent purpoſe Queſtion racter Raffaele raiſe Reaſon refpect reft reſemble Rubens ſay ſee ſeen Senfes ſeveral ſpeak Tafte Thefe themſelves ther theſe things Thinking thofe thoſe Thought tion Titian Underſtanding uſe vaft whatſoever whofe
Popular passages
Page 158 - Urania, and fit audience find, though few-. But drive far off the barbarous dissonance Of Bacchus and his revellers, the race Of that wild rout that tore the Thracian bard In Rhodope, where woods and rocks had ears To rapture, till the savage clamour drown'd Both harp and voice ; nor could the muse defend Her son.
Page 163 - go from thy fpirit ? or whither fhall I flee from " thy prefence ? If I afcend up into heaven thou * * art there. If I make my bed in hell, behold thou " art there. If I take the wings of the morning, " and dwell in the uttermoft parts of the fea ; " even there fhall thy hand lead me, and thy right " hand fhall hold me. 1? I fay, Surely the dark" nefs fhall cover me : even the night fhall be
Page 40 - Cleveland and the swarm of liars that nuzzle in the mud, or sling arrows from ambush, may my tongue cleave to the roof of my mouth, and my right hand forget its cunning.
Page 129 - And all the rule, one empire; only add Deeds to thy knowledge answerable; add faith, Add virtue, patience, temperance; add love, By name to come...
Page 37 - Rolled inward, and a spacious gap disclosed Into the wasteful Deep. The monstrous sight Struck them with horror backward, but far worse Urged them behind; headlong themselves they threw Down from the verge of Heaven; eternal wrath Burnt after them to the bottomless pit.
Page 194 - Present, and of his presence many a sign Still following thee, still compassing thee round With goodness and paternal love, his face Express, and of his steps the track divine.
Page 13 - ... without this art could not possibly be communicated, whereby mankind is advanced higher in the rational state, and made better, and that in a way easy, expeditious, and delightful.
Page 31 - My sons (who also were confm'd with me) Cry in their troubled sleep, and ask for bread: O you are cruel if you do not weep Thinking on that, which now you well perceive My heart divin'd; if this provoke not tears At what are you accustomed to weep?
Page 39 - ... painting is, to perform much of the effect of discourse and books, and, in many instances, more speedily and with more reality. To consider a picture aright, is to read it ; but taking into account the beauty with which the eye is all the time entertained, (whether of colour or composition,) it is not only to read a book, and that finely printed and well bound, but as if a concert of music were heard at the same time.