Lectures on the History and Principles of Painting |
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Page xi
... , in favour of the work of Mr. Ottley , entitled " THE ITALIAN SCHOOL OF DESIGN " : only regretting that he did not carry the just remarks he has made , farther . and M. Angelo : the finished ground - work of PREFACE . xi.
... , in favour of the work of Mr. Ottley , entitled " THE ITALIAN SCHOOL OF DESIGN " : only regretting that he did not carry the just remarks he has made , farther . and M. Angelo : the finished ground - work of PREFACE . xi.
Page xii
... Angelo . On these we found that the information we had obtained had afforded us but imperfect conclusions . But I must speak for myself . I found that I had mis- understood or misapplied the great encomiums which have been bestowed on ...
... Angelo . On these we found that the information we had obtained had afforded us but imperfect conclusions . But I must speak for myself . I found that I had mis- understood or misapplied the great encomiums which have been bestowed on ...
Page xiv
... Angelo beheld the same mental power combined with the beauties of finished execution , as displayed in their paintings in the Vatican , I found that I could then more fully comprehend the force and the propriety of the remarks of others ...
... Angelo beheld the same mental power combined with the beauties of finished execution , as displayed in their paintings in the Vatican , I found that I could then more fully comprehend the force and the propriety of the remarks of others ...
Page xv
... Angelo are not recommended to us by the luxury of colouring , or any very striking arrange- ment of effect . Many persons , it is recorded , have passed through the chambers of the Va- tican , and then enquired for the paintings of ...
... Angelo are not recommended to us by the luxury of colouring , or any very striking arrange- ment of effect . Many persons , it is recorded , have passed through the chambers of the Va- tican , and then enquired for the paintings of ...
Page 25
... Angelo ; particu- larly in the picture of " The Almighty impart- ing life to Adam . " There , is no introduction of extraneous matter ; the attention of the observer is undividedly called to the consideration of that only , which is ...
... Angelo ; particu- larly in the picture of " The Almighty impart- ing life to Adam . " There , is no introduction of extraneous matter ; the attention of the observer is undividedly called to the consideration of that only , which is ...
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Common terms and phrases
action admiration adopted adorn agreeable application arrangement art of painting artist attention beauty breadth character Chiaro-oscuro church Cimabue colour combinations composition contrasts convey Coreggio cultivation degree delight direct display Domenichino draperies effect elevated employed endeavour engaged exalted excellence excite execution exhibited expression feeling Florentine Florentine school Fra Bartolomeo fulness genius Giorgione Giotto grace grandeur gratify Greeks Heliodorus honour hues imagination imitation imitative power imperfect important impress influence ingenious invention Italy knowledge labours Last Judgment LECTURE light and dark light and shade Masaccio masters means ment Michel Angelo mind mode nature object observer obtained ornamental painter peculiar perfect pleasure portion practice principles produce propriety purposes qualities racter Raffaelle refined Rembrandt rendered Rubens scenes selection sense sentiment Sir Joshua Reynolds style taste Tintoretto tion Titian tone truth ture union variety Vatican Venetian Venetian school whilst wrought
Popular passages
Page 198 - Last noon beheld them full of lusty life, Last eve in Beauty's circle proudly gay, The midnight brought the signal-sound of strife, The morn the marshalling in arms - the day Battle's magnificently stern array...
Page 195 - The other Shape — If shape it might be called that shape had none Distinguishable in member, joint, or limb...
Page 196 - The other shape, If shape it might be called that shape had none Distinguishable, in member, joint, or limb; Or substance might be called that shadow seemed, For each seemed either; black he stood as night; Fierce as ten furies; terrible as hell; And shook a deadly dart. What seemed his head The likeness of a kingly crown had on.
Page 312 - The poetry of Shakespear was inspiration indeed : he is not so much an imitator, as an instrument, of Nature ; and it is not so just to say that he speaks from her, as that she speaks through him.
Page i - If to do were as easy as to know what were^ good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions: I can easier teach twenty what were good to be done, than be one of the twenty to follow mine own teaching.
Page 251 - Yet nature is made better by no mean, But nature makes that mean: so, o'er that art, Which you say adds to nature, is an art That nature makes.
Page 447 - Thus if .a portrait-painter is desirous to raise and improve his subject, he has no other means than by approaching it to a general idea. He leaves out all the minute breaks and peculiarities in the face, and changes the dress from a temporary fashion to one more permanent. which has annexed to it no ideas of meanness from its being familiar to us.
Page 197 - So spake the grisly terror, and in shape, So speaking and so threatening, grew tenfold More dreadful and deform. On...
Page 370 - The common error that his colours all fail, ought by this time to be entirely effaced. It is too true that this is the case with the colouring of many pictures painted by him during a short period of his life; he thought that he had discovered a mode of rendering colouring more vivid, and employed it without duly considering the chemical qualities of his materials. But he was soon made acquainted with the mistake he had committed, reassumed his durable system with increased beauty and vigour, and...
Page 343 - Consonance, or harmony of hue, consists in those colours being brought together, which, though they may not be placed exactly in the regular order seen in the rainbow or in the chromatic scale, yet act in accordance with each other upon the eye, and produce no uneasy sensations within it, but rather afford it pleasure.