Daedalus: Or, The Causes and Principles of the Excellence of Greek Sculpture
Longman, Green, Longman, & Roberts, 1860 - 322 من الصفحات
The author's detailed descriptions of many Greek temples and sculpture and how they were created.
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able admiration anatomy ancient antiquity appear arch architecture artist Athens attributes bas-reliefs beauty become body bronze called causes ceiling character colossal colour columns considered contrast copies costume described discovered divine drapery effect employed equal evidence examples excellence executed exhibited expression face fact feeling feet figure give gods gold Greek hand head honour ideal imitation important indicate instance Italy ivory Jupiter lines Lond look Lysippus manner marble means merely mind Minerva monuments nature never object observable opinion original ornaments painted painter Paris Parthenon pediment perfect Phidias picture placed Pliny possessed present principle produce proportions reason referred regarded remains remarkable represented Roman says sculpture seems seen speaking statues stone sufficient suppose taste temple thought true Venus whole writers
الصفحة 251 - The ambrosial aspect, which, beheld, instils Part of its immortality ; the veil Of heaven is half undrawn ; within the pale We stand, and in that form and face behold What mind can make, when Nature's self would fail ; And to the fond idolaters of old ,Envy the innate flash which such a soul could mould.
الصفحة 74 - Or, turning to the Vatican, go see Laocoon's torture dignifying pain — A father's love and mortal's agony With an immortal's patience blending : — vain The struggle ; vain, against the coiling strain And gripe, and deepening of the dragon's grasp, The old man's clench ; the long envenom'd chain Rivets the living links, — the enormous asp Enforces pang on pang, and stifles gasp on gasp.
الصفحة 196 - Some to Conceit alone their taste confine. And glittering thoughts struck out at every line; Pleased with a work where nothing's just or fit; One glaring chaos and wild heap of wit. Poets, like painters, thus, unskill'd to trace The naked Nature and the living grace, With gold and jewels cover every part, And hide with ornaments their want of art.
الصفحة 61 - So every spirit, as it is most pure, And hath in it the more of heavenly light, So it the fairer body doth procure To habit in, and it more fairly dight, With cheerful grace and amiable sight For, of the soul, the body form doth take, For soul is form, and doth the body make.
الصفحة 255 - who takes for his model such forms as nature produces, and confines himself to an exact imitation of them, will never attain to what is perfectly beautiful. For the works of nature are full of disproportion, and fall very short of the true standard of beauty. So that Phidias, when he formed his Jupiter, did not copy any object ever presented to his sight; but contemplated only that image which he had conceived in his mind from Homer's description.
الصفحة 301 - We have seen above, that the whole mass of the .architecture, founded on Greek and Roman models, which we have been in the habit of building for the last three centuries, is utterly devoid of all life, virtue, honourableness, or power of doing good. It is base, unnatural, unfruitful, unenjoyable, and impious. Pagan in its origin, proud and unholy in its revival, paralysed in its old age...
الصفحة 167 - Mid the dim twilight of the laurel grove, Too fair to worship, too divine to love. Yet on that form in wild delirious trance With more than rev'rence gazed the Maid of France. Day after day the love-sick dreamer stood With him alone, nor thought it solitude ; To cherish grief, her last, her dearest care, Her one fond hope — to perish of despair.
الصفحة 258 - Regard not then if wit be old or new, But blame the false, and value still the true. Some ne'er advance a judgment of their own, But catch the spreading notion of the town ; They reason and conclude by precedent, And own stale nonsense which they ne'er invent. Some judge of authors' names, not works, and then Nor praise nor blame the writings, but the men.
الصفحة 253 - As, therefore, in other mimetic arts, one imitation is an imitation of one thing, so here the fable, being an imitation of an action, should be an imitation of an action that is one and entire, the parts of it being so connected that if any one of them be either transposed or taken away, the whole will be destroyed or changed; for whatever may be either retained or omitted, without making any sensible difference, is not properly a part.
الصفحة 203 - ... an antiquarian; and if it obstructs the general design of the piece, it is to be disregarded by the artist. Common sense must here give way to a higher sense. In the naked form, and in the disposition of the drapery, the difference between one artist and another is principally seen. But if he is compelled to exhibit the modern dress, the naked form is entirely hid, and the drapery is already disposed by the skill of the tailor.