On Imitative Art: Its Principles and Progress: With Preliminary Remarks on Beauty, Sublimity, and TasteG. Bell, 1882 - 392 من الصفحات |
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طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
action admiration Ageladas Alcamenes ancient Aphroditë Apollo appears Artemis artist Athenian Athens bas-relief beauty bronze bust called Capitoline Museum character Christ Church colossal colour copies Cresilas critics Crowe and Cavalcaselle death deity described Dionysus doubt drapery Dying Gaul executed expression figures Florence Florentine fresco gallery genius gods grandeur Greek hair hand head Hermes Ibid idea imagination Italian Laocoon Lessing's Louvre Lysippus Madonna marble Masaccio motive Müller nature Neapolitan Museum Niobe object observed opinion original Overbeck painter painting pathetic Pausanias pediment perhaps Pheidias picture piece Plin Pliny Pliny's poet Polycleitus Polygnotus portraits Poseidon posture Praxiteles probably Raphael remarkable represented resemblance Roman Rome Satyrs says scene Scopas sculpture second Attic school seems seen shown sometimes spectator statue story style taste temple thought tion ture Uffizi Vasari Vatican Venus Villa Ludovisi Virgin Welcker whilst youth Zeus
مقاطع مشهورة
الصفحة 21 - On the whole, it appears to me, that what is called taste, in its most general acceptation, is not a simple idea, but is partly made up of a perception of the primary pleasures of sense, of the secondary pleasures of the imagination, and of the conclusions of the reasoning faculty, concerning the various relations of these, and concerning the human passions, manners, and actions.
الصفحة 22 - Whoever would assert an equality of genius and elegance between Ogilby and Milton, or Bunyan and Addison, would be thought to defend no less an extravagance than if he had maintained a mole-hill to be as high as Teneriffe, or a pond as extensive as the ocean.
الصفحة 25 - ... strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty.
الصفحة 18 - It is but opening the eye, and the scene enters. The colours paint themselves on the fancy, with very little attention of thought or application of mind in the beholder. We are struck, we know not how, with the symmetry of any thing we see, and immediately assent to the beauty of an object, without inquiring into the particular causes and occasions of it.
الصفحة 25 - One accustomed to see, and examine, and weigh the several performances, admired in different ages and nations, can alone rate the merits of a work exhibited to his view, and assign its proper rank among the productions of genius.
الصفحة 107 - And, leaning, makes more dark the dread abyss In which it fears to fall ; beneath this crag Huge as despair, as if in weariness, The melancholy mountain yawns ; below, You hear but see not an impetuous torrent Raging among the caverns, and a bridge Crosses the chasm ; and high above there grow...
الصفحة 29 - There are many animals, who though far from being large, are yet capable of raising ideas of the sublime, because they are considered as objects of terror. As serpents and poisonous animals of almost all kinds.
الصفحة 18 - Our sight is the most perfect, and the most delightful, of all our senses. It fills the mind with the largest variety of ideas, converses with its objects at ihe greatest distance, and continues the longest in action without being tired, or satiated with its proper enjoyments.
الصفحة 23 - One obvious cause why many feel not the proper sentiment of beauty, is the want of that delicacy of imagination which is requisite to convey a sensibility of those finer emotions.
الصفحة 38 - In their lowest servitude and depression, the subjects of the Byzantine throne were still possessed of a golden key that could unlock the treasures of antiquity ; of a musical and prolific language, that gives a soul to the objects of sense, and a body to the abstractions of philosophy.