Essays on the Picturesque, as Compared with the Sublime and the Beautiful; And, on the Use of Studying Pictures, for the Purpose of Improving Real Landscape, المجلد 2J. Mawman, 22, Poultry., 1810 |
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طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
abrupt accompaniments admired ancient appearance architect architecture arises artificial water artist banks beauty Blenheim bridge Brown buildings castle character chimnies circumstances colour columns concealment considered Cyclops decorations degree distinct effect English gardening enrichment entablature Essay foliage fore-ground garden give grandeur gravel ground height idea imitation improver instance intricacy irregular Italian architecture jects kind lake landscape less light and shadow likewise line of beauty lines magnificence manner massive means ment mentioned mixed mixture monotony natural neral ness objects observed ornaments painters painting Paul Veronese picturesque Pietro da Cortona placed plants portico Poussin Powis Castle principle produce projections racter regular richness rieties river rocks Roman school roofs ruins scene scenery seems shew shewn shrubs simplicity Sir Joshua Reynolds smooth stone striking style summit surface symmetry taste temple thickets tints tion Titian Tivoli towers trees ture uniform varied variety vegetation whole
مقاطع مشهورة
الصفحة 272 - They pluck'd the seated hills with all their load, Rocks, waters, woods, and by the shaggy tops Uplifting bore them in their hands. Amaze, Be sure, and terror seized the rebel host, When coming towards them so dread they saw The bottom of the mountains upward turn'd ; Till on those cursed engines...
الصفحة 386 - Thirdly, to have a variety in the direction of the parts ; but, fourthly, to have those parts not angular, but melted as it were into each other. Fifthly, to be of a delicate frame, without any remarkable appearance of strength.
الصفحة 232 - ... be smooth and polished; the great, rugged and negligent: beauty should shun the right line, yet deviate from it insensibly; the great in many cases loves the right line; and when it deviates, it often makes a strong deviation: beauty should not be obscure; the great ought to be dark and gloomy: beauty should be light and delicate; the great ought to be solid, and even massive.
الصفحة 241 - All external objects affect us in two different ways — by the impression they make on the senses, and by the reflections they suggest to the mind. These two modes, though very distinct in their operations, often unite in producing one effect ; the reflections of the mind either strengthening, weakening, or giving a new direction to the impression received by the eye.
الصفحة 318 - When the object represented in poetry or painting is such as we could hare no desire of seeing in the reality, then I may be sure that its power in poetry or painting is owing to the power of imitation, and to no cause operating in the thing itself.
الصفحة 108 - I entered upon this subject.! I remember the rich and magnificent effects' of balustrades, fountains, marble basons, and statues, blocks of ancient ruins, with remains of sculpture, the whole mixed with pines and cypresses. I remember also their effect, both as an accompaniment to the architecture, and as a foreground to the distance.
الصفحة 205 - ... that line, is obvious. Sir Joshua Reynolds is, I believe, the first who has done justice to the architecture of Vanbrugh, by shewing that it was not a mere fantastic style, without any other object than that of singularity, but that he worked on the principles of painting, and has produced the most painter-like effects.* It is very possible that the ridicule thrown on Vanbrugh's buildings by some of the wittiest men of the age he lived in, though: not the best judges of art, may in no slight...
الصفحة 320 - The different degrees of fore-shortening, in the rafters, in the half-opened doors and casements ; the winding staircases seen only in part ; chairs, tables, cradles, baskets, &c. all serve to vary the perspective, and form the most artful, yet the most natural groups : and the pots, pans, kettles, and all the various utensils, are distributed with the same intention. The outsides of his cottages are no less distinguished for their variety and intricacy. Their outline against the sky, is generally...
الصفحة 108 - ... unadorned nature, is too sudden a transition, and wants that sort of gradation and congruity, which, except in particular cases, is so necessary in all that is to please the eye and the mind.
الصفحة 340 - ... to promote those objects. The houses should, therefore, be disposed with that view, and should differ as much in their disposition from those of a regularly built city, as the trees which are meant to have the character of natural groups^ should from those of an avenue. Wherever symmetry and exact uniformity are introduced, those objects which produce a marked intricacy and variety must in general be sacrificed.