pt. 1. Of general principles. pt. 2. Of truthJ. Wiley & son, 1888 - Aesthetics |
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Page xxvi
... praise is that they are impossible . We shall not pass through a single gallery of old art , without hearing this topic of praise confidently advanced . The sense of artificialness , the absence xxvi PREFACE TO THE SECOND EDITION .
... praise is that they are impossible . We shall not pass through a single gallery of old art , without hearing this topic of praise confidently advanced . The sense of artificialness , the absence xxvi PREFACE TO THE SECOND EDITION .
Page xxvii
John Ruskin. confidently advanced . The sense of artificialness , the absence of all appearance of reality , the clumsiness of combination by which the meddling of man is made evident , and the feebleness of his hand branded on the ...
John Ruskin. confidently advanced . The sense of artificialness , the absence of all appearance of reality , the clumsiness of combination by which the meddling of man is made evident , and the feebleness of his hand branded on the ...
Page xxix
... sense that the sculptor does not work for the anatomist , but for the common observer of life and nature . Yet the sculptor is not , for this reason , permitted to be wanting either in knowl- edge or expression of anatomical detail ...
... sense that the sculptor does not work for the anatomist , but for the common observer of life and nature . Yet the sculptor is not , for this reason , permitted to be wanting either in knowl- edge or expression of anatomical detail ...
Page xxxv
... sense enough to decide . Again , it does not follow that because such accurate knowl- edge is necessary to the painter that it should constitute the painter , nor that such knowledge is valuable in itself , and with- out reference to ...
... sense enough to decide . Again , it does not follow that because such accurate knowl- edge is necessary to the painter that it should constitute the painter , nor that such knowledge is valuable in itself , and with- out reference to ...
Page xliv
... sense of the word , not by audacious liberty of that faculty of degrading God's works which man calls his " imagination , " but by perfect assertion of entire knowledge of every part and character and function of the object , and in ...
... sense of the word , not by audacious liberty of that faculty of degrading God's works which man calls his " imagination , " but by perfect assertion of entire knowledge of every part and character and function of the object , and in ...
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Common terms and phrases
aerial perspective Albert Durer altogether appear architecture artist beauty blue boughs Canaletto character chiaroscuro Claude clouds color colorists conception Copley Fielding dark degree delicate distance distinct drawing edge effect especially evident expression exquisite faculty false farther feeling foliage foreground Gallery Gentile Bellini Giorgione give given gray hills ideal ideas imagination imitation impossible impression instance Italy J. M. W. Turner kind landscape art landscape painters less light and shade lines look mass means mind mist modern mountain nature necessary ness never Nicholas Poussin object observed old masters painting peculiar perception perfect Perugino picture pleasure Poussin present principles proportion pure qualities receive reflection rendered respect Rivers of France rock seen sense shadow space sublime surface things thought Tintoret tion Titian tone touch trees truth ture Turner unity Venice visible whole
Popular passages
Page 17 - And he took up his parable and said, Balaam the son of Beor hath said, and the man whose eyes are open hath said...
Page 365 - From God who is our home. Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.
Page 34 - There is not wind enough to twirl The one red leaf, the last of its clan, That dances as often as dance it can, Hanging so light, and hanging so high, On the topmost twig that looks up at the sky.
Page 410 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.
Page 165 - All has passed, unregretted as unseen; or if the apathy be ever shaken off, even for an instant, it is only by what is gross, or what is extraordinary; and yet it is not in the broad and fierce manifestations of the elemental energies, not in the clash of the hail, nor the drift of the whirlwind, that the highest characters of the sublime are developed. God is not in the earthquake, nor in the fire, but in the still, small voice.
Page 225 - It is one of the most difficult things in the world to...
Page 48 - O Proserpina, For the flowers now that frighted thou let'st fall From Dis's waggon! daffodils That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength...
Page 47 - Horatio; a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar?
Page 49 - Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?
Page 51 - Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.