Art and the Formation of TasteMacmillan and Company, 1882 - 292 páginas |
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admiration antimacassars Architecture artist Athenian School Athens beauty belong blue called carving century civilisation Crane cultivated curtains Decorative Arts delicate dress dyes ELGIN MARBLES embroidery expression fashion feel figures Florentine school flowers Frederick Leighton genius gift glass Gothic art grace Greek hand harmony hues ideas imagination imitation kind labour lace lecture Leonardo Leonardo da Vinci living look material matter means ment merely Michael Angelo mind modern natural ness never object original ornament ourselves painter Painting Parthenon Pater pattern Paul Veronese perfect Pheidias picture pleasure Poetry Pope Julius II possess present produced qualities Raphael Renaissance Roman Ruskin says Sculp Sculpture seems sense shade Sistine Chapel stone stuffs suppose taste temple things tints tion Titian tone ture Venetian Venetian School walls Walter Crane wood yellow
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Página 195 - We have imagined for the mighty dead ; All lovely tales that we have heard or read : An endless fountain of immortal drink, Pouring unto us from the heaven's brink. Nor do we merely feel these essences For one short hour ; no, even as the trees That whisper round a temple become soon Dear as the temple's self, so does the moon, The passion poesy, glories infinite...
Página 230 - ... a multitude of pillars and white domes, clustered into a long low pyramid of coloured light; a treasure-heap, it seems, partly of gold, and partly of opal and mother-of-pearl, hollowed beneath into five great vaulted porches, ceiled with fair mosaic, and beset with sculpture of alabaster, clear as amber and delicate as ivory...
Página 160 - What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.
Página 170 - That honourable day shall ne'er be seen. Many a time hath banish'd Norfolk fought For Jesu Christ in glorious Christian field, Streaming the ensign of the Christian cross Against black pagans, Turks, and Saracens; And, toil'd with works of war...
Página 230 - their bluest veins to kiss" — the shadow, as it steals back from them, revealing line after line of azure undulation, as a receding tide leaves the waved sand; their capitals rich with interwoven tracery, rooted knots of herbage, and drifting leaves of acanthus and vine, and mystical signs, all beginning and ending in the Cross; and above them, in the broad archivolts, a continuous chain of language and of...
Página 259 - Graces had been the favourite shrine of Beatrice. She had spent her last days there, full of sinister presentiments; at last it had been almost necessary to remove her from it by force. And now it was here that mass was said a hundred times a day for her repose; and a mania for restoring churches took possession of the duke. So on the damp wall of the refectory, oozing with mineral salts, Leonardo painted the Last Supper.
Página 230 - ... other across the gates, their figures indistinct among the gleaming of the golden ground through the leaves beside them, interrupted and dim like the morning light as it faded back among the branches of Eden, when first its gates were angelguarded long ago.
Página 260 - Raphael, at Florence, painted it with sweet and solemn effect in the refectory of Saint Onofrio; but still with all the mystical unreality of the school of Perugino. Vasari pretends that the central head was never finished.
Página 149 - It is quite true that the art of India is delicate and refined. But it has one curious character distinguishing it from all other art of equal merit in design — it never represents a natural fact.
Página 254 - Renaissance is the name of a many-sided but yet united movement, in which the love of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt...