The Lives of the Most Eminent British Painters and Sculptors, Volume 2Harper & brothers, 1859 - Painters |
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Page 24
... opened a letter , and said , " I am instructed to give you unlimited credit ; you will have the goodness to ask for what sum you please . " It is not without cause that Mr. Galt says , " the munifi- cence of the Medici was equalled by ...
... opened a letter , and said , " I am instructed to give you unlimited credit ; you will have the goodness to ask for what sum you please . " It is not without cause that Mr. Galt says , " the munifi- cence of the Medici was equalled by ...
Page 26
... opened a way to those marks of academic approbation usually be- stowed on fortunate artists . Having studied the great Italian masters , and acquired much useful knowledge in the trick of colour and composition , he had no wish to ...
... opened a way to those marks of academic approbation usually be- stowed on fortunate artists . Having studied the great Italian masters , and acquired much useful knowledge in the trick of colour and composition , he had no wish to ...
Page 44
... opened spontaneously like those of Milton's Para- dise , no longer flew wide at his approach , but turned on their hinges grating and reluctantly . What this might mean he was informed by Mr. Wyatt , the royal architect , who called and ...
... opened spontaneously like those of Milton's Para- dise , no longer flew wide at his approach , but turned on their hinges grating and reluctantly . What this might mean he was informed by Mr. Wyatt , the royal architect , who called and ...
Page 45
... opened to their studies and their distresses . The breath of envy or the whisper of detraction never defiled my lips , nor the want of morality my character ; and your Majesty's virtues and those of her Majesty have been the theme of my ...
... opened to their studies and their distresses . The breath of envy or the whisper of detraction never defiled my lips , nor the want of morality my character ; and your Majesty's virtues and those of her Majesty have been the theme of my ...
Page 46
... opened the continent , and thither West went , to see with his own eyes the splendid works of the pencil and chisel , which Buonaparte had assembled in the Louvre . The President of the British Academy was not to be overlooked by the ...
... opened the continent , and thither West went , to see with his own eyes the splendid works of the pencil and chisel , which Buonaparte had assembled in the Louvre . The President of the British Academy was not to be overlooked by the ...
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Common terms and phrases
admired Amelia Opie appeared artist Barry Barry's beauty Benjamin West Bird Blake brethren Burke called character colours companion compositions copy death Domenichino drawing easel eminent engravings excellence exclaimed exhibited eyes fame fancy father feeling Felpham finished formed fortune friends Fuseli gallery genius GEORGE MORLAND grace grave guineas hand happy Hassell Henry Fuseli historical honour imagination imbodied invention kind King labour lived London looked Lord Lord Grosvenor Majesty master merit Michael Angelo Milton mind Morland nation nature never Opie original painter painting pencil person picture Pindar poet poetic poetry portrait praise Prince Hoare productions Quaker racter Raphael Rembrandt Reynolds Rome Royal Academy says scene seemed Shakspeare Sir Joshua Sir Joshua Reynolds Sistine Chapel sketches skill spirit talents taste temper thing thought tion Titian tures visions West wife wild wish Wolcot young
Popular passages
Page 126 - What the hammer? What the chain? In what furnace was thy brain? What the anvil? What dread grasp Dare its deadly terrors clasp? When the stars threw down their spears, And water'd heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee...
Page 125 - Whether in Heaven ye wander fair, Or the green corners of the earth, Or the blue regions of the air Where the melodious winds have birth...
Page 131 - PIPING down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: 'Pipe a song about a Lamb!
Page 126 - TIGER! Tiger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder, and what art, Could twist the sinews of thy heart?
Page 150 - So the Lord blessed the latter end of Job more than the beginning...
Page 142 - This is an awful thing to say to oil painters ; they may call it madness, but it is true. All the genuine old little pictures, called cabinet pictures, are in fresco and not in oil.
Page 141 - Colouring does not depend on where the Colours are put, but on where the lights and darks are put, and all depends on Form or Outline. On where that is put; where that is wrong, the Colouring never can be right; and it is always wrong in Titian and Correggio, Rubens and Rembrandt.
Page 232 - Peter's, scattered into infinity of jarring parts by Bramante and his successors, he concentrated ; suspended the cupola, and to the most complex gave the air of the most simple of edifices.
Page 144 - How do we distinguish the oak from the beech, the horse from the ox, but by the bounding outline? How do we distinguish one face or countenance from another, but by the bounding line and its infinite inflexions and movements?
Page 143 - The characters of Chaucer's Pilgrims are the characters which compose all ages and nations: as one age falls, another rises, different to mortal sight, but to immortals only the same; for we see the same characters repeated again and again, in animals, vegetables, minerals, and in men; nothing new occurs in identical existence; Accident ever varies, Substance can never suffer change nor decay. Of Chaucer's characters, as described in his Canterbury Tales...