Contributions to the Literature of the Fine Arts, 1. ciltJ. Murray, 1870 - 401 sayfa On spine: First series. |
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alluded alto-rilievo ancient antique appears applicable architecture Aristotle artists attributes basso-rilievo beauty Capella Sistina Cartoons ceiling celebrated character characteristic chiaroscuro chiefly Christ church circumstances colour compared composition considered Correggio dark decoration dimensions distance distinct drapery effect employed examples excellence executed exhibit expression figures Florence foreshortening fresco Giorgione Giovanni Santi Giulio Romano gradation Greek hues human imitation impression indistinctness influence instance Italian latter Leon Battista Alberti Leonardo Leonardo da Vinci less light and shade Lodovico Dolce Luca Signorelli Madonna marble Masaccio masters means ment mezzo-rilievo Michael Angelo modern modes nature objects observed painters painting Passavant perhaps Perugia Perugino Pietro Pittura portraits principle qualities question Raphael reference regard relief remarkable representation represented require resemblance rilievi Rome sculpture seen shadows sometimes specimens spectator statues style subjects supposed surface tapestries taste Timoteo Viti tion Titian treatment Urbino variety Vasari Vatican Venetian walls writers
Popüler pasajlar
Sayfa 228 - And put it to the foil : but you, O you, So perfect, and so peerless, are created Of every creature's best.
Sayfa 398 - And as Jesus passed by, He saw a man which was blind from his birth. And His disciples asked Him, saying, "Master, who did sin, this man, or his parents, that he was born blind?" Jesus answered, "Neither hath this man sinned, nor his parents: but that the works of God should be made manifest in him.
Sayfa 58 - A Painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate, and impress the mind with great veneration for the character of the hero or saint he represents, though he lets us know at the same time, that the saint was deformed, or the hero lame.
Sayfa 124 - They are among the best specimens of that mixed style or union of basso-rilievo with the principles of painting which the sculptors of the fifteenth century and their imitators imagined to be an improvement on the well-considered simplicity of the ancients. In these and similar specimens the unreal forms of perspective buildings and...
Sayfa 59 - He cannot make his hero talk like a great man ; he must make him look like one. For which reason, he ought to be well studied in the analysis of those circumstances which constitute dignity of appearance in real life.
Sayfa 253 - I have satisfied all those who have seen the sketches, but I do not satisfy my own judgment, because I am afraid of not satisfying yours. I send them to you. Our Sovereign, in doing me honour, has at the same time laid a heavy burden of responsibility on my shoulders. This is the direction of the building of St. Peter's. I have good hope that I shall not sink under it, the more so as the model which I have made pleases his Holiness, and is praised by many intelligent judges. But I aspire in thought...
Sayfa 382 - Though richest hues the peacock's plumes adorn, Yet horror screams from his discordant throat. Rise, sons of harmony, and hail the morn, While warbling larks on russet pinions float.
Sayfa 123 - Italians stiacciato, (the flattest kind of mezzo-relievo, according to the definition before given,) which he probably adopted, as he worked in bronze, from the facility of casting ; yet, in such a style, commanding little distinctness from its inconsiderable projection, he introduced buildings, landscape, and the usual accessories of a picture. But this misapplication of ingenuity was carried still further by Lorenzo Ghiberti, in the celebrated bronze doors of the...
Sayfa 122 - These works, placed in the open air, decorated the approaches to cities, as sepulchres were always 'without the walls. The Appian way was the most magnificent of these streets of tombs in the neighbourhood of Rome, and must have exhibited, literally, thousands of sepulchral monuments. Though, generally, the work of Greek artists, and often interesting from being copies of better works, now lost, the haste and inattention with which such prodigious numbers were executed, tended to degrade the style...
Sayfa 118 - Mezzorelievo differs from both : it has neither the limited attitudes of the first, nor the distinct outline, and suppressed, internal markings of the second ; on the contrary, the outline is often less distinct than the forms within it, and hence it requires and is fitted for near inspection. Its imitation may thus be more absolute, and its execution more finished, than either of the other styles.