The Works of William Mason, Том 3T. Cadell and W. Davies, 1811 |
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Стр. 48
... partibus , unus Luminis umbrarumque globus tantummodo fiet , ' XXXI . The conduct of the Tints of Light and Shadow . 275 " XXXI . Tonorum Luminum et Umbrarum ratio . Yet skill'd the separate masses to dispose , Where'er , [ 48 ]
... partibus , unus Luminis umbrarumque globus tantummodo fiet , ' XXXI . The conduct of the Tints of Light and Shadow . 275 " XXXI . Tonorum Luminum et Umbrarum ratio . Yet skill'd the separate masses to dispose , Where'er , [ 48 ]
Стр. 50
... shadows deep ; While on the front the sparkling lustre plays , And meets the eye in full meridian blaze . True Colouring thus , in plastic power excels , Fair to the visual point her forms she swells , And lifts them from their flat ...
... shadows deep ; While on the front the sparkling lustre plays , And meets the eye in full meridian blaze . True Colouring thus , in plastic power excels , Fair to the visual point her forms she swells , And lifts them from their flat ...
Стр. 52
... shadows steal ; 440 1 Utque in progressu jubar attenuatur ab ortu Solis , ad occasum paulatìm , et cessat eundo ; Sic tabulis lumen , tota in compage colorum , Primo à fonte minus sensim declinat eundo . 320 Majus ut in statuis , per ...
... shadows steal ; 440 1 Utque in progressu jubar attenuatur ab ortu Solis , ad occasum paulatìm , et cessat eundo ; Sic tabulis lumen , tota in compage colorum , Primo à fonte minus sensim declinat eundo . 320 Majus ut in statuis , per ...
Стр. 59
... shadow , her meridian glow . Adversisque locis ingestus plurimus , ardens : Sed levitèr parcéque datus vergentibus ... shadows . f XLVIII . The picture to be of one piece . 8 XLIX . The Looking - glass the Painter's best master . h L ...
... shadow , her meridian glow . Adversisque locis ingestus plurimus , ardens : Sed levitèr parcéque datus vergentibus ... shadows . f XLVIII . The picture to be of one piece . 8 XLIX . The Looking - glass the Painter's best master . h L ...
Стр. 89
... shadow , and the attitude of every figure or animal that is introduced , or makes a part of the work . Composition , which is the principal part of the inven- tion of a Painter , is by far the greatest difficulty he has to encounter ...
... shadow , and the attitude of every figure or animal that is introduced , or makes a part of the work . Composition , which is the principal part of the inven- tion of a Painter , is by far the greatest difficulty he has to encounter ...
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Accent admirable Albert Durer Andrea Andrea Sacchi Anthem antient Antwerp appear Artist atque Author Bagnacavallo beauty called Caracci charms Chaunt Church Music colours Composer composition Correggio defect detto Discant Domenichino drapery Essay expression figures forms Francesco Fresnoy genius Giacomo Giottino Giov Girolamo give grace Guercino Guido harmony History Bologna idea imitated instrument invention kind Landsc light and shade Ludovico Carracci manner master Melody ment Michael Angelo mind mode modern Nature noble Note ornamental Painter Paris passions Paul Brill Paul Veronese perfect performed picture Pietro Pietro Perugino pleasing poem Poet poetical Poetry Portraits practice principal produce Prospero Fontana Psalmody Psalms quæ Raffaelle reader Rome Rubens rules shadows Simon Vouet singing solemn Studied under Excelled style syllable taste thing tion Titian tragedy translation true Udina Venice Verse Virgil Vocal whole words
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Стр. 29 - Viselli : 105 est modus in rebus, sunt certi denique fines, quos ultra citraque nequit consistere rectum.
Стр. 306 - Anon they move In perfect phalanx to the Dorian mood Of flutes and soft recorders...
Стр. 302 - The interim of unsweating themselves regularly and convenient rest before meat may both with profit and delight be taken up in recreating and composing their travailed spirits with the solemn and divine harmonies of music, heard or learned either while the skilful organist plies his grave and fancied descant in lofty fugues or the whole symphony with artful and unimaginable touches adorn and grace the well-studied chords of some choice composer — sometimes the lute or soft organ-stop waiting on...
Стр. 189 - After all, it is a good thing to laugh at any rate ; and if a straw can tickle a man, it is an instrument of happiness.
Стр. 205 - Otway possessed this part as thoroughly as any of the ancients or moderns. I will not defend every thing in his Venice Preserved; but I must bear this testimony to his memory, that the passions are truly touched in it, though, perhaps there is somewhat to be desired both in the grounds of them, and in the height and elegance of expression ; but nature is there, which is the greatest beauty.
Стр. 23 - The tuneful page with speaking picture charm. What to the ear sublimer rapture brings, That strain alone the genuine Poet sings ; That form alone where glows peculiar grace, The genuine Painter condescends to trace : 10 No sordid theme will verse or paint admit, Unworthy colours, if unworthy wit.
Стр. 197 - ... incidents which are foreign to his poem, and are naturally no parts of it : they are wens, and other excrescences, which belong not to the body, but deform it. No person, no incident in the piece or in the play, but must be of use to carry on the main design. All things else are like six fingers to the hand, when nature, which is superfluous in nothing, can do her work with five. " A Painter must reject all trifling ornaments ;" — so must a Poet refuse all tedious and unnecessary descriptions.
Стр. 204 - Jupiter ;" and, to speak in the same heathen language, we call it the gift of our Apollo, not to be obtained by pains or study, if we are not born to it : for the motions which are studied are never so natural as those which break out in the height of a real passion. Mr. Otway possessed this part as thoroughly as any of the antients or moderns.
Стр. 220 - Oh lasting as those colours may they shine, Free as thy stroke, yet faultless as thy line, New graces yearly like thy works display, Soft without weakness, without glaring gay ; Led by some rule that guides, but not constrains ; And finish 'd more through happiness than pains.
Стр. 3 - SHADWELL'S barren head, The Bard oppress'd, yet not subdued by fate, For very bread descended to translate : And he, whose fancy, copious as his phrase, Could light at will expression's brightest blaze^ On Fresnoy's lay...