Lectures on SculptureJ. Murray, 1829 - 243 pagina's |
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acromion action admired adorned alto-relievo anatomical animals antiquity Apollo architecture artists arts of design Athenians Athens Bacchus barbarous basso-relievos beauty body and limbs bronze Cathedral Cathedral of Pisa Chapel character Christian church Clementinum Cnidos colossal composition Dædalus divinities drapery early effect Egypt Egyptian elegance employed equally examples excellence executed feet Flaxman folds forms genius geometry gods grace Grecian Greece Greek head Hercules hero heroic Hesiod Hippocrates Homer Hullmandel human figure improvement inferior Italy Jupiter kings Laocoon Last Judgment Lectures legs Leonardo da Vinci magnificent marble ment Michael Angelo Minerva monument motion muscles Museum nature noble observations painted vases painting and sculpture palace Pausanias pediment perfection Phidias philosophy Plate Pliny poets Praxiteles principles Printed produced proportions racter reign represented resemblance Roman Rome sacred scapula sculp sculpture sentiment statues style sublime temple Theseus tion tomb tunic ture Venus Vitruvius Westminster Abbey
Populaire passages
Pagina 89 - His Athenian Minerva and Olympian Jupiter at Elis possessed beauty which seemed to have added something to religion, the majesty of the work was so worthy of the divinity.
Pagina 152 - It is remarkable, that, immediately after, he says, " Phidias is skilful in beauty." Aristotle, the Scholar of Plato, begins his Treatise on Morals thus : — " Every art, every method and institution, every action and council, seems to seek some good ; therefore the ancients pronounced the beautiful to be good.
Pagina 93 - Olympian conquerors, his head crowned with olive, and his pallium decorated with beasts, birds, and flowers. The four corners of the throne were dancing Victories, each supported by a sphinx tearing a Theban youth. At the back of the throne, above his head, were the three Hours or seasons on one side, and on the other the three Graces. On the bar between the legs of the throne, and the panels or spaces between them, were represented many stories ; the destruction of Niobe's children...
Pagina 140 - Beauty ; for the artist has left specimens of this quality in several of his works. We were a good deal disappointed. It sets out in this manner : ' That beauty is not merely an imaginary quality, but a real essence, may be inferred from the harmony of the universe ; and the perfection of its wondrous parts we may understand from all surrounding nature ; and in this course of observation we find that man has more of beauty bestowed on him as he rises higher in creation.
Pagina 22 - ... history, that is to be found in Western Europe. It is, therefore, probable, that the general idea of the work might be brought from the East, by some of the Crusaders. But there are two arguments strongly in favour of the execution being English : the family name of the bishop is English, " Joceline Troteman "; and the style, both of sculpture and architecture, is wholly different from the tombs of Edward the Confessor and Henry III., which were by Italian artists.
Pagina 293 - Euripides, and Sophocles ; the systems of ancient philosophy with Greek mysteries, initiations, and mythology. The study of these will give the young artist the true principles of composition. By carefully observing them, he will accustom himself to a noble habit of thinking, and consequently...
Pagina 310 - It has received the honour of being allowed by posterity to have taken the lead in restoring art ; and indeed the traveller, on entering the city gates, is astonished by a scene of architectural magnificence and singularity not to be equalled in the world.
Pagina 54 - ... there is not the smallest idea of perspective in the place, or magnitude of figures or buildings. Figures intended to be in violent action are equally destitute of joints, and other anatomical form, as they are of the balance and spring of motion, the force of a blow, or the just variety of line in the turning figure. In a word, their historical art was informing the beholder in the best manner they could, according to the rude characters they were able to make. From such a description it is...
Pagina 338 - ... of action ; to these might be added an enumeration of distinctions both celestial and terrestrial. But the arts of design may exert their utmost efforts if employed on the personages and events of Divine revelation. The gradations of celestial power and beauty in the orders of angels and archangels, the grandeur and inspiration of prophets, according to the difference of mission, and the sanctity of apostles, have produced examples of grace, beauty, and grandeur of character, original in themselves,...
Pagina 20 - ... to the reign of Henry III. Near the pediment is our Saviour come to judgment, attended by angels and his twelve apostles. The upper arches on each side, along the whole of the west front, and continued in the north and south ends, are occupied by figures rising from their graves, strongly expressing the hope, fear, astonishment, stupefaction, or despair, inspired by the presence of the Lord and Judge of the world in that awful moment. In speaking of the execution of such a work, due regard must...