An Analytical Inquiry Into the Principles of Taste |
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Page ix
... 51. And of Contrast in Gothic Cathedrals . 52. Of Intricacy and Extent . 53. Lightness in Sculpture and Building . 54. Errors of Imitation in Principles . 55. Lightness in Painting . Flowing Lines . Rubens . CONTENTS . ix.
... 51. And of Contrast in Gothic Cathedrals . 52. Of Intricacy and Extent . 53. Lightness in Sculpture and Building . 54. Errors of Imitation in Principles . 55. Lightness in Painting . Flowing Lines . Rubens . CONTENTS . ix.
Page x
Richard Payne Knight. 55. Lightness in Painting . Flowing Lines . Rubens . 56. Corregio . 57. Sexual Beauty - its Principle . 58. Sudden Love . 59. Love , as existing among civilized and savage Men , and brute Animals , comparatively con ...
Richard Payne Knight. 55. Lightness in Painting . Flowing Lines . Rubens . 56. Corregio . 57. Sexual Beauty - its Principle . 58. Sudden Love . 59. Love , as existing among civilized and savage Men , and brute Animals , comparatively con ...
Page xi
... Lines and Forms . 85. In inanimate as well as animal Bodies . 86. Dignity and Elegance , wherein different , 87. Dancing . 88. Grace of Savages . 89. Of the Greeks . 90. Lines of Grace . 91. Spiral Columns , scooped Pediments , & c . 92 ...
... Lines and Forms . 85. In inanimate as well as animal Bodies . 86. Dignity and Elegance , wherein different , 87. Dancing . 88. Grace of Savages . 89. Of the Greeks . 90. Lines of Grace . 91. Spiral Columns , scooped Pediments , & c . 92 ...
Page 4
... lines , or colours , that are in themselves gratifying to the mind , or pleasing to the organs of sensation ? Or are we , in this respect , merely creatures of habit and imi- tation ; directed by every accidental impulse , and swayed by ...
... lines , or colours , that are in themselves gratifying to the mind , or pleasing to the organs of sensation ? Or are we , in this respect , merely creatures of habit and imi- tation ; directed by every accidental impulse , and swayed by ...
Page 7
... and horses ; and , at another , forces them to grow in forms and directions , which nature never intended : his trees and shrubs are planted in fantastic lines , or shorn into the shapes of animals or imple- ments Б 4 INTRODUCTION . 7.
... and horses ; and , at another , forces them to grow in forms and directions , which nature never intended : his trees and shrubs are planted in fantastic lines , or shorn into the shapes of animals or imple- ments Б 4 INTRODUCTION . 7.
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Common terms and phrases
according acquired afford animals appear applied arises association of ideas beau become body called cause CHAP character charms colour consequently delight duated effect elegance employed equally excited expression faculty feeling felt fræna GEORGIC gratification Greek habit harmony hearing human Iliad Imagina imitation impressions improved Perception inquiry insipid instances irregular Judg kind language less light and shadow malè mankind means melody ment mental sympathies merely metre mind modes nature nerves never nevertheless notion objects observed olfactory nerves organs of sense painful painters painting Paradise Lost perceived perfect person picturesque pleasing poetry polished languages principle produced proportion prosody qualities quantity racter Rembrandt laughed sculpture sensation sensibility sentiments sexual Sight Sir Joshua Reynolds smell smooth sound species Sublime and Beautiful sweet syllables taste temple of Vesta thing tiful tints tion Titian tone touch turally ture variety verse vibrations visible vision whence wherefore words СНАР
Popular passages
Page 402 - Thy son is gone; he rests among the dead. The swarm that in thy noon-tide beam were born ? Gone to salute the rising morn.
Page 362 - Millions of Spirits for his fault amerced* Of Heaven, and from eternal splendours flung For his revolt; yet faithful how they stood, Their glory withered: as when Heaven's fire Hath scathed the forest oaks, or mountain pines, With singed top their stately growth though bare Stands on the blasted heath.
Page 9 - I do not know whether I am singular in my opinion: but for my own part, I would rather look upon a tree in all its luxuriancy and diffusion of boughs and branches, than when it is thus cut and trimmed into a mathematical figure; and can not but fancy, that an orchard in flower looks infinitely more delightful than all the little labyrinths of the most finished parterre.
Page 376 - Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.
Page 402 - Mighty victor, mighty lord ! Low on his funeral couch he lies ! No pitying heart, no eye, afford A tear to grace his obsequies.
Page 362 - Archangel ; but his face Deep scars of thunder had intrenched, and care Sat on his faded cheek ; but under brows Of dauntless courage, and considerate pride Waiting revenge. Cruel his eye, but cast Signs of remorse and passion, to behold The fellows of his crime, the followers rather (Far other once beheld in bliss), condemned For ever now to have their lot in pain...
Page 362 - Shorn of his Beams ; or from behind the moon, In dim eclipse, disastrous twilight sheds On half the nations, and with fear of change Perplexes...
Page 358 - Pierre, whene'er thou seest my fears Betray me less, to rip this heart of mine Out of my breast, and show it for a coward's.
Page 16 - To seek the real beauty, or real deformity, is as fruitless an enquiry, as to pretend to ascertain the real sweet or real bitter. According to the disposition of the organs, the same object may be both sweet and bitter; and the proverb has justly determined it to be fruitless to dispute concerning tastes.
Page 127 - And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have ; but, in their stead, Curses, not loud but deep, mouth-honour, breath, Which the poor heart would fain deny, and dare not.