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Addison admired ancient Angelo antiquity Apennines appearance Appian arches architecture baths beautiful Boccacio Brighella bronze built busts called Capitoline Hill celebrated century character church Coliseum colour columns Corinthian order cupola Dante decorated Domenichino edifice exhibits feet figure Florence frescos front gallery Genoa Goldoni Gothic Greek head hills imitation inscription Italian Italy Jupiter Juvenal latter Livy look magnificent Maremma Mathews merit modern Mont Mont Cenis mountain nature objects observes Ovid painter painting palace Palatine Hill pass perhaps Peter's picture piece pillars placed plain Pliny poet portico portrait Praxiteles Raphael relievos remains remark represented road Roman Rome round sarcophagus says Forsyth scene Scipio sculpture seems Septimius Severus shew side Siena Sismondi spectators stands statue stone story style sublime supposed taste temple theatre thought tion tomb Trajan ture Turin Tuscan valley Vallombrosa Vatican Venus verse villas Virgin walls whole
Page 160 - Insuperable height of loftiest shade, Cedar, and pine, and fir, and branching palm, A sylvan scene, and, as the ranks ascend Shade above shade, a woody theatre Of stateliest view.
Page 160 - But o'er the twilight groves and dusky caves, Long-sounding aisles and intermingled graves, Black Melancholy sits, and round her throws A death-like silence, and a dread repose : Her gloomy presence saddens all the scene, Shades every flower, and darkens every green, Deepens the murmur of the falling floods. And breathes a browner horror on the woods...
Page 267 - Aequore damae. Vidimus flavum Tiberim retortis Littore Etrusco violenter undis Ire dejectum monumenta regis Templaque Vestae ; Iliae dum se nimium querenti Jactat ultorem, vagus et sinistra Labitur ripa Jove non probante u^ xorius amnis.
Page 217 - But Rome is as the desert, where we steer Stumbling o'er recollections: now we clap Our hands, and cry, " Eureka ! it is clear — " When but some false mirage of ruin rises near.
Page 140 - The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players.
Page 378 - Jn allegorizing Nature, Guercino imitates the deep shades of night, the twilight grey, and the Irradiations of morning with all the magic of chiaroscuro; but his figures are too mortal for the region where they move. The work of Guido is more poetic, and luminous, and soft, and harmonious. Cupid, Aurora, Phoebus form a climax of beauty, and the Hours seem as light as the clouds on which they dance.
Page 287 - Such reflections check our regret for its ruin. As it now stands, the Coliseum is a striking image of Rome itself — decayed, vacant, serious, yet grand...
Page 217 - Whence this excess of joy ? what has befallen me ? And from within a thrilling voice replies, Thou art in Rome ! A thousand busy thoughts Rush on my mind, a thousand images ; And I spring up as girt to run a race ! Thou art in Rome ! the city that so long Reigned absolute, the mistress of the world...