A Hand-book of the History of Painting: The Italian schools of paintingsJ. Murray, 1842 - 444 lappuses |
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Academy Adoration allegorical alluded altar altar-picture altarpiece Andrea angels antique appears artist ascribed beautiful belong Berlin Museum Bologna Brera Byzantine Caracci cartoons celebrated chapel character church Cimabue colour composition conception Coreggio Cosimo Rosselli countenance dignity distinguished Domenichino Domenico drapery Duomo engraved excellent executed expression feeling figures Florence Florentine Francesco Francis frescos gallery Giorgione Giotto Giovanni Giulio Giulio Romano graceful grand groups hand heads Holy Family imitation important infant Christ Italian Italy kneels later period Leonardo Lorenzo Luca Signorelli Madonna and Child manner Maria Masaccio master mentioned Michael Angelo Milan Naples noble painted painter Paolo Veronese particularly Passavant peculiar Perugia Perugino picture Pietro Pitti palace Pope portraits principal Raphael remarkable repre representations represented Roman Rome Rumohr Saints scholars side Siena Sienese specimens style subjects tion Titian tures Uffizj at Florence Urbino Vasari Vatican Venetian Venetian Academy Venetian school Venice Virgin wall youth
Populāri fragmenti
3. lappuse - For he shall grow up before him as a tender plant, And as a root out of a dry ground. He hath no form nor comeliness; And when we shall see him, there is no beauty that we should desire him.
13. lappuse - But thou, Beth-lehem Ephratah, though thou be little among the thousands of Judah, yet out of thee shall he come forth unto me that is to be ruler in Israel; whose goings forth have been from of old, from everlasting.
65. lappuse - Wherefore I prayed, and understanding was given me: I called upon God, and the spirit of wisdom came to me. I preferred her before sceptres and thrones, and esteemed riches nothing in comparison of her.
48. lappuse - A dame, to whom none openeth pleasure's gate More than to death, was, 'gainst his father's will, His stripling choice : and he did make her his, Before the spiritual court, by nuptial bonds, And in his father's sight : from day to day, Then loved her more devoutly.
73. lappuse - Lower down is the earth, where men are rising from the graves ; armed angels direct them to the right and left. Here is seen Solomon, who whilst he rises seems doubtful to which side he should turn ; here a hypocritical monk, whom an angel draws back by the hair from the...
46. lappuse - Credette Cimabue nella pittura Tener lo campo, ed ora ha Giotto il grido, Sì che la fama di colui è oscura.
72. lappuse - Saints next to them, severe, solemn, dignified figures. Angels, holding the instruments of the passion, hover over Christ and the Virgin : under them is a group of angels, in the strictest symmetrical arrangement, who summon the dead from their graves ; two blow the trumpets, a third conceals himself in his drapery, shuddering at the awful spectacle.
204. lappuse - It required the united power of an architect, sculptor, and painter to conceive a structural whole of so much grandeur, to design the decorative figures with the significant repose required by their sculpturesque character, and yet to preserve their subordination to the principal subjects, and to keep the latter in the proportions and relations best adapted to the space to be filled.
211. lappuse - ... defects alluded to are less offensive to the eye. The lower half deserves the highest praise. In these groups, from the languid resuscitation and upraising of the pardoned, to the despair of the condemned, every variety of expression, anxiety, anguish, rage, and despair, is powerfully delineated. In the convulsive struggles of the condemned with the evil demons, the most passionate energy displays itself, and the extraordinary skill of the artist here finds its most appropriate exercise.
205. lappuse - ... the guilty pair, who are in the act of plucking the forbidden fruit. The figures are nobly graceful, particularly that of Eve. Close to the serpent hovers the angel with the sword, ready to drive the fallen beings out of paradise. In this double action, this union of two separate moments, there is something peculiarly poetic and significant : it is guilt and punishment in one picture.