Essays on the Picturesque, as Compared with the Sublime and the Beautiful: And, on the Use of Studying Pictures, for the Purpose of Improving Real Landscape, Band 2

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J. Mawman, 1810 - 400 Seiten
 

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Seite 278 - They pluck'd the seated hills with all their load, Rocks, waters, woods, and by the shaggy tops Uplifting bore them in their hands. Amaze, Be sure, and terror seized the rebel host, When coming towards them so dread they saw The bottom of the mountains upward turn'd ; Till on those cursed engines...
Seite 392 - Thirdly, to have a variety in the direction of the parts ; but, fourthly, to have those parts not angular, but melted as it were into each other. Fifthly, to be of a delicate frame, without any remarkable appearance of strength.
Seite 247 - All external objects affect us in two different ways — by the impression they make on the senses, and by the reflections they suggest to the mind. These two modes, though very distinct in their operations, often unite in producing one effect ; the reflections of the mind either strengthening, weakening, or giving a new direction to the impression received by the eye.
Seite 238 - ... be smooth and polished; the great, rugged and negligent: beauty should shun the right line, yet deviate from it insensibly; the great in many cases loves the right line; and when it deviates, it often makes a strong deviation: beauty should not be obscure; the great ought to be dark and gloomy: beauty should be light and delicate; the great ought to be solid, and even massive.
Seite 123 - A flight of steps of a plainer kind, with a mere parapet on the sides, led up to this upper terrace underneath the shrubs and exotics. All this gave me emotions in my youth, which I long imagined were merely those of early habit; but I am now convinced that was not all ; they also arose from a quick succession of varied objects, of varied forms, tints, lights, and shadows ; they arose from the various degrees of intricacy and suspense that were produced by the no less various degrees and kinds of...
Seite 112 - Where architecture, even of the simplest kind, is employed in the dwellings of man, art must be manifest ; and all artificial objects may certainly admit, and in many instances require the accompaniments of art; for to go at once from art to simple unadorned nature, is too sudden a transition, and wants that sort of gradation and congruity, which, except in particular cases, is so necessary in all that is to please the eye and the mind.
Seite 119 - America: like me (but howdiffer117 ent the scale and the interest!) they chose to admit it as a principle, that whatever obstructed the prevailing system must be all thrown down, all laid prostrate: no medium, no conciliatory methods were to be tried, but whatever might follow, destruction must precede.
Seite 211 - Vanbrugh, by shewing that it was not a, mere fantastic style, without any other object than that of singularity, but that he worked on the principles of painting, and has produced the most painter-like effects.* It is very...
Seite 122 - I cannot forget the sort of curiosity and surprise that was excited after a short absence, even in me, to whom it was familiar, by the simple and common circumstance of a door that led from the first compartment to the second, and the pleasure I always experienced on entering that inner and more secluded garden. There was nothing, however, in the garden itself to excite any extraordinary...
Seite 112 - I entered on this subject. I remember the rich and magnificent effects of balustrades, fountains, marble basons, and statues, blocks of ancient ruins, with remains of sculpture, the whole mixed with pines and cypresses. I remember also their effect both as an accompaniment to the architecture and as a foreground to the distance.

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