The Works of John Ruskin: Modern painters.-v.5-6. The stones of Venice.-v.7. Seven lamps of architecture. Lectures on architecture and painting. The study of architecture. Poetry of architecture.-v.8. Two paths ... on art. Lectures on art. Political economy of art. Pre-Raphaelitism. Notes on the construction of sheepfolds. King of the golden river.-v.9. Elements of drawing. Elements of perspective. Aratra pentelici.-v.10. Ariadne Florentina. Fors clavigera.-v.11. Sesame and lilies. Ethics of the dust. Crown of wild olive. Queen of the air.-v.12. Time and tide. Unto this last. Munera pulveris. Eagle's nestWiley, 1885 - Aesthetics |
From inside the book
Results 1-5 of 72
Page 47
... trees , ) the curves vanish , and violently opposed or broken and unmeaning lines take their place . What curvature is to lines , gradation is to shades and colors . It is there infinity , and divides them into an infinite number of ...
... trees , ) the curves vanish , and violently opposed or broken and unmeaning lines take their place . What curvature is to lines , gradation is to shades and colors . It is there infinity , and divides them into an infinite number of ...
Page 52
... trees , and of the petals and starry rays of flowers , and of the beams of light , and in spiritual creatures it is their filial relation to Him from whom they have their being . And there is unity of sequence , which is that of things ...
... trees , and of the petals and starry rays of flowers , and of the beams of light , and in spiritual creatures it is their filial relation to Him from whom they have their being . And there is unity of sequence , which is that of things ...
Page 53
... trees is poor , if not dis- agreeable in effect , a mass of one species of tree is sublime . It is therefore only harmonious and chordal variety , that variety which is necessary to secure and extend unity , ( for the greater the number ...
... trees is poor , if not dis- agreeable in effect , a mass of one species of tree is sublime . It is therefore only harmonious and chordal variety , that variety which is necessary to secure and extend unity , ( for the greater the number ...
Page 66
... capability of its opposite , energy , and this even in its lower manifestations , in rocks and stones and trees . By * Matt . xi . 28 . comparing the modes in which the mind is disposed to 66 [ PART III . OF TYPICAL BEAUTY .
... capability of its opposite , energy , and this even in its lower manifestations , in rocks and stones and trees . By * Matt . xi . 28 . comparing the modes in which the mind is disposed to 66 [ PART III . OF TYPICAL BEAUTY .
Page 67
... tree , motionless in the summer air , with the effect produced by one of these same boughs hewn square and used for threshold or lintel , the reader will at once perceive the connection of vitality with repose , and the part they both ...
... tree , motionless in the summer air , with the effect produced by one of these same boughs hewn square and used for threshold or lintel , the reader will at once perceive the connection of vitality with repose , and the part they both ...
Contents
1 | |
8 | |
11 | |
12 | |
38 | |
39 | |
40 | |
41 | |
42 | |
43 | |
44 | |
45 | |
46 | |
47 | |
48 | |
49 | |
50 | |
51 | |
52 | |
53 | |
54 | |
55 | |
57 | |
60 | |
61 | |
62 | |
63 | |
64 | |
65 | |
73 | |
118 | |
119 | |
120 | |
121 | |
122 | |
123 | |
124 | |
125 | |
126 | |
127 | |
129 | |
130 | |
131 | |
133 | |
134 | |
135 | |
136 | |
137 | |
138 | |
150 | |
156 | |
161 | |
163 | |
164 | |
165 | |
166 | |
168 | |
169 | |
170 | |
171 | |
172 | |
173 | |
184 | |
185 | |
188 | |
190 | |
191 | |
192 | |
193 | |
194 | |
195 | |
197 | |
200 | |
201 | |
202 | |
203 | |
204 | |
205 | |
206 | |
207 | |
208 | |
209 | |
210 | |
211 | |
212 | |
213 | |
214 | |
215 | |
216 | |
217 | |
218 | |
219 | |
220 | |
221 | |
222 | |
223 | |
224 | |
225 | |
1 | |
3 | |
10 | |
16 | |
21 | |
44 | |
61 | |
70 | |
77 | |
86 | |
139 | |
140 | |
168 | |
211 | |
248 | |
280 | |
308 | |
333 | |
Common terms and phrases
Adamite agreeable Albert Durer Angelico angels animal appearance Argentière artist Benozzo Gozzoli Brera Gallery Chap CHAPTER character chiaroscuro Christ clouds color conceive conception Correggio creature degree delight desire dignity Divine effect evident evil existence expression fact false fancy farther fear feeling Fra Angelico Gentile Bellini Giorgione Giotto give glory hand heart heaven human idea ideal ideal art imagination imperfect impressions infinite instance intellect kind landscape Laocoon less light lines look lower Masaccio matter means Michael Angelo mind modes moral mountains nature necessary ness never noble object observe operation painful painter painting passion pathetic fallacy Paul Veronese perception perfect Perugino picture Pitti palace pleasure Pre-Raphaelite present proportion pure purity reader received repose respect seen sense shadow spirit suppose theoretic faculty things thought Tintoret tion Titian trees true trunk truth ture unity vulgar whole word
Popular passages
Page 37 - From God who is our home. Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.
Page 143 - And missing thee, I walk unseen On the dry smooth-shaven green. To behold the wandering moon, Riding near her highest noon. Like one that had been led astray Through the heaven's wide pathless way, And oft, as if her head she bowed, Stooping through a fleecy cloud.
Page 288 - Fear and trembling Hope, Silence and Foresight ; Death the Skeleton And Time the Shadow ; — there to celebrate, As in a natural temple scattered o'er With altars undisturbed of mossy stone, United worship ; or in mute repose To lie, and listen to the mountain flood Murmuring from Glaramara's inmost caves, 1803.
Page 165 - Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar?
Page 82 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.
Page 195 - Inaudible as dreams ! the thin blue flame Lies on my low-burnt fire, and quivers not ; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks its motion in this hush of Nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, everywhere Echo or mirror seeking of itself, And makes a toy of Thought.
Page 90 - It doth not love the shower, nor seek the cold : This neither is its courage nor its choice, But its necessity in being old. " The sunshine may not cheer it, nor the dew ; It cannot help itself in its decay ; Stiff in its members, withered, changed of hue.
Page 167 - Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?
Page 202 - The sun came dazzling thro' the leaves, And flamed upon the brazen greaves Of bold Sir Lancelot. A red-cross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott.
Page 9 - I look for ghosts ; but none will force Their way to me : 'tis falsely said That there was ever intercourse Between the living and the dead ; For, surely, then I should have sight Of him I wait for day and night, With love and longings infinite.