 | Samuel Johnson, John Hawkins - 1787 - 430 pages
...Paul! and yet what an- addition to that noblenefs could Raffaelle have given, had the arc pf contraft been known in his time ! but above all, the flowing line, which conftitutes grace and beauty. You would not then have feen an upright figure ftanding equally on both... | |
 | Samuel Johnson, John Hawkins - 1787 - 432 pages
...Paul f and yet what an addition to that noblenefs could Rnffaelle have given, had the art of contraft been known in his time ! but above all, the flowing line, which conftitutes grace and beauty. You would not then have feen an upright figure ftanding equally on both... | |
 | Alexander Chalmers - English essays - 1808 - 410 pages
...nobleness, what dignity there is in that figure of " St. Paul ! and yet what an addition to that noble" ness could Raffaelle have given, had the art of " contrast...which constitutes grace and beauty ! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in... | |
 | Samuel Johnson - 1810 - 428 pages
...dignity, there is in that figure of St. Paul! and yet what an addition to that nobleness could Rajfaelle have given, had the art of contrast been known in...which constitutes grace and beauty ! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in... | |
 | Samuel Johnson - 1811 - 386 pages
...time! but, above all, the flowing line which constitutes grace and beauty ! You would not have then seen an upright figure standing equally on both legs,...drapery, to all appearance, without the least art or disposition." The following picture is the Charge to Peter. " Here," says he, «' are twelve upright... | |
 | Samuel Johnson - 1811 - 386 pages
...dignity, there is in that figure of St. Paul ! and yet what an addition to that nobleness could RafFuelle have given, had the art of contrast been known in...which constitutes grace and beauty ! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in... | |
 | 1792 - 620 pages
...Paul ; and yet, what an addition to that noblenefs could Raffaelle have given, had tte art of contraft been known in his time; but, above all, the flowing line, which conftitutes grace and beauty. You would not then havefeen an upright figure ftanding equally on both... | |
 | Samuel Johnson - English literature - 1816 - 484 pages
...nobleness, what dignity, there is in that figure of St. Paul! and yet what an addition to that nobleness could Raffaelle have given, had the art of contrast...which constitutes grace and beauty ! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in... | |
 | Samuel Johnson - 1818 - 420 pages
...nobleness, what dignity, there is in that figure of St. Paul ! and yet what an addition to that nobleness could Raffaelle have given, had the art of contrast...which constitutes grace and beauty ! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in... | |
 | sir Joshua Reynolds - 1819 - 440 pages
...nobleness, what dignity there is in that figure of St. Paul ! and yet what an addition to that nobleness could Raffaelle have given, had the art of Contrast...all, the flowing line, which constitutes Grace and Reauty. You would not then have seen an upright figure standing equally on both legs, and both hands... | |
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You would not then have seen an upright figure standing equally on both legs, and both hands stretched forward in the same direction, and his drapery, to all appearance, without the least art of disposition. 
