Essays on the picturesque, 第 2 卷 |
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常見字詞
abruptness accompaniments admired ancient appearance architect architecture arise artificial water artist banks beauty Blenheim breaks bridge broken Brown buildings castle character chimnies circumstances climbing plants colour columns concealment considered Cyclops decorations degree distinct effect English gardening enrichment entablature Essay fect garden give grandeur ground height idea imitation improver instance intricacy irregular jects kind landscape less light and shadow likewise line of beauty lines manner massive means ment mentioned mixed mixture monotony mould natural lakes neral ness objects observed ornaments outline painters Paul Veronese picturesque piece of water Pietro da Cortona placed plants pleasing portico Poussin principle produce projections racter Raphael regular richness rieties rocks Roman school roofs rude ruins scene scenery shew shrubs simplicity Sir Joshua Reynolds sloping smooth stone striking style summit supposed surface symmetry taste temple tints tion Titian Tivoli trees ture uniform varied variety vegetation whole
熱門章節
第 278 頁 - 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...
第 238 頁 - For sublime objects are vast in their dimensions, beautiful ones comparatively small : beauty should 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.
第 392 頁 - 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.
第 324 頁 - When the object represented in poetry or painting is such as we could hare no desire of seeing in the reality, then I may be sure that its power in poetry or painting is owing to the power of imitation, and to no cause operating in the thing itself.
第 112 頁 - I entered upon 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.
第 278 頁 - He on his impious foes right onward drove, gloomy as night: under his burning wheels the steadfast empyrean shook throughout, all but the throne itself of God.
第 212 頁 - ... will seldom become the object of study or imitation. It appears to me, that at Blenheim, Vanbrugh conceived and executed a very bold and difficult design, that of uniting in one building the beauty and magnificence of the Grecian...
第 247 頁 - 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.
第 112 頁 - ... employed on 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 and 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.
第 120 頁 - ... may allege, is surely essential to an ornamented garden : all the beauties of undulating ground, of shrubs, and of verdure, are to be found in places where no art has ever been employed, and consequently cannot bestow a distinction which they do not possess: for, as I have before remarked,* they must themselves in some respects be considered as unembellished nature.