An essay On the picturesqueJ. Mawman, 1810 |
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xxiii psl.
... style of painting , that of the Roman and Floren tine schools ... 4 198 142 The Venetian style , the ornamental , or picturesque Correggio's style , as described by Sir Joshua Reynolds , might justly be called the beautiful style ... 143 ...
... style of painting , that of the Roman and Floren tine schools ... 4 198 142 The Venetian style , the ornamental , or picturesque Correggio's style , as described by Sir Joshua Reynolds , might justly be called the beautiful style ... 143 ...
5 psl.
... style , from the most simple and rural , to the grandest and most ornamental . Many of those ob- jects , that are scarcely marked as they lie scattered over the face of nature , when brought together in the compass of a small space of ...
... style , from the most simple and rural , to the grandest and most ornamental . Many of those ob- jects , that are scarcely marked as they lie scattered over the face of nature , when brought together in the compass of a small space of ...
12 psl.
... the study of natural scenery , and of the various styles of gardening at different periods , the improver adds the theory at least of that art , the very essence of which is connec- tion : a principle of all others the most adapted 12.
... the study of natural scenery , and of the various styles of gardening at different periods , the improver adds the theory at least of that art , the very essence of which is connec- tion : a principle of all others the most adapted 12.
15 psl.
... style of the drapery and the ge- neral effect had no resemblance to his manner . Upon examining the housekeeper more particularly , we disco- vered that her master had had every thing but the face- not re - touched from the colours ...
... style of the drapery and the ge- neral effect had no resemblance to his manner . Upon examining the housekeeper more particularly , we disco- vered that her master had had every thing but the face- not re - touched from the colours ...
33 psl.
... style having been so generally adopted , and every thing laid open , that our improvers are fearful of an enemy being in ambuscade among the bushes of a gravel pit , or lurking in some intri- cate group of trees . In that respect , it ...
... style having been so generally adopted , and every thing laid open , that our improvers are fearful of an enemy being in ambuscade among the bushes of a gravel pit , or lurking in some intri- cate group of trees . In that respect , it ...
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Pagrindiniai terminai ir frazės
according admired animals appearance arbutus banks breadth broken Brown buildings Burke called Caravaggio character charm circumstances Claude clumps colour colours of spring Correggio deciduous deformity degree delight distinct effect equally evergreen plantation expression firs foliage fresh gardening Gilpin give grand grandeur ground harmony idea of beauty imitation impression improver intricacy kind landscape less light and shadow lines look manner means ment mind monotony naked nature neral ness objects observed opposite ornament outline painter Palladian architecture peculiar perhaps Picturesque Beauty Pietro da Cortona plantations planted pleasure prevail principles produced qualities of beauty racter Rembrandt Repton rich riety river rough Salvator Rosa scenery scenes seems sense shade shew shewn single tree Sir Joshua Sir Joshua Reynolds smooth soft spect striking style sublime sudden supposed symmetry taste thing tints tion Titian ture turesque ugliness uniform varied variety whole wood word
Populiarios ištraukos
190 psl. - The other shape, If shape it might be call'd that shape had none Distinguishable in member, joint, or limb ; Or substance might be call'd that shadow seem'd, For each seem'd either: black it stood as night, Fierce as ten furies, terrible as Hell, And shook a dreadful dart ; what seem'd his head The likeness of a kingly crown had on.
132 psl. - Making it momentary as a sound, Swift as a shadow, short as any dream ; Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth. And ere a man hath power to say, Behold ! The jaws of darkness do devour it up : So quick bright things come to confusion.
97 psl. - Looks through the horizontal misty air Shorn of his beams, or from behind the moon In dim eclipse disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.
87 psl. - THE passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment : and astonishment is that state of the soul in which all its motions are suspended, with some degree of horror.
190 psl. - The other Shape If shape it might be called that shape had none Distinguishable in member, joint, or limb; Or substance might be called that shadow seemed, For each seemed either black it stood as Night, Fierce as ten Furies, terrible as Hell, And shook a dreadful dart: what seemed his head The likeness of a kingly crown had on.
116 psl. - Twas but a kindred sound to move, For pity melts the mind to love. Softly sweet, in Lydian measures Soon he soothed his soul to pleasures. War...
51 psl. - A temple or palace of Grecian architecture in its perfect entire state, and with its surface and colour smooth and even, either in painting or reality is beautiful; in ruin it is picturesque.
89 psl. - ... of sublimity. But as the nature of every corrective, must be to take off from the peculiar effect of what it is to correct, so does the picturesque when united to either of the others. It is the coquetry of nature; it makes beauty more amusing, more varied, more playful, but also, Less winning soft, less amiably mild.
63 psl. - In our own species, objects merely picturesque are to be found among the wandering tribes of gypsies and beggars, who, in all the qualities which give them that character, bear a close analogy to the wild forester and the worn out cart horse, and again to old mills, hovels, and other inanimate objects of the same kind.
165 psl. - ... else has retired into obscurity ; it still forces itself into notice, still impudently stares you in the face. An object of a sober tint, unexpectedly gilded by the sun, is like a serious countenance suddenly lighted up by a smile ; a whitened object like the eternal grin of a fool.