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Addison admiration aesthetic antiquities architecture Ascension Batoni bearleader Beckford Beppo Boyne Britain British Bucentaur Bucintoro Burnet Byron Camera's Canaletto Canto Carriera century ceremony chapter classical commentary composition connoisseurship contemporary contrast cultural describes Dialogues Doge effect Eidophusikon eighteenth-century England English Epicene erotic experience Francesco Trevisani Gallery gentleman gondola Government Grand Tour Grand Tourist Gregory Page-Turner guidebook Horace Horace Walpole Hurd's Italian Italy itinerary journey Kedleston Hall Kimbolton Kimbolton Castle Kimbolton School landscape Lassels letters liberty literary London Lord Loutherbourg Museum myth Nazzari observes Oil on canvas painted Palladian pastel patrician Pellegrini peregrine martyr picture Plate poem political Pompeo Batoni Pope portrait portraiture reader Republic Richardsons Roman Rome Rosalba Rosalba Carriera ruins satirical sexual Shaftesbury sitter Smollett Sposalizio staircase stato-di-liberta Sterne suggests takes theatrical tion traveler turn tyranny Venetian artist Venice Venice's viewer virtue visual Walpole Whig young
Page 127 - His prose is the model of the middle style ; on grave subjects not formal, on light occasions not groveling; pure without scrupulosity, and exact without apparent elaboration ; always equable, and always easy, without glowing words or pointed sentences. Addison never deviates from his track to snatch a grace ; he seeks no ambitious ornaments, and tries no hazardous innovations. His page is always luminous, but never blazes in unexpected splendour.
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