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admirable ancient antique architects architecture artists Assyrian Athens bas-reliefs beautiful Berlin Museums BIBLIOGRAPHY OF CHAPTER Bielefeld British Museum bronze Byzantine Byzantine art Caravaggio Cathedral Christian Church civilisation classic colour Correggio decoration Diirer Donatello Dresden Egypt Egyptian English engraved expression Eyck figures Flemish Florence Florentine France French frescoes frieze Gazette des Beaux-Arts genius Geschichte Gothic architecture Gothic art Greece Greek art Histoire ibid imitation influence inspired Italy Kunst landscape Leipzig Leonardo London Louis XIV Louvre Lysippus Malerei marble master masterpieces Michel Michelangelo Milan modern monuments Munich National Gallery ornament painter painting Palace Paris Parthenon pediment Peinture Pergamum period Phidias Photo portraits Praxiteles pupil Raphael realistic Reinach Rembrandt Renaissance Repertorium Revue de l'Art Roman Romanesque Rome Rubens Scopas sculpture siècle sixteenth century statues stone Strasburg style taste temple tion Titian tombs tradition vases Vatican vault Velasquez Venetian Venice Vienna Virgin
Page 281 - Assaisonné du sel de nos grâces antiques, Et non du fade goût des ornements gothiques, Ces monstres odieux des siècles ignorants, Que de la barbarie ont produits les torrents, Quand leur cours, inondant presque toute la terre, Fit à la politesse une mortelle guerre, Et, de la grande Rome abattant les remparts, Vint avec son empire étouffer les beaux arts.
Page 51 - Laconia. Another little Ionic temple, that of the Wingless Victory (Nike Apteros), was restored after 1830 with fragments found in a Turkish bastion. It stands in front of the Propylaea (Fig. 63). The pediments of the Parthenon represented the birth of Athene, and the dispute between Athene and Poseidon for the possession of Attica (Fig. 64) . On the metopes were carved the battles of the Centaurs and the Lapithae. The subject of the frieze was the procession of the Panathenaea, the principal festival...
Page 124 - Mirror of Nature, The Mirror of Science, the Moral Mirror, and the Historical Mirror. A contemporary archaeologist, ME Male, has shown that the works of art of our great cathedrals are a translation into stone of the Mirror of Vincent of Beauvais, setting aside the episodes from Greek and Roman History, which would have been out of place. It was not that the imagers had read Vincent's work ; but that, like him, they sought to epitomise all the knowledge of their contemporaries. The first aim of their...
Page 332 - I could, and discover the causes of the distemper ; but it is easier to say what it is not, than what it is.
Page 118 - Its light and airy system of construction, the freedom and slenderness of its supporting skeleton, afford, as it were, a presage of an art that began to develop in the nineteenth century, that of metallic architecture. With the help of metal, and of cement reinforced by metal bars, the moderns might equal the most daring feats of the Gothic architects; it would even be easy for them to surpass them, without endangering the solidity of the structure, as did the audacities of Gothic art.
Page 1 - A work of art differs in one essential characteristic from those products of human activity which supply the immediate wants of life. Let us consider a palace, a picture. The palace might be merely a very large house, and yet provide a satisfactory shelter. Here, the element of art is superadded to that of utility. In a statue, a picture, utility is no longer apparent. The element of art is isolated.
Page 120 - THE Church was not only rich and powerful in the Middle Ages; it dominated and directed all the manifestations of human activity. There was practically no art but the art it encouraged, the art it needed to construct and adorn its buildings, carve its ivories and reliquaries, and paint its glass and its missals. Foremost among the arts it fostered was architecture, which never played so important a part in any other society. Even now, when we enter a Romanesque or Gothic church, we are impressed...
Page 93 - ... from the middle of the first century, manifestations of an original style, especially at Pompei. This style is not unlike that of the modern Impressionists; it is characterised by the use of patches of light and colour, sometimes producing the most charming effect. Certain mural decorations at Pompei, executed in this style, have not been surpassed in our own times. Did it originate in Rome or in Alexandria? It is difficult to say; but it is certain that it flourished in Italy, and that no examples...
Page 4 - Fancy seems to be absolutely excluded. Whether represented alone or in groups the animals 'are depicted with a correctness to which we find no parallel in the art of the modern savage." (Reinach, "Alluvions et Cavernees.") 3. Musical "Once music was pure rhythm ; once it was howling and gesture.
Page 6 - ... the loftier forms of art, architecture alone is absent. The masterpiece of this phase of art is perhaps the group of stags (Fig. 4) engraved on an antler discovered in the cave of Lorthet (H. Pyrenees). First we see the hind feet of a stag which is galloping away. Next comes another galloping stag, in an attitude first revealed to us in modern times by instantaneous photography as applied to the analysis of rapid movement. An artist of our own day, Aime Morot, first made use of the knowledge...