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Page 278 - I saw young Harry, with his beaver on, His cuisses on his thighs, gallantly arm'd, Rise from the ground like feather'd Mercury, And vaulted with such ease into his seat As if an angel dropp'd down from the clouds, To turn and wind a fiery Pegasus, And witch the world with noble horsemanship.
Page 193 - And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us...
Page 135 - ... in the early part of this century, many people complained bitterly that the nonrepresentational and abstract works were not works of art. Thus one critic wrote: "The farce will end when people look at Post-Impressionist pictures as Mr. Sargent looked at those shown in London, 'absolutely skeptical as to their having any claim whatever to being works of art.
Page 101 - Why, child, you might as well stroke the dome of St. Paul's, to please the Dean and Chapter.
Page 207 - To say to the painter that Nature is to be taken as she is, is to say to the player that he may sit on the piano.
Page 434 - The (li'Iiphi fulness of a city is an element of first importance to its prosperity, for those who make fortunes will stay and others will come if the attractions are strong enough and the money thus kept at home added to that freely spent by visitors will be enough to insure continuous good times. The aim should be to make Manila, really, "The Pearl of the Orient.
Page 187 - Bon Dieu! did this wise person expect white hair and chalked faces? And does he then, in his astounding consequence, believe that a symphony in F contains no other note, but shall be a continued repetition of F, F, F? . . . Fool!
Page 15 - It is in reality simply a part of the essential richness of inspiration — it has nothing tt do with the artistic process, and it has everything to do with the artistic effect.
Page 14 - The crudity of sentiment of the advocates of "art for art" is often a striking example of the fact that a great deal of what is called culture may fail to dissipate a well-seated provincialism of spirit.
Page 233 - I told him," says Mr. Champneys, "that if the picture had been extended downwards there must have appeared the handle of a whip, and that he would then have been fully revealed as a sort of Southern planter on the point of thrashing his slaves and exclaiming, 'You damned niggers!