Beyond Architecture

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Marshall Jones Company, 1918 - Architecture - 200 pages

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Page 68 - Ch' e' cominciò a far sentir la Terra Della sua gran virtude alcun conforto. Che per tal donna giovinetto in guerra Del padre corse, a cui, com...
Page 68 - Del padre corse, a cui, com' alia morte, La porta del piacer nessun disserra : E dinanzi alia sua spirital corte, Et coram patre le si fece unito, Poscia di di in di I'amo piu forte. Questa, privata del primo marito, Mille e cent...
Page 68 - Colui ch' a tutto 1 mondo fe' paura1 ; Nè valse esser costante nè feroce Sì che , dove Maria rimase giuso , Ella con Cristo salse in su la croce. Ma perch' io non proceda troppo chiuso; Francesco e Povertà per questi amanti Prendi oramai nel mio parlar diffuso.
Page 111 - ... beauty which is not necessarily any direct imitation, least of all any realistic representation of natural objects, has been overlooked. That is the reason, perhaps, that decorative art has largely gone out of the world, and that we have no longer objects of utility such as furniture, wall-paper, stuffs or household articles, which are also works of art. The Middle Ages thoroughly understood decoration. The mediaeval artist felt it to be quite immaterial whether or not he attained naturalistic...
Page 115 - Later the figures become less rigid, more lifelike. Mary, who in earlier works had stood impassive, impersonal, a symbol beside the cross, swoons at its foot. Sentimentality goes hand in hand with realism. In measure as the study of nature supplants the study of beauty, the colours become softer and weaker, 3Si Amiens Cathedral, West I'ortal the design less vigorous; in short, both illustration and decoration decline.
Page 116 - ... purpose in life, there is little reason to doubt that he derived his inspiration by some means from France. We thus see that French mediaeval art is at the basis of what superficially seems most antagonistic. To it we owe the study of nature in the Renaissance, the art of Masaccio and of Michelangelo. In fact to it we owe all modern art. In the case of Giovanni Pisano the influence of French mediaeval models is so clear and unmistakable that it has been universally recognized even by critics...
Page 92 - ... videor videre me quasi sub aliqua extranea orbis terrarum plaga, quae nee tota sit in terrarum faece nee tota in coeli puritate, demorari, ab hac etiam inferiori ad illam superiorem anagogico more Deo donante posse transferri.
Page 7 - With luxury's glamour the table is spread. Exuberant flowers, gold vases and silver. . . . The dishes before them Change hurriedly ever; soups steaming and purees delicious and pates most tasty by thousands: . . . From gardens forbidden herbs skilfully seasoned, woodcock and pheasant pass by in the dishes of these the unhappy ; most tender of green things and sweetmeats the rarest, incredible sweetmeats, fruits red as a ruby, wines too of all colours.
Page 188 - America could not be so gullible if there were criticism. Not a protest is raised when our cities are disfigured by inexcusable monuments, like that not so long ago erected to Verdi in Sherman Square, New York, or the Soldiers
Page 108 - Ages for having supplied the subject matter of its art is incalculable. Quattrocento artists were constantly drawing upon the rich stock of mediaeval lore. In the cloister of S. Maria Novella a follower of Castagno painted the blind old man Lamech, led by Tubal-Cain, shooting with his bow and arrow the aged and wicked Cain skulking in the bushes. Not only the Hebrew Apocrypha, but the legends of countless later saints had been touched with gold by Gothic poetry. Renaissance artists often chafed at...

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