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Abbott Thayer Algernon Charles Swinburne Alhambra angle appear arch architecture arrangement Art Instruction artists beauty birds blue Book 12 brush buildings cathedral centre century church composition cone construction creative curves decorative design dome drawing-book effect EIGHTH YEAR BOOK Elihu Vedder examples exercise expression facade Farge feeling figure flowers frustum give given Gothic gray harmony historic ornament horizontal illustrations James Russell Lowell Japanese John La Farge John Ruskin landscape lead the pupils light and dark light and shade lines Lucy Fitch Perkins models mosque nature objects oblong outline painting palace paper pencil perspective picture plane pottery Prang principles Problem produced proportion purpose Renaissance rendering Representation Romanesque Sandalphon Saracenic simple sketches space relations style suggestions surface covering symmetry teacher thought tion tone towers tree unit vase vertical violet walls Washington Irving water-color Westminster Abbey William Morris Hunt working-drawings yellow
Page 123 - Man is his own star; and the soul that can Render an honest and a perfect man, Commands all light, all influence, all fate; Nothing to him falls early or too late. Our acts our angels are, or good or ill, Our fatal shadows that walk by us still.
Page 106 - Does the road wind up-hill all the way? Yes, to the very end. Will the day's journey take the whole long day? From morn to night, my friend. But is there for the night a resting-place? A roof for when the slow dark hours begin. May not the darkness hide it from my face? You cannot miss that inn. Shall I meet other wayfarers at night? Those who have gone before. Then must I knock, or call when just in sight? They will not keep you standing...
Page 103 - And buttercups are coming, And scarlet columbine ; And in the sunny meadows The dandelions shine. And just as many daisies As their soft hands can hold The little ones may gather, All fair in white and gold. Here blows the warm red clover, There peeps the violet blue ; O happy little children, God made them all for you ! Celia Thaxter.
Page 194 - As under cover of departing Day Slunk hunger-stricken Ramazan away, Once more within the Potter's house alone I stood, surrounded by the Shapes of Clay. LXXXIII. Shapes of all Sorts and Sizes, great and small, That stood along the floor and by the wall ; And some loquacious Vessels were; and some Listen'd perhaps, but never talk'd at all.
Page 26 - Flowers or other natural objects should not be used as ornaments, but conventional representations founded upon them sufficiently suggestive to convey the intended image to the mind, without destroying the unity of the object they are employed to decorate.
Page 228 - Whilst love and terror laid the tiles. Earth proudly wears the Parthenon, As the best gem upon her zone. And Morning opes with haste her lids To gaze upon the Pyramids; O'er England's abbeys bends the sky, As on its friends, with kindred eye; For out of Thought's interior sphere These wonders rose to upper air; And Nature gladly gave them place, Adopted them into her race, And granted them an equal date With Andes and with Ararat, These temples grew as grows the grass; Art might obey, but not surpass.
Page 52 - Have nothing in your houses that you do not know to be useful, or believe to be beautiful.
Page 6 - ... a subtile arrangement or synthesis of lines, of forms, of colors, which shall present a beautiful whole. The final test of composition must be its effect in producing a beautiful impression as a whole — an impression attained only through that interrelation and subordination of parts which makes oneness — unity. Ruskin defines composition as "the help of everything in the picture by everything else.
Page 187 - And he gathers the prayers as he stands, And they change into flowers in his hands. Into garlands of purple and red ; And beneath the great arch of the portal, Through the streets of the City Immortal, Is wafted the fragrance they shed.
Page 105 - I believe, Sir, you have a great many. Norway, too, has noble wild prospects ; and Lapland is remarkable for prodigious noble wild prospects. But, Sir, let me tell you, the noblest prospect which a Scotchman ever sees, is the high road that leads him to England!