The Classic and Connoisseur in Italy and Sicily: With an Appendix Containing an Abriged Translation of Lanzi's Storia Pittorica, Volume 1
Longman, Rees, Orme, Brown, Green & Longman, 1835
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The Classic and Connoisseur in Italy and Sicily: With an Appendix ..., Volume 1
George William David Evans
Visualização integral - 1835
according admired ancient appearance arches beautiful building built called carried celebrated century character church collection colour columns consists continues covered decorated effect equal exhibits expression face feet figure Florence foot former Forsyth four front give given Greek hand head hills imagination interest Italian Italy language latter least length less light look magnificent manner marble mark merit mountain nature never objects observes once opinion original painter painting palace pass passage performance perhaps picture piece plain plays poet present probably produced remains remark represented rest rich rise river road Roman Rome round says scene seems seen serve side sometimes sort stage stands statue stone story style supposed taste temple thing thought tion traveller turn Venus walls whole
Página 340 - Let him study the Holy Scriptures, especially the New Testament. Therein are contained the words of eternal life. It has God for its Author ; salvation for its end ; and truth, without any mixture of error, for its matter.
Página 160 - The darksome pines that o'er yon rocks reclined Wave high, and murmur to the hollow wind, The wandering streams that shine between the hills, The grots that echo to the tinkling rills, The dying gales that pant upon the trees, The lakes that quiver to the curling breeze...
Página 419 - I remember very well my own disappointment when I first visited the Vatican ; but on confessing my feelings to a brother student, of whose ingenuousness I had a high opinion, he acknowledged that the works of Raphael had the same effect on him, or rather that they did not produce the effect which he expected.
Página 160 - But o'er the twilight groves and dusky caves, Long-sounding aisles and intermingled graves, Black Melancholy sits, and round her throws A death-like silence, and a dread repose : Her gloomy presence saddens all the scene, Shades every flower, and darkens every green ; Deepens the murmur of the falling floods, And breathes a browner horror on the woods.
Página 224 - Where the car climb'd the Capitol; far and wide Temple and tower went down, nor left a site: Chaos of ruins! who shall trace the void, O'er the dim fragments cast a lunar light, And say, 'here was, or is,
Página 217 - But Rome is as the desert, where we steer Stumbling o'er recollections: now we clap Our hands, and cry, " Eureka ! it is clear — " When but some false mirage of ruin rises near.
Página 140 - The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players.
Página 378 - Jn allegorizing Nature, Guercino imitates the deep shades of night, the twilight grey, and the Irradiations of morning with all the magic of chiaroscuro; but his figures are too mortal for the region where they move. The work of Guido is more poetic, and luminous, and soft, and harmonious. Cupid, Aurora, Phoebus form a climax of beauty, and the Hours seem as light as the clouds on which they dance.