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Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching ...
No preview available - 1792
admire adorned sketch amusement appear arises art of painting artist Ascanius black-lead blue canvas castle charms Charon colours compleat composition contrast degree disgusted distance drawing easily effect elegant essay examine execution eye examine farther figures finished fixed fore foreground genius give grace gradation grand grey ground harmony idea imagination Indian ink kind lake LANDSCAPE PAINTING lawn leading subject light and shade lines loured mark master mean ment merely mode mountain nature Nature's numbers o'er object of beauty observed oker painter pencil perhaps perspective Phidias picture picturesque beauty picturesque eye picturesque travel pleasing pleasure poem principles produce proportion resque rieties rocks rough objects rules scene shadow simplicity Sir Joshua Reynolds smooth sometimes spread stile sublime surface taste thee thou Thy landscape tinge tint tion touches tree truth tural turesque varied variety various Virgil whole WILLIAM GILPIN
Page 14 - Perching on the sceptred hand Of Jove, thy magic lulls the feathered king With ruffled plumes and flagging wing; Quenched in dark clouds of slumber lie The terror of his beak and lightnings of his eye.
Page 68 - I hold myself at perfect liberty, in the first place, to dispose the foreground as I please; restrained only by the analogy of the country. I take up a tree here, and plant it there. I pare a knoll, or make an addition to it. I remove a piece of paling - a cottage - a wall - or any removeable object, which I dislike.
Page 21 - ... the colouring may sometimes vary. In general however it is otherwise; in the objects of a landscape, particularly. The smooth side of a hill is generally of one uniform colour, while the fractured rock presents it's grey surface, adorned with patches of greensward running down it's guttered sides; and the broken ground is every where varied with an okery tint, a grey gravel, or a leaden-coloured clay: so that in fact the rich colours of the ground arise generally from it's broken...
Page 78 - Jketch, a figure, or two may be introduced with propriety. By figures I mean moving objects, as waggons, and boats, as well as cattle, and men.
Page 48 - The love of novelty is the foundation of this pleafure. Every diftant horizon promifes fomething new ; and with this pleafing expectation we follow nature through all her walks. We purfue her from hill to dale ; and hunt after thofe various beauties with which ihe every where abounds.
Page 52 - After we have amufed ourfehes with our fketches, if we can, in any degree, contribute to the amufement of others alfo, the pleafure is furely fo much inhanced.
Page 48 - And shall we suppose it a greater pleasure to the sportsman to pursue a trivial animal, than it is to the man of taste to pursue the beauties of nature...
Page 50 - ... and every mental operation is suspended. In this pause of intellect, this deliquium of the soul, an enthusiastic sensation of pleasure overspreads it, previous to any examination by the rules of art.
Page 46 - But among all the objects of art, the picturesque eye is perhaps most inquisitive after the elegant relics of ancient architecture; the ruined tower, the Gothic arch, the remains of castles, and abbeys.