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able acquired action admire allowed amount antique appear appreciation artist attention beauty beginning better called carried cause colour combined complete composition consider construction course decorative desire detail devote difficulty direction drawing effect execution expression face fact faculty feeling figure French gained genius give given hand higher highest hold human idea imagination imitation important impressions intention interest Italy kind knowledge lead lecture less light limited living look manner matter means Michelangelo mind nature necessary necessity never object opinion original ornamental painter painting perception perfect perhaps position possible practice present produce qualities reason refer regard remarks represented require result Ruskin shade skill spirit student style supposed taste things tion tone treatment true truth understand whole workmanship
Page 90 - You cannot serve two masters: — you must serve one or other. If your work is first with you, and your fee second, work is your master, and the lord of work, who is God. But, if your fee is first with you, and your work second, fee is your master, and the lord of fee, who is the Devil; and not only the Devil but the lowest of devils — the 'least erected fiend that fell.
Page 176 - And Jacob was left alone. And there wrestled a man with him until the breaking of the day. And when he saw that he prevailed not against him, he touched the hollow of his thigh ; and the hollow of Jacob's thigh was out of joint, as he wrestled with him. And he said, Let me go, for the day 15 breaketh. And he said, I will not let thee go, except thou bless me. And he said unto him, What is thy name ? And he said, Jacob.
Page 70 - The child, the female, meanness, deformity, were by him indiscriminately stamped with grandeur. A beggar rose from his hand the patriarch of poverty ; the hump of his dwarf is impressed with dignity ; his women are moulds of generation ; his infants teem with the man ; his men are a race of giants. This is the ' Terribil Via ' hinted at by Agostino Carracci.
Page 67 - Precision of eye and obedience of hand are the requisites of the former, without the least pretence to choice, what to select, what to reject; whilst choice directed by judgment or taste constitutes the essence of imitation, and alone can raise the most dexterous copyist to the noble rank of an artist.
Page 86 - It is certain that the lowest style will be the most popular, as it falls within the compass of ignorance itself ; and the Vulgar will always be pleased with what is natural, in the confined and misunderstood sense of the word.
Page 174 - A student is not always advancing because he is employed ; he must apply his strength to that part of the art where the real difficulties lie, to that part which distinguishes it as a liberal art, and not by mistaken industry lose his time in that which is merely ornamental. The students, instead of vying with each other which shall have the readiest hand, should be taught to contend who shall have the purest and most correct outline...
Page 174 - A facility in composing, — a lively, and what is called a masterly, handling of the chalk or pencil, are, it must be confessed, captivating qualities to young minds, and become of course the objects of their ambition.
Page 58 - One pair is in action, another in repose, and yet it never occurs to the spectator till he begins to examine the work as a composition that this is a matter of most careful arrangement. The lines of composition too of each figure are not only most harmonious in themselves, but in perfect harmony with every figure round it. But what shall I say ? In what words shall I express myself when I come to speak of the inspired beings — sibyls and prophets — who sit enthroned below ? The realization of...
Page 77 - aesthesis " properly signifies mere sensual perception of the outward qualities and necessary effects of bodies, in which sense only, if we would arrive at any accurate conclusions on this difficult subject, it should always be used. But I wholly deny that the impressions of beauty are in any way sensual, — they are neither sensual nor intellectual, but moral, and for the faculty receiving them, whose difference...
Page 64 - Now since the human form and face, containing as they do the highest qualities of beauty which Nature presents for our admiration, form the highest study to which an artist can devote himself, and since the aspects not only of human but of all natural beauty are the same in all ages, it follows that there is no new discovery to be made in the matter, and that the only possible development is in the power of expression.