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abstract aesthetic antique Arsene Houssaye art of Italy artistic Aucassin beauty become Bellay Bellay's Botticelli character characteristic charm Christian church classical colour criticism culture curious Dante death delicate desire divine dream element expression exquisite face faint fancy feeling fifteenth century flesh Florence Florentine flowers France French French language genius gods Goethe grace Greek art hair hand Hellenic human mind ideal imaginative impression intellectual interest Italian Italy Joachim Joachim du Bellay La Gioconda legend light Lionardo Luca Madonna Michelangelo middle age modern mystical nature Nicolette outward pagan painter painting passed passion peculiar penetrate perfection philosophy Pico Plato pleasure Pleiad poems poetry poets qualities realise refined religion religious Renaissance Rome Saint Sandro Botticelli says sculpture secret seems sense sensuous sentiment Sistine Chapel songs spirit story strange sweetness taste temper things thought touch tradition true Verrocchio Winckel Winckelmann writings youth
Page 194 - The theory or idea or system which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter or some abstract theory we have not identified with ourselves or what is only conventional, has no real claim upon us.
Page 192 - Analysis goes a step farther still, and assures us that those impressions of the individual mind to which, for each one of us, experience dwindles down, are in perpetual flight: that each of them is limited by time, and that as time is infinitely divisible, each of them is infinitely divisible also; all that is actual in it being a single moment, gone while wt try to apprehend it, of which it may ever be more truly said that it has ceased to be than that it is.
Page 192 - ... impressions, unstable, flickering, inconsistent, which burn and are extinguished with our consciousness of them, it contracts still further: the whole scope of observation is dwarfed into the narrow chamber of the individual mind.
Page 193 - A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to be seen in them by the finest senses? How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy?
Page 194 - While all melts under our feet, we may well catch at any exquisite passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment, or any stirring of the senses, strange dyes, strange colours, and curious odours, or work of the artist's hands, or the face of one's friend.
Page 190 - To regard all things and principles of things as .inconstant modes or fashions has more and more become the tendency of modern thought.
Page 192 - Experience, already reduced to a swarm of impressions, is ringed round for each one of us by that thick wall of personality through which no real voice has ever pierced on its way to us, or from us to that which we can only conjecture to be without. Every one of those impressions is the impression of the individual in his isolation, each mind keeping as a solitary prisoner its own dream of a world.
Page 194 - ... or work of the artist's hands, or the face of one's friend. Not to discriminate every moment some passionate attitude in those about us, and in the very brilliancy of their gifts some tragic dividing of forces on their ways, is, on this short day of frost and sun, to sleep before evening.