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abstract actual antique artistic beauty became become called century character characteristic charm Christian church classical colour comes criticism culture Dante death delicate desire divine dream earlier early effect element experience expression face feeling fifteenth century figure Florence flowers force French genius give gods Goethe grace Greek hand Hellenic human ideal ideas imaginative impression intellectual interest Italian Italy language less light limits Lionardo living manner means mere Michelangelo middle age mind nature never object once original pagan painting passed passion perfection perhaps persons picture poetry present qualities refined religion religious remains Renaissance Rome Saint says sculpture seems sense sentiment side sometimes speak spirit story strange sweetness taste things thought touch tradition true turned whole Winckelmann writings youth
Page 200 - 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 198 - 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 198 - ... 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 199 - 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 200 - 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 196 - To regard all things and principles of things as .inconstant modes or fashions has more and more become the tendency of modern thought.
Page 198 - 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 200 - ... 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.