Three Essays: On Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape: to which is Added a Poem, on Landscape Painting. By William Gilpin, ... |
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adjuſted admire adorned alfo alſo amuſement anſwer arifes artiſt beauty becauſe beft beſt black-lead canvas caſtle circumſtances cloſe colours compofed compofition confiderable contraft diftinction diſtance drawing eaſily effay effect elegant eſpecially execution fame fcene feen feldom fenfe fhadow fhew fide fimple finiſhed firſt fome degree fometimes foreground fource ftill fubject fublime fuch fufficient fuppofe furface give harmony higheſt idea illuftrated Indian ink interfecting itſelf juft juſt landſcape leaſt lefs light and fhade lines maſter moſt muft muſcles muſt nature Nature's neceffary o'er obferved oker oppofition painter painting pencil perfpective perhaps picture pictureſque eye pleafing pleaſe pleaſure poliſh pow'r prefented preſerve produce refque repreſented rieties rough objects roughneſs rules ſcene ſeen ſhade ſhould ſketch ſky ſmooth ſome ſpeak ſpread ſtill ſtrong tafte taſte thefe theſe thofe thoſe thou tint touches unleſs uſe variety waſh Weft whole WILLIAM GILPIN wiſh
Popular passages
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 35 - You are certainly right in saying, that variety of tints and forms is picturesque; but it must be remembered on the other hand, that the reverse of this — (uniformity of colour, and a long continuation of lines,) produces grandeur.
Page 7 - Should we wish to give it picturesque beauty, we must use the mallet, instead of the chisel: we must beat down one half of it, deface the other, and throw the mutilated members around in heaps. In short, from a smooth building we must turn it into a rough ruin.
Page 41 - ... themfelves without being able to give a reafon why they are amufed, we offer an end, which may poffibly engage fome vacant minds ; and may indeed afford a rational amufement to fuch as travel for more important purpofes. In treating of pifturefque travel, we may confider firft it's objett ; and fecondly it's fources .of amufement.
Page 7 - But if we introduce it in a picture, it immediately becomes a formal object, and ceases to please.
Page 34 - ... applicable to the excellences of the inferior schools, rather than to the higher. The works of Michael Angelo, Raphael, &c. appear to me to have nothing of it; whereas Reubens, and the Venetian painters may almost be said to have nothing else.
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 49 - When we are fortunate enough to fall in with fcenes of this kind, we are highly delighted. But as we have lefs frequent opportunities of being thus gratified, we are more commonly employed in analyzing the parts of fcenes ; which may be exquifitely beautiful, tho unable to produce a whole.
Page 32 - ... be nearer the truth; A fourth philofopher apprehends common fenfe to be our ftandard only in the ordinary affairs of life. The bounty of nature has furnifhed us with various other fenfes fuited to the objects, among which we converfe: and with regard to matters of tafte, it has fupplied us with what, he doubts not, we all feel within ourfelves, a fenfe of beauty. Pooh ! fays another learned inquirer, what is a fenfe of beauty ? Senfe is a vague idea, and fo is beauty; and it is impoffible that...
Page 14 - ... Animals, as well as human beings possess beauty both in nature and in picture. We admire the horse as a real object and as represented on canvas — the horse who is beautiful in real life; "but as an object of picturesque beauty we admire more the worn-out cart-horse, the cow, the goat, or the ass; whose harder lines, and rougher coats, exhibit more the graces of the pencil.