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admirable Albert Durer amongst ancient Andrea Antwerp appear ART OF PAINTING Artist atque beauty Bologna bright called Caracci Caravaggio character charms colorum colouring composition correctness Correggio detto Domenichino drapery Epic excellence expression finishing Florence forms Francesco Fresnoy genius Giacomo Giorgione Giov Giovanni Girolamo Giulio Romano give glow grace Guercino Guido hand Hannibal harmony hero His.Por History History History hues idea imitated Invention judgement Julio Romano Landsc light and shade Ludovico Carracci manner master Michael Angelo mind Nature noble NOTE ornamental Painted Country Painter Paris Parma passions Paul Veronese pencil perfect persons picture piece Pietro Pietro Perugino pleasing Poem Poet Poetry Portraits History practice precepts principal Prospero Fontana quae Raffaelle Rome Rubens rules Sculpture shadow Simon Vouet Studied style tabula taste things thro tint Tintoret tion Titian Tragedy translation true Udina Venice Veronese Verse Virgil whole Zeuxis
Page 255 - They present us with images more perfect than the life in any individual ; and we have the pleasure to see all the scattered beauties of nature united by a happy chemistry, without its deformities or faults.
Page 97 - There is an absolute necessity for the Painter to generalize his notions ; to paint particulars is not to paint nature, it is only to paint circumstances. When the Artist has conceived in his imagination the image of perfect beauty, or the abstract idea of forms, he may be Said to be admitted into the great Council of Nature, and to Trace Beauty's beam to its eternal spring, And pure to man the fire celestial bring.
Page 64 - Then only justly spread, when to the sight . A breadth of shade pursues a breadth of light. This charm to give, great Titian wisely made The cluster'd grapes his rule of light and shade.
Page 280 - Apelles said of Protogenes that he knew not when to give over. A work may be over-wrought as well as underwrought : too much labour often takes away the spirit by adding to the polishing, so that there remains nothing but a dull correctness, a piece without any considerable faults, but with few beauties; for when the spirits are drawn off, there is nothing but a caput mortuum.
Page 96 - The Poet, with great propriety, begins by declaring what is the chief business of theory, and pronounces it to be a knowledge of what is beautiful in nature : That form alone, where glows peculiar grace, The genuine painter condescends to trace.
Page 269 - Preserved ; but I must bear this testimony to his memory, that the passions are truly touched in it, though, perhaps, there is somewhat to be desired both in the grounds of them, and in the height and elegance of expression : but Nature is there, which is the greatest beauty.
Page 132 - When there is a model, there is something to proceed on, something to be corrected ; so that even supposing no part is adopted, the model has still been not without use. Such habits of intercourse with nature will at least create that variety which will prevent any one from prognosticating, on being informed of the subject, what manner of work the painter is likely to produce; which, is the most disagreeable character an Artist can have.
Page 258 - ... deform it. No person, no incident in the piece or in the play, but must be of use to carry on the main design. All things else are like six fingers to the hand, when nature, which is superfluous in nothing, can do her work with five. " A Painter must reject all trifling ornaments ;" — so must a poet refuse all tedious and unnecessary descriptions.
Page 259 - Figures to be lett," because the picture has no use of them: so I have seen in some modern plays above twenty actors, when the action has not required half the number. In the principal figures of a picture, the Painter is to employ the sinews of his art, for in them consists the principal beauty of his work. Our Author saves me the comparison with tragedy : for he says, that " herein he is to imitate the tragic Poet, who employs his utmost force in those places, wherein consists the height and beauty...
Page 100 - Yet some there are who indiscreetly stray, Where purblind Practice only points the way. Practice is justly called purblind; for practice, that is tolerable in its way, is not totally blind: an 'imperceptible theory, which grows out of, accompanies, and directs it, is never wholly wanting to a sedulous practice; but this goes but a little way with the Painter himself, and is utterly inexplicable to others.