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admirable Albert Durer amongst ancient Andrea Antonio da Correggio Antwerp appear ART OF PAINTING Artist atque beauty Bologna Bologna Bologna Bologna bright called canvass Caracci Caravaggio characters charms colorum colouring composition correctness Correggio detto Domenichino drapery Epic expression finishing Florence forms Francesco Fresnoy Fresnoy's genius Giacomo Giov give glow grace hand Hannibal harmony hero History History History hues idea imitated Invention judgement Julio Romano Landsc light and shade manner master Membra Michael Angelo mind Muse Nature noble NOTE Ornament Painter Paris Parma passions Paul Brill Paul Veronese pencil perfect Perin del Vaga picture piece Pietro Pietro Perugino pleasing Poem Poet Poetry Portraits History practice precepts principal quae Raffaelle Rome Rubens rules Sculptor shadow Sienna Simon Vouet style tabula taste things thro Tintoret tints tion Titian Tragedy translation true umbra Venice Veronese Verse Virgil whole Zeuxis
Page 269 - The joy of a monarch for the news of a victory must not be expressed like the...
Page 270 - Gothic manner, and the barbarous ornaments which are to be avoided in a picture," are just the same with those of an ill-ordered play. For example; our English tragi-comedy must be confessed to be wholly Gothic, notwithstanding the success which it has found upon our theatre ; and in the Pastor Fido...
Page 222 - For which reason, the artful painter and the sculptor, imitating the Divine Maker, form to themselves, as well as they are able, a model of the superior beauties ; and reflecting on them, endeavour to correct and amend the common nature, and to represent it as it was at first created, without fault, either in colour, or in lineament.
Page 289 - Oh lasting as those colours may they shine, Free as thy stroke, yet faultless as thy line ; New graces yearly like thy works display...
Page 256 - Arts, it follows, that some rules of imitation are necessary to obtain the end ; for without rules there can be no art, any more than there can be a house without a door to conduct you into it. The principal parts of Painting and Poetry next follow. Invention is the first part, and absolutely necessary to them both; yet no rule ever was or can be given how to compass it.
Page 256 - ... on the organs of the body, say the naturalists ; it is the particular gift of heaven say the divines, both christians and heathens. How to improve it, many books can teach us ; how to obtain it, none ; that nothing can be done without it, all agree : Tu nihil invita dices faciesve Minerva. Without invention a Painter is but a copier, and a Poet but a plagiary of others.
Page 156 - ... himself. The last manner belongs properly to the ornamental style, which we call the Venetian, being first practised at Venice, but is perhaps better learned from Rubens: here the brightest colours possible are admitted, with the two extremes of warm and cold, and those reconciled by being dispersed over the picture, till the whole appears like a bunch of flowers.
Page 150 - The highest finishing is labour in vain, unless, at the same time, there be preserved a breadth of light and shadow ; it is a quality, therefore, that is more frequently recommended to students, and insisted upon, than any other whatever; and, perhaps, for this reason, because it is most apt to be neglected, the attention of the artist being so often entirely absorbed in the detail. To illustrate this, we may have recourse to Titian's bunch of grapes, which we will suppose placed so as to receive...
Page 279 - ... and those very short, and left, as in a shadow, to the imagination of the reader. We have the proverb, " Manum de tabula," from the Painters, which signifies to know when to give over, and to lay by the pencil. Both Homer and Virgil practised this precept wonderfully well: but Virgil the better of the two.
Page 115 - From the genitories to the upper part of the knee, two faces. The knee contains half a face. From the lower part of the knee to the ankle, two faces. From the ankle to the sole of the foot, half a face. A man, when his arms are stretched out, is, from the longest finger of his right hand, to the longest of his left, as broad as he is long.