Category: Art
The disproportion, between the length of time occupied in the preparation of this volume, and the slightness of apparent result, is so vexatious to me, and must seem so strange to the reader, that he will perhaps bear with my stating some of the matters which have employed or...
The disproportion, between the length of time occupied in the preparation of this volume, and the slightness of apparent result, is so vexatious to me, and must seem so strange...
3. CHAPTER I.--The Earth-Veil 1" II.--The Leaf Orders 6 " III.--The Bud 10 " IV.--The Leaf 21 " V.--Leaf Aspects 34 " VI.--The Branch 39 " VII.--The Stem 49 " VIII.--The Leaf Monuments 63 " IX.--The Leaf Shad...
4. CHAPTER I.--The Cloud Balancings 1015. CHAPTER I.--The Law of Help 1536. CHAPTER I.--The Dark Mirror 193" II.--The Lance of Pallas 202 " III.--The Wings of the Lion 214 " IV.--Durer and Salvator 230 " V.--Claude and Poussin 241 " VI.--Rubens and Cuyp 249 " VII.--Of Vulgarity 261 "...
7. CHAPTER I.That, then, was to be our work. Alas! what work have we set ourselves upon instead! How have we ravaged the garden instead of kept it--feeding our war-horses with its flowers, a...
8. CHAPTER II.§ 1. As in our sketch of the structure of mountains it seemed advisable to adopt a classification of their forms, which, though inconsistent with absolute scientific precision,...
9. CHAPTER III.§ 1. If you gather in summer time an outer spray of any shield-leaved tree, you will find it consists of a slender rod, throwing out leaves, perhaps on every side, perhaps on tw...
10. CHAPTER IV.§ 1. Having now some clear idea of the position of the bud, we have next to examine the forms and structure of its shield--the leaf which guards it. You will form the best gener...
11. CHAPTER V.It results generally from what we have seen that any group of four or five leaves presenting itself in its natural position to the eye, consists of a series of forms connected b...
12. CHAPTER VI.§ 1. We have hitherto spoken of each shoot as either straight or only warped by its spiral tendency; but no shoot of any length, except those of the sapling, ever can be straigh...
13. CHAPTER VII.§ 1. We must be content, in this most complex subject, to advance very slowly: and our easiest, if not our only way, will be to examine, first, the conditions under which boughs...
14. CHAPTER VIII.§ 1. And now, having ascertained in its main points the system on which the leaf-workers build, let us see, finally, what results in aspect, and appeal to human mind, their buil...
15. CHAPTER IX.§ 1. It may be judged, by the time which it has taken to arrive at any clear idea of the structure of shield-builders, what a task would open to us if we endeavored to trace the...
16. CHAPTER X.§ 1. It will be remembered that our final inquiry was to be into the sources of beauty in the tented plants, or flowers of the field; which the reader may perhaps suppose one of...
17. CHAPTER I.§ 1. We have seen that when the earth had to be prepared for the habitation of man, a veil, as it were, of intermediate being was spread between him and its darkness, in which w...
18. CHAPTER II.§ 1. From the tenor of the foregoing chapter, the reader will, I hope, be prepared to find me, though dogmatic (it is said) upon some occasions, anything rather than dogmatic re...
19. CHAPTER III.§ 1. Between the flocks of small countless clouds which occupy the highest heavens, and the gray undivided film of the true rain-cloud, form the fixed masses or torn fleeces, so...
20. CHAPTER IV.§ 1. Perhaps the best and truest piece of work done in the first volume of this book, was the account given in it of the rain-cloud; to which I have here little, descriptively,...
21. CHAPTER I.§ 1. We have now reached the last and the most important part of our subject. We have seen, in the first division of this book, how far art may be, and has been, consistent with...
22. CHAPTER II.§ 1. The reader has probably been surprised at my assertions made often before now, and reiterated here, that the _minutest_ portion of a great composition is helpful to the who...
23. CHAPTER III.§ 1. In the entire range of art principles, none perhaps present a difficulty so great to the student, or require from the teacher expression so cautious, and yet so strong, as...
24. CHAPTER IV.It is necessary for our present purpose that we should understand this quality more distinctly. I mean by it the power which a great painter exercises over himself in fixing cer...
25. CHAPTER I.§ 1. In the course of our inquiry into the moral of landscape (Vol. III., chap. 17), we promised, at the close of our work, to seek for some better, or at least clearer, conclus...
26. CHAPTER II.§ 1. It might be thought that the tenor of the preceding chapter was in some sort adverse to my repeated statement that all great art is the expression of man's delight in God's...
27. CHAPTER III.§ 1. Such being the heroic spirit of Greek religion and art, we may now with ease trace the relations between it and that which animated the Italian, and chiefly the Venetian, s...
28. CHAPTER IV.§ 1. BY referring to the first analysis of our subject, it will be seen we have next to examine the art which cannot conquer the evil, but remains at war with, or in captivity t...
29. CHAPTER V.§ 1. It was stated in the last chapter that Salvator was the last painter of Italy on whom any fading trace of the old faithful spirit rested. Carrying some of its passion far i...
30. CHAPTER VI.§ 1. The examination of the causes which led to the final departure of the religious spirit from the hearts of painters, would involve discussion of the whole scope of the Refor...
31. CHAPTER VII.§ 1. Two great errors, coloring, or rather discoloring, severally, the minds of the higher and lower classes, have sown wide dissension, and wider misfortune, through the societ...
32. CHAPTER VIII.It is a strangely mingled one, which I have the more difficulty in investigating, because I have no power of sympathy with it. However inferior in capacity, I can enter measured...
33. CHAPTER IX.§ 1. Born half-way between the mountains and the sea--that young George of Castelfranco--of the Brave Castle:--Stout George they called him, George of Georges, so goodly a boy h...
34. CHAPTER X.§ 1. The work of Turner, in its first period, is said in my account of his drawings at the National Gallery to be distinguished by "boldness of handling, generally gloomy tenden...
35. CHAPTER XI.Not in a garden, this slaying, but in a hollow, among wildest rocks, beside a stagnant pool. Yet, instead of the sombre coloring of the Hesperid hills, strange gleams of blue an...
36. CHAPTER XII.§ 1. Looking back over what I have written, I find that I have only now the power of ending this work; it being time that it should end, but not of "concluding" it; for it has l...
37. v. 334;Chartreuse, i. 127, 394, iii. 317; Chepstow, v. 333; Domestic subjects of L. S., i. 127; Dunstan borough, v. 333; Foliage of L. S., i. 128; Garden of Hesperides, iii. 310, v. 31...
38. ii. 10 (note);Art, definition of greatness in, i. 8, 11, iii. 3-10, 39; imitative, noble or ignoble according to its purpose, iii. 20, 202; practical, ii. 8; theoretic, ii. 8; profane, iii. 6...
39. iii. 203;40. iii. 34;high, modern ideal of, iii. 65; highest, purely imaginative, iii. 39; highest, dependent on sympathy, iv. 9; highest, chiaroscuro necessary in, i. 79; modern, fatal influence of...
41. iii. 7-10;Byron's use of, iii. 8; careful drawing of, by great men, iii. 122; use of light in understanding architectural, i. 106; swift execution secures perfection of, i. 202; false and...
42. v. 91;Infinity, typical of redeemed life, iv. 80; expressed in nature by curvature and gradation, ii. 45-48; of gradation, i. 210, 224, ii. 47; of variety in nature's coloring, i. 168...
43. v. 284, 285;beauty of animal form increased by expression of, ii. 98; decay of, shown by love of the horrible, iv. 328; popular appreciation of, i. 418; influence of mountain scenery on, iv...
44. v. 164;horizontal and angular, v. 164; grandeur of, consists in simplicity with variation, iv. 247; curved, iv. 263; apparent proportion in, ii. 61; all doubtful, rejected in armorial...
45. iv. 91;influences of, on artistic power, iv. 356; influence on purity of religion, doctrine, and practice, iv. 351; monkish view of, iv. 377, iii. 196; structure of, i. 300, iv. 157; m...