Chromatography, Or, A Treatise on Colours and Pigments, and of Their Powers in Painting, &cCharles Tilt, 1835 - 276 ページ |
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... mode to make his own selection ; and , with a view to the same end , Lists or Tables of Reference are subjoined , in which pigments are classed according to their uses , pro- perties , and propensities . A due selection and employment ...
... mode to make his own selection ; and , with a view to the same end , Lists or Tables of Reference are subjoined , in which pigments are classed according to their uses , pro- perties , and propensities . A due selection and employment ...
5 ページ
... mode and application of the art , as they have already done in an original and unrivalled use of water - colours in particular , in the perfec- tion of landscape , in the new and beautiful device of panoramic perspec- tive , and in ...
... mode and application of the art , as they have already done in an original and unrivalled use of water - colours in particular , in the perfec- tion of landscape , in the new and beautiful device of panoramic perspec- tive , and in ...
26 ページ
... mode of contrast in colouring is that of warmth and cool- ness , upon which depends the toneing and general effect of a picture ; be- sides which there is the contrast of colour and neutrality , the chromatic and achromatic , or of hue ...
... mode of contrast in colouring is that of warmth and cool- ness , upon which depends the toneing and general effect of a picture ; be- sides which there is the contrast of colour and neutrality , the chromatic and achromatic , or of hue ...
47 ページ
... mode of Rubens , Teniers , Hogarth , and Wilson , was more or les that of simplicity . With respect to Sir Joshua Reynolds , we have been assured by his favourite pupil , the venerable Northcote , who was every way interested in ...
... mode of Rubens , Teniers , Hogarth , and Wilson , was more or les that of simplicity . With respect to Sir Joshua Reynolds , we have been assured by his favourite pupil , the venerable Northcote , who was every way interested in ...
48 ページ
... mode , which is well suited also to the painters of flowers and subjects of natural history ; and many of the ablest living artists practice in the middle mode , which is certainly less dangerous in respect to permanence . The first of ...
... mode , which is well suited also to the painters of flowers and subjects of natural history ; and many of the ablest living artists practice in the middle mode , which is certainly less dangerous in respect to permanence . The first of ...
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according afford antient appear artist beautiful bright brown carmine CHAP chemical chromascope chromatic citrine cochineal colourist compound contrast copal copper greens dark denomination dries drying drying oil durable effect eligible pigment employed equal EXPERIMENT expression fresco gamboge glass glazing gray green ground harmony hence IDEM impure air KNIGHT'S TALE lakes latter lensic prism less light and shade linseed oil liquid litharge madder madder lakes mastic metrochrome MILTON mixture mode Naples yellow nature neutral ochre olive opaque orange Orpiment oxide oxygen painter painting palette perfect permanent picture pigments poet powers of colours practice prepared primary colours principles of light produced properties proportions Prussian blue pure purple refraction remarkable rendered resins respect russet scale scarlet semi-neutral shadows SHAKSPEARE spectrum Street substances tertiary colours texture tints Titian transparent ultramarine various varnish vehicle vermilion warm water and oil water-colour white lead yellow
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7 ページ - Yet nature is made better by no mean, But nature makes that mean : so, o'er that art Which you say adds to nature, is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock, And make conceive a bark of baser kind By bud of nobler race : this is an art ~\\ hich does mend nature, — change it rather ; but The art itself is nature.
175 ページ - Hence loathed Melancholy Of Cerberus and blackest midnight born, In Stygian Cave forlorn 'Mongst horrid shapes, and shrieks, and sights unholy, Find out some uncouth cell, Where brooding darkness spreads his jealous wings...
92 ページ - Over hill, over dale, Thorough bush, thorough brier, Over park, over pale, Thorough flood, thorough fire, I do wander every where, Swifter than the moon's sphere; And I serve the fairy queen, To dew her orbs upon the green. The cowslips tall her pensioners be: In their gold coats spots you see; Those be rubies, fairy favours, In those freckles live their savours: I must go seek some dewdrops here, And hang a pearl in every cowslip's ear.
140 ページ - Awake : The morning shines, and the fresh field Calls us ; we lose the prime, to mark how spring Our tender plants, how blows the citron grove, What drops the myrrh, and what the balmy reed, How nature paints her colours, how the bee Sits on the bloom extracting liquid sweet.
156 ページ - YET once more, O ye laurels, and once more, Ye myrtles brown, with ivy never sere, I come to pluck your berries harsh and crude, And with forced fingers rude Shatter your leaves before the mellowing year. Bitter constraint and sad occasion dear Compels me to disturb your season due; For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer.
6 ページ - tis the mind that makes the body rich ; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit. What, is the jay more precious than the lark, Because his feathers are more beautiful ? Or is the adder better than the eel, Because his painted skin contents the eye ? O, no, good Kate ; neither art thou the worse For this poor furniture, and mean array.
90 ページ - Boy, let yon liquid ruby flow, And bid thy pensive heart be glad, Whate'er the frowning zealots say : Tell them, their Eden cannot show A stream so clear as Rocnabad, A bower so sweet as Mosellay.
127 ページ - Fair laughs the morn, and soft the zephyr blows While proudly riding o'er the azure realm In gallant trim the gilded vessel goes; Youth on the prow, and pleasure at the helm; Regardless of the sweeping whirlwind's sway, That, hush'd in grim repose, expects his evening prey.
150 ページ - Dis's waggon! daffodils That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength...
157 ページ - midst its dreary dells, Whose walls more awful nod By thy religious gleams. Or if chill blustering winds, or driving rain, Prevent my willing feet, be mine the hut, That from the mountain's side Views wilds and swelling floods, And hamlets brown, and dim-discover'd spires, And hears their simple bell, and marks o'er all Thy dewy fingers draw The gradual dusky veil.