The Works of John Ruskin, 第 19 巻G. Allen, 1905 |
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xxxiii ページ
... less savage and ruinous , with a terrible sense of over- flowing strength and danger lulled . But here , the sweet heather and ferns and stone mosses nestled in close to the cool dashing of the narrow streams ; while every cranny of ...
... less savage and ruinous , with a terrible sense of over- flowing strength and danger lulled . But here , the sweet heather and ferns and stone mosses nestled in close to the cool dashing of the narrow streams ; while every cranny of ...
xxxv ページ
... less enthusiastic tempera- ment , was more cautious . " Are you positively certain , " wrote Dean Liddell , " that Ruskin would like to be Curator of the Galleries ? Have you it in writing ? And can his inclination or wish in August be ...
... less enthusiastic tempera- ment , was more cautious . " Are you positively certain , " wrote Dean Liddell , " that Ruskin would like to be Curator of the Galleries ? Have you it in writing ? And can his inclination or wish in August be ...
xl ページ
... less dark they were than the open win- dows ( conf . passage about this in Elements of Drawing 2 ) , I thought of Turner's late license in oil Venices of putting hollows of white campaniles in with black , even in distance . Turner took ...
... less dark they were than the open win- dows ( conf . passage about this in Elements of Drawing 2 ) , I thought of Turner's late license in oil Venices of putting hollows of white campaniles in with black , even in distance . Turner took ...
xlvi ページ
... less treasured drawings and pictures , mostly by Turner , which were sold at Christie's ( Vol . XIII . pp . 569–572 ) . Ruskin was away on this occasion for four months , spending most of the time at Verona , but sometimes going over to ...
... less treasured drawings and pictures , mostly by Turner , which were sold at Christie's ( Vol . XIII . pp . 569–572 ) . Ruskin was away on this occasion for four months , spending most of the time at Verona , but sometimes going over to ...
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... less well . " The perpetual irritation caused by the misery and folly of the people ( an inbred folly of many generations which , if one could even grind the whole race of them in the valley of Chamouni for a mortar , with Mont Blanc ...
... less well . " The perpetual irritation caused by the misery and folly of the people ( an inbred folly of many generations which , if one could even grind the whole race of them in the valley of Chamouni for a mortar , with Mont Blanc ...
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Abbeville Andrea Gritti Apollo Aratra Pentelici architecture Ariadne Florentina Art Journal artist Athena August beautiful Brantwood British Museum Camarina Catalogue Cestus of Aglaia character Clavigera cloud coin colour Compare Vol delight Denmark Hill drawing edition English engraving ethical evil expression frescoes give given Gothic Greek Greek mythology hand Holbein human Iliad illustrations John Ruskin Keswick labour letter light look lovely Luini Madonna masters means mind Modern Painters mother myths National Gallery nature never noble painted paper passage passion Pausanias perfect picture Pindar Plate pleasure Præterita Queen Rede Lecture reference Rembrandt reprinted sculpture seen Series at Oxford sketch spirit Stones Stones of Venice strength things thought tion Titian tomb true truth Turner Unto this Last Venice Verona virtue volume Vulfran words writing XVII XVIII
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311 ページ - God give thee of the dew of heaven, And of the fatness of the earth, And plenty of corn and wine...
238 ページ - The illustrations of this volume . . . . are of quite sterling and admirable art, of a class precisely parallel in elevation to the character of the tales which they illustrate; and the original etchings, as I have before said in the Appendix to my ' Elements of Drawing,' were unrivalled^ in masterfulness of touch since Rembrandt (in some qualities of delineation, unrivalled even by him).
xxvi ページ - Thine eyes shall see the king in his beauty: They shall behold the land that is very far off.
84 ページ - For all nations have drunk of the wine of the wrath of her fornication, and the kings of the earth have committed fornication with her, and the merchants of the earth are waxed rich through the abundance of her delicacies.
335 ページ - Dear mother Ida, harken ere I die. It was the deep midnoon : one silvery cloud Had lost his way between the piney sides Of this long glen. Then to the bower they came, Naked they came to that smooth-swarded bower, And at their feet the crocus brake like fire, Violet, amaracus, and asphodel, Lotos and lilies : and a wind arose, And overhead the wandering ivy and vine, This way and that, in many a wild festoon Ran riot, garlanding the gnarled boughs With bunch and berry and flower thro
363 ページ - It scarcely breathes with its one lung (the other shrivelled and abortive) ; it is passive to the sun and shade, and is cold or hot like a stone : yet ' it can out-climb the monkey, out-swim the fish, out-leap the zebra, out-wrestle the athlete, and crush the tiger.
300 ページ - Now, therefore, in nearly every myth of importance, and certainly in every one of those of which I shall speak to-night, you have to discern these three structural parts1 — the root and the two branches : — the root, in physical existence, sun, or sky, or cloud, or sea ; then the personal incarnation of that ; becoming a trusted and companionable deity, with whom you may walk hand in hand, as a child with its brother or its sister ; and, lastly, the moral significance of the image, which is in...
310 ページ - Mincius, crowned with vocal reeds, That strain I heard was of a higher mood : But now my oat proceeds. And listens to the herald of the sea That came in Neptune's plea, He asked the waves, and asked the felon winds, What hard mishap hath doomed this gentle swain?
362 ページ - That rivulet of smooth silver — how does it flow, think you ? It literally rows on the earth with every scale for an oar ; it bites the dust with the ridges of its body. Watch it when it moves slowly — a wave, but without wind...
239 ページ - Drawing' were unrivalled^ in masterfulness of touch since Rembrandt (in some qualities of delineation, unrivalled even by him). . . . To make somewhat enlarged copies of them, looking at them through a magnifying glass, and never putting two lines where Cruikshank has put only one, would be an exercise in decision and severe drawing which would leave afterwards little to be learnt in schools.