The Works of John Ruskin, 第 19 巻G. Allen, 1905 |
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xxxvii ページ
... spirits , and the year 1868 was to be one of varied activity and much happy work . Already at the end of 1867 he had prepared Time and Tide for publication , and then , as also in the early months of 1868 , he wrote and illustrated a ...
... spirits , and the year 1868 was to be one of varied activity and much happy work . Already at the end of 1867 he had prepared Time and Tide for publication , and then , as also in the early months of 1868 , he wrote and illustrated a ...
lxv ページ
... spirit power was in the vision " of the Greek god of battle , he noted the correction in The Queen of the Air of that " false bias . " 3 The present study of the Greek myths of Athena is among the most characteristic of Ruskin's books ...
... spirit power was in the vision " of the Greek god of battle , he noted the correction in The Queen of the Air of that " false bias . " 3 The present study of the Greek myths of Athena is among the most characteristic of Ruskin's books ...
lxix ページ
... spirit , will be found in § 19 ( see the note thereon , p . 311 ) . After all , there must inevitably be much that is arbitrary in the interpretation of myths . There was no fixed code of mythology , and no theories of the origin of ...
... spirit , will be found in § 19 ( see the note thereon , p . 311 ) . After all , there must inevitably be much that is arbitrary in the interpretation of myths . There was no fixed code of mythology , and no theories of the origin of ...
lxxxiv ページ
... spirit . The wreath of flowers he feels to be material ; and gleam by gleam strikes fearlessly the silver and violet leaves out of the darkness . But the three maidens are less substantial than rose petals . No flushed nor frosted ...
... spirit . The wreath of flowers he feels to be material ; and gleam by gleam strikes fearlessly the silver and violet leaves out of the darkness . But the three maidens are less substantial than rose petals . No flushed nor frosted ...
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... spirit as modify- ing the application of the formal laws of architecture , no less than of all other arts ; ' and to show that the power and advance of this art , even in conditions of formal noble- ness , were dependent on its just ...
... spirit as modify- ing the application of the formal laws of architecture , no less than of all other arts ; ' and to show that the power and advance of this art , even in conditions of formal noble- ness , were dependent on its just ...
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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.