The Works of John Ruskin, 第 19 巻G. Allen, 1905 |
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xx ページ
... writing ; and some further remarks upon them are given lower down in this Introduction ( p . lxiv . ) . IV . The Relation of National Ethics to National Arts , a lecture delivered on Sir Robert Rede's foundation to the University of Cam ...
... writing ; and some further remarks upon them are given lower down in this Introduction ( p . lxiv . ) . IV . The Relation of National Ethics to National Arts , a lecture delivered on Sir Robert Rede's foundation to the University of Cam ...
xxii ページ
... writing is so entirely at present the picture of my mind that it seems to me as if the one must be as inscrutable as the other . For indeed I am quite unable from any present crises to judge of what is best for me to do . There is so ...
... writing is so entirely at present the picture of my mind that it seems to me as if the one must be as inscrutable as the other . For indeed I am quite unable from any present crises to judge of what is best for me to do . There is so ...
xxiii ページ
... writing is as vacillating as my temper . " The working compromise at which Ruskin arrived has already been indicated ( Vol . XVIII . , p . xx . ) . More and more he connected his art- teaching with moral , and even political ...
... writing is as vacillating as my temper . " The working compromise at which Ruskin arrived has already been indicated ( Vol . XVIII . , p . xx . ) . More and more he connected his art- teaching with moral , and even political ...
xxix ページ
... writing , but am always shocked to look at it afterwards . I had a botanist breakfasting with me to - day who wrote a most beautiful hand , but he was one lump of pleasant active egotism- utterly insensitive , and I fancy my broken hand ...
... writing , but am always shocked to look at it afterwards . I had a botanist breakfasting with me to - day who wrote a most beautiful hand , but he was one lump of pleasant active egotism- utterly insensitive , and I fancy my broken hand ...
xxxiii ページ
... writing Joan's letter- and I won't sit up ; that is one great reason for my being better- that I'm always early in bed . To - morrow I leave early for Keswick , but shall probably go up Helvellyn again on the way . I leave these letters ...
... writing Joan's letter- and I won't sit up ; that is one great reason for my being better- that I'm always early in bed . To - morrow I leave early for Keswick , but shall probably go up Helvellyn again on the way . I leave these letters ...
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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.