Sketches of the Lives of Correggio and ParmegianoLongman, Hurst, Rees, Orme, Brown and Green, 1823 - 276 ページ |
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admired Affò afterwards altar-piece Amateur des Arts Andrea Mantegna Antonio Allegri Antonio da Correggio appears authenticity beauty Bianchi biographer Bologna Carpi cathedral at Parma Cathedral of Parma celebrated chapel Christ church of St clear obscure colouring copy countenance Cupid cupola Danaë death decorate died documents Domini Duke of Mantua Duke of Modena Elector of Saxony Emperor employed engaged to paint engraved executed extant father finished Francesco fresco Gallery Gambara Gilberto Girolamo Girolamo Bedoli gold crowns gold ducats grace imitated Jerome John justly Lanzi light Lombardi Madonna Magdalen Manfredo Mantegna Mantua Maria master Mazzola Mengs ment merits Michael Angelo native NOTE Nótte observes painter palace Parmegiano Pellegrino pencil period picture piece Pomponio Pope portrait possession preserved prince of Correggio proof Pungileoni Raphael Raphael and Michael Ratti received reggio represented the Virgin Rome scholars shade sketch Steccata style supposed tints tion Tiraboschi Titian Vasari Veronica Gambara
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270 ページ - On a rock, whose haughty brow Frowns o'er old Conway's foaming flood, Robed in the sable garb of woe, With haggard eyes the poet stood ; (Loose his beard and hoary hair, Stream'd like a meteor to the troubled air,) And with a master's hand and prophet's fire Struck the deep sorrows of his lyre...
269 ページ - Stream'd, like a meteor, to the troubled air,) And with a Master's hand, and Prophet's fire, Struck the deep sorrows of his lyre.
166 ページ - Plucking ripe clusters from the tender shoots ; Their port was more than human, as they stood : I took it for a faery vision Of some gay creatures of the element, That in the colours of the rainbow live, And play i
269 ページ - Reynolds says, we are at a loss which to admire most, the correctness of drawing, or the grandeur of the conception.
82 ページ - ... feet by six, has expanded a breadth and depth of perspective which defies description. The time he has chosen, is the adoration of the shepherds, who, after hearing the glad tidings of joy and salvation, proclaimed by the heavenly host, hastened to hail the new-born King and Saviour. On so unpromising a subject as the birth of a child, in so mean a place as a stable, the painter has, however, thrown the air of divinity itself. The principal light emanates from the body of the infant, and illuminates...
82 ページ - This picture is doubtless the most singular, if not the most beautiful work of this great master. Adopting an idea hitherto unknown to painters, he has created a new principle of light and shade; and in the limited space of nine feet by six has expanded a breadth and depth of perspective which defies description. The time he has chosen is the adoration of the shepherds, who, after hearing the glad tidings of joy and salvation, proclaimed hy the heavenly host, hastened to hail the .new-born King and...
83 ページ - ... of angels above, •which, while it aids the general effect, is yet itself irradiated by the glory breaking from the child, and allegorising the expression of Scripture, that Christ was the true light of the world. Nor is the art with which the figures are represented, less admirable than the management of the light. The face of the child is skilfully hidden by its oblique position, from the conviction, that the features of a newborn infant are ill adapted to please the eye; but that of the Virgin...
155 ページ - Tyrium quae purpura sensit aenum texitur, et tenues parvi discriminis umbrae ; qualis ab imbre solet percussis solibus arcus inficere ingenti longum curvamine caelum : in quo diversi niteant cum mille colores, 65 transitus ipse tamen spectantia lumina fallit : usque adeo quod tangit idem est ; tamen ultima distant, illic et lentum filis inmittitur aurum, et vetus in tela deducitur argumentum.
160 ページ - We cannot close our observations on his powers of expression, without adverting to a beauty which he possessed exclusively; or, at least, shared only with Leonardo da Vinci, namely, the lovely and exquisite smile, which plays on his female countenances, and which has been distinguished by the epithet of the Corrigesque, or the grace of Correggio. This trait, as difficult to describe as to imitate, has been happily indicated by Dante, the father of Italian Poetry, in his
163 ページ - This circumstance, at once sublime, beautiful, and picturesque, is one of those rare instances of supreme felicity by which a man may be said to be lost in his own glory. The thought has been seized with such avidity, and produced so many imitations, that no one is accused of plagiarism. The real author is forgotten ; and the public, habituated to consider the incident as a part of the subject, have long ceased to inquire when or by whom it was invented.