Essays on the picturesque, as compared with the sublime and the beautiful: and, on the use of studying pictures, for the purpose of improving real landscape, Band 1
Printed for J. Mawman, 1810
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abrupt according admired animals appearance arbutus arise banks breadth broken Brown buildings Burke called Caravaggio causes character charm circumstances Claude clumps colour concealment Correggio deformity degree distinct effect equally evergreen plantation expression firs gardening give Gothic architecture grand grandeur ground groups idea of beauty imitated impression improver intricacy irritation kind landscape less light and shadow lines look manner means mind mixed monotony naked nature neral ness objects observed oriental plane ornament outline painter painting Palladian architecture peculiar perfect perhaps Pietro da Cortona plantations planted pleasure prevail principles produced qualities of beauty racter Rembrandt repose Repton rich riety river rough Salvator Rosa scenery scenes seems sense shade shew Sir Joshua Sir Joshua Reynolds smooth soft spect striking style sublime sudden supposed symmetry taste terror thickets thing tints tion Titian ture turesque ugliness uniform varied variety Virgil whole wood word
Seite 97 - Less than archangel ruined, and the excess Of glory obscured ; as when the sun, new risen, Looks through the horizontal misty air Shorn of his beams, or from behind the moon, In dim eclipse, disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.
Seite 132 - Making it momentary as a sound, Swift as a shadow, short as any dream, Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth, And ere a man hath power to say, — Behold ! The jaws of darkness do devour it up : So quick bright things come to confusion.
Seite 100 - Appear like mice; and yon' tall anchoring bark, Diminish'd to her cock; her cock, a buoy Almost too small for sight: The murmuring surge, That on the unnumber'd idle pebbles chafes, Cannot be heard so high: — I'll look no more; Lest my brain turn, and the deficient sight Topple down headlong.
Seite 190 - The other shape, If shape it might be call'd that shape had none Distinguishable in member, joint, or limb ; Or substance might be call'd that shadow seem'd, For each seem'd either: black it stood as night, Fierce as ten furies, terrible as Hell, And shook a dreadful dart ; what seem'd his head The likeness of a kingly crown had on.
Seite 64 - Archangel ; but his face Deep scars of thunder had intrenched, and care Sat on his faded cheek ; but under brows Of dauntless courage, and considerate pride Waiting revenge. Cruel his eye, but cast Signs of remorse and passion...
Seite 87 - THE passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment : and astonishment is that state of the soul in which all its motions are suspended, with some degree of horror.
Seite 116 - Twas but a kindred sound to move, For pity melts the mind to love. Softly sweet, in Lydian measures Soon he soothed his soul to pleasures. War...
Seite 51 - A temple or palace of Grecian architecture in its perfect entire state, and with its surface and colour smooth and even, either in painting or reality is beautiful; in ruin it is picturesque.
Seite 63 - In our own species, objects merely picturesque are to be found among the wandering tribes of gypsies and beggars, who, in all the qualities which give them that character, bear a close analogy to the wild forester and the worn out cart horse, and again to old mills, hovels, and other inanimate objects of the same kind.
Seite 163 - ... else has retired into obscurity ; it still forces itself into notice, still impudently stares you in the face. An object of a sober tint, unexpectedly gilded by the sun, is like a serious countenance suddenly lighted up by a smile ; a whitened object like the eternal grin of a fool.