The Cabinet of Arts: Or, General Instructor in Arts, Science, Trade, Practical Machinery, the Means of Preserving Human Life, and Political Economy |
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Page 310
... PAINTING . Or all the arts generally included under the appellation of Imitative , that of painting undoubtedly deserves the first rank ; not merely for the beauty and diversity of the tints it affords , nor ... PAINTING . -Of Painting,-
... PAINTING . Or all the arts generally included under the appellation of Imitative , that of painting undoubtedly deserves the first rank ; not merely for the beauty and diversity of the tints it affords , nor ... PAINTING . -Of Painting,-
Page 311
... painting , as in poetry , it is only by adding sublimity to the sublime objects of nature , that the artist can truly merit , or ever justly obtain , those immortal wreaths which the nations of the world have unanimously decreed to ...
... painting , as in poetry , it is only by adding sublimity to the sublime objects of nature , that the artist can truly merit , or ever justly obtain , those immortal wreaths which the nations of the world have unanimously decreed to ...
Page 314
... painting , are equally capable of sublimi- ty . Truth also forms a principal part of the sublime . Every follower of the liberal arts should constantly aim at the attainment of this ex- alted excellence . Every thing that is low ...
... painting , are equally capable of sublimi- ty . Truth also forms a principal part of the sublime . Every follower of the liberal arts should constantly aim at the attainment of this ex- alted excellence . Every thing that is low ...
Page 315
... painting had been practised in Egypt for ten thousand years ; that some of the productions of that high antiquity were then in existence : and that they exactly resembled those which the ... paint on cloth , as do also PAINTING , 315.
... painting had been practised in Egypt for ten thousand years ; that some of the productions of that high antiquity were then in existence : and that they exactly resembled those which the ... paint on cloth , as do also PAINTING , 315.
Page 316
... who introduced drapery in his female figures . He also used different colours to the vas rious paris of the dress ; and was the first who ventured to draw the mouths of his figures open , in such a manner 816 PAINTING .
... who introduced drapery in his female figures . He also used different colours to the vas rious paris of the dress ; and was the first who ventured to draw the mouths of his figures open , in such a manner 816 PAINTING .
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Common terms and phrases
alkali antimony appear applied artist balloon blue body boiling bottom called carbonic carbonic acid centre charcoal clay cloth cold colour column common composition contain copper crop degree diameter dissolved distance distilled draw drying oil earth effect employed equal feet fermentation filled fire fixed fluid gallons glass gold ground half heat hole inches iron isinglass laid light lime liquor machine manner meal powder melted mercury metals method mixed mixture mordant mortar motion muriatic muriatic acid nature nitric acid objects observed ounce oxyde oxygen painter painting paper piece pipe plants plate plough potass pounds produced proper proportion quantity rays rectified spirit rockets salt saltpetre seed-lac side silver soil spirits of wine stone substances sufficient sulphuric acid surface thick tints tion Titian turnips varnish vessel weight wheel whole wood yellow
Popular passages
Page 108 - And it came to pass, as soon as he came nigh unto the camp, that he saw the calf, and the dancing : and Moses' anger waxed hot, and he cast the tables out of his hands, and brake them beneath the mount.
Page 110 - None from henceforth shall use to multiply gold or silver, or use the craft of multiplication; and if any the same do, he shall incur the pain of felony.
Page 340 - Claude, are gilded with the setting sun; whether the mountains have sudden and bold projections, or are gently sloped; whether the branches of his trees shoot out abruptly in right angles from their trunks, or follow each other with only a gentle inclination. All these circumstances contribute to the general character of the work, whether it be of the elegant, or of the more sublime kind. If we add to this the powerful materials of lightness...
Page 355 - ... the object which it illumines, as it does in nature ; this is likewise an intended deviation, and for the same reason. If Rubens had preserved the same scale of gradation of light between the Moon and the objects, which is found in nature, the picture must have consisted of one small spot of light only, and at a little distance from the picture nothing but this spot would have been seen.
Page 79 - If it is white, you will not easily burn it; but if you bring the focus to a black spot, or upon letters, written or printed, the paper will immediately be on fire under the letters. Thus fullers and dyers find black cloths of equal thickness with white ones, and hung out equally wet, dry in the sun much sooner than the white, being more readily heated by the sun's rays.
Page 323 - Inspiration; his ideas are vast and sublime; his people are a superior order of beings ; there is nothing about them, nothing in the air of their actions or their attitudes, or the style and' cast of their limbs or features, that reminds us of their belonging to our own species.
Page 333 - I reflect not without vanity, that these Discourses bear testimony of my admiration * Che Raffaelle non ebbe quest" arte da nutura, ma per lunyo studio. of that truly divine man, and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO*.
Page 366 - who takes for his model such forms as Nature produces, and confines himself to an exact imitation of them, will never attain to what is perfectly beautiful. For the works of Nature are full • I.ih.
Page 366 - ... of the art in which English artists are the most engaged, a variety, a fancy, and a dignity derived from the higher branches, which even those who professed them in a superior manner did not always preserve when they delineated individual nature. His portraits remind the spectator of the invention of history and of the amenity of landscape. In painting portraits he appears not to be raised upon that platform, but to descend to it from a higher sphere. His paintings illustrate his lessons, and...
Page 365 - The principle now laid down, that the perfection of this art does not consist in mere imitation, is far from being new or singular. It is, indeed, supported by the general opinion of the enlightened -part of mankind. The poets, orators, and rhetoricians of antiquity, are continually enforcing this position ; that all the arts receive their perfection from an ideal beauty, superior to what is to be found in individual nature.