Anecdotes of the Arts in England: Or, Comparative Remarks on Architecture, Sculpture, and Painting, Chiefly Illustrated by Specimens at Oxford. By James Dallaway, ...T. Cadell and W. Davies. 1800. T. Bensley, printer, 1800 - 526 pagina's |
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Anecdotes of the Arts in England: Or, Comparative Remarks on Architecture ... James Dallaway Volledige weergave - 1800 |
Anecdotes of the Arts in England; Or, Comparative Remarks on Architecture ... James Dallaway Volledige weergave - 1800 |
Anecdotes of the Arts in England: Or, Comparative Remarks on Architecture ... James Dallaway Volledige weergave - 1800 |
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Populaire passages
Pagina 134 - Corinthians gave their architecture that appearance of delicacy and effeminate refinement, which characterizes the language of Isocrates. But the lonians struck out that happy line of beauty, which, partaking of the simplicity of the one without its harshness, and of the elegance of the other without its luxuriance, exhibited that perfection of style, which is adjudged to their great poet and his best imitators. Such an art among such a people could not but produce the most exquisite models of beauty...
Pagina 92 - The roof rests upon the side walls, without . cross beams, an invention which at first engrossed universal attention, but is now known to every architect. In consequence of the roof being in danger of falling, a new one was substituted in 1802.
Pagina 133 - ... of manners. Among the Dorians it carried with it the austerity of their national character, which displayed itself in their language and music. The lonians added to its original simplicity an elegance which has excited the universal admiration of posterity. The .Corinthians, a rich and luxurious people, not contented with former improvements, extended the art to the very verge of vicious refinement ; and thus (so connected in their origin are the arts, so similar in their progress and revolutions)...
Pagina 104 - Church, vras one of the moil perfect architects of his time. His. Elements of Civil •Architecture* give ample evidence that he was intimately converfant with the fciencc ; and two beautiful edifices of their kind, are a very honourable proof of his excellence in practice; He built Peckwatfr Court at Clirift Churc-hjin a chaile Ionic ftyle, and has ros ie the decoration fubordinate to the defign.
Pagina 356 - Neapoli in domo M. Comitis de Matalona in ore putei." In fact, an old drawing in the collection of Mr AW Franks, Brit . Mus., London, shows the relief still enclosed by a simple cornice at the top and a narrow listel at the bottom. Dallaway observes : " Formerly in the Columbran Palace at Naples. The cup at the bottom and the cornice at the top, by which it becomes a vase, were added when in the possession of Mr Jenkins about the year 1772.
Pagina 311 - Room III. No 31. This statue was found in the baths of Titus at Rome, during the pontificate of Urban VIII., and was placed by Cardinal Francisco Barberini, nephew to that pope, in the Barberini Palace, from whence it came into the possession of Mr. Townley in the year 1768, by purchase from the Princess Dowager Barberini. It is two feet three inches and three quarters in height ; length, including the plinth...
Pagina 191 - Diadumenum fecit molliter juvenem , centum talentis nobilitatum : idem et Doryphorum viriliter puerum. Fecit et quem canona artifices vocant , lineamenta artis ex eo petentes , velut a lege quadam : solusque hominum artem ipse fe.cisse, artis opere judicatur.
Pagina 329 - Soteris, with whom he had lived for thirty-five years without any disagreement ; wishing that she had survived him, rather than have left him the survivor : DM DASVMIAE SOTERIDI . LI BERTAE . OPTIMAE . ET . CON IVGI . SANCTISSIMAE . BENE MER . FEC. L. DASVMIVS CAL LISTVS . CVM . QVA . VIX. AN XXXV . SINE VLLA . QVE REI.LA . OPTANS . VT . IPSA SIBI . POTIVS . SVPERSTES . FV ISSET . QUAM . SE . SIBI . SVPER STITEM . RELIQVISSET^ It was published by Fabretti in his Inscriptions, p.
Pagina 485 - The lights in his pictures were painted with a body of colour usually thick, as if the artist had an intention rather to model than to paint ; but he knew the nature and property of each particular colour so thoroughly, that he placed every tint in its proper place, and by that means avoided the necessity of breaking and torturing his colours, and preserved them in their full freshness, beauty, and lustre.