The Stones of Venice, Volume 3Smith, Elder, and Company, 1853 - Architecture |
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Abacus ancient angels arch architecture archivolt artist base beauty believe building Byzantine capitals Casa cavetto character Christ Christian CHURCH OF ST colour cornices cusp decoration delight Doge door Ducal Palace early effect evil examples expression façade feeling figures Fondaco Foscari Francesco Dandolo Frari Gothic Gothic architecture Grand Canal grotesque ground heart honour human imagination invention John and Paul kind knowledge labour leaf leaves magnificent manner marble Mark's merely mind modern monument Morosini mouldings Murano nature noble observe once ornamentation painter painting PALAZZO Paul Veronese perfect period picture pillars Plate plinth pride principal reader Renaissance Renaissance architecture represented respect Santa Maria Formosa sarcophagus sculpture seen shafts side soul spandrils spirit stone symbolized things thirteenth century thought Tintoret Titian tomb Torcello traceries true truth Turchi upper arcade Venice whole workman
Popular passages
Page 65 - I will lay me down in peace, and take my rest : for it is thou, Lord, only, that makest me dwell in safety.
Page 36 - In them hath he set a tabernacle for the sun, which is as a bridegroom coming out of his chamber, and rejoiceth as a strong man to run a race. His going forth is from the end of the heaven, and his circuit unto the ends of it: ала there is nothing hid from the heat thereof.
Page 204 - His grasping hold, and from her turne him backe: Her vomit full of bookes and papers was, With loathly frogs and toades, which eyes did lacke, And creeping sought way in the weedy gras : Her filthie parbreake all the place defiled has.
Page 94 - For thou hast trusted in thy wickedness : thou hast said, None seeth me. Thy wisdom and thy knowledge, it hath perverted thee; And thou hast said in thine heart, I am, and none else beside me.
Page 155 - Professing themselves to be wise, they became fools, And changed the glory of the incorruptible God into an image made like unto corruptible man, and to birds, and to fourfooted beasts, and creeping things.
Page 108 - In old times, men used their powers of painting to .show the objects of faith ; in later times, they used the objects of faith that they might show their powers of painting. The distinction is enormous, the difference incalculable as irreconcilable. And thus, the more skilful the artist, the less his subject was regarded ; and the hearts of men hardened as their handling softened, until they reached a point when sacred, profane, or sensual subjects were employed, with absolute indifference, for the...
Page 158 - From what we have seen to be its nature, we must, I think, be led to one most important conclusion; that wherever the human mind is healthy and vigorous in all its proportions, great in imagination and emotion no less than in intellect, and not overborne by an undue or hardened pre-eminence of the mere reasoning faculties, there the grotesque will exist in full energy.
Page 65 - Behold, even as the eyes of servants look unto the hand of their masters, and as the eyes of a maiden unto the hand of her mistress, even so our eyes wait upon the LORD our GOD, until he have mercy upon us.
Page 283 - Am I in Italy? Is this the Mincius? Are those the distant turrets of Verona? And shall I sup where Juliet at the Masque Saw her loved Montague, and now sleeps by him? Such questions hourly do I ask myself; And not a stone, in a cross-way, inscribed "To Manua" — "To Ferrara" — but excites Surprise, and doubt, and self-congratulation.
Page 171 - ... perception, and invention of a mighty human spirit, it is worthless. Worthless, I mean, as art ; it may be precious in some other way, but, as art, it is nugatory.