The Old Engravers of England in Their Relation to Contemporary Life and Art (1540-1800) |
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admirable artistic Bartolozzi beauty became brother century Charles charm contemporary copper copper-plate Countess Court daughter death died Duchess Duke Dutch Earl Earlom Elizabeth England English engraver engraver engraver's Etching etching-point Evelyn exquisite face Faithorne Faithorne's famous Fanny Burney fashion father France Gainsborough Garrick genius George George Morland graver Henry Hogarth Hollar honour Hoppner Horace Walpole interest interpreted J. R. Smith Jacobite James John Raphael Smith King King's Kneller Lady line-engraver lived Loggan London look Lord married Mary master masterpiece McArdell mezzotint mezzotint engraving Morland never painted painter perhaps personality Peter pictorial picture plates poet popular portrait-painter portraits portraiture Prince Rupert prints printsellers published pupil Queen Reynolds's Richard Richard Earlom Robert Robert Strange Romney Royal Academy Ryland Senesino Sir Joshua stipple STIPPLE ENGRAVING Strange Street talent Thomas title-page touch Valentine Green Vandyck Watson wife William William Woollett William Wynne Ryland Woollett young Zoffany
Popular passages
Page 22 - TO THE READER. This Figure, that thou here seest put, It was for gentle Shakespeare cut ; Wherein the Graver had a strife With Nature, to out-doo the life: O, could he but have drawne his wit As well in brasse, as he hath hit His face ; the print would then surpasse All that was ever writ in brasse. But, since he cannot, Reader, looke Not on his Picture, but his Booke.
Page 15 - Parthenia or The Maydenhead of the first musicke that ever was printed for the Virginalls, composed by three famous Masters, William Byrd, Dr. John Bull, and Orlando Gibbons, Gentilmen of his Majesties most Illustrious Chappell.
Page 132 - Tenducci, a thing from Italy. It looks for all the world like a man, though they say it is not. The voice, to be sure, is neither man's nor woman's ; but it is more melodious than either ; and it warbled so divinely, that, while I listened, I really thought myself in paradise.
Page 63 - Then peers grew proud in horsemanship t' excel, Newmarket's glory rose, as Britain's fell ; The soldier breath'd the gallantries of France, And ev'ry flowery courtier writ romance. Then marble, soften'd into life, grew warm, And yielding metal flow'd to human form : Lely on animated canvas stole The sleepy eye, that spoke the melting soul.
Page 202 - HE who bends to himself a Joy Doth the winged life destroy ; But he who kisses the joy as it flies Lives in Eternity's sunrise.
Page 42 - HARRY, whose tuneful and well-measured song First taught our English music how to span Words with just note and accent, not to scan With Midas' ears, committing short and long, Thy worth and skill exempts thee from the throng, With praise enough for Envy to look wan : To after age thou shalt be writ the man That with smooth air couldst humour best our tongue.
Page 93 - Argyll, the state's whole thunder born to wield, And shake alike the senate and the field?
Page 8 - For the personages of men, the shapes of horses, and such like, are made large at the bottome, and lesser upward, as if you were to behold all the same in a plaine, that which is nearest seemes greatest, and the fardest, shewes smallest, which is the chiefe art in picture.42 In his collection of emblems, Le imprese illustri, Ruscelli uses the globe recurrently.
Page 65 - ... had sent for the players either that there might be no intermission in the diversions of the place, or, perhaps, to retort upon Miss Stewart by the presence of Nell Gwynne, part of the uneasiness that she felt from hers.
Page 121 - Lady Susan was dressed from Jane Seymour ; and all the parts were clothed in ancient habits, and with the most minute propriety. I was infinitely more struck with the last scene between the two women than ever I was when I have seen it on the stage. When Lady Sarah was in white, with her hair about her ears, and on the ground, no Magdalen by Correggio was half so lovely and expressive.