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admiration appears armed arrived artists beautiful became Bernini biographers brilliant called Cardinal cause celebrated century character church court death distinguished effect executed exhibited existence eyes fashion feelings figure followed force forms fortune frequently gallery gave genius give given grand habits hand head human imagination influence interest Italian Italy known Lanfranco least less letters living manner Masaniello master merit mind moral Naples native nature Neapolitan never object observes obtained once original painter painting palace passed Passeri passion period person philosophy picture poet powerful present princes produced profession protection raised received rendered returned Roman Rome Saint Salvator Rosa Salvator's says scenes seventeenth singular society spirit splendid success talents taste tion took Viceroy views vogue young youth
154 페이지 - And she went, and sat her down over against him a good way off, as it were a bowshot; for she said, Let me not see the death of the child. And she sat over against him, and lift up her voice, and wept.
238 페이지 - TITAN ! to whose immortal eyes The sufferings of mortality, Seen in their sad reality, Were not as things that gods despise ; What was thy pity's recompense ? A silent suffering, and intense ; The rock, the vulture, and the chain, All that the proud can feel of pain, The agony they do not show The suffocating sense of woe, Which speaks but in its loneliness, And then is jealous lest the sky Should have a listener, nor will sigh Until its voice is echoless.
279 페이지 - ... writhing and unboning their clergy limbs to all the antic and dishonest gestures of Trinculoes, buffoons, and bawds; prostituting the shame of that ministry, which either they had, or were nigh having, to the" eyes of courtiers and court ladies, with their grooms and mademoiselles.
268 페이지 - Rome, gave a public opera, wherein he painted the scenes, cut the statues, invented the engines, composed the music, writ the comedy and built the theatre.
95 페이지 - Salvator Rosa," says Sir J. Reynolds, " saw the necessity of trying some new source of pleasing the public in his works. The world were tired of Claude Lorraine's and G. Poussin's long train of imitators." " Salvator therefore struck into a wild, savage kind of nature, which was new and striking." " The first of these paragraphs contains a strange anachronism. When Salvator struck into a new line, Poussin and Claude, who, though his elders, were his contemporaries, had as yet no train of imitators....
11 페이지 - Trinity upon them, shall be forthwith burnt. Ordered, that all such pictures there as have the representation of the Virgin Mary upon them, shall be forthwith burnt.
80 페이지 - ... among the first Italian lyrists of his age. Little did he then dream that posterity would apply the rigid rules of criticism to the "idle visions...
247 페이지 - Towards the close of the Carnival of 1639, when the spirits of the revellers (as is always the case in Rome) were making a brilliant rally for the representations of the last week, a car, or stage, highly ornamented, drawn by oxen, and occupied by a masked troop, attracted universal attention by its novelty and singular representations. The principal personage announced himself as a certain Signor Formica, a Neapolitan actor, who in the character of Coviello...
109 페이지 - ... wanderers over the face of the earth, with their hand against every man, and every man's hand against them.
295 페이지 - Arcadian figures,* exhibited a nature chosen and selected with practised judgment, such as she is seen in the descriptions of Tasso, of the fairy gardens of the voluptuous Armida. In the works of both these illustrious masters, in the radiant sun-lights of Claude, and the serene heavens of Poussin, the terrestrial world lies wrapped in a sweet repose. Nature, in her tranquil beauty, always appears the benefactress of man, not his destroyer; the source of his joys...