The Cabinet of Arts: Or, General Instructor in Arts, Science, Trade, Practical Machinery, the Means of Preserving Human Life, and Political Economy
T. Kinnersley, 1817 - 859 pages
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acid appear applied artist balloon becomes blue body boiling bottom called carried cloth cold colour combined common composition consequently considerable consists contain copper covered diameter direction dissolved distance draw drawn earth effect employed equal experiments fall feet figures fire fixed fluid force four give glass greater ground half hand heat inches iron Italy kind known laid land leaves length less light manner means metals method mixed motion nature necessary objects observed ounce painting pass persons piece plants plate pounds powder prepared prevent principal produced proper proportion quantity rays remain rockets salt side soil sort spirit stand stone strong substances sufficient sulphur surface taken tints turn various varnish vessel weight wheel whole wine wood
Page 106 - 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 108 - 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 338 - 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 353 - ... 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 77 - 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 321 - 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 331 - 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 364 - 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 364 - ... 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 363 - 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.