The Classic and Connoisseur in Italy and Sicily: With an Appendix Containing an Abridged Translation of Lanzi's Storia Pittorica, Volumen1
Longman, Rees, Orme, Brown, Green & Longman, 1835
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according admired ancient appears arches architecture beautiful building built called carried celebrated century character church collection columns consists continues covered decorated effect equal executed exhibit expression face feet figure foot former Forsyth four front give given Greek hand head Hence hills idea interesting Italian Italy latter leading least length less light look magnificence manner marble mark mountain nature never objects observes once opinion original painter painting palace pass perhaps Peter's picture piece pillars plain poet present probably produce remains remark represented rest rise road Roman Rome round says scene seats seems seen serve side sometimes spectators stands statue stone story style supposed tells temple thing thought tion tomb various walls whole wood
Página 158 - Insuperable height of loftiest shade, Cedar, and pine, and fir, and branching palm, A sylvan scene, and, as the ranks ascend Shade above shade, a woody theatre Of stateliest view.
Página 158 - But o'er the twilight groves and dusky caves, Long-sounding aisles and intermingled graves, Black Melancholy sits, and round her throws A death-like silence, and a dread repose : Her gloomy presence saddens all the scene, Shades every flower, and darkens every green, Deepens the murmur of the falling floods. And breathes a browner horror on the woods...
Página 239 - Aequore damae. Vidimus flavum Tiberim retortis Littore Etrusco violenter undis Ire dejectum monumenta regis Templaque Vestae ; Iliae dum se nimium querenti Jactat ultorem, vagus et sinistra Labitur ripa Jove non probante u^ xorius amnis.
Página 191 - But Rome is as the desert, where we steer Stumbling o'er recollections: now we clap Our hands, and cry, " Eureka ! it is clear — " When but some false mirage of ruin rises near.
Página 138 - The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players.
Página 316 - Jn allegorizing Nature, Guercino imitates the deep shades of night, the twilight grey, and the Irradiations of morning with all the magic of chiaroscuro; but his figures are too mortal for the region where they move. The work of Guido is more poetic, and luminous, and soft, and harmonious. Cupid, Aurora, Phoebus form a climax of beauty, and the Hours seem as light as the clouds on which they dance.
Página 259 - Such reflections check our regret for its ruin. As it now stands, the Coliseum is a striking image of Rome itself — decayed, vacant, serious, yet grand...
Página 191 - Whence this excess of joy ? what has befallen me ? And from within a thrilling voice replies, Thou art in Rome ! A thousand busy thoughts Rush on my mind, a thousand images ; And I spring up as girt to run a race ! Thou art in Rome ! the city that so long Reigned absolute, the mistress of the world...