The Renaissance: Studies in Art and PoetryMacmillan, and Company, limited, 1913 - 238 páginas |
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abstract æsthetic æsthetic criticism antique artistic Aucassin Aucassin and Nicolette beauty become Bellay Botticelli character characteristic charm Christian church classical colour culture curious Dante death delicate divine effect element expression fancy fifteenth century Florence Florentine flowers French French language genius Giorgione Giorgione's gods Goethe grace Greek art Greek religion hand Hellenic human mind ideal imaginative impression intellectual interest Italian Italy Joachim du Bellay language legend Leonardo light limits living Luca della Robbia matter medieval ment Michelangelo middle age modern mystical nature Nicolette outward pagan painter painting passed passion peculiar penetrate perfect perhaps philosophy Pico picture Pitti Palace Plato Pleiad poem poetry pure Raphael realise refined religious Renaissance Rome Ronsard Saint Sandro Botticelli sculpture secret seems sense sensuous sentiment songs spirit story strange sweetness Tannhäuser taste things thought Titian touch tradition true Vasari Venetian Winckel Winckelmann youth
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Página 238 - ... we have an interval, and then our place knows us no more. Some spend this interval in listlessness, some in high passions, the wisest, at least among "the children of this world,
Página 236 - Not the fruit of experience but experience itself is the end. A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to be seen in them by the finest senses?
Página 1 - White, who reigned at the end of the twelfth and the beginning of the thirteenth century, the Jews farmed and administered the mint of Great and of Little Poland.
Página 236 - The service of philosophy, of speculative culture, towards the human spirit, is to rouse, to startle it to a life of constant and eager observation. Every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest; some mood of passion or insight or intellectual excitement is irrestibly real and attractive to us, — for that moment only. Not the fruit of experience, but experience itself, is the end.
Página 237 - The theory, or idea, or system, which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter, or some abstract morality we have not identified with ourselves, or what is only conventional, has no real claim upon us.
Página 233 - ... from the second edition of 1877, and finally restored in 1888 with the following explanation by Pater: "This brief 'Conclusion' was omitted in the second edition of this book, as I conceived it might possibly mislead some of those young men into whose hands it might fall.
Página 49 - the essence of humanism is that belief of which he seems never to have doubted, that nothing which has ever interested living men and women can wholly lose its vitality — no language they have spoken, nor oracle beside which they have hushed their voices, no dream which has once been entertained by actual human minds, nothing about which they have ever been passionate, or expended time and zeal.
Página 222 - Then Saul said to Jonathan, Tell me what thou hast done. And Jonathan told him, and said, I did but taste a little honey with the end of the rod that was in mine hand, and, lo, I must die.
Página 124 - Besides the picture is a portrait. From childhood we see this image denning itself on the fabric of his dreams; and but for express historical testimony, we might fancy that this was but his ideal lady, embodied and beheld at last.
Página 138 - Art, then, is thus always striving to be independent of the mere intelligence, to become a matter of pure perception, to get rid of its responsibilities to its subject or material...