This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1829 Excerpt: ... a dissected figure. Such are the regulations and forms of beauty in the human face and figure, which allow of infinite modification and variety, but not transgression. By these general remarks on the principles of beauty, the student will be excited to a spirit of research, which every one must exert for himself in ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1829 Excerpt: ... a dissected figure. Such are the regulations and forms of beauty in the human face and figure, which allow of infinite modification and variety, but not transgression. By these general remarks on the principles of beauty, the student will be excited to a spirit of research, which every one must exert for himself in the various galleries and museums already published, to be found in the library of the Royal Academy, and other public and private repositories, and ancient monuments; but this must be in addition to the most diligent and continual study of choice nature. LECTURE VI. COMPOSITION. Having introduced the Lectures on Sculpture by an inquiry concerning its relations and connection with the circle of general knowledge--stated some important facts in its ancient history--considered the application of science, the observation of nature, and the speculation of mental qualities more particularly evident in the nobler works of Grecian sculpture--we may now proceed to that great effort in which the artist sums up all his knowledge, embodies all his science, and exerts his utmost powers, under the standard of passion, or sentiment, in composition. To avoid repeating that which it is scarcely possible to think or say better on the present subject, I shall refer the student to the excellent principles and doctrines in the Lecture on Composition by the professor of painting--to consider with attention what he has delivered on invention and design, on dignity of conception, and pathos of sentiment--to imprint on his memory, with peculiar care, the gradual elevation to a climax in the example of Rembrandt's " Ecce Homo"--and the degradation of subject to the disgusting, in " the blinding of Sampson," by the same painter. The maxims to be colle...
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