Excerpt: ... respects, Veronese surpassed both. But he was certainly deficient in a sense of suitability and probability. He, of all painters, carried to an outrageous extent the practice, which I have defended in some degree, of painting sacred and historical subjects as if they had happened in his own day and city. He violated taste and even reason in painting every scene, lofty or humble, sacred or profane, alike, with the pomp of splendour and richness of ornament which were the fashion of the time; but he had a vivid perception of character, and a certain greatness of mind which redeemed his plethora of gorgeousness from monotony or vulgarity. Veronese is reported to have been far more correct and careful in drawing than was Tintoret, while Veronese's prodigality of colour was a mellowed version of Tintoret's glare or deadness. One of Veronese's best pictures is the 'Marriage of Cana, ' painted originally for the refectory of the convent of San Giorgio, Venice, and now in the Louvre. 'It is not less than thirty feet long and twenty feet high, and contains about one hundred and thirty figures, life size. The Marriage Feast of the Galilean citizen is represented with a pomp worthy of "Ormuz or of Ind." A sumptuous hall of the richest architecture; lofty columns, long lines of marble balustrades rising against the sky; a crowd of guests splendidly attired, some wearing orders of knighthood, are seated at tables covered with gorgeous vases of gold and silver, attended by slaves, jesters, pages, and musicians. In the midst of all this dazzling pomp, this display of festive enjoyment, these moving figures, these lavish colours in glowing approximation, we begin after a while to distinguish the principal personages, our Saviour, the Virgin Mary, the twelve Apostles, mingled with Venetian senators and ladies, clothed in the rich costume of the sixteenth century; monks, friars, poets, artists, all portraits of personages existing in his own time; while in a group...

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1853 edition. Excerpt: ...that the motive which induced him to burn the stacks was in order that he might make corn dear, and so raise wages; and what then, he would ask, was the d-ifference in principle? (Hear, hear.) Where was the difference between those who made corn dear by artificial means, and Lankester, who took his own mode of making it dear? He much feared that half those who supported the present Corn Laws would stand less acquitted in the eyes of heaven than James Laukester, the unfortunate man who set fire to those stacks. (Hear, hear.) He repeated, that men who knew what they were doing, and notwithstanding that knowledge supported the Corn Laws for their own selfish purposes, were more to blame than the wretch who burned that com, if in doing so he did not know how really guilty he was in the sight of heaven." Mr. Fox delivered a brilliant address, continued to a late period of the evening, which was principally a recital of the effects everywhere produced, from successive ministries down to the poorest classes of the community, by the free-trade agitation. He said: --l " Rick-burning was only Richmondism in theory. (Immense cheering.) There never was a parallel more complete than that between the Richmondites and rick-burning; for if one wantonly destroyed property so did the other; if one endangered human life, so did the other endanger it wholesale; if in the rick-burner's case the innocent suffered, who suffered in the other case? The innocent and the helpless, who suffered more the more helpless they were. If one destroyed the good gifts of heaven to man, so did the other; and probably alarger quantity of corn was destroyed in the course of the year by rotting in bond than had ever been destroyed by rick-burners, and at last...

Excerpt from The Old Masters and Their Pictures: For the Use of Schools and Learners in Art, With Illustrations From Paintings I wish to say, in a very few words, that this book is intended to be a simple account of the great Old Masters in painting of every age and country, with descriptions of their most famous works, for the use of learners and out siders in art. The book is not, and could not well be, exhaustive in its nature. I have avoid 'ed definitions of schools, considering that these should form a later and more elaborate portion of art education, and preferring to group my painters' according to what I hold to be the primitive arrangements of time, country, and. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.