Renaissance Fancies And Studies
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:. .. V . I TUSCAN SCULPTURE 155 These men brought, therefore, to the cutting of marble a degree of skill and knowledge of which the ancients had no notion, as they had no necessity. In their hands the chisel was not merely a second model- ling tool, moulding delicate planes, uniting insensibly broad masses of projection and depression. It was a pencil, which, according as it was held, could emphasise the forms in sharp hatchings or let them die away unnoticed in subdued, imperceptible washes. ...It was a brush which could give the texture and the values of the colour — a brush dipped in various tints of light and darkness, according as it poured into the marble the light and the shade, and as it translated into polishings and rough hewings and granulations and every variety of cutting, the texture of flesh, of hair, and of drapery ; of the blonde hair and flesh of children, the coarse flesh and bristly hair of old men, the draperies of wool, of linen, and of brocade. The sculptors of Antiquity took a beautiful human being — a youth in his perfect flower, with limbs trained by harmonious exercise and ripened by exposure to the air and sun — and, correcting whatever was imperfect in his individual forms by their hourly experience of similar beauty, they copied in clay as much as clay could give of his perfec- tions : the subtle proportions, the majestic ampleness of masses, the delicate finish of limbs, the harmonious play of muscles, the serene simplicity of look and gesture, placing him in an attitude intelligible and graceful from the greatest possible distance and from 156 RENAISSANCE FANCIES AND STUDIES the largest variety of points of view.
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To quickly assess the difficulty of the text, read a short excerpt:
:. .. V . I TUSCAN SCULPTURE 155 These men brought, therefore, to the cutting of marble a degree of skill and knowledge of which the ancients had no notion, as they had no necessity. In their hands the chisel was not merely a second model- ling tool, moulding delicate planes, uniting insensibly broad masses of projection and depression. It was a pencil, which, according as it was held, could emphasise the forms in sharp hatchings or let them die away unnoticed in subdued, imperceptible washes. ...It was a brush which could give the texture and the values of the colour — a brush dipped in various tints of light and darkness, according as it poured into the marble the light and the shade, and as it translated into polishings and rough hewings and granulations and every variety of cutting, the texture of flesh, of hair, and of drapery ; of the blonde hair and flesh of children, the coarse flesh and bristly hair of old men, the draperies of wool, of linen, and of brocade. The sculptors of Antiquity took a beautiful human being — a youth in his perfect flower, with limbs trained by harmonious exercise and ripened by exposure to the air and sun — and, correcting whatever was imperfect in his individual forms by their hourly experience of similar beauty, they copied in clay as much as clay could give of his perfec- tions : the subtle proportions, the majestic ampleness of masses, the delicate finish of limbs, the harmonious play of muscles, the serene simplicity of look and gesture, placing him in an attitude intelligible and graceful from the greatest possible distance and from 156 RENAISSANCE FANCIES AND STUDIES the largest variety of points of view.
What to read after Renaissance Fancies And Studies?
You can find similar books in the "Read Also" column, or choose other free books by Lee, Vernon, 1856-1935 to read onlineMoreLess
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