 The painter has no other means of giving an idea of the dignity of the mind but by that external appearance which grandeur of thought does generally, though not always, impress on the countenance and by that correspondence of figure to sentiment and situation...  The Monthly Review, Or, Literary Journal - Page 4201772Full view - About this book
 | R. Griffiths - 1772 - 632 pages
...reprefents, though he lets us know at the fame time that the faint was deformed, and the hero lame. * The painter has no other means of giving an idea of...figure to> fentiment and fituation, which all men wiih, but cannot command. The painter, who may in this one particular attainwir!) eafe what others... | |
 | Ralph Griffiths, George Edward Griffiths - Periodicals - 1772 - 628 pages
...reprefents, though he lets us know at the fame time that the faint was deformed, and the hero lame. * The painter has no other means of giving an idea of...grandeur of thought does generally, though not always, imprefe on the countenance ; and by that correfpnndence of figure to fentiment and fituation, which... | |
 | Sir Joshua Reynolds - Art - 1778 - 346 pages
...reprefents, though he lets us know at the fame time, that the laint was deformed, or the hero lame. The Painter has no other means of giving an idea of...of figure to fentiment and fituation, which all men wifh, but cannot command. The Painter, who may in this one particular attain with eafe what others... | |
 | Sir Joshua Reynolds - Art - 1778 - 360 pages
...reprefents, though he lets us know at the fame time, that the faint was deformed, or the hero lame. The Painter has no other means of giving an idea of...of figure to fentiment and fituation, which all men wifh, but cannot command. The Painter, who may in this one particular attain with eafe what others... | |
 | Sir Joshua Reynolds, Edmond Malone - Art - 1801 - 440 pages
...represents, though he lets us know at the same time, that the saint was deformed, or the hero lame. The Painter has no other means of giving an idea of...grandeur of thought does generally, though not always, impress on the countenance; and by that correspondence of figure to sentiment and situation, which... | |
 | Sir Joshua Reynolds, Edmond Malone - Art - 1809 - 430 pages
...represents, though he lets us know at the same time, that the saint was deformed, or the hero lame. The Painter has no other means of giving an idea of the dignity of the mind, but by that external,appearance which; grandeur of thought does generally, though not always, impress on the countenance;... | |
 | Aristotle, Thomas Twining - Aesthetics - 1812 - 386 pages
...figures, — as large as life, &c. Dacier's " visoit a la perfection" is nothing to the purpose. f " The painter has no other ,means of giving an " idea...grandeur of thought does generally, " though not always, impress on the countenance; and .« by that correspondence of figure to sentiment and " situation,... | |
 | Aristotle, Thomas Twining - Aesthetics - 1812 - 388 pages
...figures, — as large as life, &c. Dacier's " visoit a la perfection" is nothing to the purpose. • 1 «* The painter has no other means of giving an " idea...appearance which grandeur of thought does generally, «f though not always, impress on the countenance ; and " by that correspondence of figure to sentiment... | |
 | Aristotle, Thomas Twining - Aesthetics - 1812 - 380 pages
...figures, — as large as life, &c. Dacier's " visoit a la perfection" is nothing to the purpose. * " The painter has no other means of giving an " idea of the dignity of the mind, but by that external i' appearance which grandeur of thought does generally, ". though not always, impress on the countenance... | |
 | 1818 - 588 pages
...character of the hero or saint he represents. The painter has no other means of conveying an ideaof the dignity of the mind, but by that external appearance...grandeur of thought does generally, though not always, impress on the countenance; and by that correspondence of figure to sentiment and situation, which... | |
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