Lectures on Art--Poems (Da Capo Library of American Art) Allston, Washington

This historic book may have numerous typos and missing text. Purchasers can download a * scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1850 edition. Excerpt: ...(meaning thereby that its only end is in mere pleasurable sensation) is to give the lie to our convictions; inasmuch as we find it appealing to one of the mightiest ministers of the Imagination, --the great Law of Harmony, --which cannot be touched without awakening by its vibrations, so to speak, the untold myriads of sleeping forms that lie within its circle, that start up in tribes, and each in accordance with the congenial instrument that summons them to action. He who can thus, as it were, embody an abstraction is no mere pander to the senses. And who that has a modicum of the imaginative would assert of one of Haydn's Sonatas, that its effect on him was no other than sensuous? Or who would ask for the story in one of our gorgeous autumnal sunsets? In subjects of a grave or elevated kind, the Variety will be found to diminish in the same degree in which they approach the Sublime. In the raising of Lazarus, by Lievens, we have an example of the smallest possible number of parts which the nature of such a subject would admit. And, though a different conception might authorize a much greater number, yet we do not feel in this any deficiency; indeed, it may be doubted if the addition of even one more part would not be felt as obtrusive. By the term parts we are not to be understood as including the minutiae of dress or ornament, or even the several members of a group, which come more properly under the head of detail; we apply the term only to those prominent divisions which constitute the essential features of a composition. Of these the Sublime admits the fewest. Nor is the limitation arbitrary. By whatever causes the stronger passions or higher faculties of the mind become pleasurably excited, if they be pushed as it were beyond their supposed. This historic book may have numerous typos and missing text. Purchasers can download a * scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1850 edition. Excerpt: ...(meaning thereby that its only end is in mere pleasurable sensation) is to give the lie to our convictions; inasmuch as we find it appealing to one of the mightiest ministers of the Imagination, --the great Law of Harmony, --which cannot be touched without awakening by its vibrations, so to speak, the untold myriads of sleeping forms that lie within its circle, that start up in tribes, and each in accordance with the congenial instrument that summons them to action. He who can thus, as it were, embody an abstraction is no mere pander to the senses. And who that has a modicum of the imaginative would assert of one of Haydn's Sonatas, that its effect on him was no other than sensuous? Or who would ask for the story in one of our gorgeous autumnal sunsets? In subjects of a grave or elevated kind, the Variety will be found to diminish in the same degree in which they approach the Sublime. In the raising of Lazarus, by Lievens, we have an example of the smallest possible number of parts which the nature of such a subject would admit. And, though a different conception might authorize a much greater number, yet we do not feel in this any deficiency; indeed, it may be doubted if the addition of even one more part would not be felt as obtrusive. By the term parts we are not to be understood as including the minutiae of dress or ornament, or even the several members of a group, which come more properly under the head of detail; we apply the term only to those prominent divisions which constitute the essential features of a composition. Of these the Sublime admits the fewest. Nor is the limitation arbitrary. By whatever causes the stronger passions or higher faculties of the mind become pleasurably excited, if they be pushed as it were beyond their supposed.