The Life and Times of Salvator Rosa, Volume 1

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H. Colburn, 1824

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Page 154 - And she went, and sat her down over against him a good way off, as it were a bowshot; for she said, Let me not see the death of the child. And she sat over against him, and lift up her voice, and wept.
Page 238 - TITAN ! to whose immortal eyes The sufferings of mortality, Seen in their sad reality, Were not as things that gods despise ; What was thy pity's recompense ? A silent suffering, and intense ; The rock, the vulture, and the chain, All that the proud can feel of pain, The agony they do not show The suffocating sense of woe, Which speaks but in its loneliness, And then is jealous lest the sky Should have a listener, nor will sigh Until its voice is echoless.
Page 279 - ... writhing and unboning their clergy limbs to all the antic and dishonest gestures of Trinculoes, buffoons, and bawds; prostituting the shame of that ministry, which either they had, or were nigh having, to the" eyes of courtiers and court ladies, with their grooms and mademoiselles.
Page 268 - Rome, gave a public opera, wherein he painted the scenes, cut the statues, invented the engines, composed the music, writ the comedy and built the theatre.
Page 95 - Salvator Rosa," says Sir J. Reynolds, " saw the necessity of trying some new source of pleasing the public in his works. The world were tired of Claude Lorraine's and G. Poussin's long train of imitators." " Salvator therefore struck into a wild, savage kind of nature, which was new and striking." " The first of these paragraphs contains a strange anachronism. When Salvator struck into a new line, Poussin and Claude, who, though his elders, were his contemporaries, had as yet no train of imitators....
Page 11 - Trinity upon them, shall be forthwith burnt. Ordered, that all such pictures there as have the representation of the Virgin Mary upon them, shall be forthwith burnt.
Page 80 - ... among the first Italian lyrists of his age. Little did he then dream that posterity would apply the rigid rules of criticism to the "idle visions...
Page 247 - Towards the close of the Carnival of 1639, when the spirits of the revellers (as is always the case in Rome) were making a brilliant rally for the representations of the last week, a car, or stage, highly ornamented, drawn by oxen, and occupied by a masked troop, attracted universal attention by its novelty and singular representations. The principal personage announced himself as a certain Signor Formica, a Neapolitan actor, who in the character of Coviello...
Page 109 - ... wanderers over the face of the earth, with their hand against every man, and every man's hand against them.
Page 295 - Arcadian figures,* exhibited a nature chosen and selected with practised judgment, such as she is seen in the descriptions of Tasso, of the fairy gardens of the voluptuous Armida. In the works of both these illustrious masters, in the radiant sun-lights of Claude, and the serene heavens of Poussin, the terrestrial world lies wrapped in a sweet repose. Nature, in her tranquil beauty, always appears the benefactress of man, not his destroyer; the source of his joys...

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