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Meditation, Creation And Concentration
ALL religions invent modes whereby the mind of man is directed to Deity. In the Eastern philosophy these modes are called Yoga, and are supposed to be methods of yoking the individual mind to the Universal Consciousness. There are two principal kinds of yoga, which may be described as mental and as physical.
Lesser Occult Or Psychic Forces And Their Dangers
AT this period of our history most people make the word Occultism synonymous with psychism. In reality there is a vast difference between the two. The meaning of the former word you have heretofore seen, and now it remains for us to examine one of its sub-divisions, which is psychism.
Hypnotism, And How To Guard Against It
At the present time animal magnetism is known as Mesmerism, and Hypnotism is known as sleep, artificially produced. So we shall try to follow out the modern conception of it rather than the presentation of Mesmer, although reference may be had from time to time to Mesmer's teachings.
Higher Occult Or Spiritual Forces And Their Uses
Through both these maxims the same thought runs - that like mentalities are found in groups. There are certain groupings of forces and of truths; there is also a grouping of minds.
Cause And Cure Of Disease
DISEASE is, as the name indicates, disease, and means an absence of ease. Pathologically speaking, according to one of the definitions of the Century Dictionary, disease is a deviation from the healthy or normal condition of any of the functions or tissues of the body, and therefore it is necessary to ascertain what the normal condition of the body is before we may know when it is in a diseased state.
Law Of Opulence
IN the preceding lectures you were taught how to acquire spiritual perception and mental qualities through the use of Cosmic forces. You have also been taught how, by the power of Divine Mind, to use your mental forces, not only for your own benefit, but for the benefit of others.
Art The Revealer
Art is so great a thing, so inalienably a heritage and a natural right of man, it has all these aspects, and more; but for the moment I narrow myself to yet another consideration, - the function of art as an essential element in education.
Philosophy Of The Gothic Restoration
I am convinced there is nothing accidental in our stylistic development, or in the universe, for that matter. There was once a very wise man who, on speaking of a miracle to a friend, and being confronted by the assertion that the event was not that but rather a coincidence, devoutly said that he thanked God he was not so superstitious as to believe in coincidences.
The Place Of The Fine Arts In Public Education
And here emerges from the mist of theory the new doctrine of the importance of the fine arts in every scheme of liberal education. I am not speaking now of the creative artist or of the manner of his education ; indeed, I am not sure that to him education is a necessity, or that by such methods can he be created.
The Artist And The World
FOR two generations we have watched the crescent enthusiasm for art, and the feverish widening of art interest and art activity that are the continuance in a new community of a movement engendered in the Old World, now nearly a century ago.
The Craftsman And The Architect
Every architect knows that the success or failure of his work depends largely on the craftsmen who carry it out and complete it with all its decorative features of form and colour, and yet in a nation of one hundred million people, with a dozen schools of architecture, practically nothing is done toward educating these same craftsmen, and we either secure the services of foreign-trained men, accept tenth-rate native work, or go without.
American University Architecture
And so we return step by step to the old ideals and sound methods of English colleges ; return to the mother that bore us, just as we return year after year to our old home for refreshment and inspiration; return, even in a wider sense, to those eternally battered but eternally enduring principles in life and thought and aspiration which make up the great Anglo-Saxon heritage of which we proudly claim to be joint heirs with yourselves.
The Ministry Of Art
ARCHITECTURE, even in a title, can hardly be disassociated from the other component parts of that wonderful gift of God that, in our indifferent use of words, we denominate art. In each one of them, whether it be sculpture, painting, or architecture, poetry, music, the drama, or ceremonial, there is, of course, one peculiar mode whereby it manifests itself, the instrument of its operation.
Venice And Her Art
VENETIAN painting in its prime differs altogether in character from that of every other part of Italy. The Venetian is the most marked and recognisable of all the schools ; its singularity is such that a novice in art can easily, in a miscellaneous collection, sort out the works belonging to it, and added to this unique character is the position it occupies in the domain of art.
Primitive Art In Venice
THE school of Byzantium, so widespread in its influence, was particularly strong in Venice, where mosaics adorned the cathedral of Torcello from the ninth century and St. Mark's became a splendid storehouse of Byzantine art.
Influences Of Umbria And Verona
GENTILE DA FABRIANO, the Umbrian master, when he reached Venice in the early years of the fifteenth century, was already a man of note. He had received his art education in Florence, and he brought with him fresh and delicate devices for the enrichment of painting with gold.
School Of Murano
THE important little town of Murano, a satellite of Venice, lies upon an island, some ten minutes' row from the mother State, distinct from which it preserved separate interests and regulations. Its glass manufacture was safeguarded by the most stringent decrees, which forbade members of the Guild to leave the islet under pain of death.
Paduan Influence
AND now into this dawning school, employed chiefly in the service of the Church, with its tentative and languid essays to understand Florentine composition, resulting in what is scarcely more than a mindless imitation, and with its rather more intelligent perception of the Humanist qualities of Pisanello's work, there enters a new factor.
Jacopo Bellini
When Gentile da Fabriano left Venice, he carried with him, and presently established with him in Florence, a young man, Jacopo Bellini, who had already been working with him and Pisanello, and who was an ardent disciple of the new naturalistic and humanist movement.
Carlo Crivelli
WE must turn aside from the main stream when we come to speak of Carlo Crivelli, who, important master as he was, occupies a place by himself. A pupil of the Vivarini and perhaps, as we have noted, of Antonio Negro-ponte, Crivelli was profoundly influenced by the Paduans, from whom he learned that metallic, finished quality of paint which he carried to perfection.
Gentile Bellini And Antonello Da Messina
WHAT, then, is the position which art has achieved in Venice a decade after the middle of the fourteenth century, and how does she compare with the Florentine School ? The Florentines, Fra Angelico, Andrea del Castagno, and Pesellino were lately dead. Antonio Pollaiuolo was in his prime, Fra Lippe, was fifty-four, Paolo Uccello was sixty-three.
Alvise Vivarini
CONTEMPORARY with Giovanni Bellini were artists still firmly attached to the past, who were far from suspecting that he was to outstrip them. One of Antonio de Murano's sons, Luigi or Alvise Vivarini, grew up to follow his father's profession, and was enrolled in the school of his uncle, Bartolommeo.
VITTORE CARPACCIO was Gentile Bellini's most faithful pupil. He and his master stand apart in having, before the arrival of the Venetian School proper, captured an aspect and a charm inspired by the natural beauty of the City of the Sea.
Giovanni Bellini
THE difference between Gian. Bellini and his accomplished brother, that which makes us so conscious that the first was the greater of the two and which sets him in a later artistic generation than Gentile, is a difference of mind. Such pageant-pictures as we hear that Giovanni was engaged upon have all been destroyed.
Giovanni Bellini (continued)
IN 1497 the Maggior Consiglio of the Venetian Republic appointed Bellini superintendent of the Great Hall, and conferred on him the honourable title of State Painter. In this capacity he was the overseer of all public works of painting, and was expected to devote a part of his time to the decoration of the Hall.
Cima Da Conegliano And Other Followers Of Bellini
THE rising tide of feeling, the growing sense of the joy of life and the apprehension of pure beauty, which was strengthening in the people and leading up to the great period of Venetian art, flooded round Bellini and recognised its expression in him. He was more popular and had a larger following among the artists of his day than either Gentile or Carpaccio with their frankly mundane talent.
WHEN we enter a gallery of Florentine paintings, we find our admiration and criticism expressing themselves naturally in certain terms ; we are struck by grace of line, by strenuous study of form, by the evidence of knowledge, by the display of thought and intellectual feeling.
Giorgione (continued)
WHEN Giorgione was twenty-six he went back to Castelfranco, and painted an altarpiece for the Church of San Liberale. In the sixteenth century Tuzio Costanza, a well-known captain of Free Companions, who had made his fortune in the wars, where he had been attached to Catherine Cornaro, followed the dethroned queen from Cyprus, and when she retired to Asolo, settled near her at Castelfranco.
The Giorgionesque
GIORGIONE had given the impulse, and all the painters round him felt his power. The Venetian painters that is, for it is remarkable, at a time when the men of one city observed and studied and took hints from those of every other, how faint are the signs that this particular manner attracted any great attention in other art centres.
It was a changing Venice to which Titian came as a boy ; changing in its life, its social and political conditions, and its art was faith-fully registering its aspirations and tastes. More than at any previous time, it was calculated to impress a youth to whom it had been held up as the embodiment of splendid sovereignty, and the difference between the little hill-town set in the midst of its wild solitudes and the brilliant city of the sea must have been dazzling and bewildering.
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