This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1869 edition. Excerpt: ... CHAPTER II. SYMBOLICAL PAINTINGS. Y symbolical paintings we mean those in which the object set before the eye is not depicted for its own sake, but in order to convey to the mind some further idea beyond itself, yet connected with it either naturally or by convention. The interpretation, therefore, of ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1869 edition. Excerpt: ... CHAPTER II. SYMBOLICAL PAINTINGS. Y symbolical paintings we mean those in which the object set before the eye is not depicted for its own sake, but in order to convey to the mind some further idea beyond itself, yet connected with it either naturally or by convention. The interpretation, therefore, of symbolical paintings is a work of care and delicacy. It requires both learning, prudence, and integrity; and it has been so often abused and made a field for the unlimited indulgence of the imagination, that many persons, not unreasonably, are inclined to listen with profound mistrust to any specimen of it that may come before them. It has even been wittily described as a system in which "anything or nothing may be made to mean everything." Nevertheless, it is quite certain that symbolism has always held a very prominent place in the history of art, and not least at the very period with which we are most concerned. Kugler, in speaking of Roman art at this time, says, that "instead of directly denoting the object represented, the forms of art had now become the mere exponents of an abstract idea; in other words, symbols of a more comprehensive character. Instead of influencing the feelings, they now engaged the thought;" and although we do not see any authority for his statement that "it was the dread of idolatry which introduced and consecrated in Christian art a system of merely typical representation," yet he is certainly right in assigning this typical and symbolical character as the leading feature of the earliest productions of that art. The question then arises, What are the laws by which we must be guided in our interpretation of ancient Christian symbols? Obviously the truest key to their meaning is to be found in Rules Tor anything...
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Add this copy of Roma Sotterranea: Or, Some Account of the Roman to cart. $41.18, new condition, Sold by Booksplease rated 4.0 out of 5 stars, ships from Southport, MERSEYSIDE, UNITED KINGDOM, published 2013 by Hardpress Publishing.
