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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • ourselves directed to influences coming over from the East. I
    • from the East, first had to spread. Nevertheless, Christianity as
    • fertilising influences from the East, the fruits of Oriental
    • came over, so rich in fancy and imagination, from the East. In
    • were evolved more in the East of Europe and in Greece. While in
    • over from Eastern tradition the earliest representations,
    • pictures lose least of all when shown in lantern slides. We
    • the Infinite, the Immortal shall now arise within the breast of
    • great World. This, then, is St. John, writing, or at least
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-034_Feast.jpg" align=
    • 34. Giotto: The Feast of Herod. (Santa Croce, Florence.)
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-041_Feast.jpg" align=
    • 41. Tommaso Fini (Masolino): Feast of Herod.
    • of the soul. And now, coming across from Central and Eastern
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • Of Raphael we may say, he carried Urbino — East-Central Italy
    • corner of East-Central Italy.
    • the peculiar nature of that Middle-Eastern part of Italy. In spite of
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • most wonderfully with the East. When today we read or hear of the
    • expressiveness of soul, not in the least immersed in any Universal
    • asleep, getting least light of all, more or less in the shade. Then
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • again — the Christmas and Easter Plays, and Plays of the Three
  • Title: History of Art: Lecture V: Rembrandt
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    • at least a few of his main works, — only then do we realise how
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • His salvation by the overcoming of the Beast. You are familiar with
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • mainly with the story of the Three Wise Men of the East — the
    • East — we always find a direct expression of the
    • of the Three Wise Men of the East cannot really be understood with the
    • to bear on all that is connected with the Wise Men from the East must
    • of the East came to the birthplace of Christ Jesus, led by the Star which
    • clairvoyance in the old atavistic sense. But the Wise Men of the East
    • over largely from the East. In a most natural way the typical representations
    • 39. Giorgione. The Wise Men of the East. (Vienna.)
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • Beast.
    • would certainly fall overboard at the least breath of wind. In spite
    • the laws of perspective are very strained, to say the least. But he
  • Title: History of Art: Lecture IX:
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    • 2. Dying Warrior. Eastern Pediment. Temple of Aegina.
    • 11a. Drawings of the eastern pediment.
    • 11b. Remains of the left side of the eastern pediment. (Bristish
    • the eastern pediment. (British Museum, London.)
    • 11e. Far right of the eastern pediment.
    • pupils. The next group is from the Eastern Frieze:
    • 12. Poseidon Group. (Eastern Frieze.)
    • repose; it must represent moments which can at least be imagined —
    • Eastern door was also given to him to do. It represents scenes from the



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