Searching The History of Art
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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- high degree, the Leonardo da Vinci, there is a working-together
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- even in the remotest degree, and must therefore inspire with a tragic
- to a high degree; nor did he ever bind or fetter them, so long as they
- Title: History of Art: Lecture III: Dürer and Holbein
- of the Reformation through and through. To a high degree, the human
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- degree of maturity. It lies inherent in the subtle difference
- peoples brought to their Art, in a far higher degree, the ancient,
- world-conception, was in any high degree influenced by the
- prophetic figures so as to achieve this degree of
- Title: History of Art: Lecture V: Rembrandt
- applies in a still higher degree to Rembrandt. Rembrandt lives in the
- post-Atlantean age — and this is true in the highest degree of
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- surface, and reached so high a degree of perfection.
- groupings in Space, but withal a high degree of inwardness, and a strong
- highest degree. It is scarcely conceivable — (pointing to the
- reached a high degree of perfection. The same subject again:
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- age. To a high degree, man was about to be fettered to that physical
- a high degree of perfection.
- Man of Sorrows, you see how high a degree of perfection the expression
- Title: History of Art: Lecture IX:
- highest degree in Phidias and his School and in Polycletus — in the
- of the 5th century and find in such a shapes a tryly high degree of
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