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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- his pictures of the Madonna. Such, gazing down into this earthly
- beyond the Earth looked down upon Giotto from the walls around
- age. In painting, the 4th post-Atlantean age goes down with
- Beings gazing down from beyond the Earth into this world of human
- especially in poverty, weighed down by no possessions, and,
- traditionally handed down — where Beings gaze from realms
- down here: they are the famous Domini Canes, the hounds of
- expression. Down to the very drawing of the lines you can see
- impulses handed down through Giotto, and through Donatello in
- another sphere, down to these painters.
- hand downward to the Earth, even to the conquest of heresy, and
- central figure is set down with obviously allegorical intention,
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- Going down beneath the surface of the Earth, one found a subterranean
- hand the feet of the heavenly beings. Heaven still penetrated down into
- laid down his bruth and would paint no more.
- and must be permeated by what comes down from Spiritual Worlds as real
- bursts down into the midst of the disputations of the theologians below.
- yet, undoubtedly — down to the Medici, who always retained their
- the succeeding centuries down to our day.
- Title: History of Art: Lecture III: Dürer and Holbein
- imagination — albeit correspondingly toned down — which
- looks down on the Madonna and the Child. See how every angel does
- from the expression. Even the little animal down here partakes in
- the figures down below arranged quite in the Southern way; the
- half-dark, quite dark, and brilliantly illumined. Then he sets down
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- Down to the
- down to us. Take, for instance, what works upon us with such
- looking down towards her. If you could see the face you would see
- historic conception of all earthly evolution. See how Adam, down
- here, receives the Blood of the Redeemer dropping downward from the
- Northern impulses worked down even into the creations of Raphael
- represented once more with bound and downcast eyes. The whole
- Title: History of Art: Lecture V: Rembrandt
- perceptions — had written down on scraps of paper in the course
- sets down his figures; he lets them stand there and then he lives and
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- this way, merely setting down the events of the narrative on a flat
- things down on the flat surface, as described above, or else they used
- the citizen virtues of the Northern Netherlands reaching down into the
- and rebellious Bull has to be fought down — gives up his blood
- Title: History of Art: Lecture VII: Representations of the Nativity
- down. Through this they knew of the relation between the Cosmos, the
- down from earlier representations of Myth or Cult or Ritual, and taken
- as we have seen before. Down to the tiny feet, all is pervaded with
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- Down to this day, the study
- difficulties at once. We must imagine it high up so as to look down
- down on the whole scene. And yet if you look at the trees you will see,
- Title: History of Art: Lecture IX:
- original works have been preserved. Most of them are only handed down
- have come down to us; the underlying foundation which I described just
- this was handed down, even into the times when they were able to imitate
- see the tradition that was handed down from Phidias.
- is lifted down into a more human realm, even though the figures be still
- a Goddess, it is brought down into a more human sphere. The sublimity of
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