TERM USED AS TRANSLATIONS IN QUOTATIONSTYLE (fra.)
TERM USED IN EARLY TRANSLATIONSSTYLE (fra.)
EVELYN, John, Sculptura: Or, The History, And Art of Chalcography And Engraving in Copper. With an ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert, to the Authour of this Treatise, London, G. Beedle, 1662.1 quotations
[…] we did therefore forbear to mention what his Highness Prince Ruperts own hands have contributed to the dignity of that Art ; performing things in Graving (of which some enrich our collection) comparable to the greatest Masters ; such a spirit and address there appears in all that touches, and especialy in that of the Mezzo Tinto, of which we shall speak here-after more at large, having first enumerated those incomparable gravings of that his new, inimitable Stile, in both the great, and little decollations of St. John Baptist, the Souldier holding a Spear and leaning his hand on a Shield, the two Mary Magdalens, the Old- mans head, that of Titian, &c. after the same Titian, Georgioon and others.
AGLIONBY, William, Painting Illustrated in Three Diallogues. Containing some Choice Observations upon the Art. Together with The Lives of the Most Eminent Painters From Cimabue, to the time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, John Gain, 1685.1 quotations
This puts me in mind of the moving part of Painting ; which is, the stirring of the Affections of the Spectator by the Expression of the Passions in the Piece ; and methinks this might well be called a part of Painting.
It is Comprehended under that of Invention ; and is indeed the most difficult part of it, as depending intirely upon the Spirit and Genius of the Painter, who can express things no otherwise than as he conceives them, and from thence come the different Manners ; or, as one may call them, Stiles of Painting ; some Soft and Pleasing, others Terrible and Fierce, others Majestick, other Low and Humble, as we see in the STILE of POETS ; and yet all Excellent in their Kinds.
RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719.2 quotations
The Habits are not those of the Age in which the Scene of the Fable is laid, These must have been Gothick, and Disagreeable, it being at the latter end of the 11th, or the beginning of the 12th Century [ndr : il s’agit ici du Tancrède et Herminie, réalisé par Poussin]. Erminia is clad in Blue, admirably folded, and in a great Style, something like that of Giulio, but more upon the Antique, or, Raffaelle ;
His [ndr : Raphaël] first manner when he came out of the School of his Master, was like those of that Age, Stiff, and Dry ; but he soon meliorated his Style by the Strength of his own fine Genius and the fight of the Works of other good Masters of that time, in and about Florence, chiefly of Lionardo da Vinci ; and thus form’d a Second manner with which he went to Rome. Here he Found, or Procur’d whatever might contribute to his Improvement, he saw great Variety of the Precious Remains of Antiquity, and employ’d several good Hands to Design all of that kind in Greece, and elsewhere, as well as in Italy, of which he form’d a Rare Collection : Here he saw the Works of Michelangelo whose Style may be said to be rather Gygantick, than Great, and which abundantly distinguish’d him from all the Masters of that Age ; I kwow it has been disputed whether Raffaele made any Advantage from seeing of the Works of this great Sculptor, Architect, and Painter ; which tho’ ‘twas (I believe) intended as a Compliment to him seems to me to be directly the contrary ; He was too Wise, and too Modest not to serve himself of whatsoever was worthy of his Consideration ; And that he did so in this Case is Evident by a Drawing I have of his Hand, in which One sees plainly the Michelangelo Tast. Not that he rested here, his Noble Mind aspir’d to something beyond what the World had then to shew, And he accomplish’d it in a Style, in which there is such a Judicious Mixture of the Antique, of the Modern Taste, and of Nature, together with his Own Admirable Ideas that it seems impossible that any other could have been so proper for the Works he was to do, and his Own, and Succeeding times.
The Ancients possess’d Both the excellent Qualities I have been treating of [ndr : Grace et Greatness], among whom Apelles is distinguish’d for Grace. Rafaëlle was the Modern Apelles, not however without a prodigious Degree of Greatness. His Style is not Perfectly Antique, but seems to be the effect of a Fine Genius accomplish’d by Study in that excellent School ; ‘Tis not Antique, but (may I dare to say it) ‘tis Better, and that by Choice, and Judgment. Giulio Romano had Grace, and Greatness, more upon the Antique Taste, but not without a great Mixture of what is peculiarly his Own, and admirably Good, but never to be imitated. Polydore in his best things was altogether Antique. […] His Style [ndr : de Michel-Ange] is his Own, not Antique, but He had a sort of Greatness in the utmost Degree, which sometimes ran into the Extream of Terrible ;