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Knight's Mechanical Encyclopedia (ed. Knight) 26 0 Browse Search
Harper's Encyclopedia of United States History (ed. Benson Lossing) 10 0 Browse Search
Margaret Fuller, Memoirs of Margaret Fuller Ossoli (ed. W. H. Channing) 8 0 Browse Search
James Russell Lowell, Among my books 6 0 Browse Search
Thomas Wentworth Higginson, Atlantic Essays 6 0 Browse Search
Historic leaves, volume 3, April, 1904 - January, 1905 4 0 Browse Search
John Esten Cooke, Wearing of the Gray: Being Personal Portraits, Scenes, and Adventures of War. 4 0 Browse Search
Comte de Paris, History of the Civil War in America. Vol. 4. (ed. Henry Coppee , LL.D.) 4 0 Browse Search
The Daily Dispatch: March 4, 1861., [Electronic resource] 4 0 Browse Search
Mary Thacher Higginson, Thomas Wentworth Higginson: the story of his life 4 0 Browse Search
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Browsing named entities in Frank Preston Stearns, Cambridge Sketches. You can also browse the collection for Venus or search for Venus in all documents.

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Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
When he was in Italy, in 1869, he visited all the picture galleries and evidently enjoyed doing so; but it was easy to see that his brother, Rev. Samuel Longfellow, felt a much livelier interest in the subject than he did; and injured frescos or mutilated statues, like the Torso of the Belvidere, were objects of aversion to him. Poets and musical composers see more with their ears than they do with their eyes. The single work of art that attracted him strongly at this time was a statue of Venus, by Canova, which he compares to the Venus dea Medici, and his brother Samuel remarks that he was always more attracted by sculpture than painting. Canova was a genius very similar to Longfellow himself, as nearly as an Italian could be made to match an American, and he was then at the height of his reputation. In 1829 Longfellow returned to Portland and was immediately chosen a professor at Bowdoin College, where he remained for the next seven years. When, in 1836, Professor Ticknor ret
Frank Preston Stearns, Cambridge Sketches, Centennial Contributions (search)
at hired models. They are not necessarily guilty glimpses. To an experienced artist the customary study from a naked figure, male or female, is little more than what a low-necked dress would be to others. Yet the instinct of the age shrinks from this exposure. We can make pretty good Venuses, but we cannot look at them through the same mental and moral atmosphere as the cotemporaries of Scopas, or even with the same eyes that Michael Angelo did. We feel the difference between a modern Venus and an ancient one. There is a statue in the Vatican of a Roman emperor, of which every one says that it ought to wear clothes; and the reason is because the face has such a modern look. A raving Bacchante may be a good acquisition to an art museum, but it is out of place in a public library. A female statue requires more or less drapery to set off the outlines of the figure and to give it dignity. We feel this even in the finest Greek work-like the Venus of Cnidos. In this matter Haw
Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
When he was in Italy, in 1869, he visited all the picture galleries and evidently enjoyed doing so; but it was easy to see that his brother, Rev. Samuel Longfellow, felt a much livelier interest in the subject than he did; and injured frescos or mutilated statues, like the Torso of the Belvidere, were objects of aversion to him. Poets and musical composers see more with their ears than they do with their eyes. The single work of art that attracted him strongly at this time was a statue of Venus, by Canova, which he compares to the Venus dea Medici, and his brother Samuel remarks that he was always more attracted by sculpture than painting. Canova was a genius very similar to Longfellow himself, as nearly as an Italian could be made to match an American, and he was then at the height of his reputation. In 1829 Longfellow returned to Portland and was immediately chosen a professor at Bowdoin College, where he remained for the next seven years. When, in 1836, Professor Ticknor ret
Frank Preston Stearns, Cambridge Sketches, Centennial Contributions (search)
at hired models. They are not necessarily guilty glimpses. To an experienced artist the customary study from a naked figure, male or female, is little more than what a low-necked dress would be to others. Yet the instinct of the age shrinks from this exposure. We can make pretty good Venuses, but we cannot look at them through the same mental and moral atmosphere as the cotemporaries of Scopas, or even with the same eyes that Michael Angelo did. We feel the difference between a modern Venus and an ancient one. There is a statue in the Vatican of a Roman emperor, of which every one says that it ought to wear clothes; and the reason is because the face has such a modern look. A raving Bacchante may be a good acquisition to an art museum, but it is out of place in a public library. A female statue requires more or less drapery to set off the outlines of the figure and to give it dignity. We feel this even in the finest Greek work-like the Venus of Cnidos. In this matter Haw
Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
When he was in Italy, in 1869, he visited all the picture galleries and evidently enjoyed doing so; but it was easy to see that his brother, Rev. Samuel Longfellow, felt a much livelier interest in the subject than he did; and injured frescos or mutilated statues, like the Torso of the Belvidere, were objects of aversion to him. Poets and musical composers see more with their ears than they do with their eyes. The single work of art that attracted him strongly at this time was a statue of Venus, by Canova, which he compares to the Venus dea Medici, and his brother Samuel remarks that he was always more attracted by sculpture than painting. Canova was a genius very similar to Longfellow himself, as nearly as an Italian could be made to match an American, and he was then at the height of his reputation. In 1829 Longfellow returned to Portland and was immediately chosen a professor at Bowdoin College, where he remained for the next seven years. When, in 1836, Professor Ticknor ret
Frank Preston Stearns, Cambridge Sketches, Centennial Contributions (search)
at hired models. They are not necessarily guilty glimpses. To an experienced artist the customary study from a naked figure, male or female, is little more than what a low-necked dress would be to others. Yet the instinct of the age shrinks from this exposure. We can make pretty good Venuses, but we cannot look at them through the same mental and moral atmosphere as the cotemporaries of Scopas, or even with the same eyes that Michael Angelo did. We feel the difference between a modern Venus and an ancient one. There is a statue in the Vatican of a Roman emperor, of which every one says that it ought to wear clothes; and the reason is because the face has such a modern look. A raving Bacchante may be a good acquisition to an art museum, but it is out of place in a public library. A female statue requires more or less drapery to set off the outlines of the figure and to give it dignity. We feel this even in the finest Greek work-like the Venus of Cnidos. In this matter Haw
Frank Preston Stearns, Cambridge Sketches, Longfellow (search)
When he was in Italy, in 1869, he visited all the picture galleries and evidently enjoyed doing so; but it was easy to see that his brother, Rev. Samuel Longfellow, felt a much livelier interest in the subject than he did; and injured frescos or mutilated statues, like the Torso of the Belvidere, were objects of aversion to him. Poets and musical composers see more with their ears than they do with their eyes. The single work of art that attracted him strongly at this time was a statue of Venus, by Canova, which he compares to the Venus dea Medici, and his brother Samuel remarks that he was always more attracted by sculpture than painting. Canova was a genius very similar to Longfellow himself, as nearly as an Italian could be made to match an American, and he was then at the height of his reputation. In 1829 Longfellow returned to Portland and was immediately chosen a professor at Bowdoin College, where he remained for the next seven years. When, in 1836, Professor Ticknor ret
Frank Preston Stearns, Cambridge Sketches, Centennial Contributions (search)
at hired models. They are not necessarily guilty glimpses. To an experienced artist the customary study from a naked figure, male or female, is little more than what a low-necked dress would be to others. Yet the instinct of the age shrinks from this exposure. We can make pretty good Venuses, but we cannot look at them through the same mental and moral atmosphere as the cotemporaries of Scopas, or even with the same eyes that Michael Angelo did. We feel the difference between a modern Venus and an ancient one. There is a statue in the Vatican of a Roman emperor, of which every one says that it ought to wear clothes; and the reason is because the face has such a modern look. A raving Bacchante may be a good acquisition to an art museum, but it is out of place in a public library. A female statue requires more or less drapery to set off the outlines of the figure and to give it dignity. We feel this even in the finest Greek work-like the Venus of Cnidos. In this matter Haw