Mornings in Florence by John Ruskin
page 117 of 149 (78%)
page 117 of 149 (78%)
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useful housewife. Pride is always somewhat involved even in the true
effort: the scarlet head-dress in the form of a horn on the forehead in the fresco indicates this, both here, and in the Contemplative Theology. Under St. John. Medallion unintelligible, to me. A woman laying hands on the shoulders of two small figures. _Technical Points_.--More of the minute folds of the white dress left than in any other of the repainted draperies. It is curious that minute division has always in drapery, more or less, been understood as an expression of spiritual life, from the delicate folds of Athena's peplus down to the rippled edges of modern priests' white robes; Titian's breadth of fold, on the other hand, meaning for the most part bodily power. The relation of the two modes of composition was lost by Michael Angelo, who thought to express spirit by making flesh colossal. For the rest, the figure is not of any interest, Memmi's own mind being intellectual rather than mystic. XIV. POLEMIC THEOLOGY.[Footnote: Blunderingly called 'Charity' in the guide-books.] "Who goes forth, conquering and to conquer?" "For we war, not with flesh and blood," etc. In red, as sign of power, but not in armour, because she is herself invulnerable. A close red cap, with cross for crest, instead of helmet. |
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