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More "Italian renaissance" Quotes from Famous Books
 ... artists as these; to study their methods; to hear the expression of their views on art in familiar meeting and conversation! These artists were closely in touch with that "lovely and faithful dream which came with Italian Renaissance in the works of Pisani, Mino di Fiesole, Donatello, Michael Angelo, and Giovanni da Bologna—all who caught the spirit of Greek art." Artistic truth was the keynote of the hour, and it is this truth which is the basis of the ...
— Italy, the Magic Land • Lilian Whiting
... the splendid work of Huss. It was from college students of Florence that Colet, and Erasmus, and More caught somewhat of the spirit of Savonarola, and felt the power of truths that emerged in the Italian Renaissance, and made them contribute so grandly to religious liberty in England. It was in the presence of the college students of Germany that Martin Luther nailed his thesis to the doors, and burned the papal bull, and lit the watch-fire ...
— Colleges in America • John Marshall Barker
... of archaeology as a reviver of artistic and industrial culture will be realised at once if the essential part it played in the great Italian Renaissance is called to mind. Previous to the age of Cimabue and Giotto in Florence, Italian refinement had passed steadily down the path of deterioration. Graeco-Roman art, which still at a high level in the early centuries ...
— The Treasury of Ancient Egypt - Miscellaneous Chapters on Ancient Egyptian History and Archaeology • Arthur E. P. B. Weigall
... mind are on a par with Hugo's "Pas d'armes du Roi Jean" and "La Chasse du Burgrave." But Browning's mousings in the Middle Ages after queer freaks of conscience or passion were occasional. If any historical period, more than another, had special interest for him, it was the period of the Italian Renaissance. Yet Ruskin said: "Robert Browning is unerring in every sentence he writes of ...
— A History of English Romanticism in the Nineteenth Century • Henry A. Beers
... flint splinter on a bone the story of the mammoth he had seen, or told us of the slow uplifting of the heavily-horned heads of the reindeer that he stalked: think I say of the space of time from then till the dimming of the brightness of the Italian Renaissance! whereas from that time till popular art died unnoticed and despised among ourselves is ...
— Hopes and Fears for Art • William Morris
... Giuliano, another great humanist, Giorgio Merula of Milan, dedicated his Plautus, published in Venice in 1472, showing at how early an age the Magnifico had taken his place among the recognized patrons of the Italian Renaissance. ...
— The Great Events by Famous Historians, Vol. 8 - The Later Renaissance: From Gutenberg To The Reformation • Editor-in-Chief: Rossiter Johnson
... Renaissance. We who are lost in it, working or looking on, can neither tell what we are doing, nor where standing; but we cannot help observing, that, just as in the Greek Renaissance, worn-out Pagan orthodoxy was penetrated by new philosophy; just as in the Italian Renaissance, Pagan philosophy, reasserting itself, fertilised again an already too inbred Christian creed; so now Orthodoxy fertilised by Science is producing a fresh and fuller conception of life—a, love of Perfection, not for hope of reward, not for fear of punishment, but for Perfection's sake. Slowly, ...
— Forsyte Saga • John Galsworthy
... and drink in all that is most profound and sacred in our people, and all its love from the family and the soil. In the greatest age of liberty, among the people with the most ardent worship of beauty, the young Prince of the Italian Renaissance, Raphael, glorified maternity in his transteverine Madonnas. Who is there now to give us in music a Madonna a la Chaise? Who is there to give us music meet for every hour of life? You have nothing, you have nothing in France. When you want to give your people songs, you are reduced ...
— Jean-Christophe Journey's End • Romain Rolland
... rest in the perfect achievement of the past, and found a new realm opened up to them in representing the subtler activities of the soul. Lines 145-152 state the ideals that actuated the new art. The reference is to the religious art of the Italian Renaissance. ...
— Selections from the Poems and Plays of Robert Browning • Robert Browning
... "The truth is," according to Symonds, "that the Reformation was the Teutonic Renaissance. It was the emancipation of the reason on a line neglected by the Italians, more important, indeed, in its political consequences, more weighty in its bearing on rationalistic developments than was the Italian Renaissance, but none the less an outcome of the same grand influence." William Dilthey, in the nineties, labored to show that the essence of the Reformation was the same in the religious fields as that of the best thought contemporary to it in ...
— The Age of the Reformation • Preserved Smith
... afraid, look like a young man of our degenerate day. She was far too beautiful and distinguished for that. Besides, her dark curling hair, quite short for a woman, was too long, and her eyes—like the eyes of all poets—were women's eyes. She looked, indeed, like one of those wonderful boys of the Italian Renaissance, whom you may still see at the National Gallery, whose beauty is no denial, but rather the stamp of their slender, supple strength, young painters and sculptors who held the palette for Leonardo, or wielded the chisel for Michelangelo, and anon threw both aside ...
— The Quest of the Golden Girl • Richard le Gallienne
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