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Description This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book without typos from the publisher. Not indexed. Not illustrated. Any the like occasionto call a painting or a statue an occasion is not a happy expression, nor is it very proper to speak of calling up ideas by occasions.
The common phrase, any such means, would have been more natural. We cannot indeed have a single image in the fancy, that did not make its first entrance through the sight; but we have the power of retaining, altering, and compounding those images which we have once received, into all the varieties of picture and vision that are most agreeable to the imagination; for, by this faculty, a man in a dungeon is H I capable of, entertaining himself with scenes and landscapes more beautiful than any that can be found in the whole compass of nature.
It is very proper to say, altering and compounding those images which we have one received, into all the varieties of picture and vision. But we can with no propriety say, retaining them into all the varieties; and yet, according to the manner in which the words are ranged, this construction is unavoidable. For, retaining, altering, and compounding, are participles, each of which equally refers to, and governs the subsequent noun, those images, -and that noun again is necessarily connected with the following preposition into.
SurLaLune Fairy Tales Blog: The Pleasures of Imagination by Paul Bloom
This instance shows the importance of carefully attending to the rules of Grammar and Syntax; when so pure a writer as Mr. Addison could, through, inadvertence, be guilty of such an error. The construction might easily have been rectified, by disjoining the jparticiple retaining from the other two participles in this way r. We have the power of retainingthose images which we have once.. Our bestsellers.
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Taste and the Pleasures of the Imagination
Start With Why Simon Sinek. Dear Zoo Rod Campbell. Catch and Kill Ronan Farrow. Why We Sleep Matthew Walker. The Body Bill Bryson. The Handmaid's Tale Margaret Atwood. Burn After Writing Sharon Jones. The Infinite Game Simon Sinek. Thinking, Fast and Slow Daniel Kahneman. Charles I's court represented the English apotheosis of this Renaissance ideal of kingship. Ritual and ceremony complemented art, reaching their apogee in the court masque, a mixture of theatre, music, tableau and ritual, shaped by classical myths and Renaissance iconography, and performed by courtiers -- sometimes including the king and queen themselves -- before an audience of courtiers.
The masque's extravagant costume and complex machinery were elaborately coordinated into a harmonious whole representing both court and nation. Yet, as Charles I was to discover to his cost, the illusion of a unitary, hierarchical, moral and orderly court -- and with it a unitary polity -- was exceptionally difficult to sustain. While Britannia Triumphans opened with a scene in which rebellious citizens of past reigns are dispelled by Heroic Virtue, faction, disorder and rebellion were much harder to deal with in British society.
Within a decade of Davenant's eulogy to the king, its plot was reversed: Charles I had lost two civil wars and was the prisoner of his rebellious subjects. On 30 January he was led by his captors through the Banqueting Hall in Whitehall, where frequent court masques had celebrated divine kingship and whose ceiling, painted at his behest by Rubens, depicted the apotheosis of his father, James I fig. On a scaffold outside he was summarily decapitated. The culture of the courtly prince in England was killed by the same stroke.
No British monarch was ever to match Charles I either as a patron of the arts or as the fabricator of such an astonishingly rich and complex representation of royal power. Between and Charles I's magnificent collection of paintings was sold, and in the ensuing years the King's Musick, employing eighty-eight musicians, was radically reduced. Beyond the confines of the court the Puritans removed organs from places of worship so that in there were more in taverns than in churches and closed the playhouses. The Puritan regimes of Oliver Cromwell and his followers , which replaced the house of Stuart, were those of the written and spoken word.
They loved Scripture, enjoyed sermons, and produced a torrent of polemical print, but they despised and feared ritual and images as the symbols of worldliness, popery and arbitrary power. Unsurprisingly, though the Puritans planned to transform the royal collection of books into a public library, they never contemplated housing Charles's pictures in a public museum.
Joseph addison essay on the pleasures of the imagination
Nevertheless there was some respite towards the end of the Protectorate in what was otherwise a bleak era for the arts. Oliver Cromwell, though not a prince, acquired a court, albeit a rather sober one. A great lover of music as long as it was not in church, he permitted private performances and secular court festivities; a few paintings and tapestries appeared at his residence at Hampton Court -- Mantegna's enormous cartoons of The Triumph of Caesar were hung in the Long Gallery; Cromwell's bedroom was decorated with paintings of Vulcan, Mars and less probably Venus; antique marbles of nude men and women were displayed in the Privy Garden, much to the horror of the stricter supporters of the regime.
Officially sanctioned theatre returned in the guise of opera, with the performance of William D'Avenant's The Cruelty of the Spaniards in Peru, held at the Cockpit in Drury Lane in But Cromwell's court was never a significant social or cultural centre, nor did artists make any serious attempt at an iconographical representation of the Puritan regime.
Only in the field of literature, in the works of John Milton and Andrew Marvell, did the Cromwellian regime make any contribution to English culture.
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After the restoration of the crown in , first Charles II and then his brother James II aspired to recreate the monarchy of their father and even to emulate the lavish embodiment of royal authority epitomized by Louis XIV's Versailles. But this was no easy task.
If the restored monarchy was to be more than a pale imitation of its predecessors and a weak copy of the extravagant absolutist regime across the Channel, it needed to build a palace that was a worthy home, symbol and stage for a powerful monarch, to have a fit setting for the artistic expression and performance of ideals of kingship.
Shortly before the outbreak of civil war Charles I had been working with Inigo Jones on a plan to erect a huge new palace at Whitehall. The king was still examining schemes for the building shortly before his execution. Charles II began where his father had left off, starting to construct two new palaces, one at Greenwich, the other at Winchester. Neither was ever completed.
The palace at Winchester was to have been Charles's Versailles fig. Designed by Christopher Wren on land purported to be the meeting place of King Arthur's knights of the Round Table, it was to have been linked to the cathedral by a street of fine town houses to accommodate court servants and nobility. Like Versailles, it would have drawn the aristocracy away from the capital and into the monarch's exclusive orbit.
Work began in , at a time when the restored monarchy, having recently vanquished its Whig foes, was at the height of its power and prosperity. But Charles died two years later, and his successor James neglected the building, letting it fall into disrepair. Only an outer shell, the thinnest facade of monarchy, was ever completed.
So the palace remained until it was burned down at the end of the nineteenth century. No new palace was completed for the British monarchy until the nineteenth century. Its greatest achievements after the Restoration were, in the tradition of the modern middle classes, a succession of remodellings. Here the full panoply of baroque symbolism and allegory, notably in Antonio Verrio's ceilings, celebrated monarchical power and virtue.
James II made comparable improvements in the great rambling medieval palace at Whitehall. Apartments were designed by Wren, decorated by Grinling Gibbons and Verrio, hung with the last important set of tapestries to be ordered by a British monarch, and filled with paintings by such artists as Godfrey Kneller. Charles and James may have wanted to emulate the Sun King but they lacked the money to do so.