An Essay on the Nature, the End, and the Means of Imitation in the Fine Arts

abstract according action afford allegorical already ancient appearance arise artist arts of design attain beauty belong Chap CHAPTER character Cicero colour consequence contrary conventions costume degree derived effect elements employed error especially Eugene Delacroix Eupompus existence expression fact faculties fictious figure fine arts form of composition genius historical human body idea ideal style identity illusion imagination imita imitative resemblance impressions individual instance Johann David Passavant John Ruskin kind of imitation language Laocoon less limited manner Marie de Medicis material means of imitation metaphorical mind modern moral nature of imitation necessary notion nudity objects operation painter painting pantomime particular perfection personages Phidias physical physiognomy picture Plautus pleasure poet poetical poetry present produced proper qualities racter reality regards relations render represented requires result sculpture senses sentiment speak spirit symbolical taste termed theory things tion transformation true truth unity whole word Zeuxis