.MTM5Ng.MTIwNzEw: Difference between revisions
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[[unclear]] | [[unclear]] whobows [[crossed out: bends]] his large head - justify their | ||
unnatural postures by their fixed | unnatural postures by their gaze fixed upon | ||
the | the bard discovered/revealed in an attitude of inspiration: | ||
and | and their motions thus fixed, conform to the | ||
over him, the profile of the | quill in the poet's hand, the tree which bends | ||
over him, the profile of the flocks, the trunks and | |||
to the spread | bows, [[crossed out: and]] the young shoots coiling like the pruning hook, even | ||
[ | to the [[crossed out: spread]] wings in which the pages seem | ||
[to terminate. Ut poesis pictura, we might well | |||
say, | say, | ||
Here the author and the consigner impinged | Here the author/owner and the consigner hovered/stood/impinged | ||
from close at hand. But what were my emotions, if | |||
I may be permitted a personal confession, when | I may be permitted a personal confession, when | ||
I found before me, in the National | I found before me, in the National Gallery of London | ||
the Hilton diptych in which I seemed to recognize | the Hilton diptych in which I seemed to recognize [[crossed out: see]] | ||
a perfect figurative equivalent, devoid of | a perfect figurative equivalent, devoid of anecdotal | ||
link of the vision of Petrarch. With this | link of the vision of Petrarch. With this | ||
single [[ | single [[crossed out: personal]] subjective impression I will close this | ||
recapitulation of data and commentary from | recapitulation of data and commentary from | ||
a chapter which is one of the most seductive in | a chapter which is one of the most seductive in | ||
the history of | the history of occidental culture. | ||
Latest revision as of 03:44, 27 May 2022
unclear whobows crossed out: bends his large head - justify their unnatural postures by their gaze fixed upon the bard discovered/revealed in an attitude of inspiration: and their motions thus fixed, conform to the quill in the poet's hand, the tree which bends over him, the profile of the flocks, the trunks and bows, crossed out: and the young shoots coiling like the pruning hook, even to the crossed out: spread wings in which the pages seem [to terminate. Ut poesis pictura, we might well say,
Here the author/owner and the consigner hovered/stood/impinged
from close at hand. But what were my emotions, if I may be permitted a personal confession, when I found before me, in the National Gallery of London the Hilton diptych in which I seemed to recognize crossed out: see a perfect figurative equivalent, devoid of anecdotal link of the vision of Petrarch. With this single crossed out: personal subjective impression I will close this recapitulation of data and commentary from a chapter which is one of the most seductive in the history of occidental culture.