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This study is concerned with the topographical layout of Bernard of Clairvaux's "Parables," It examines his treatment of such locations as Paradise, Egypt, and the bridegroom's chamber, and his reformulation of central monastic issues as navigations within spiritual landscapes.
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. 1899 edition. Excerpt: ... CHAPTER X. CROSSMOUNT. 183. My best readers cannot but be alike astonished and disappointed that I have nothing set down of the conversation, cordial always, and if George Richmond were there, better than brilliant, which flowed at these above described Vandalic feasts. But it seemed to me that all the sap and bloom of it were lost in deliberate narrative, and its power shorn away if one could not record also the expression of the speaker; while of absolutely useful and tenable resulting sense, there was, to my unsympathetic mind, little to be got hold of. Turner resolutely refused to speak on the subject of art at all, and every one of us felt that we must ask him no questions in that direction; while of what any other painter said, I was careless, regarding them all as limited to their own fields, and unable to help me in mine. I had two distinct instincts to be satisfied, rather than ends in view, as I wrote day by day with higher-kindled feeling the second volume of 'Modern Painters.' The first, to explain to myself, and then demonstrate to others, the nature of that quality of beauty which I now saw to exist through all the happy conditions of living organism; and down to the minutest detail and finished material structure naturally produced. The second, to explain and illustrate the power of two schools of art unknown to the British public, that of Angelico in Florence, and Tintoret in Venice. 184. I have no knowledge, and can form no conjecture, of the extent to which the book in either direction accomplished its purpose. It is usually read only for its pretty passages; its theory of beauty is scarcely .ever noticed, -- its praise of Tintoret has never obtained the purchase of any good example of him for the National Gallery. But I..