"Sculpture" Quotes from Famous Books
 ... the brave, Flushed with the conquest of some far-off clime, And, louder than the roar of meeting seas, Applauding thunder rolled upon the breeze. Memorial columns rose Decked with the spoils of conquered foes, And bards of high renown their stormy paeans sung, While Sculpture touched the marble white, And, woke by his transforming might, To life the statue sprung. The vassal to his task was chained— The coffers of the state were drained In rearing arches, bright with wasted gold, ...
— Graham's Magazine Vol XXXII. No. 3. March 1848 • Various
... he whom Ganganelli called the "beautiful" Braschi, well deserved that epithet. No nobler or more plastic beauty was to be seen; no face that more reminded one of the divine beauty of ancient sculpture, no form that could be called a better counterfeit of the Belvedere Apollo. And it was this beauty which liberal Nature had imparted to him as its noblest gift, which helped Juan Angelo Braschi, the son of a ...
— The Daughter of an Empress • Louise Muhlbach
... the honour offered, she and her husband had been set up in a matter-of-fact business in the stone trade by her patron, but that unforgettable request in the London studio had made her feel ever since a refined kinship with sculpture, and a proportionate aloofness from mere quarrying, which was, perhaps, no more than a venial weakness in Avice the Second. Her daughter's objection to Jocelyn she could never understand. To her own eye he was no older than when he ...
— The Well-Beloved • Thomas Hardy
... the noblest I had ever seen; it had a stone and bronze fireplace some twenty or thirty feet long on one side, and several tall arched doorways on the other. The spaces between the doors were covered with sculpture, its material being a blue-gray stone combined or inlaid with a yellow metal, the effect being indescribably rich. The floor was mosaic of many dark colors, but with no definite pattern, and the concave roof was deep ...
— A Crystal Age • W. H. Hudson
... nothing strange in such neighbourliness of the world and the Church. The great French churches of the Middle Ages—witness Notre Dame d'Amiens with its inviting ambulatory—were places of municipal debate, and their sculpture was, to borrow the bold metaphor of Viollet-le-Duc, a political "liberty of speech" at a time when the chisel of the sculptor might say what the pen of the scrivener dared not, for fear of the common hangman, ...
— Leaves from a Field Note-Book • J. H. Morgan
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