The Cabinet of Arts: Or, General Instructor in Arts, Science, Trade, Practical Machinery, the Means of Preserving Human Life, and Political EconomyT. Kinnersley, 1817 - 859 páginas |
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Página 9
... hand acquires a force by which , if at liberty , it would be carried forward in a straight line to a considerable distance . Being retained , however , by the string , the stone is compelled to de- scribe a circular motion until the ...
... hand acquires a force by which , if at liberty , it would be carried forward in a straight line to a considerable distance . Being retained , however , by the string , the stone is compelled to de- scribe a circular motion until the ...
Página 11
... hand is the power , the coal in the grate is the weight to be moved , and the bar on which the poker rests is the fulcrum or prop . Of this kind of lever is also the common balance , although it be supported by suspension from above ...
... hand is the power , the coal in the grate is the weight to be moved , and the bar on which the poker rests is the fulcrum or prop . Of this kind of lever is also the common balance , although it be supported by suspension from above ...
Página 12
... hand , the exerts its power is fixed to the bone , about one tenth part of t of the hand below the elbow , which is the prop or centre the muscle must then exert a power ten times as great as to be raised by the hand . This , however ...
... hand , the exerts its power is fixed to the bone , about one tenth part of t of the hand below the elbow , which is the prop or centre the muscle must then exert a power ten times as great as to be raised by the hand . This , however ...
Página 19
... hand - mills , consisting of two stones , the upper concave , the under convex , like those of water - mills , but much smaller , the upper stone having a handle fixed in it , by which it was turned round . Such were the machines ...
... hand - mills , consisting of two stones , the upper concave , the under convex , like those of water - mills , but much smaller , the upper stone having a handle fixed in it , by which it was turned round . Such were the machines ...
Página 40
... its weight . Being transparent in all directions , air must of necessity be impercep- tible by our eyes ; but in swinging the hand quickly up and down a sideways , we feel distinctly that we are separating 40 HYDRAULICS .
... its weight . Being transparent in all directions , air must of necessity be impercep- tible by our eyes ; but in swinging the hand quickly up and down a sideways , we feel distinctly that we are separating 40 HYDRAULICS .
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acid alkali antimony appear applied artist balloon blue body boiling bottom called caloric carbonic acid centre charcoal clay cloth colour column common composition consists copper degree diameter dissolved distance distilled draw drying oil earth effect electricity employed equal feet filled fire fixed fluid gallons glass gold ground half heat hole inches iron isinglass laid light lime liquor machine manner meal powder melted mercury metals method mixed mixture mordant mortar motion muriatic muriatic acid nature nitric acid objects observed ounce oxyde oxygen painter painting paper piece pipe plants plate plough potass pounds produced proper proportion quantity rays rectified spirit rockets salt saltpetre seed-lac side silver soil spirits of wine stone substances sufficient sulphur sulphuric acid surface tints tion Titian turnips varnish vessel weight wheel whole wood yellow zinc
Pasajes populares
Página 97 - And it came to pass, as soon as he came nigh unto the camp, that he saw the calf, and the dancing : and Moses' anger waxed hot, and he cast the tables out of his hands, and brake them beneath the mount.
Página 97 - None from henceforth shall use to multiply gold or silver, or use the craft of multiplication; and if any the same do, he shall incur the pain of felony.
Página 346 - For the works of nature are full of disproportion, and fall very short of the true standard of beauty. So that Phidias, when he formed his Jupiter, did not copy any object ever presented to his sight; but contemplated only that image which he had conceived in his mind from Homer's description.
Página 346 - Neither did this artist," says he, "when he carved the image of Jupiter or Minerva, set before him any one human figure, as a pattern, which he was to copy; but having a more perfect idea of beauty fixed in his mind, this he steadily contemplated, and to the imitation of this all his skill and labour were directed.
Página 303 - Michael Angelo's works have a strong, peculiar, and marked character: they seem to proceed from his own mind entirely, and that mind so rich and abundant, that he never needed, or seemed to disdain, to look abroad for foreign help. Raffaelle's materials are generally borrowed, though the noble structure is his own.
Página 71 - Thus Fullers and Dyers find black Cloths, of equal Thickness with white ones, and hung out equally wet, dry in the Sun much sooner than the white, being more readily heated by the Sun's Rays.
Página 327 - ... confused manner in which those collections have been laid up in his mind. The addition of other men's judgment is so far from weakening our own, as is the opinion of many, that it will fashion and consolidate those ideas of excellence which lay in embryo, feeble, ill-shaped, and confused...
Página 331 - When I observed an extraordinary effect of light and shade in any picture, I took a leaf of my pocket-book, and darkened every part of it in the same gradation of light and shade as the picture, leaving the white paper untouched to represent the light, and this without any attention to the subject, or to the drawing of the figures.
Página 313 - I reflect not without vanity, that these Discourses bear testimony of my admiration * Che Raffaelle non ebbe quest" arte da nutura, ma per lunyo studio. of that truly divine man, and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO*.
Página 346 - ... of the art in which English artists are the most engaged, a variety, a fancy, and a dignity derived from the higher branches, which even those who professed them in a superior manner did not always preserve when they delineated individual nature. His portraits remind the spectator of the invention of history and of the amenity of landscape. In painting portraits he appears not to be raised upon that platform, but to descend to it from a higher sphere. His paintings illustrate his lessons, and...