Edward Forbes

Summary

Edward Forbes The Palace and Park

All learning and all knowledge came to Michael Angelo, perhaps even more than to Leonardo da Vinci, his mighty contemporary, as a rightful inheritance, to be magnificently accepted and sumptuously enjoyed. Poet, musician, sculptor, architect, engineer, painter, anatomist, man of science—his titles to renown are inexhaustible. His genius was universal, his grasp boundless. All his works, of whatever kind, bear the broad, deep stamp of his haughty, masculine spirit, and constitute the immortal expression of strength, energy, and sublimest passion.
Source: Gutenberg

Edward Forbes The Palace and Park

Let the theory be true, which denies to these incomparable works an individual author—which supposes them woven together of many songs, first sung in many places, by many singers; let the benignly august, fillet-bound head before us, be—that which only at last it can be—a conjecture of the Grecian chisel;—we see at least here how the consummated art of sculpture has chosen to express, in corporeal form, the one soul of power which animates those immortal twins of poesy. We see in what shape of a human head, crowned with its own irradiations, the fountains of all song might have sprang.
Source: Gutenberg

Edward Forbes The Palace and Park

To draw forth power—to invite the native energies into spontaneous action—to lead on the pupil, step after step, in creating thought, in investigating and constructing, how slowly soever, knowledge for himself—to foster intelligence under the kindliest influences, like a plant that wins growth in dews and sunshine, in soft airs and showers—was the new and living scholastic art which Pestalozzi opposed to the old tyranny of inflexible rote, rule, and routine.
Source: Gutenberg

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