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Books Bücher 1 - 10 von 16 in ... and yet so hard as never to betray the touch or moulder away beneath the steel;...
" ... and yet so hard as never to betray the touch or moulder away beneath the steel; and so admirably crystallized, and of such permanent elements, that no rains dissolve it, no time changes it, no atmosphere decomposes it; once shaped, it is shaped... "
A Treatise on the Building and Ornamental Stones of Great Britain and ... - Seite 136
von Edward Hull - 1872 - 333 Seiten
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The True and the Beautiful in Nature, Art, Morals and Religion: Selected ...

John Ruskin, Louisa Caroline Tuthill - 1859 - 452 Seiten
...nor flaky nor splintery, but uniform, and delicately, yet not ignobly soft — exactly soft enough to allow the sculptor to work it without force, and trace on it the finest lines of finished forms ; and yet so hard as never to betray the touch or moulder away beneath the steel ; and so admirably...
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The True and the Beautiful in Nature, Art, Morals and Religion: Selected ...

John Ruskin, Louisa Caroline Tuthill - 1872 - 452 Seiten
...nor flaky nor splintery, but uniform, and delicately, yet not ignobly soft — exactly soft enough to allow the sculptor to work it without force, and trace on it the finest lines of finished forms ; and yet so hard as never to betray the toucL or moulder away beneath the steel ; and so admirably...
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The True and the Beautiful in Nature, Art, Morals and Religion: Selected ...

John Ruskin, Louisa Caroline Tuthill - 1872 - 452 Seiten
...nor flaky nor splintery, but uniform, and delicately, yet not ignobly soft — exactly soft enough to allow the sculptor to work it without force, and trace on it the finest hnes of finished forms ; and yet so hard as never to betray the toucL or moulder away beneath the steel...
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Fourteen Weeks in Popular Geology: The Story of the Rocks

1874
...brittle, nor flaky, nor splintery, but uniform and delicately, yet not ignobly soft— exactly soft enough to allow the sculptor to work it without force, and trace on it the finest lines of finished form ; yet it is so hard as never to betray the touch or moulder away beneath the steel ; and so admirably...
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The Story of the Rocks: Fourteen Weeks in Popular Geology

Joel Dorman Steele - 1877 - 280 Seiten
...nor flaky, nor splintery, but uniform and delicately, yet not ignobly soft — exactly soft enough to allow the sculptor to work it without force, and trace on it the finest lines of finished form ; yet it is so hard as never to betray the touch or moulder away beneath the steel ; and so admirably...
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Catholic progress, Band 7

Young men's Catholic assoc - 1878
...exactly of the grain required for sculpture, neither flaky, brittle, nor splintery, but just soft enough to allow the sculptor to work it without force and trace on it the finest lines of form, yet hard enough to maintain itself in delicate forms, although the mere pressure of the chisel...
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The British and Foreign Evangelical Review, Band 32

1883
...for high art of the marble of the country, which was so stainlessly pure, delicate, and uniform — so soft as to allow the sculptor to work it without force, and trace on it his iinest lines, and yet so hard as never to betray the touch or moulder away beneath the chisel....
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The Works of John Ruskin: The stones of Venice, v. 1-3

John Ruskin - 1887
...nor flaky nor splintery, but uniform, and delicately, yet not ignobly, soft,—exactly soft enough to allow the sculptor to work it without force, and trace on it the finest lines of tinished form ; and yet so hard as never to betray the touch or moulder away beneath the steel; and...
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First Book of Nature

James Edward Talmage - 1888 - 265 Seiten
...nor flaky, nor splintery, but uniform and delicately, yet not ignobly soft — exactly soft enough to allow the sculptor to work it without force, and trace on it the finest lines of finished form; yet it is so hard as never to betray the touch or moulder away beneath the steel; and so admirably...
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Roman Mosaics, Or Studies in Rome and Its Neighborhood

Hugh Macmillan - 1888 - 397 Seiten
...marble of the country, which was so stainlessly pure, delicate, and uniform — as Ruskin remarks, so soft as to allow the sculptor to work it without force, and trace on it his finest lines, and yet so hard as never to betray the touch or moulder away beneath the chisel....
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