"Byzantine" Quotes from Famous Books
 ... pour un dogme arien Dont le pape sournois rira dans la coulisse, Pour quelque fille ayant une peau fraiche et lisse, Des yeux bleus et des mains blanches comme le lait, C'etait bon dans le temps ou l'on se querellait Pour la croix byzantine ou pour la croix latine, Et quand Pepin tenait une synode a Leptine, Et quand Rodolphe et Jean, comme deux hommes souls, Glaive au poing, s'arrachaient leurs Agnes de deux sous; Aujourd'hui, tout est mieux et les moeurs sont plus douces, Frere, on ne se met plus ainsi ...
— La Legende des Siecles • Victor Hugo
... came over artistic expression from about 1600 on implied a deeper and more vital change in the conception of art itself. Till then men had believed the things they told in their art. Byzantine saints, Cynewulf's Scriptural legends, German Heldenerzaehlungen, Icelandic Sagas, down to the saints and angels of the pre-Raphaelites, all represented realities to the poet; he would have felt no interest ...
— Wagner's Tristan und Isolde • George Ainslie Hight
... unlimited reproduction. The Romanesque art seems to have dealt with the ancient forms, without moulding any thing essentially and vitally new. Where there seemed originality, it was, after all, only a theft from the Saracenic or Byzantine, and the plagiarism became incongruity when engrafted upon the Roman. Thus a Latin church was often but an early Christian basilica with ...
— The Atlantic Monthly, Vol. I, No. 1, Nov. 1857 • Various
... nebular hypothesis and the direction of ocean currents and the qualities of kelp and the direction the codfish go in Iceland waters when the northeast wind blows; that he knows about Gothic architecture and Byzantine painting, the social movement in Jerez and the exports of Patagonia, the wall-paper of Paris apartment houses and the red paste with which countesses polish their fingernails ...
— Rosinante to the Road Again • John Dos Passos
... tradition had died out,—for instance, in the Byzantine and early Italian pictures from the eighth to the middle of the thirteenth century,—presents the strongest contrast to all that had gone before. The morose and lifeless monotony or barbarous rudeness of these figures seems like contempt not only of beauty, but of all natural expression. They ...
— The Atlantic Monthly, Vol. 13, No. 76, February, 1864 • Various
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