Scenery Quotes - page 5
There is nothing so American as our national parks. The scenery and the wildlife are native. The fundamental idea behind the parks is native. It is, in brief, that the country belongs to the people, that it is in process of making for the enrichment of the lives of all of us. The parks stand as the outward symbal of the great human principle.
Franklin D. Roosevelt
His glance commanded in an instant all that was novel in [a] scenery, and a few outlines on paper recorded it unintelligibly to others. He placed these pictorial memoranda upon mill-board, not larger than a sheet of letter-paper, quite a confused mass. How he worked out the details from such sketches seemed to me wonderful. His views around Plymouth, in the engravings from his pictures, were marvelously varied in effect, as well as faithful representations. His first sketches showed little of the after-picture to the unpracticed eye; perhaps he bore much away in memory, and these were only a kind of shorthand, which he deciphered in his studio.
J. M. W. Turner
Turner visited Plymouth (my native town) while I was staying there in the summer of 1813, or perhaps 1814 (1812 ?), painting portraits. As he wished to see the scenery of the river Tamar - [river in South-west England], I accompanied him, together with Mr. Ambrose Johns from Plymouth.. ..to a cottage near Calstock, the residence of my aunt, Miss Pearce, where we all stayed for a few days. From that point as a centre Turner made various excursions, and the result of one of his rambles was a sketch of the scene which afterwards grew into the celebrated picture of the painting 'Crossing the Brook'. The bridge in that picture is Calstock Bridge; some mining works are indicated in the middle distance. The extreme distance extends to the mouth of the Tamar, the harbour of Hamoaze, the hills of Mount Edgcumbe, and those on the opposite side of Plymouth Sound. The whole scene is extremely faithful.
J. M. W. Turner
About this time [c. 1812] Turner removed to Twickenham, where he purchased Sandycomb Lodge, near Richmond Bridge [London]. It was an unpretending little place, and the rooms were small. There were several models of ships in glass cases, to which Turner had painted a sea and background. They much resembled the large vessels in his sea pieces. Richmond scenery greatly influenced his style. The Scotch firs (or stone-pine) around are in most of his large classical subjects, and Richmond landscape is decidedly the basis of 'The Rise of Carthage'. Here he had a long strip of land, planted by him so thickly with willows that his father, who delighted in the garden, complained that it was a mere osier-bed. Turner used to refresh his eye with the run of the boughs from his sitting-room window.
J. M. W. Turner
Through my childhood and adolescence the land and the buildings of England and Wales were perceived by me always somehow in a fourth dimension, the dimension of time, as if they were the stage and scenery of the long epic of the English kings. The predominant role of the monarchy and its bearers was as unifiers: they seemed to be the nation-creators, and later the empire-creators, both actively, by force and policy, and passively, as the unifying focus of sentiment and the source of lawful authority.
Enoch Powell
The life of a godly man is like a river, not like a stagnant pool or a dead sea. It is ever in motion, sometimes sparkling in the sunbeam, and sometimes shivering in the clouds; sometimes chanting through scenery as beautiful as Eden, and sometimes moaning through districts of miserable desolation; sometimes clear as the day, and sometimes black as the night. Still it is ever moving to its ocean destiny - progress is its law, infinitude is its home.
David Thomas (born 1813)
