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Updated: June 6, 2025
In the foreshortened figure on the ground at the left of Tintoretto's "Finding of the Body of St. The work of Henner in France is an extreme instance of the quality of softness and fleshiness got by painting across the form. The look of toughness and hardness given by the brush work following down the forms is well illustrated in much of the work of James Ward, the animal painter.
Next came the Lakeville lads, while those from Weedsport were in the rear. Suddenly there sounded a crash, and Bert, turning his head, saw the foremost of the Weedsport men stumble. An instant later the engine, striking a rut, overturned, dragging the whole company down. "That puts them out of the -race!" panted Cole, who, in spite of his fleshiness, was keeping well up with his companions.
She had never been handsome, but her prodigious size had endowed her with an impressiveness which had passed in her youth, and among an indulgent people, for beauty. Only in the last few years had her fleshiness, due to rich food which she could not resist and to lack of exercise for which she had an instinctive aversion, begun seriously to inconvenience her.
He was what one would call a big man, but this appearance of bigness arose more from a heavy frame, and exceptional muscular development, than fleshiness. Murphy took in these details quickly, and the pause was slight before he spoke. "Who's Ames?" he said. "The man who rents the apartment upstairs." Then apparently taking the matter as settled, Marsh added, "I'll go along with you."
Condivi says that this gentleman, "a man of fine intelligence, employed him to execute in his own house a marble Bacchus, ten palms in height, the form and aspect of which correspond in all parts to the meaning of ancient authors. The face of the youth is jocund, the eyes wandering and wanton, as is the wont with those who are too much addicted to a taste for wine. In his right hand he holds a cup, lifting it to drink, and gazing at it like one who takes delight in that liquor, of which he was the first discoverer. For this reason, too, the sculptor has wreathed his head with vine-tendrils. On his left arm hangs a tiger-skin, the beast dedicated to Bacchus, as being very partial to the grape. Here the artist chose rather to introduce the skin than the animal itself, in order to hint that sensual indulgence in the pleasure of the grape-juice leads at last to loss of life. With the hand of this arm he holds a bunch of grapes, which a little satyr, crouched below him, is eating on the sly with glad and eager gestures. The child may seem to be seven years, the Bacchus eighteen of age." This description is comparatively correct, except that Condivi is obviously mistaken when he supposes that Michelangelo's young Bacchus faithfully embodies the Greek spirit. The Greeks never forgot, in all their representations of Dionysos, that he was a mystic and enthusiastic deity. Joyous, voluptuous, androgynous, he yet remains the god who brought strange gifts and orgiastic rites to men. His followers, Silenus, Bacchantes, Fauns, exhibit, in their self-abandonment to sensual joy, the operation of his genius. The deity descends to join their revels from his clear Olympian ether, but he is not troubled by the fumes of intoxication. Michelangelo has altered this conception. Bacchus, with him, is a terrestrial young man, upon the verge of toppling over into drunkenness. The value of the work is its realism. The attitude could not be sustained in actual life for a moment without either the goblet spilling its liquor or the body reeling side-ways. Not only are the eyes wavering and wanton, but the muscles of the mouth have relaxed into a tipsy smile; and, instead of the tiger-skin being suspended from the left arm, it has slipped down, and is only kept from falling by the loose grasp of the trembling hand. Nothing, again, could be less godlike than the face of Bacchus. It is the face of a not remarkably good-looking model, and the head is too small both for the body and the heavy crown of leaves. As a study of incipient intoxication, when the whole person is disturbed by drink, but human dignity has not yet yielded to a bestial impulse, this statue proves the energy of Michelangelo's imagination. The physical beauty of his adolescent model in the limbs and body redeems the grossness of the motive by the inalienable charm of health and carnal comeliness. Finally, the technical merits of the work cannot too strongly be insisted on. The modelling of the thorax, the exquisite roundness and fleshiness of the thighs and arms and belly, the smooth skin-surface expressed throughout in marble, will excite admiration in all who are capable of appreciating this aspect of the statuary's art. Michelangelo produced nothing more finished in execution, if we except the Piet
Still, he was a good man; and she endeavoured to persuade herself that she considered his goodness to atone for his flabbiness and his fleshiness and his interminable verbosity which she didn't. Mr. Jukesbury sighed. "A naughty world," said he, with pathos "a very naughty world, which really does not deserve the honour of including you in its census reports.
And as Phi-oo rolled him over into the darkness among the livid fleshiness again I felt a distinctly unpleasant sensation, although as he rolled the insect in him was confessed. "It simply illustrates the unthinking way in which one acquires habits of feeling.
They were followed by a couple of men known to Maurice by sight. One, an Italian, a stout, animated man, with prominent jet-black eyes and huge white teeth, was a fellow-pupil of Schilsky's, and a violinist of repute, notwithstanding the size and fleshiness of his hands, which were out of all proportion to the delicate build of his instrument. The other was a slender youth of fantastic appearance.
This rule of parallel shading is broken only when strongly marked forms, such as the swing lines of hair, a prominent bone or straining muscles, &c., demand it. This parallel shading gives a great beauty of surface and fleshiness to a drawing. The lines following, as it were, the direction of the light across the object rather than the form, give a unity that has a great charm.
The figure, now beautiful, would perhaps be marred by the ungracious thickness, the piteous fleshiness that Time often adds assiduously to ageing bodies, as if with an ironic pretence of generously giving in one direction while taking away in another. Decay would be setting in, life becoming perpetual loss. The precious years would be gone irrevocably.
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