BOOKS: BIBLICAL STUDIES (1500BC-AD70) / EARLY CHRISTIAN PRETERISM (AD50-1000) / FREE ONLINE BOOKS (AD1000-2008)
An Exposition of the New Testament, Intended as an Introduction to the Study of the Scriptures, by Pointing Out the Leading Sense and Connection of the Sacred Writers | Annotations on the New Testament: Compiled from the Best Critical Authorities (1829)
London, 1790. 1 vol. 4to.; and 1798, 2 vols.
(On Matthew 21:33-44)
(On Luke 14:16-24)
(On Romans 9:22)
(On 1 Thessalonians 2:16)
(On 1 Peter 4:17)
(On 2 Peter 2:1)
(2 Peter 2:4-9)
(2 Peter 2:10)
"The swift destruction seems to correspond with the destruction of Jerusalem.' Note on ver. 1.
WHAT OTHERS HAVE SAID
"Among works on the subject of taste and beauty, in which philosophical analysis and metaphysics are happily blended with the graces of refined thought and composition, are the writings of the REV. WILLIAM GILPIN (1724-1804) and SIR UVEDALE PRICE (1747-1829). The former was author of Remarks on Forest Scenery, and Observations on Picturesque Beauty, as connected with the English lakes and the Scottish Highlands. As vicar of Boldre, in the New Forest, Hampshire, Mr Gilpin was familiar with the characteristics of forest scenery, and his work on this subject (1791) is equally pleasing and profound—a storehouse of images and illustrations of external nature, remarkable for their fidelity and beauty, and an analysis ' patient and comprehensive, with no feature of the chilling metaphysics of the schools.' His Remarks on Forest Scenery consist of a description of the various kinds of trees. ' It is no exaggerated praise,' he says, ' to call a tree the grandest and most beautiful of all the productions of the earth. In the former of these epithets nothing contends with it, for we consider rocks and mountains as part of the earth itself. And though among inferior plants, shrubs, and flowers, there is great beauty, yet, when we consider that these minuter productions are chiefly beautiful as individuals, and are not adapted to form the arrangement of composition in landscape, nor to receive the effect of light and shade, they must give place in point of beauty—of picturesque beauty at least—to the form, and foliage, and ramification of the tree. Thus the splendid tints of the insect, however beautiful, must yield to the elegance and proportion of animals which range in a higher class.'
Having described trees as individuals, he considers them under their various combinations, as clumps, park-scenery, the copse, glen, grove, the forest, &c. Their permanent and incidental beauties in storm and sunshine, and through all the seasons, are afterwards delineated in the choicest language, and with frequent illustration from the kindred pages of the poets ; and the work concludes with an account of the English forests and their accompaniments—lawns, heaths, forest distances, and sea-coast views ; with their proper appendages, as wild horses, deer, eagles, and other picturesque inhabitants. As a specimen of Mr Gilpin's manner—though a very inadequate one—we subjoin his account of the effects of the sun, ' an illustrious family of tints,' as fertile sources of incidental beauty among the woods of the forest.
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