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Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

• Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
  Matching lines:
  • age. In painting, the 4th post-Atlantean age goes down with
  • totality, a thing that goes without saying. Here in this picture
  • you not feel it as a natural totality, a thing that goes without
• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
  Matching lines:
  • idea that a specific moral impulse must be living in what goes by the
  • time, and wheresoever he goes he makes it felt — this truly artistic
  • intelligence which, as you see it here, goes on in an enclosed and human
  • we see how Raphael undergoes his evolution. He stands there in the world
• Title: History of Art: Lecture III: Dürer and Holbein
  Matching lines:
  • compare them with the mood that goes out from the first monologues
• Title: History of Art: Lecture V: Rembrandt
  Matching lines:
  • and more in Rembrandt's work as time goes on, the boldest imaginable
• Title: History of Art: Lecture VI: Dutch and Flemish Painting
  Matching lines:
  • Hugo van der Goes,
  • It goes with this, quite
  • 27. Hugo van der Goes. Portinari Altarpiece, c. 1475.
  • 28. Hugo van der Goes. Adoration by the Shepards, 1480
  • 29. Hugo van der Goes. St. Anthony and St. Matthew.
  • 31. Hugo van der Goes. The Death of Mary. (Academy.
  • 32. Hugo van der Goes. Adam and Eve. The Fall. (Vienna.)
• Title: History of Art: Lecture VII: Representations of the Nativity
  Matching lines:
  • Hugo van der Goes,
  • is really the Star of Christ. But it goes on to relate that something now
  • the Three Wise Men. Whatever goes by the name of Astrology today has
  • case the naturalistic quality is fitting. All that goes out to meet the
  • 22. Hugo van der Goes. Adoration of the Child.
  • 23. Hugo van der Goes. Adoration of the
• Title: History of Art: Lecture IX:
  Matching lines:
  • recognised in the leaf, undergoes constant metamorphoses. All organs are
  • ennobling influence on him. The above story goes on to relate, Donatello