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The spacious firmament on high,
With all the blue ethereal sky,
And spangled heavens, a shining frame,
Their great Original proclaim.
--
No. 465, Ode (23 August 1712).

 

Joseph Addison

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We must consider the words, "the heavens were opened" (Ezek. i. 1); they give the key to the understanding of the whole. The figure of opening, also that of opening the gates, occurs frequently in the books of the prophets... When he commences to describe the firmament in detail, he says, "the firmament," without adding the words "the likeness of," for he says, "And I looked, and behold, in the firmament that was above the head of the cherubims there appeared over them as it were a sapphire stone, as the appearance of the likeness of a throne" (Ezek x. 1). Here the prophet speaks of "the firmament" and not of "the likeness of the firmament,"...

 

Maimonides

 

Washington—a fixed star in the firmament of great names, shining without twinkling or obscuration, with clear, beneficent light.

 

George Washington

 

It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustained, to come, don't spin it out too long long breath he breath long life, soaring high, high resplendent, aflame, crowned, high in the effulgence symbolistic, high, of the ethereal bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness... (271)

 

James Joyce

 

It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

 

Maxfield Parrish

 

A glimpse of Breidablick, whose walls are light
As e'en the silver on the cliff it shone;
Of dark blue steel its columns azure height
And the big altar was one agate stone.
It seemed as if the air upheld alone
Its dome, unless supporting spirits bore it,
Studded with stars Odin's spangled throne,
A light inscrutable burned fiercely o'er it;
In sky-blue mantles,
Sat the gold-crowned gods before it.

 

Esaias Tegner