The Architecture of Humanism: A Study in the History of TasteDoubleday, 1956 - 197 Seiten |
Im Buch
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Seite 47
... Renais- sance spirit and characteristic , above all , of the eighteenth century - there grew up a more serious perception of its imaginative value . When Goethe visits Strasburg Cathedral it is no longer , for him , the work of ...
... Renais- sance spirit and characteristic , above all , of the eighteenth century - there grew up a more serious perception of its imaginative value . When Goethe visits Strasburg Cathedral it is no longer , for him , the work of ...
Seite 72
... Renais- sance architects put faith . This principle , like all the principles of Renaissance architecture , rested on a psychological fact . The different effects which art is able to produce , however various and incommensurable they ...
... Renais- sance architects put faith . This principle , like all the principles of Renaissance architecture , rested on a psychological fact . The different effects which art is able to produce , however various and incommensurable they ...
Seite 151
... Renais- sance did not represent the past achievements of the Ren- aissance , but of antiquity . To the Renaissance they were the symbol of an unsatisfied endeavour : the source , con- sequently , not of inertia , but of perpetual ...
... Renais- sance did not represent the past achievements of the Ren- aissance , but of antiquity . To the Renaissance they were the symbol of an unsatisfied endeavour : the source , con- sequently , not of inertia , but of perpetual ...
Inhalt
Introduction | 15 |
ONE Renaissance Architecture | 25 |
Two The Romantic Fallacy | 40 |
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The Architecture of Humanism: A Study in the History of Taste Geoffrey Scott Eingeschränkte Leseprobe - 1999 |
Häufige Begriffe und Wortgruppen
academic achieved æsthetic value aissance antique archi argument artistic baroque architects beauty Bramante Brunelleschi builders building century character chitecture civilisation classic classic architecture coherence confused conscious construction criticism of architecture cult delight distinct dome effect elements Empire style ethical criticism experience expression fact false favour forms give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italy JACQUES BARZUN laws less literary logic mass material means mechanical mediæval ment mind modern moral Nature ourselves painting Palladio past period physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renais Renaissance architecture Renaissance style Roman architecture Romantic Fallacy Romantic Movement Romanticism Rome Ruskin sance satisfy scientific sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true tural ture Vitruvian Vitruvius W. H. AUDEN