The Architecture of Humanism: A Study in the History of TasteDoubleday, 1956 - 197 Seiten |
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Seite 30
... proportion as the classic movement was no empty revival , in proportion as it represented a rising to the surface of the preferences , still vital and potent , of an ancient and indigenous culture , which claimed a future as confidently ...
... proportion as the classic movement was no empty revival , in proportion as it represented a rising to the surface of the preferences , still vital and potent , of an ancient and indigenous culture , which claimed a future as confidently ...
Seite 68
... proportion , stood , in the ethics of Nature , for the supreme idolatry . 2 On the one side was Nature : the curves of the waves , the line of the unfolding leaf , the pattern of the crystal . All these might be studied , and in some ...
... proportion , stood , in the ethics of Nature , for the supreme idolatry . 2 On the one side was Nature : the curves of the waves , the line of the unfolding leaf , the pattern of the crystal . All these might be studied , and in some ...
Seite 69
... proportion on our works - this is the unworthy exercise of ' self - contemplating Greeks , ' the mark of ... Proportion , and , therefore , against the Renaissance - for however deeply Order and Proportion may characterise the laws of ...
... proportion on our works - this is the unworthy exercise of ' self - contemplating Greeks , ' the mark of ... Proportion , and , therefore , against the Renaissance - for however deeply Order and Proportion may characterise the laws of ...
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