The Architecture of Humanism: A Study in the History of TasteHoughton Mifflin, 1914 - 272 Seiten |
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... appears to me that if we desire any clearness in this matter , we are driven from a priori æsthetics to the history of taste , and from the history of taste to the history of ideas . It is , I believe , from a failure to appreciate the ...
... appears to me that if we desire any clearness in this matter , we are driven from a priori æsthetics to the history of taste , and from the history of taste to the history of ideas . It is , I believe , from a failure to appreciate the ...
Seite 10
... appear to be , yet , for the most part , they grew from one another by gradual transitions . The margins which divide them are curiously difficult to define . They form , in fact , a complete chapter in architecture , to be read ...
... appear to be , yet , for the most part , they grew from one another by gradual transitions . The margins which divide them are curiously difficult to define . They form , in fact , a complete chapter in architecture , to be read ...
Seite 18
... appear , at first sight , to be as confused in aim as it was fertile in invention . Contrast it with the cumulative labour , the intensive concentration , by which the idea of Greek archi- tecture , ever reiterated , was sharpened to ...
... appear , at first sight , to be as confused in aim as it was fertile in invention . Contrast it with the cumulative labour , the intensive concentration , by which the idea of Greek archi- tecture , ever reiterated , was sharpened to ...
Seite 23
... appear to have furnished the large idea to which the new classic architecture might stand in service . But we must not overlook the extent to which the papacy was itself indebted , for that quality , to the artists of the Renaissance ...
... appear to have furnished the large idea to which the new classic architecture might stand in service . But we must not overlook the extent to which the papacy was itself indebted , for that quality , to the artists of the Renaissance ...
Seite 32
... appear shorter than they are , by ' joints , ' which are in reality only channels on the surface . In both cases the purpose is to maintain ' scale ' ; the unit of design , that is to say , is not material but æsthetic . They had an ...
... appear shorter than they are , by ' joints , ' which are in reality only channels on the surface . In both cases the purpose is to maintain ' scale ' ; the unit of design , that is to say , is not material but æsthetic . They had an ...
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academic achieved aesthetic æsthetic value antique archæology archi architectural art artistic baroque architects beauty Bramante Brunelleschi builders building century CHAPTER character classic architecture coherence conscious construction criticism of architecture cult decorative delight distinction dome effect elements Empire style ethical criticism exist experience expression fact false favourable forms function give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation impulse influence insistent instinct intellectual interest Italian Italian architecture Italy laws less lines literary logic mass material means mechanical mediæval method mind modern moral Nature painting Palladio past period physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renais Renaissance architecture Renaissance humanism 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 Vitruvius
Beliebte Passagen
Seite 215 - Awake! for morning in the bowl of night Has flung the stone that puts the stars to flight: And lo! the hunter of the east has caught The sultan's turret in a noose of light.
Seite 121 - We have seen above, that the whole mass of the architecture, founded on Greek and Roman models, which we have been in the habit of building for the last three centuries, is utterly devoid of all life, virtue, honourableness, or power of doing good. It is base, unnatural, unfruitful, unenjoyable, and impious. Pagan in its origin, proud and unholy in its revival, paralyzed in its old age...
Seite 144 - The day chosen by Sixtus for this undertaking was the 10th of September, a Wednesday (which he had always found to be a fortunate day), and that immediately preceding the festival of the Elevation of the Cross, to which the obelisk was to be dedicated. The workmen again commenced their labours by commending themselves to God, all falling on their knees as they entered the hiclosure.
Seite 261 - The centre of that architecture was the human body ; its method, to transcribe in stone the body's favourable states ; and the moods of the spirit took visible shape along its borders, power and laughter, strength and terror and calm.
Seite 39 - Romanticism may be said to consist in a high development of poetic sensibility towards the remote, as such.
Seite 2 - The mechanical bondage of construction bas closely circumscribed its growth. Thrust and balance, pressure and its support, are at the root of the language which architecture employs. The Inherent character of marble, brick, wood, and iron have moulded Its forms, set limits to its achievement, and governed in a measure, even its decorative detail. On every hand the study of architecture encounters physics, statics, and dynamics, suggesting, controlling, Justifying Its design. It is open to us, therefore,...
Seite 93 - For a single moment, while the past [92] still imposed its habit upon thought, disaster was arrested. The cult of Nature was a convention like the rest, and sought a place within the scheme. But the next step was the suicide of taste. Taken in isolation, made hostile to the formal instincts of the mind, Nature led, and can only lead, to chaos; whence issued a monstrous architecture: informe ingens, cui lumen ademptum.
Seite 210 - Architecture, simply and immediately perceived, is a combination, revealed through light and shade, of spaces, of masses, and of lines,' 3 which embody the meaning and significance of the institution housed within its walls.
Seite 1 - From this phrase of an English humanist 1 a theory of architecture might take its start. Architecture is a focus where three separate purposes have converged. They are blended in a single method; they are fulfilled in a single result; yet in their own nature they are distinguished from each other by a deep and permanent disparity. The criticism of architecture has been confused in its process; it has built up strangely diverse theories of the art, and the verdicts it has pronounced have been contradietary...
Seite 213 - This is the humanism of architecture. The tendency to project the image of our functions into concrete forms is the basis, for architecture, of creative design.