The Architecture of Humanism: A Study in the History of TasteConstable, 1947 - 265 Seiten |
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Seite 13
... confuse our actual experi- ence at the source . To trace the full measure of that confusion , and if possible to correct it , is therefore the first object of this book . We enter a limbo of dead but still haunt- ing controversies , of ...
... confuse our actual experi- ence at the source . To trace the full measure of that confusion , and if possible to correct it , is therefore the first object of this book . We enter a limbo of dead but still haunt- ing controversies , of ...
Seite 244
... confusion . Mass is too often lost in multiplicity . Space and coherence come , if at all , unsought and unregarded ; and when they come it is most often because the ritual of the Church , preserving something of the pagan order it ...
... confusion . Mass is too often lost in multiplicity . Space and coherence come , if at all , unsought and unregarded ; and when they come it is most often because the ritual of the Church , preserving something of the pagan order it ...
Seite 253
... Confusion here between knowing and feeling ; æsthetic perception more limited than intellectual perception Moreover a complete intellectual perception would per- ceive inter alia the æsthetic point of view The mechanical argument based ...
... Confusion here between knowing and feeling ; æsthetic perception more limited than intellectual perception Moreover a complete intellectual perception would per- ceive inter alia the æsthetic point of view The mechanical argument based ...
Inhalt
INTRODUCTION I | 1 |
RENAISSANCE ARCHITECTURE | 15 |
THE ROMANTIC FALLACY | 37 |
Urheberrecht | |
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The Architecture of Humanism: A Study in the History of Taste Geoffrey Scott Eingeschränkte Leseprobe - 1999 |
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academic achieved aesthetic æsthetic value antiquity appear archæology archi architectural art argument artistic baroque architects beauty Bramante Brunelleschi builders building century CHAPTER classic architecture coherence confusion conscious construction criticism of architecture cult decorative delight distinction dome effect elements Empire style essential ethical criticism experience expression fact false forms function give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation influence insistent instinct intellectual interest Italian Italian architecture Italy laws less literary logic mass material means mechanical mediæval 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 suggested taste tecture theory of architecture things thought tion tradition true Vitruvius