The Architecture of Humanism: A Study in the History of TasteConstable, 1947 - 265 Seiten |
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Seite 222
... movement . But when we have got movement we have got expression . For our own movements are . the simplest , the most instinctive , and the most universal forms of expression that we know . Identi- fied with ourselves , movement has ...
... movement . But when we have got movement we have got expression . For our own movements are . the simplest , the most instinctive , and the most universal forms of expression that we know . Identi- fied with ourselves , movement has ...
Seite 224
... movement . And beauty of disposition in architecture , like beauty of line , arises from our own physical experience of easy movement in space . But not all movements are pleasant or unpleasant in themselves ; the majority of them are ...
... movement . And beauty of disposition in architecture , like beauty of line , arises from our own physical experience of easy movement in space . But not all movements are pleasant or unpleasant in themselves ; the majority of them are ...
Seite 225
... movement . This , taken alone , would leave us perpetually in suspense . But in the upper part of the design our expectancy is satisfied ; the upward movement is allowed to disperse itself in greater areas of lateral space , and makes ...
... movement . This , taken alone , would leave us perpetually in suspense . But in the upper part of the design our expectancy is satisfied ; the upward movement is allowed to disperse itself in greater areas of lateral space , and makes ...
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 |
Häufige Begriffe und Wortgruppen
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