The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 35
... baroque architects of Rome desired a monumental and Cyclopean effect , they obtained it without the Florentines ' advantages . Again , the smooth pietra serena of Tuscany may lend itself to fine carving ; but the passion of the ...
... baroque architects of Rome desired a monumental and Cyclopean effect , they obtained it without the Florentines ' advantages . Again , the smooth pietra serena of Tuscany may lend itself to fine carving ; but the passion of the ...
Seite 116
... baroque architects con- ceived of Movement , tossing and returning ; movement un- restrained , yet not destructive of that essential repose which comes from composition , nor exhaustive of that reserve of energy implied in masses , when ...
... baroque architects con- ceived of Movement , tossing and returning ; movement un- restrained , yet not destructive of that essential repose which comes from composition , nor exhaustive of that reserve of energy implied in masses , when ...
Seite 119
... baroque architects did . not prefer paint to stone . Ruskin was not more disap- pointed than Palladio that the palaces of Vicenza are of stucco . Few generations realised more clearly the aesthetic quality of rich material ; as the ...
... baroque architects did . not prefer paint to stone . Ruskin was not more disap- pointed than Palladio that the palaces of Vicenza are of stucco . Few generations realised more clearly the aesthetic quality of rich material ; as the ...
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 actual æsthetic appear archi architects argument attempt baroque beauty becomes building cause century character classic confused consequences construction criticism delight detail direct distinct effect elements essential ethical example exist experience expression fact Fallacy false feeling follow force forms function give Gothic Greek hand human ideal ideas imagination imitation influence instinct intellectual interest Italy laws less lines literary logic mass material means mechanical ment mere merely method mind moral movement Nature necessary object once original painting past period physical picturesque pleasure poetry practical preferences present principle problem proportion purely qualities question realised reason relation Renaissance architecture romantic Romanticism satisfy scientific seems sense sequence sometimes space spirit stand structure style suggested taste tecture theory things thought tion tradition true ture whole