The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 10
... false , and to explain why , when false , they have yet remained plausible , powerful , and , to many minds , convincing . This is to travel far from the original question . Yet I be- lieve the inquiry to be essential , and I have ...
... false , and to explain why , when false , they have yet remained plausible , powerful , and , to many minds , convincing . This is to travel far from the original question . Yet I be- lieve the inquiry to be essential , and I have ...
Seite 122
... false windows may be theatrical . A single such window , especially where its practical necessity is for any reason ob- vious , lowers in no sense our confidence in the design . Be- tween these extremes the justifiable limits of licence ...
... false windows may be theatrical . A single such window , especially where its practical necessity is for any reason ob- vious , lowers in no sense our confidence in the design . Be- tween these extremes the justifiable limits of licence ...
Seite 124
... false feeling and false conclusions of the opposite school , restricts the scope of architecture to a technical routine , and reduces its criticism to connois- seurship . This , then , is the second tradition : the Criticism of Fact ...
... false feeling and false conclusions of the opposite school , restricts the scope of architecture to a technical routine , and reduces its criticism to connois- seurship . This , then , is the second tradition : the Criticism of Fact ...
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