The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 36
... materials for its ex- pression . No doubt one material was better than another , and an architect accustomed , as were the Italians , to his tools , would take the best he could ; but the men of the Renaissance were notoriously , and ...
... materials for its ex- pression . No doubt one material was better than another , and an architect accustomed , as were the Italians , to his tools , would take the best he could ; but the men of the Renaissance were notoriously , and ...
Seite 55
... material forms into terms of ' literary ' ideas . Yet it must not be said that literary ideas have no ' legitimate ' place in architectural experience . Every experience of art contains , or may contain , two elements , the one direct ...
... material forms into terms of ' literary ' ideas . Yet it must not be said that literary ideas have no ' legitimate ' place in architectural experience . Every experience of art contains , or may contain , two elements , the one direct ...
Seite 65
... material through a medium that was simple , familiar , and fixed . But in architecture this distinction could not be maintained . When the romantic material en- tered , the conventional form of necessity disappeared . ' Quaint ' design ...
... material through a medium that was simple , familiar , and fixed . But in architecture this distinction could not be maintained . When the romantic material en- tered , the conventional form of necessity disappeared . ' Quaint ' design ...
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