THE ARCHITECTURE OF HUMANISM A Study in the History of Taste1969 |
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Seite 17
... distinct from all the others which architecture may simul- taneously satisfy , an impulse by virtue of which architecture becomes art . It is a separate instinct . Sometimes it will bor- row a suggestion from the laws of firmness or ...
... distinct from all the others which architecture may simul- taneously satisfy , an impulse by virtue of which architecture becomes art . It is a separate instinct . Sometimes it will bor- row a suggestion from the laws of firmness or ...
Seite 20
... distinct . There is no reason , prima facie , to suppose that there exists between them a pre - es- tablished harmony , and that in consequence a perfect principle of building can be laid down which should , in full measure , satisfy ...
... distinct . There is no reason , prima facie , to suppose that there exists between them a pre - es- tablished harmony , and that in consequence a perfect principle of building can be laid down which should , in full measure , satisfy ...
Seite 175
... distinct though it is from beauty , has a function of its own . Humanised mass , space , and line are the basis of beauty , but coherence is the basis of style . Mass , space , and line afford the material of in- dividual æsthetic ...
... distinct though it is from beauty , has a function of its own . Humanised mass , space , and line are the basis of beauty , but coherence is the basis of style . Mass , space , and line afford the material of in- dividual æsthetic ...
Inhalt
Foreword by Henry Hope Reed | 15 |
ONE Renaissance Architecture | 25 |
Two The Romantic Fallacy | 40 |
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 æsthetic value aissance antique appear archi ARCHITECTURE OF HUMANISM argument artistic baroque architects beauty Bernini Bramante Brunelleschi building century chitecture civilisation classic classic architecture coherence confused conscious construction criticism of architecture cult delight distinct dome effect elements Empire style ethical criticism experience expression fact false forms Geoffrey Scott give Gothic Gothic revival Greek humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italy laws less literary logic Mary Berenson mass material means mechanical mediæval ment mind modern moral Nature ourselves painting Palladio past period physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renais Renaissance architecture Renaissance style Roman architecture Romantic Fallacy Romantic Movement Romanticism Rome Ruskin sance satisfy scientific Scott sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true tural ture Vitruvian Vitruvius