THE ARCHITECTURE OF HUMANISM A Study in the History of Taste1969 |
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Seite 55
... experience . Every experience of art contains , or may contain , two elements , the one direct , the other indirect . The direct element includes our sensuous experience and simple perceptions of form : the immediate apprehension of the ...
... experience . Every experience of art contains , or may contain , two elements , the one direct , the other indirect . The direct element includes our sensuous experience and simple perceptions of form : the immediate apprehension of the ...
Seite 58
Geoffrey Scott. have been experienced , in the world of recollection - will become part of the shifting web of ideas which is the ma- terial of literary emotion . And this will be true of architec- tural experience . It may begin as a ...
Geoffrey Scott. have been experienced , in the world of recollection - will become part of the shifting web of ideas which is the ma- terial of literary emotion . And this will be true of architec- tural experience . It may begin as a ...
Seite 158
... experience a certain discomfort from their presence . So much will be conceded . Now what is the cause of this discomfort ? It is often suggested that the top - heavy building and the cramped space are ugly because they suggest the idea ...
... experience a certain discomfort from their presence . So much will be conceded . Now what is the cause of this discomfort ? It is often suggested that the top - heavy building and the cramped space are ugly because they suggest the idea ...
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