THE ARCHITECTURE OF HUMANISM A Study in the History of Taste1969 |
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Seite 35
... painting , where no such factors oper- ated , than in their architecture . Clearly , therefore , it sprang in both cases from an independent and native pref- erence of taste . And , conversely , once more , the rough travertine of Rome ...
... painting , where no such factors oper- ated , than in their architecture . Clearly , therefore , it sprang in both cases from an independent and native pref- erence of taste . And , conversely , once more , the rough travertine of Rome ...
Seite 71
... painting of Italian backgrounds almost from the first . Their presence gave a special popularity to such subjects as the Adoration of the Kings , depicted , as by convention they habitually were , with strange exotic retinues and every ...
... painting of Italian backgrounds almost from the first . Their presence gave a special popularity to such subjects as the Adoration of the Kings , depicted , as by convention they habitually were , with strange exotic retinues and every ...
Seite 87
... painter . Insecure structures , like fading pigments , are technical faults of art ; all other struc- tural ... painting or sculpture ; our specifically architectural pleasure will be in the functions of the structural elements ...
... painter . Insecure structures , like fading pigments , are technical faults of art ; all other struc- tural ... painting or sculpture ; our specifically architectural pleasure will be in the functions of the structural elements ...
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