The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 71
... Renais- sance architecture , it is certainly not because the men of that period were blind to their attraction . The term pittoresco was , after all , their own invention . It stood , on its own showing , for the qualities which suggest ...
... Renais- sance architecture , it is certainly not because the men of that period were blind to their attraction . The term pittoresco was , after all , their own invention . It stood , on its own showing , for the qualities which suggest ...
Seite 151
... Renais- sance did not represent the past achievements of the Ren- aissance , but of antiquity . To the Renaissance they were the symbol of an unsatisfied endeavour : the source , con- sequently , not of inertia , but of perpetual ...
... Renais- sance did not represent the past achievements of the Ren- aissance , but of antiquity . To the Renaissance they were the symbol of an unsatisfied endeavour : the source , con- sequently , not of inertia , but of perpetual ...
Seite 176
... Renais- sance after them , were in this point the most exact and strict . They are by consequence the fittest instruments for giving clarity to sharp ideas , however varied , of function and of scale . Other instruments , doubtless ...
... Renais- sance after them , were in this point the most exact and strict . They are by consequence the fittest instruments for giving clarity to sharp ideas , however varied , of function and of scale . Other instruments , doubtless ...
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 æsthetic value aissance antique appear archaic stage archi argument artistic baroque architects beauty Bernini Bramante Brunelleschi builders 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 favour forms GEOFFREY SCOTT give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italy laws less literary logic 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 sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true tural ture Vitruvian Vitruvius well-building