The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 21
... archi- tectural style , opposed in aim and contradictory in feeling , successively arose ; but the language in which they dis- puted was one language , the dialects they employed were all akin ; and at no moment can we say that what ...
... archi- tectural style , opposed in aim and contradictory in feeling , successively arose ; but the language in which they dis- puted was one language , the dialects they employed were all akin ; and at no moment can we say that what ...
Seite 63
... archi- tecture may possess are dependent on the negation of order . A taste formed upon this violent and elementary variousness of form , conceives a Renaissance front as a blank monotony because that , by contrast , is all it can dis ...
... archi- tecture may possess are dependent on the negation of order . A taste formed upon this violent and elementary variousness of form , conceives a Renaissance front as a blank monotony because that , by contrast , is all it can dis ...
Seite 71
... archi- tecture , what place then , if any , can be found for this true merit of the picturesque ? What was , in fact , its place in the architecture of the Renaissance ? To these questions an answer should be given before the romantic ...
... archi- tecture , what place then , if any , can be found for this true merit of the picturesque ? What was , in fact , its place in the architecture of the Renaissance ? To these questions an answer should be given before the romantic ...
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