The Architecture of Humanism: A Study in the History of TasteDoubleday, 1954 - 197 Seiten |
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Seite 20
... principle of building can be laid down which should , in full measure , satisfy them all . And , in the absence of such a principle , it is quite arbitrary to pronounce dogmatically on the concessions which art should make to science or ...
... principle of building can be laid down which should , in full measure , satisfy them all . And , in the absence of such a principle , it is quite arbitrary to pronounce dogmatically on the concessions which art should make to science or ...
Seite 72
... principle , like all the principles of Renaissance architecture , rested on a psychological fact . The different effects which art is able to produce , however various and incommensurable they may radically be , are commensu- rable at ...
... principle , like all the principles of Renaissance architecture , rested on a psychological fact . The different effects which art is able to produce , however various and incommensurable they may radically be , are commensu- rable at ...
Seite 73
... principle , at least by an instinctive sense for its application . Even in the picture - since this , too , must have its measure of attention — the ' picturesque ' ele- ment is made subordinate ; it is subdued to that wider composition ...
... principle , at least by an instinctive sense for its application . Even in the picture - since this , too , must have its measure of attention — the ' picturesque ' ele- ment is made subordinate ; it is subdued to that wider composition ...
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