Rudimentary Treatise on the Principles of Design in Architecture as Deducible from Nature and Exemplified in the Works of the Greek and Gothic Architects
Lockwood and Company, 1876 - 247 sayfa
Kullanıcılar ne diyor? - Eleştiri yazın
Her zamanki yerlerde hiçbir eleştiri bulamadık.
Diğer baskılar - Tümünü görüntüle
admired admit angles angular appear applied arch architects architecture arises artist attempt beauty building called Cathedral century character churches colours columns combining common compartment complete consists construction continued contrary contrast copied covering curvature curves decoration direction distinguished Doric effect England English equal example expression fitness former four give Gothic gradation greater Greek height higher horizontal idea imitation important increase instance Italy kind latter least length less light lines means mind mode nature nearly necessary never objects observed openings opposite original ornament outline perfect perhaps plane portion possible present principle produce proportion qualities reason regard render respect ribs Roman roof round seems seen sense side simple square stone style sublimity surface taste temple things thought towers tracery true truth unity variety vaulting vertical walls whole
Sayfa 155 - On the whole, it seems to me that there is but one presiding principle, which regulates and gives stability to every art. The works, ,whether of poets, painters, moralists, or historians, 'which are built upon general nature, live forever; while those which depend for their existence on particular customs and habits, a partial view of nature, or the fluctuation of fashion, can only be coeval with that which first raised them from obscurity.
Sayfa 110 - The greatest natural genius cannot subsist on its own stock : he who resolves never to ransack any mind but his own, will be soon reduced, from mere barrenness, to the poorest of all imitations; he will be obliged to imitate himself, and to repeat what he has before often repeated.
Sayfa 23 - ... deserve and require the attention of the artist, in proportion to their stability or duration, or as their influence is more or less extensive.
Sayfa 110 - Invention, strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory. Nothing can come of nothing. He who has laid up no materials can produce no combinations.
Sayfa 71 - Grandeur of effect is produced by two different ways, which seem entirely opposed to each other. One is, by reducing the colours to little more than...
Sayfa 110 - When I speak of the habitual imitation and continued study of masters, it is not to be understood, that I advise any endeavour to copy the exact peculiar colour and complexion of another man's mind ; the success of such an attempt must always be like his, who imitates exactly, the air, manner, and gestures, of him whom he admires. His model may be excellent, but the copy will be ridiculous...
Sayfa iv - Wherever you can rest, there decorate ; where rest is forbidden, so is beauty. You must not mix ornament with business, any more than you may mix play. Work first, and then rest. Work first and then gaze, but do not use golden ploughshares, nor bind ledgers in enamel.
Sayfa 94 - Until that street architecture of ours is bettered, until we give it some size and boldness, until we give our windows recess, and our walls thickness, I know not how we can blame our architects for their feebleness in more important work...
Sayfa 125 - ... cross-strain, like the second. It saves all the waste of material (not conducive to strength) in the lintels of the former style, and, also, all the material of the buttresses in the latter. But, though there are three styles of construction, there have been only two systems of architecture — only two styles possessing constructive unity, the Greek and the Gothic. The third constructive principle has yet to be elaborated into a system. The two systems are past and dead ; we may admire the fading...
Sayfa 24 - Meleager the Boar's Head, and there will remain little or no difference in their characters. In a Juno, Minerva, or Flora, the idea of the artist seems to have gone no further than representing perfect beauty, and afterwards adding the proper attributes, with a total indifference to which they gave them.