Discourses on Architecture, 1 tomasJ.R. Osgood, 1875 - 517 psl. |
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Pagrindiniai terminai ir frazės
admitted ancient angles antiquity applied arch archi architects architrave artists barbarous base basilica baths beautiful building built buttresses Byzantine Byzantine art capital cella character château civilization columns composed composition construction cornice decoration developed Doric Doric order edifice empire entablature epoch expression exterior façade France French gallery genius give Gothic Greek Greek temple harmony height ideas imitation influence instinct intercolumniation interior laws lines lintel Louis XIV manner marble masonry mass material mediæval ment method Middle Ages midst modern monuments mouldings nations natural nave necessity never observed obtain ornaments palace Parthenon peculiar perfect Philibert de l'Orme piers pilasters portico practical principles profiles proportions reason regard Renaissance requirements result Roman architecture Roman art Romanesque Rome roof sculpture sentiment spirit stone structure style symmetry taste tecture temple tion traditions triangle triglyphs true ture twelfth century unity vault Vitruvius wall
Populiarios ištraukos
25 psl. - Handbook of Architecture. Being a Concise and Popular Account of the Different Styles prevailing in all Ages and Countries in the World. With a Description of the most remarkable Buildings.
44 psl. - May we know what this new doctrine, whereof thou speakest, is? 20. For thou bringest certain strange things to our ears: we would know therefore what these things mean. 21. (For all the Athenians, and strangers which were there, spent their time in nothing else, but either to tell or to hear some new thing.) 22.
ix psl. - Institute are, to unite in fellowship the Architects of this continent, and to combine their efforts so as to promote the artistic, scientific and practical efficiency of the profession.
iv psl. - It must not be forgotten that the most essential distinction between the arts of primitive barbarism and those of civilization is that, while the former are original and independent, and consequently simple, the latter must be retrospective, naturally turning to tradition and precedent, and are therefore complex.
310 psl. - ... construction; in short, against sham work of any kind. Thus a certain master lays down this dogma: " A form which admits of no explanation, or which is a mere caprice, cannot be beautiful...
484 psl. - A column or pillar, fashioned with a studied regard for the nature of the material of which it is made and the duties it has to perform, satisfies the most fastidious eye.
176 psl. - ... architecture is at most stationary. And, indeed, it may be questioned whether, without a thought of art, and, as it were, in spite of himself, the engineer has not produced the most impressive, as certainly he has produced the most characteristic monuments of our time. "A locomotive," says Viollet-le-Duc, "has its peculiar physiognomy, not the result of caprice but of necessity.
468 psl. - It must needs be confessed that modern architects, surrounded as they are by prejudices and traditions, and embarrassed by an habitual confusion in respect to their art, are neither inspired by original ideas nor guided by definite and well-understood principles; a fact the more plainly betrayed the more elaborate and complex are the monuments they are called upon to design and execute.
i psl. - Greek expressions than of Greek principles, and, owing to the facility with which even caprices could assume an air of studious elegance under this treatment, it became so popular and so well suited to French taste, that, after the construction of the Library of St. Genevieve (Fig.