Discourses on Architecture, 1 tomasJ.R. Osgood, 1875 - 517 psl. |
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admitted amphitheatres ancient angles antiquity applied arches archi architects architrave artists barbarous base basilica baths Baths of Caracalla beautiful building built buttresses Byzantine Byzantine art capital cella character château civilization columns composed composition construction cornice decoration developed Doric Doric order edifices empire entablature epoch expression exterior façade France French gallery genius Gothic grandeur Greek temple height ideas imitation influence instinct intercolumniation interior lintel Louis XIV manner marble mass material mediæval ment method Middle Ages midst modern monuments mouldings nations natural nave necessity never observed obtain ornaments palace peculiar perfect Philibert de l'Orme piers pilasters political portico practical principles profiles projection proportions reason regard Renaissance requirements result Roman architecture Roman art Romanesque Rome roof sculpture sentiment spirit stone structure style symmetry taste tecture tion traditions triangle triglyphs true ture twelfth century vault Vitruvius wall
Populiarios ištraukos
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x psl. - American architecture, — why not begin afresh? To this, of course, there can be but one intelligent reply. All the past is ours; books, engravings, photographs, have so multiplied, that at any moment we can turn to and examine the architectural achievements of any age or nation. These suggestions of beauty and use are always with us. It must not be forgotten that the most essential distinction between the arts of primitive barbarism and those of civilization...
xv 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.
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312 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...
xi 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. A beginning once made by primitive discovery and experiment, art, like nature, must thenceforward proceed by derivation and development; and where architectural monuments and traditions...
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