Discourses on Architecture, Volumen1J.R. Osgood, 1875 - 517 páginas |
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Página v
... style and practice should be perpetuated for use in the great monuments of state , according to the traditions and prejudices of the school . The curriculum undertakes to embrace all branches of theory and practice . The theoretical ...
... style and practice should be perpetuated for use in the great monuments of state , according to the traditions and prejudices of the school . The curriculum undertakes to embrace all branches of theory and practice . The theoretical ...
Página vi
... style of architecture peculiarly academical , and which , considering the atmosphere of emulation in which it has grown and its extraordinary fidelity to a com- paratively narrow range of precedent and study , must necessarily be ...
... style of architecture peculiarly academical , and which , considering the atmosphere of emulation in which it has grown and its extraordinary fidelity to a com- paratively narrow range of precedent and study , must necessarily be ...
Página vii
... style of Paris has thus enjoyed the unprecedented advantage of an undisturbed growth of four hundred years in the hands of the wealth- iest and most artistic people in the world . They have lavished upon the Roman orders and upon their ...
... style of Paris has thus enjoyed the unprecedented advantage of an undisturbed growth of four hundred years in the hands of the wealth- iest and most artistic people in the world . They have lavished upon the Roman orders and upon their ...
Página viii
... style , this new English Renaissance exhibits curious and instructive contrasts with that of the sixteenth century in France ; while the latter was the result of warlike conquests , and followed in the footsteps of French armies ...
... style , this new English Renaissance exhibits curious and instructive contrasts with that of the sixteenth century in France ; while the latter was the result of warlike conquests , and followed in the footsteps of French armies ...
Página ix
... styles , by which we are so seriously embarrassed ; how to receive the developments of modern science in the arts of ... style for which literary criticism is constantly clamoring . We do not mean to assert that M. Viollet - le - Duc has ...
... styles , by which we are so seriously embarrassed ; how to receive the developments of modern science in the arts of ... style for which literary criticism is constantly clamoring . We do not mean to assert that M. Viollet - le - Duc has ...
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Términos y frases comunes
admitted ancient angles antiquity applied arch archi architects architrave artists barbarous base basilica 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 programme 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
Pasajes populares
Página 31 - 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.
Página 50 - 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.
Página x - 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...
Página xiii - The master-workman, however, laid aside his functions as an originator, and the architect was born, when precedent began so to accumulate, when civilization became so complex and exacting, the wants of mankind so various and conflicting, that, to meet the more elaborate emergencies of building, there came to be needed a larger and more exact knowledge, a more careful study of plans and details, and a more deliberate and scientific method of construction. These conditions began to render essential...
Página vi - ... based upon programmes officially prepared and announced. These competitions are decided by juries largely composed of architects not officially connected with the faculty of instruction, and culminate in the two great annual competitions preliminary to the final struggle for the grand prize of Rome. All this machinery tends directly to the creation and prevalence of a style of architecture peculiarly academical, and which, considering the atmosphere of emulation in which it has grown and its...
Página 312 - ... 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...
Página xi - 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...
Página 180 - ... 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.
Página 348 - the first condition of design is to know what we have to do, to know what we have to do is to have an idea, to express this idea we must have principles and form that is grammar and language.
Página 470 - METHOD. 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.