Rudimentary Treatise on the Principles of Design in Architecture as Deducible from Nature and Exemplified in the Works of the Greek and Gothic ArchitectsLockwood and Company, 1876 - 247 pages |
Autres éditions - Tout afficher
Rudimentary Treatise on the Principles of Design in Architecture as ... Edward Lacy Garbett Affichage du livre entier - 1850 |
Rudimentary Treatise on the Principles of Design in Architecture as ... Edward Lacy Garbett Affichage du livre entier - 1850 |
Rudimentary Treatise on the Principles of Design in Architecture as ... Edward Lacy Garbett Affichage du livre entier - 1876 |
Expressions et termes fréquents
admired aisles Amiens angles angular appear applied arch architects architecture architrave artist baluster beauty breadth building buttresses called Cathedral ceiling centre character churches classes of form clerestory colours columns common compartment conoids consists construction contrary flexure contrast Corinthian order cornice curvature curves decoration distinguished dome Doric Doric order effect elliptic English entablature entasis equal example expression generalisation Gothic Gothic architecture Gothic art Gothicists gradation Greek height horizontal imitation instance kind latter less lines metopes mind mode modern mouldings nature nave never objects oblique observed ornament outline Parthenon peculiar pediment perfect perhaps plane portion principle proportion qualities rectangular render ribs Roman Romanesque roof Rouen Cathedral Salisbury Salisbury Cathedral sculpture seen sense side soffite spandrils square stone style sublimity surface taste tecture temple things tiercerons tion towers tracery transept triglyphs truth unity variety vaulting vertical walls whole
Fréquemment cités
Page 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.
Page 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.
Page 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.
Page 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.
Page 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...
Page 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...
Page 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.
Page 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...
Page 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...
Page 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.