What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
according ancient appear arch archi architecture artist beauty become body building cathedral characteristic circle Classic column combination common complexity composition consists CONSONANCE corresponding curved determined Diversity division echoed Egyptian elements equal equilateral triangle example expression fact feminine figure finds followed four geometrical gives Gothic Gothic cathedral Greek groups hand harmony head height horizontal human idea Illustration important individual intervals Italy known length lines manifestation manner masculine masses means method mind multiples mystic nature octave opposite organ original ornament painting PALACE PALAZZO perfect plane presentment principle proportion RADIATION ratios reason relation Renaissance repetition reveals Rhythmic Roman ROME rules says scale sculpture seen sense shows side simple single sound space spirit square stone story style successively supporting symbol temple theosophy things third tion tower tree trinity truth unit unity universal various vertical
Page 50 - There is but one Temple in the World ; and that is the Body of Man. Nothing is holier than this high form. Bending before men is a reverence done to this Revelation in the Flesh. We touch Heaven, when we lay our hand on a human body...
Page 35 - Three is preeminently the number of architecture, because it is the number of our space, which is three-dimensional, and, of all the arts, architecture is most concerned with the expression of spatial relations. The division of a composition into three related parts is so universal that it would seem to be the result of an instinctive action of the human mind.
Page 23 - No doubt is now entertained that beauty is subject to laws and rules dependent on the nature of human intelligence. The difficulty consists in the fact that these laws and rules, on whose fulfilment beauty depends and by which it must be judged, are not consciously present to the mind, either of the artist who creates the work, or the observer who contemplates it.
Page 60 - ... to submit the freest play of form to simple figures of geometry in grouping, were among the objects he most earnestly pursued. At the same time his deep feeling for all things that have life, gave him new power in the delineation of external nature. The branching of flower-stems, the outlines of fig-leaves, the attitudes of beasts and birds in motion, the arching of the fan-palm...
Page 23 - Necessity which rules the world, which is a law of nature and equally a law of art, for art is idealized creation: nature carried to a higher power by reason of its passage through a human consciousness. Thought and emotion tend to crystallize into forms of beauty as inevitably as does the frost on a window pane. Art, therefore, in one of its aspects is the weaving of a pattern, the communication of an order and a method to the material or medium employed.
Page 16 - Ariel11 — human, at all events. The peculiar genius of any given race or any given period incarnates, as it were, in some architectural construction characteristic, and therefore symbolical of it. The iron hand of Roman sovereignty encased within the silken glove of Roman luxury, found its prototype in buildings which were stupendous, crude, brute masses of brick and concrete, encased in coverings of rich marbles and mosaics. The "sad sincerity...
Page 10 - They specially called attention to the fact that polarity, that is, the sundering of a force into two qualitatively different and opposed activities striving after reunion, which also shows itself for the most part in space as a dispersion in opposite directions, is a fundamental type of almost all the phenomena of nature, from the magnet and the crystal to man himself.
Page 55 - Egyptians reveals the fact that they studied the body abstractly in its exterior presentment.
Page 23 - ... the bird and the bee) has "followed the rules without knowing them." Helmholtz says, "No doubt is now entertained that beauty is subject to laws and rules dependent on the nature of human intelligence. The difficulty consists in the fact that these laws and rules, on whose fulfilment beauty depends, are not consciously present in the mind of the artist who creates the work, or of the observer who contemplates it.
Page 17 - ... bright, brief joys of sense, seeing only heavenly visions, knowing none but mystic raptures. Thus it is that the history of architecture illustrates and enforces the theosophical teaching that everything of man's creating is made in his own image. Architecture mirrors the life of the individual and of the race, which is the life of the individual written large in time and space.
Architectural Model as Machine: A New View of Models from Antiquity to the ...
Albert C. Smith
No preview available - 2004
All Book Search results »
Architecture Series: Bibliography
No preview available - 1984