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admiration aesthetical agreeable analogy architecture arranged associated Beauty of Form belong Cathedral centre circumference shall touch composition contour curves delight describe a circle determined by harmonic diagonals diagram diatonic scale dominant draw elements ellipse eloquence emotions enjoyment equal excite feeling forms of beauty fundamental angle geometrical give harmonic ratios Hay's height human figure Ideal Beauty inner buttresses intersects isosceles triangle Lincoln Cathedral line A B lines drawn measurements Mediant ment mind moral muscles muscular actions nature objects octave orthography outer outward Parthenon pediment perpendicular Plate pleasant pleasure derived poetry portico PRINCIPLES OF BEAUTY prolate spheroid proportions radius describe rectangle rectilinear represent right angle Salisbury Cathedral scalene triangle sensation of sight Sensational Beauty sense sensorium sentiments similarity smaller angle space standard of beauty Sublime Supertonic symmetry thigh and leg tions Tonic UNIVERSITY OF EDINBURGH variety vertical line vibrations window word Beautiful
Page 2 - She then thought .of that expression — it is a pleasant thing for the eyes to behold the sun — which words then seemed to her to be very applicable to Jesus Christ.
Page 49 - It is the province of association to impart to one thing the agreeable or the disagreeable effect of another ; but association can never account for the origin of a class of pleasures different in kind from all the others we know. If there was nothing originally and intrinsically pleasing or beautiful, the associating principle would have no materials on which it could operate."* This remark, if it be true, appears to be decisive on the subject before us.
Page 9 - In fine, I am inclined to believe some general laws of the Creator prevailed with respect to the agreeable or unpleasing affections of all our senses ; at least the supposition does not derogate from the wisdom or power of God, and seems highly consonant to the macrocosm in general.
Page 68 - That shall never be our care Which is neither good nor fair " — Such were the words your lips immortal sang.
Page 36 - ... I then, by means of another prism, directed the blue spot to the same part of the second screen on which the red appeared, where they united, and produced a violet as pure and intense as that upon the spectrum. I did the same with the blue and yellow, and produced the prismatic green ; as also with the red and yellow, and orange was the result. I tried, in the same manner, to mix a simple with what I thought a compound colour, but they did not unite; for no sooner was the red spot thrown upon...
Page 71 - To which is prefixed a System of ^Esthetic Proportion. Applicable to Architecture and the other Formative Arts.
Page 71 - THE SCIENCE OF THOSE PROPORTIONS BY WHICH THE HUMAN HEAD AND COUNTENANCE, as represented in ancient Greek Art, are distinguished from those of ordinary Nature.
Page 36 - I tried the experiment with two spectrnms, the one behind, and, of course, a little above the other, and passed a spot of each colour successively over the spectrum which was farthest from the window, and the same result occurred. It therefore appeared to me that these three colours had an affinity to one another that did not exist in the others, and that they could not be the same in every respect, except colonr and refrangibility, as had hitherto been taught.
Page 17 - ... which should be familiar to all who profess the science of architecture. Symmetry results from proportion, which, in -the Greek language, is termed analogy. Proportion is the commensuration of the various constituent parts with the whole ; in the existence of which, symmetry is found to consist; for no building can possess the attributes of composition in which symmetry and proportion are disregarded, nor unless there exists that perfect conformation of parts which may be observed in a well-formed...