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Greek refinements: studies in temperamental architecture
William Henry Goodyear
Visualitzaciķ completa - 1912
abaci abacus Adolf Michaelis angle triglyph appear architects architrave asymmetries Athenian authors average axial spacing bays Brooklyn Institute Museum building centre Century B.C. chapter columnar diameter concave curves convex Cori cornice curvature curves in elevation curves in plan dimensions diminution Doric temple Dorpfeld east front Egesta entablature entasis Erechtheum explanation fact feet fronts and flanks gable Girgenti Greek curvature Greek refinements Greek temples Ground-plan Hauck Hoffer horizontal curvature illustration instance Institute Museum Series intercolumnar space intercolumniations irregularities Koldewey and Puchstein Maison Carree mason's error measurements mediaeval mentioned Metaponto metope Michaelis modern Nimes north flank observations Olympia optical effect optical illusions Paestum Parthenon Penrose photograph Pisa Cathedral Poseidon at Paestum Professor Propylaea quoted Selinus side sixth century so-called temple spacial contraction stylobate systematic Temple G Temple of Poseidon temple of Zeus Temple Ruin thenon theory Theseum Thiersch tion Vitruvius west front wholly Zeus temple
Pāgina 32 - The stylobate," says this military engineer of Julius Caesar, " ought not to be constructed upon the horizontal level, but should rise gradually from the ends toward the centre, so as to leave there a small addition. The inconvenience which might arise from a stylobate thus constructed may be obviated by means of unequal scamilli. If the line of the stylobate were perfectly horizontal, it would appear like the bed of a channel.
Pāgina 83 - they endeavored to make the architecture of their buildings resemble nature, to transfer to them the beautifully curving forms which surrounded them, and thus to infuse the lifeless forms of art with the breath of living nature." This is, as far as I know, the earliest statement of the "vital motive" in Greek architecture, and the reader will remember that it refers to the fundamental lines. Since that time the "vitality of Greek art" is a commonplace of the textbooks, but the idea has not been...
Pāgina 22 - The civil architecture of Vitruvius. Comprising those books of the author which relate to the public and private edifices of the ancients. Translated by William Wilkins. . . With an introduction, containing an historical view of the rise and progress of architecture amongst the Greeks.
Pāgina 60 - Vitruvius seems to have assumed, and probably rightly, that the entablature curve followed and was a consequence of that of the stylobate. Penrose on the other hand argued, with less probability, that the reverse was the case; that Ictinus, in order "to obviate a disagreeable effect produced by the contrast of the horizontal with the inclined lines of a flat pediment...
Pāgina 32 - In placing the capitals upon the shafts of the columns, they are not to be arranged so that the abaci may be in the same horizontal level, but must follow the direction of the upper members of the Epistylium, which will deviate from the straight line drawn from the extreme points, in proportion to the addition given in the centre of the...
Pāgina 32 - Bücher über Architektur des M. Vitruvius Pollio, 1913, I, S. 124). Für den Stylobat: ,Stylobatam ita oportet exaequari, uti habeat per medium adjectionem per scamillos impares; si enim ad libellam dirigetur, alveolatus oculo videbitur...
Pāgina 96 - Penrose calls attention to the remarkable absence of parallelism among the several buildings. " Except the Propylaea and Parthenon, which were perhaps intended to bear a definite relation to one another, no two are parallel. This asymmetria is productive of very great beauty; for it not only obviates the dry uniformity of too many parallel lines, but also produces exquisite varieties of light and shade. One of the most happy instances of this latter effect is in the temple of Nike Apteros, in front...
Pāgina 95 - The whole building is constructed, so to speak, on a subjective rather than an objective basis; it is intended not to be mathematically accurate, but to be adapted to the eye of the spectator. To the eye a curve is a more pleasing form than a straight line, and the deviations from rigid correctness serve to give a character of purpose, almost of life, to the solid marble construction.
Pāgina 47 - Gustavo Giovannoni of Curves in Plan, Concave to the Exterior, in the Facade of the Temple of Cori.
Pāgina 32 - The stylobate, or lower platform, he says "ought not to be constructed upon the horizontal level, but should rise gradually from the ends towards the centre so as to have there a small addition. ... If the line of the stylobate were perfectly horizontal, it would appear like the bed of a channel.