Proportion and Harmony of Line and Color in Painting, Sculpture, and Architecture: An Essay in Comparative AestheticsG. P. Putnam's sons, 1909 - 459 من الصفحات |
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طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
abacus according Ægina æsthetic Agrigentum ankle appear applied arches architecture architrave arrangements art-methods artistic Bassæ beauty binocular vision breadth building capital cause centre Chapter chart circle columns combined comparatively complementary colors connection considered contour corona corresponding curve cymatium dimensions distance divided divisions effects ellipse entablature equal exact exactly face fact frieze front Genesis of Art-Form Greek temple harmony height horizontal lines horopter human figure human form indicated instance latter length light looking measurements Mentioned on pages ments merely methods metopes mind mouldings nature nose notice numbers object outlines ovolo painting Parthenon pediment Phigaleia pillars Poetry PRAXITELES principle produced proportion raking cornice ratios reason recognize rectangle reference represented requirements result retina rhythm Sculpture seems Selinus shade shape shoulders shown side sight space storey straight lines stylobate suggested supposed theory Theseum tion tone towers tympanum upper urements vertical vibrations Vitruvius whole width yellow
مقاطع مشهورة
الصفحة 121 - From the genitories to the upper part of the knee, two faces. The knee contains half a face. From the lower part of the knee to the ankle, two faces. From the ankle to the sole of the foot, half a face. A man, when his arms are stretched out, is, from the longest finger of his right hand, to the longest of his left, as broad as he is long.
الصفحة 121 - From one side of the breasts to the other, two faces The bone of the arm, called humerus, is the length of two faces from the shoulder to the elbow. From the end of the elbow to the root of the little finger, the bone called cubitus, with part of the hand, contains two faces. From the box of the shoulder-blade to the pit betwixt the collar-bones one face. If you would be satisfied in the measures of breadth.
الصفحة 407 - The victorious beauty of the rose as compared with other flowers, depends wholly on the delicacy and quantity of its colour gradations, all other flowers being either less rich in gradation, not having so many folds of leaf; or less tender, being patched and veined instead of flushed.
الصفحة 217 - First unadorned, And nobly plain, the manly Doric rose ; The Ionic then, with decent matron grace, Her airy pillar heaved ; luxuriant last, The rich Corinthian spread her wanton wreath.
الصفحة 122 - The inside of the arm, from the place where the muscle disappears, which makes the breast, (called the pectoral muscle), to the middle of the arm, four noses. From the middle of the arm to the beginning of the hand, five noses. The longest toe is a nose long. The two utmost parts of the teats, and the pit betwixt the collar-bones of a woman, make an equilateral triangle. For the breadth of the limbs, no precise measures can be given ; because the measures themselves are changeable, according to the...
الصفحة 26 - ... in the same way that the division of the time of vibration in music, into an exact number of equal parts, agreeably affects the ear.
الصفحة 252 - 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...
الصفحة 374 - How did Rubens and Veronese find such brilliant and beautiful yellows?" He resolved to go to the Louvre, and ordered a carriage. It was in 1830. At that time in Paris there were many cabs painted canary-color.
الصفحة 26 - Many would be inclined to believe they were more fanciful than real. It would, however, be as reasonable in a person with no ear or no musical education, to object to the enjoyment of a complicated concerted piece of music experienced by those differently situated, or to declare that the pain musicians feel from a false note was mere affectation.
الصفحة 122 - ... bear the proportion of half a face, when the arms are stretched out. The sole of the foot is the sixth part of the figure. The hand is the length of a face. The thumb contains a nose. The inside of the arm, from the place where the muscle disappears, which makes the breast (called the pectoral muscle), to the middle of the arm, four noses.