Proportion and Harmony of Line and Color in Painting, Sculpture, and Architecture: An Essay in Comparative AestheticsPutnam's Sons, 1899 - 459 من الصفحات |
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عبارات ومصطلحات مألوفة
abacus according Ægina æsthetic appear applied arches Architecture architrave arrangement art-methods artistic beauty blue born A.D. breadth building cause centre Chapter chart chords circle columns combination comparatively complementary colors connection considered corresponding curve cymatium degree distance divided divisions effects ellipse entablature equal exactly fact figures frieze front Genesis of Art-Form gradation Greek temple green Harmony in Poetry height horizontal lines horopter human form imitation indicated influence latter length light and shade looking measurements Mentioned on pages ments methods metopes mind mouldings musical scale nature nose notice numbers object orange outlines ovolo painter painting Parthenon pediment Poetry and Music PRAXITELES principle produced proportion raking cornice ratios reason recognize rectangles reference represented result retina Rhythm and Harmony Sculpture Selinus shape shown side sound space storey straight lines stylobate suggested supposed theory Theseum tints tints and shades tion tympanum vibrations violet Vitruvius whole width yellow
مقاطع مشهورة
الصفحة 121 - From the chin to the pit betwixt the collarbones, are two lengths of a nose. From the pit betwixt the collar-bones to the bottom of the breast, one face. * From the bottom of the breasts to the navel, one face •f From the navel to the gen i tori es, one face.
الصفحة 121 - ... of his left, as broad as he is long. 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 122 - From the middle of the arm to the beginning of the head, 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 quality of the persons, and according to the movement of the muscles.
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 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 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.
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.