The History and Rudiments of Architecture; Embracing, I. the Orders of Architecture; II. Architectural Styles of Various Countries; III. the Nature and Principles of Design in Architecture; And, IV. an Accurate and Complete Glossary of Architectural
The History and Rudiments of Architecture; Embracing, I. the Orders of Architecture; II. Architectural Styles of Various Countries; III. the Nature and Principles of Design in Architecture; And, IV. an Accurate and Complete Glossary of Architectural...
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1853 Excerpt: ...gradated arrangements, either radiating or curvesuggesting. The equisetum is an instance where both are fully carried out. In the ferns also the straightness and angularity of detail (otherwise so contradictory to the graceful curvature of the general forms) is modified by the copious introduction of the principle of ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1853 Excerpt: ...gradated arrangements, either radiating or curvesuggesting. The equisetum is an instance where both are fully carried out. In the ferns also the straightness and angularity of detail (otherwise so contradictory to the graceful curvature of the general forms) is modified by the copious introduction of the principle of gradation, not indeed in directions, but in dimensions, with a degree of regularity and uniformity perhaps unparalleled. From such examples as the equisetum, the transition to curvilinear design is hardly perceived. Here it is observable that those curve compositions will contain most of the principle of contrast and least of gradation, which contain most angles and fewest contrary flexures; for though the latter must perhaps be regarded (at least when composed of two curves) as extremely delicate, or infinitesimal cases of contrast, yet associations drawn from natural objects have so taught us to connect them with every thing soft, fragile, and weak, that they are, and always must be, ' the variety of form most removed from the severe and exciting, and most completely embodying the elegant and soothing qualities.--Accordingly it appears that the varieties of Gothic tracery in which this king of form is introduced, (as the English foliated and French flamboyant, ) are always regarded as something more light, delicate, and fanciful, than the preceding varieties, which do not contain less curvature, but whose curves are united only by angles and cusps, instead of by contrary flexures. A further distinction must still be made between artificial contrary flexures, or those composed of two curves, and, natural ones, or those in which the same curve (with the same equation) continues throughout. We considered this distinction in our last chapter, and ma...
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