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Updated: May 18, 2025
But this can only be true respecting the architectonic beauty of man, where the necessary laws of physical nature are sustained by another necessity, that of the teleological principle which determines them.
The detail of its adornment is very splendid, and repays close study. Every little turret is different in architectonic form, and statues of saints are to be seen standing within these. The pierced silver work on this chandelier is as beautiful as any mediæval example in existence. The great leader of mediæval arts in France was the Abbot Suger of St. Denis.
Never a thought which requires an effort, never a movement of passion, hurries the calm cadence of physical life. There is no danger that the architectonic features ever become changed by the play of voluntary movements, and never would liberty trouble the functions of vegetative life.
To produce this particular epic required a poet, a prose master, a dramatist, a philosopher, and an architect. Mr. Hardy is each and all of the five, and by no means least an architect. The plan of the whole thing, in one hundred and thirty scenes, which seemed at first confused, now appears in retrospect orderly; and the projection of the various geographical scenes is thoroughly architectonic.
I understand, then, by the transcendental doctrine of method, the determination of the formal conditions of a complete system of pure reason. We shall accordingly have to treat of the discipline, the canon, the architectonic, and, finally, the history of pure reason.
He was wont to plot it off into squares with such architectonic fineness as Mina da Fiesole might have used, and to make of each of these a picture or a figure so perfect that in itself it would have sufficient composition for an entire tapestry.
It is then further defined as beauty of motion; as the special prerogative of man; as the element of beauty which is not given by nature but is produced by the object. The essay then goes on to make a distinction between architectonic and technical beauty. The former is defined as a beautiful presentation of the aims of nature, the latter as referring to the aims themselves.
If then nature, whilst determining the destiny of man, abandons to the will of man himself the care to accomplish it, the relation of his present state with his destiny cannot be a work of nature, but ought to be the work of the person; it follows, that all in the configuration which expresses this relation will belong, not to nature, but to the person, that is to say, will be considered as a personal expression; if then, the architectonic part of his configuration tells us the views that nature proposed to herself in creating him, the mimic part of his face reveals what he has himself done for the accomplishment of these views.
The architectonic beauty, on the contrary, could never be an expression of the destiny of man, because it addresses itself to quite a different faculty from that to which it belongs to pronounce upon his destiny.
Its rhythms are choppy, the dabs of paint, the shadings within shadings, the return upon itself of the theme, the reticent, inverted sentences, the absence of architectonic and the fatal lack of variety, surprise, or grandeur in the harmonic sense, these disbar the prose of Lafcadio Hearn from the exalted position claimed for it by his admirers.
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