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Updated: June 8, 2025
Giuliano and Antonio bequeathed to the art of architecture methods that gave the Tuscan Order of building better form than any other architect had yet achieved, and the Doric Order they enriched with better measures and proportions than their predecessors, following the rules and canons of Vitruvius, had been wont to use.
The leading authority on this subject, and one, too, whose statements are mathematically accurate, is Vitruvius, who also distinctly points out the great difference between the Greek and Roman theatres. The ancient dramatists are still, therefore, greatly in want of that illustration which a right understanding of their scenic arrangements is calculated to throw upon them.
But there are sometimes more valuable lessons to be learned in the school of nature than in that of Vitruvius, and a fragment of building among the Alps is singularly illustrative of the chief feature which I have at present to develope as necessary to the perfection of the wall veil.
It delights us, first, because it seems to recognise the organic, as distinct from the merely constructive, character of finely civilised architecture; and next, it persuades us that Vitruvius had in truth discovered the key to size the unit that is sometimes so obscurely, yet always so absolutely, the measure of what is great and small among things animate and inanimate.
It was a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus; none of your frilled or fluted columns, which have cut such a false swell, and support nothing but a gable end and their builder's pretensions, that is, with the multitude; and as for "ornamentation," one of those words with a dead tail which architects very properly use to describe their flourishes, there were the lichens and mosses and fringes of bark, which nobody troubled himself about.
Balcom, a promising young architect, designs it on the back of his Vitruvius, with hard pencil and ruler, and the job is let out to Dobson & Sons, stonecutters. When the thirty centuries begin to look down on it, mankind begin to look up at it.
Michael Angelo made his famous report condemning the design of Antonio da Sangallo for the rebuilding of the Farnese palace upon the shores of the Tiber; it is a mysterious document, in Michael Angelo’s own hand, and does not leave Sangallo a single merit. All the theories are proved by the precepts of Vitruvius.
It was due, he says, to the labours of the Macedonians, Antigonus, and Lysimachus. We may perhaps assign to the same period the town-planning of Mitylene in Lesbos, which Vitruvius mentions as so splendid and so unhealthy, were it not that his explanation of its unhealthiness suggests rather a fan-shaped outline than a square. It was, he says, intolerable, whatever wind might blow.
The collection of first-class works on architecture which he possessed, such as the folio editions of Vitruvius and Palladio, which were at that time both rare and dear, showed the regard he had for impressing into his designs the best standards of taste. The buildings he designed and erected for the Scotch nobility and gentry were well arranged, carefully executed, and thoroughly substantial.
Now in the Eumenes we see real masons, who build their houses bit by bit with stone and mortar and run them up in the open, either on the firm rock or on the shaky support of a bough. Hunting alternates with architecture; the insect is a Nimrod or a Vitruvius by turns. And, first of all, what sites do these builders select for their homes?
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