"How to judge architecture: a popular guide to the appreciation of buildings" by Russell Sturgis. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
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Sturgis Russell. How to judge architecture: a popular guide to the appreciation of buildings
How to judge architecture: a popular guide to the appreciation of buildings
Table of Contents
Illustrations
How to Judge Architecture
CHAPTER I. EARLY GREEK DESIGN
CHAPTER II. LATER GREEK AND ROMAN DESIGN
CHAPTER III. EARLY MEDIÆVAL DESIGN
CHAPTER IV. CENTRAL MEDIÆVAL DESIGN
CHAPTER V. LATE MEDIÆVAL DESIGN
CHAPTER VI. REVIVED CLASSIC DESIGN
CHAPTER VII. LATER REVIVED CLASSIC DESIGN
CHAPTER VIII. EIGHTEENTH CENTURY DESIGN
CHAPTER IX. NINETEENTH CENTURY: IMITATIVE DESIGN
CHAPTER X. NINETEENTH CENTURY: ORIGINAL DESIGN
Index
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Russell Sturgis
Published by Good Press, 2019
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By none whose temples whiten this the world.”
The Artemis of any Greek poet would have used a different phrase: to her, the temples erected to the gods of Olympus would not have seemed white objects—they would have been to her the properly sacrificial and devotional embodiment of all that was splendid and gorgeous in the arts of men at that time: sculptured marble and wrought metal indeed, but also color and gold freely and even lavishly applied. Plate IV is a photograph of the restored model of the Parthenon which belongs to the Metropolitan Museum of Art in New York, the restoration of which, and the whole work, is due to Charles Chipiez, a well-known and very competent archæologist in the direction of classical architecture. But this restoration is extremely reserved and quiet; it assumes almost nothing; it is restrained quite beyond what is to be expected of a modern enthusiast in Greek art. If, instead of this, we were to study the careful and conscientious drawings published by that French student who has made a special study of the buildings in Epidauros (Alphonse de Frasse) or in Olympia (Victor Laloux) we should find the decoration by means of painting and by the application of golden shields or other members in gilt metal, assumed as very much more elaborate and rich. Thus the restored façade of the temple of Asclepios at Epidauros and that of the temple of Zeus at Olympia are shown as having been painted in the most elaborate way, with figure subjects of conventionalized form and distribution on all the larger flat surfaces, and patterns of leafage and scroll-work on the small ones. It is known that very rich mosaic floors existed in many of these cases and known also that the ceilings, such as those above the open galleries (pteroma) behind the great colonnades, were adorned very richly, sometimes with painted and gilded terra cotta.
