One— Architecture and the Human Body
5. Vitruvius, The Ten Books on Architecture , trans. M. H. Morgan (New York, 1960).
6. Ibid., p. 14.
5. Vitruvius, The Ten Books on Architecture , trans. M. H. Morgan (New York, 1960).
6. Ibid., p. 14.
7. Leone Battista Alberti, Ten Books on Architecture , trans. J. Leoni (London, 1965).
8. Ibid., p. xi.
9. Ibid., p. 197.
7. Leone Battista Alberti, Ten Books on Architecture , trans. J. Leoni (London, 1965).
8. Ibid., p. xi.
9. Ibid., p. 197.
7. Leone Battista Alberti, Ten Books on Architecture , trans. J. Leoni (London, 1965).
8. Ibid., p. xi.
9. Ibid., p. 197.
10. The Builder's Magazine (London, 1774).
11. Wightwick, "The Principles and Practice of Architectural Design" (Essay 7, 1850), from Detached Essays of the Architectural Publication Society (London, 1853), p. 37.
12. Examples of Vitruvius' indebtedness to the rhetorical traditional are such terms and applied concepts as "Arrangement (in Greek )," "Order (in Greek )," ''Eurythmy," and "Propriety." See Book I, chapter 2, "The Fundamental Principles of Architecture," in The Ten Books on Architecture , pp. 13-16.
13. For an unusual and interesting discussion of Ben Jonson and Vitruvius and Alberti, see Per Palme, "Ut Architectura Poesis," in Idea and Form , ed. N. G. Sandblad, Acta Universitatis Upsaliensis, Figura Nova Series, I (Uppsala, 1959), 95-107.
14. George Herbert, The Works of George Herbert , ed. F. E. Hutchinson (Oxford, 1941). See especially "Church-lock and key," "The Church-floore," "The Windows," "Man," and "Sion."
15. Ibid., p. 67.
16. Ibid., p. 90.
14. George Herbert, The Works of George Herbert , ed. F. E. Hutchinson (Oxford, 1941). See especially "Church-lock and key," "The Church-floore," "The Windows," "Man," and "Sion."
15. Ibid., p. 67.
16. Ibid., p. 90.
14. George Herbert, The Works of George Herbert , ed. F. E. Hutchinson (Oxford, 1941). See especially "Church-lock and key," "The Church-floore," "The Windows," "Man," and "Sion."
15. Ibid., p. 67.
16. Ibid., p. 90.
17. Ralph Waldo Emerson and Henry David Thoreau both refer to organic architecture and draw analogies between body/architecture and literature. Emerson writes, for example, "Fitness is so separable an accompaniment of beauty that it has been taken for it. The most perfect form to answer an end, is so far beautiful. In the mind of an artist, could we enter there, we continue
should see the sufficient reason for the last flourish and tendril of his work, just as every tint and spine in the sea-shell pre-exists, in the secreting organs of the fish. We feel, in seeing a noble building, which rhymes well, as we do in hearing a perfect song, that it is spiritually organic, that is, had a necessity in nature, for being" ("Thoughts on Art," Dial , January 1841, as reprinted in The Uncollected Writings by R. W. Emerson , ed. C. C. Bigelow, New York, 1912, p. 47). Emerson also writes in 1844, that "it is not metres, but a metre-making arrangement that makes a poem,-a thought so passionate and alive that like the spirit of a plant or an animal it has an architecture of its own, and adorns nature with a new thing" ( Works , III [New York, 1883], 15).
Thoreau's values are similar: "What of architectural beauty I now see, I know has gradually grown from within outward, out of the necessities and character of the indweller, who is the only builder,-out of some unconscious truthfulness, and nobleness, without ever a thought for the appearance; and whatever additional beauty of this kind is destined to be produced will be preceded by a like unconscious beauty of life" ( Writings of Henry David Thoreau , II [Boston, 1906], 134).
18. Walter Pater, "Emerald Uthwart," in Imaginary Portraits , ed. E. J. Brzenk (London, 1964), p. 58.