17th century Italian drawings in the Metropolitan Museum of by Jacob Bean

By Jacob Bean

Preface
Works brought up in Abbreviated Form
Notices and Illustrations
Addendum
Index of Former Owners
Concordance
Index of Artists

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23. For instance, you know that, for an immense time back, all your public buildings have been built with a row of pillars supporting a triangular thing called a pediment. ‘“[12] Would you have thought the poem improved? And if not, why would it be spoiled? Simply because the idea is no longer of any value to you; the thing spoken of is a nonentity. These pediments, and stylobates, and architraves never excited a single pleasurable feeling in you—never will, to the end of time. They are evermore dead, lifeless, and useless, in art as in poetry, and though you built as many of them as there are slates on your house-roofs, you will never care for them.

27 Lectures on Architecture and Painting 21. From this form to the true spire the change is slight, and consists in little more than various decoration; generally in putting small pinnacles at the angles, and piercing the central pyramid with traceried windows; sometimes, as at Fribourg and Burgos, throwing it into tracery altogether: but to do this is invariably the sign of a vicious style, as it takes away from the spire its character of a true roof, and turns it nearly into an ornamental excrescence.

PLATE VII. Take away from Scott‘s romances the word and idea turret, and see how much you would lose. Suppose, for instance, when young Osbaldistone is leaving Osbaldistone Hall, instead of saying “The old clock struck two from a turret adjoining my bedchamber,“ he had 31 Lectures on Architecture and Painting said, “The old clock struck two from the landing at the top of the stair,“ what would become of the passage? And can you really suppose that what has so much power over you in words has no power over you in reality?

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