By Van Pelt John Vredenburgh 1874-1962
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Additional resources for A Discussion of Composition, Especially as Applied to Architecture
Not on a |fvel with the chandelier? * * * "Not that the Greeks threw their work away as we dou As far as I know Greek buildings their ornamentation, though often bad, is always bold enough and large enough to be visible in its place. It is not putting ornament high that is wrong, but it is cutting it too fine to be seen wherever "However, as unacknowledged, it is. fine * * this great Gothic principle let me seems yet state it here, once for all, namely, that the whole building pure and * is decorated, in all examples, with the most exactly studied respect to the powers of the eye ; the richest and most delicate sculpture being put on the walls of the porches or on the fagade of the building, just high enough above the ground to secure it from accidental The decoration as it (not from wanton) injury.
2. That the work of art may be clear. 29 SIMPLICITY. It is essential for force, sion, that indeed for any good impres- a composition be easily grasped in ensemble. The reason human beings enjoy anything is that they find in the enjoyment just the requisite amount of exercise of "Lust wahrend body or Lehman* says brain. of this Organ Arbeit keine grossere Energiemenge ist die psychische Folge davon, dass ein seiner verbraucht, als die Emahrungsthatigkeit ersetzen kann; unlust dagegen ist ein/psychische Folge jedes und Emahrwenn der Ver- Misverhaltnisses zwischen Verbrauch ung, indem dieselbe entsteht, sowohl brauch an Energie die Zufuhr iiberschireitet, als auch wenn die Zufuhr wegen Unthatigkeit des Organs das Maximum, das aufgenommen werden kann, iiberschreitet.
For example, one would avoid placing an unimportant diamond-pointed block in a surrounding circle of cupids; if there is a difference of material, the principal motive should be of the there are differences more precious; of projection, the if principal motive should have the most pronounced one; if there are differences of color, the most striking should be for the climax, and so on. (&) The climax must have the most important position. THE PBINCIPLES OP COMPOSITION. 44 In a composition wMcli sequence, this position in a drama, How is is to be appreciated in at the end; as, for instance, an opera, or a succession of pictures.
A Discussion of Composition, Especially as Applied to Architecture by Van Pelt John Vredenburgh 1874-1962