. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. .PUBLIC SCHOOLS, OXFORD, ENGLAND. See pages 360, 369, 3S0. 370 PAINTING, SCULPTURE AND ARCHITECTURE. i^^:^^ uniformity in color and style, the reader will more fullyrealize the importance of uniformity in the sky-line ; andwhy, therefore, the desire to secure this plays so promi-nent a part in the shapesajn that have been designed /;|^ for roofs. Evidently in the Boulevard of , Paris, Fig. 192,page 345, this desire inconnection with a desireto render some part ofthe roof visible, not-
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. .PUBLIC SCHOOLS, OXFORD, ENGLAND. See pages 360, 369, 3S0. 370 PAINTING, SCULPTURE AND ARCHITECTURE. i^^:^^ uniformity in color and style, the reader will more fullyrealize the importance of uniformity in the sky-line ; andwhy, therefore, the desire to secure this plays so promi-nent a part in the shapesajn that have been designed /;|^ for roofs. Evidently in the Boulevard of , Paris, Fig. 192,page 345, this desire inconnection with a desireto render some part ofthe roof visible, not-withstanding its gener-ally flat character, ac-counts for the methodof construction. It isworth noticing, how-ever, that the visibleroof does not pass intoa flat roof until thecurve in which the roofstarts from the perpen-dicular naturally bendstoward the this, for the roofto continue in a hori-zontal direction, doesnot involve any greatdegree of misrepresen-tation. Unfortunately,of the American imi-^ riiis imitation seems to have arisen from a desire to avoid having the roof so. FIG. 207.—BEDFORD BUILDING, pages 323, 371, 3S0. the same cannot be afifirmcdtation of this arrauLiement. ARCHITECTURAL REPRESENTATION. 371 higli as to necessitate puttiiiy; an attic into it, as isdone in the Parisian original. Possibh an analogousresult could be attained by making the roof bend back-ward more rapidly. But this would give an arch lesssymmetrical in form tlian in the Paris roof, and, for thisreason, less beautiful. The Bedford building, Fig. 207,page 370, afTords a good example of the American man-sard. As Avill be perceived, it does not at all conceal, asdoes the Paris roof, the fact that the roof is really flat. Aless satisfactory mansard roof will be observed over thecentral part of the building of the University of Penn-sylvania, Fig. 179, page 329. Besides being out ofkeeping with the style of the rest of the building, thewhole character of the constru
Size: 1387px × 1801px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyorkgpputnamsso
