The beautiful necessity; seven essays on theosophy and architecture . ily remembered whole. Upon some such principle is surely founded whatSymonds calls that severe and lofty art of composition which seeks thehighest beauty of design in architectural harmony supreme, above themelodies of gracefulness of detail. There is abundant evidence in support of the theory that the buildersof antiquity, the masonic guilds of the Middle Ages, and the architects of theItalian Renaissance, knew and followed certain rules; but though this theorybe denied, or even disproven, if after all these men obtained th
The beautiful necessity; seven essays on theosophy and architecture . ily remembered whole. Upon some such principle is surely founded whatSymonds calls that severe and lofty art of composition which seeks thehighest beauty of design in architectural harmony supreme, above themelodies of gracefulness of detail. There is abundant evidence in support of the theory that the buildersof antiquity, the masonic guilds of the Middle Ages, and the architects of theItalian Renaissance, knew and followed certain rules; but though this theorybe denied, or even disproven, if after all these men obtained their results TOE GEOMETRICAL £>ASI5 C^ THE PLAN IN MCHITfiCTURAL BESIQN BEiAMANTE5 PLANKX> Srr. PETERS TEMELEoPZEUiAT ACEIQBNTUM - < \/ O A THE THEMNTreCar nECHUIlCHC*AT RONE jaMEONSTVirES SAUSBUEYQSTHEMAL F^ -1 ] c : : 2 [ ^\7 @ •WEENTS PIJLJTPIANKX-lDOIliS THECEKTCSAAT PAVIA NOTiuen«Mi ATPAM5 , p-l _ O 1 L HOU^ CiWHKDRAI*ATBOBKAH , 58 LATENT GEOMETRY 6S. PALLADIAN YIU,A NEARj VICENZA unconsciously, their creations solend themselves to a geometricalanalysis that the claim for the ex-istence of certain canons of propor-tion, based on geometry, remainsunimpeached. The plane figures principally em-ployed in determining architecturalproportion are the circle, the equi-lateral triangle, and the square—which also yields the right angledisosceles triangle. It will be notedthat these are the two-dimensionalcorrelatives of the sphere, the tetra-hedron, and the cube, mentioned asbeing among the determining formsin molecular structure. The questionnaturally arises, why the circle, theequilateral triangle and the square?Because, aside from the fact thatthey are of all plane figures the mostelementary, they are intimately re-lated to the body of man, as has beenshown (Illustration 45), and the body of man is, as it were, the architectural archetype. But this simplyremoves the inquiry to a di
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Keywords: ., bookcentury1900, bookdecade1910, booksub, booksubjectarchitecture
