. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. )rincipal entrance intothe grand court of the Palace of the Louvre, the excess of. FIG. 195.—CHENONCEAU CHATEAU, pages 346, 347, 352, 378. ornamentation, evinced in its pillars, may be is no question, however, that one has a differentfeeling with reference to the front of the ValmarinaPalace of Viccnza, Italy (P^ig. 1/6, page 326), especially in AkCJlITECTVRAL KEPRESENTA T/OAt. 349 view of its unsuccessful upper story. The pilasters do not represent an}- arrangements
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. )rincipal entrance intothe grand court of the Palace of the Louvre, the excess of. FIG. 195.—CHENONCEAU CHATEAU, pages 346, 347, 352, 378. ornamentation, evinced in its pillars, may be is no question, however, that one has a differentfeeling with reference to the front of the ValmarinaPalace of Viccnza, Italy (P^ig. 1/6, page 326), especially in AkCJlITECTVRAL KEPRESENTA T/OAt. 349 view of its unsuccessful upper story. The pilasters do not represent an}- arrangements on the interior, being merely imitative of effects in other buildings to which the architect had become accustomed. Nor does the cornice represent any constructive use. The upper story would have been just as firmly placed, had it been below the cornice instead of above it. Once more, compare, aside from what may be said of their roofs to which reference will be made presently, Queens College, Galway, in Fig. 197, page 350, with the University at Sydney, Australia, in Fig. 198, page 351. Both buildings would be called non-ecclesiastical Gothic; but notice the difference betw
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