The sun. [volume] (New York [N.Y.]) 1833-1916, 1892-03-20

imaginary happiness.
=, But he hadn't He died because no thought
there was nothing more for him to kick at
The Fundamental Ideas In Architecture.
From tie London 7uble,
Leatine inside the battle Of styles. what is Il
In architecture that gives the distinctive mark
Parthenon at Athens to the Cathedral Of
Cologne. the Alhambra at Granada TO- St;
some radical difference in the fundamental
idea that has produced such divergent results.
Tss es hs IL s ssn but he
hos In ench cnse been different
4, Art In architecture is the ornamentation Of
Ssopmsnt OF 81 the treatent OF the
wss sSess Ths empo
ment Of ornament. or architecture. came IN
with the ornamentation Of the support. the
mentation Of the construction which connect
ed the weight With the support TO arrive
we must examine the relations between the
Esyntia3t ths eldest Q, knowp styles
rails and the, art Of construction were but i'm
masses OF mater lal were placed on a broad
bnsc narrowing upward In the form OF pyra-
mid. 1t suggested security and permanence:
man. the Pyramids BY the Nile. still rest on the
sand OF tho desert in their majestic massive
the The wefs
ton. however varied. lett the same inpression
ss sss 's% whSs e5aSt the
servient to tho ono idea. The building rests on
the ground, and you know #. The slender ODE
n "fs s ssn so G S
ls1ss
type OF immobility and rest.
Turn to tho Greek BUILDING With its
the easy lifting Hp Of theTS;ea,Ght The EgyPs
we're subservient to tho idea. Tho triangular
entablature adds mass and soiidity. and Ito
m%oIldngs and protesting soncs assss
fuI pil,ars rise up to support It. seemingly
almost out Of sight that the e eye may more
capital, the point Of contact or, conflict be-
by designed to denote the ttriumph Of SUP u
Port; the flutinG Of the columns tells the eye
rial. and the slight tapering, Of the column to-
ward the capital suggests that there is power
TO spare. Ine Greeks, VINO were born artists.
the general idea: it is neither complex nor
the thS s 1874
buildings suggest repose rather han massive
ness. con iidonce rather than security-the con-
fSs th w esfs wss
tated Thorn without approaching the simplicity
q They t ed GrS ns r ana
iuTiinss coursing horizontally round the build;
ing; They raised columns which supported
ddnS rs size
nincance and removed from it the iden OF
prsssurs; They adopted ths ssmieir G "a
mental idea Of the Crock simplicity without
Eaan Of Sy to Gasa ae
capola. but without discerning ~ real object
weight Of tho wall: they refused it the proper
Office. made 1t an rnament. and concealed the
the Byzantine style We have the domes and
cupolas representing the weight with no Wis
blS supI25f and arches mutiPied at enGrcee
dome OF st. Sophia is 10 sed IN the air. traGi::
tionnlly by miracle. hut really by tricks OF
The Morespue stroye for the. negatto Of the
weight altogether: the EGSptian placed t the
Esgf1 t6e ON Wh tie ns
power; the Roman confused weight and sup
port; tho Byzanti1le represented weight with
was no weight at all no produce. this effect
the, arch e often elongated. its surface broken
out III It's ss pan divd"d into small Arches AGoye
ia moulding encIoses a recttn5ngular space.
says to thS ac G 81
! FSs % sos SfA g z
abstract the feeling Of pressure. Tho result
is nerp i1ir y, IKE md MrGamy ", Norman
Had M fan lad ni.,r, IN frf aAl h.A
thickness with large blank spaces unH mi
work and their capacity to do It, Tho, orna-
mentation Is subsequent to tho idea, Shallow
recGss.s and pancllinG bring the surface OF the
for window or door the bevellnG and mould.
ing ~, perspective increase the, idea OF
circular arch indicates the SVlLity Of the wall
above. j" circular Windows wore adapted to
n hd %a III n"n The z t. aa kffT re
coded from view. in the EyZani mo 1t played no
mart; in tho M9ressIue, it Is chopned W and
tres4 or plaster. 1t asserted itself as the main
el.ment 9i SUPPORT: ,,,,oun ,>. .,o t.,
preston OF ascendant aspiration. The ten
dency Is upward: needless OF weight. IT breaks
the Es t Tns "S %
nave. the spire upward from the tower. The
support is lnteralto allow. 9f thu, upward ten
support The nave. dying but ressrs hold up the
roof, Tho wall is destroyed. being pierced by
AMI hkes fSs 9
bands. The windows point upward tho arch
points upward. tho high pitched roof points
ar in the MoresIue is thrust aside. is dis
tnrLe,' oyer lateral support to allow the up
ward tendency
Sufficient has hc"n said t. allow OF q glimpse
Of the relations Of weight and support in Tho
chief styles. and to Indicate now they affected
each specimen IN each style is stinctive and
the infinite variety in form and ornament
clustered around the fundamental idea lux.