This document discusses architectural symmetry, color, and decoration. It argues that symmetry and proper relations between parts are important for beauty. While color is less important than form, the Greeks did practice polychromatic architecture by painting buildings in various colors. Decoration should be necessary and relate to the overall design and character of the building to enrich it, rather than be applied everywhere. Fitness and suitability are key principles for architectural beauty.
This document discusses architectural symmetry, color, and decoration. It argues that symmetry and proper relations between parts are important for beauty. While color is less important than form, the Greeks did practice polychromatic architecture by painting buildings in various colors. Decoration should be necessary and relate to the overall design and character of the building to enrich it, rather than be applied everywhere. Fitness and suitability are key principles for architectural beauty.
This document discusses architectural symmetry, color, and decoration. It argues that symmetry and proper relations between parts are important for beauty. While color is less important than form, the Greeks did practice polychromatic architecture by painting buildings in various colors. Decoration should be necessary and relate to the overall design and character of the building to enrich it, rather than be applied everywhere. Fitness and suitability are key principles for architectural beauty.
This document discusses architectural symmetry, color, and decoration. It argues that symmetry and proper relations between parts are important for beauty. While color is less important than form, the Greeks did practice polychromatic architecture by painting buildings in various colors. Decoration should be necessary and relate to the overall design and character of the building to enrich it, rather than be applied everywhere. Fitness and suitability are key principles for architectural beauty.
symmetrical ; so, v/licn relations are strictly established between certain parts, making one the measure of another, a disregard of the symmetry thus induced cannot fail of destroying beauty. But here again we have to say, that for want of attention to tlie similarity of the parts, or neglect of the established relations on which the whole is founded, they have lost their symmetry, and have thus become unfit for their purpose ; so tliat thus again we return to fitness as the main foundation of beauty. 'J511, Colour abstractedly considered has little to do with architectural beauty, which ii founded, as is scidpture, on fine form. We are here speaking generally, and are not inclined to assert tliat the colour of a building in a landscape is unimportant to the general eflect of that landscape, or that the colours used on tiie walls of the interior of a building are unessential considerations ; but we do not hesitate to say that tliey are of minor consequence in relation to our art. We believe it would be difficult to paint (we mean not in the sense of tlie artist) the interior of the ban(iueting room at Whitehall, were it restored to its original destination, and divested of the ruinous accessories which from its original i>ur- pose have turned it from a ban([ueting room into a chapel, we l>elieve, we say, that it would be difficult to paint it so as to destroy its internal beauty. But as we intend to be short under this head, we shall (juote a brochure touching on this subject published by us in 1837. 2512. One of the beauties tending to give effect to the edifices of Greece has been on the testimony of almost all travellers, the colour of the materials whereof they are com- posed. Dr. Clarke observes that a warm ochreous tint is diiiiised over all the buildings of the Acropolis, which he says is peculiar to the ruins of Athens. " Perliaps," says the author. " to this warm colour, so remarkably characterising the remains of ancient luiildings at Athens, Plutarch alluded" (/ Vita Pericles) "in that beautiful passage cited by Chandler, where lie affirmed tluit the structures of Pericles possessed a peculiar ami un- piralleled excellence of churacter ; a certain freshness bloomed upon them and preserved their faces uninjured, as if tltei/ possessed a never-fading spirit, and had a soul insensible to at/e." It is singular tliat recent discoveries have incontestably proved that this species of beauty at all events did not originally exist in them, inasmucli as it is now clearly ascertained tliat it was tlie practice of the Greeks to paint the whole of the inside and outside of their temples in party colours. It had been some time known that they were in the habit of painting and picking out the ornaments on particular parts of their buildings ; but M. Scliaubert, the architect of the King of Greece, found on examination that this fell far short of tlie ex- tent to which this species of painting was carried, and M. Semper, another German arclii- tect, has fidly corroiiorated the fact in his examination of the Temple of Tlieseus. Tlie l)ractice v/as doulitless imported into Greece from Egypt, and was not to be easily alian- doned, seeing the difficulty of falling away from the habits of a people whence it seems certain the arts of Greece more immediately came. It is by no means uncommon for a person to be fully alive to all the beauties of form, without at the same time having a due feeling or perception of the beauty resulting from harmony in colouring. It is therefore not to be assumed that the Greeks, though given to a practice which we would now discourage, possessed not that taste in otlier respects which has wortiiily received the admiration of posterity. The practice of painting the inside and outside of buildings has received the name of polychromatic architecture, and we shall here leave it to the consideration of the student as a curious and interesting circumstance, but certainly witli- out a belief that it could add a charm to the stupendous simplicity and beauty of such a building as the Parthenon. 251:5. After all that we have said of fitness, it will be expected that in decoration it shall form a principal ingredient. By the term decoration we understand the combination of objects and ornaments that the necessity of variety introduces under various forms, to embellish, to enricii, and to explain the subjects whereon they are employed. Tlie art of decoration, so as to add to the beauty of an object, is, in other words, that of carrying out the emotions already produced by the general form and parts of the object itself. By its means the several relations of the whole and the parts to each other are increased by new combinations ; new images are presented to the mind whose effect is varietv, one great source of pleasure. From these observations two general rules may be deduced in respect of decoration. First, that it must actually be or seem to be necessary. Second, tliat such objects must be employed in it as have relation to the end of the general object of the design. We are not to suppose that all parts of a work are susceptible of ornament. Taste must be our guide in ascertaining where decoration is wanted, as well as the quantity requisite. The absence of it altogether is in many cases a mode of decoration. As in language its ricliness and the luxuriance of images do not suit all subjects, and simjilicity in such cases is the best dress, so in the arts of design many subjects would be rather impoverished than enriched by decoration. We must therefore take into consideration the character of the building to be decorated, and then only apply such ornament as is neces- sary and suitable to that character. AVe may judge of its necessity if the absence of it tauses a dissatisfaction from the void space left ; of its suitableness, by its developing the character. History has recorded the contempt with which that decorator was treated who