By Van Pelt John Vredenburgh 1874-1962
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104 and 106. 35 and wrongly Modern ings. finislied. I say first, wrongly placed. architects decorate the tops of their build- Mediaeval ones decorated the bottom. That makes all the difference between seeing the ornament and not seeing it. If you bought some pictures to decorate such a room as this, where would you put them? On a level with the eye, I suppose, or nearly so? Not on a |fvel with the chandelier? * * * "Not that the Greeks threw their work away as we dou As far as I know Greek buildings their ornamentation, though often bad, is always bold enough and large enough to be visible in its place.
34 the worst fault of I do not all. know anything more painful or pitiful than the kind of ivory carving with which the Certosa of Pavia, and part of the Colleone Sepulchral Chapel at Bergamo, and other such buildings are incrusted. * * * And this is not from the quantity of is it, nor because it is bad work— much of it it looks as if it were inventive and able but because ; only to fit caskets, be put in inlaid cabinej;^ and velveted and as if it could not bear one drifting shower We or gnawing frost.
176. THE PEINCIPLES OF COMPOSITION. 50 (c) Unity of Colob. a need, thougli commonly felt, most difficult of analysis. There must be no discord in the com- This is bination of colors used. by which the discord And yet, what rule is there may be avoided, the unity retained? ) The whole must really be a subtle expression of the artist himself. We may after make a few deductions from nature; and suggesting these, with a word of warning about complementary colors, leave the subject. It is a recognized fact that all colors harmonize out of doors, provided they are at a distance, or have the sun on them.
A Discussion of Composition, Especially as Applied to Architecture by Van Pelt John Vredenburgh 1874-1962