The science of beauty, as developed in nature and applied in artHay, D. R. (David Ramsay)
Philosophy
The science of beauty, as developed in nature and applied in art
Hay, D. R. (David Ramsay)
Aesthetics; Nature (Aesthetics); Proportion (Art)
The line A B represents the full height of this structure. The line A C,
which makes an angle of (²⁄₉) with the vertical, determines the width of
the design, the tops of the aisle windows, and the bases of the pediments
on the inner buttresses; A G, (¹⁄₅) with the vertical, that of the outer
buttress; A F, (¹⁄₉) with the vertical, that of the space between the
outer and inner buttresses and the width of the great centre window; and
A E, (¹⁄₁₂) with vertical, that of both the inner buttresses and the
space between these. A H, which makes (¹⁄₄) with the vertical, determines
the form of the pediment of the centre, and the full height of the base
and surbase. A I, which makes (¹⁄₃) with the vertical, determines the
form of the pediment of the smaller gables, the base of the pediment on
the outer buttress, the base of the ornamental recess between the outer
and inner buttresses, the spring of the arch of the centre window, the
tops of the pediments on the inner buttresses, and the spring of the
arch of the upper window. A K, which makes (¹⁄₂), determines the height
of the outer buttress; and A Z, which makes (¹⁄₆) with the horizontal,
determines that of the inner buttresses. For the reasons already given,
I need not here go into further detail.[11] It is, however, worthy of
remark in this place, that notwithstanding the great difference which
exists between the style of composition in this Gothic design, and in
that of the east end of the Parthenon, the harmonic elements upon which
the orthographic beauty of the one depends, are almost identical with
those of the other.
_On the Curvilinear Forms and Proportions of Architecture._
Each regular rectilinear figure has a curvilinear figure that exclusively
belongs to it, and to which may be applied a corresponding terminology.
For instance, the circle belongs to the equilateral rectangle; that
is, the rectangle of (¹⁄₂), an ellipse to every other rectangle, and
a composite ellipse to every isosceles triangle. Thus the most simple
elements of beauty in the curvilinear forms of architectural design are
the following three figures:—
The circle,
The ellipse, and
The composite ellipse.
Public-domain text, read in full here on John Shaqi.
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