{"product_id":"architectural-theory-volume-1-9781405102582","title":"Architectural Theory Volume 1","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eArchitectural Theory: Vitruvius to 1870\u003c\/i\u003e is a landmark anthology that surveys the development of the field of architecture from its earliest days to the year 1870.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe first truly comprehensive anthology that brings together the classic essays in the field, the volume chronicles the major developments and trends in architecture from Vitruvius to Gottfried Semper.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eVolume 1 of the first overview of architectural thought from antiquity to the present day; this volume covers 25 B.C. to 1870\u003c\/li\u003e \u003cli\u003eCollects over 200 classic essays in the field, organized thematically for the student and scholar, covering Classicism, Neoclassicism, the Enlightenment, Romanticism, and the Gothic\u003c\/li\u003e \u003cli\u003eIncludes German, French, and Italian essays appearing in English here for the first time\u003c\/li\u003e \u003cli\u003eFeatures a general introduction and headnotes to each essay written by a renowned expert on architectural theory.\u003c\/li\u003e \u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“The book's range is stunning, its scholarship thoroughly accurate, and its rendering of ideas entirely lucid. Here we have a comprehensive and insightful account of theory that will, I trust, find its way onto the desks of students, professors, and professionals alike.” \u003ci\u003eDavid Leatherbarrow, University of Pennsylvania\u003c\/i\u003e\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e“Harry Mallgrave’s \u003ci\u003eArchitectural Theory\u003c\/i\u003e is the most scrupulous, discriminating, and useful anthology one could expect following the last three decades of intense study in the history of Western architectural theory.” \u003ci\u003eMartin Bressani, McGill University\u003c\/i\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e“[\u003ci\u003eArchitectural Theory\u003c\/i\u003e] represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture...an excellent stand-alone companion to the academic, undergraduate, and graduate student.” \u003ci\u003eJournal of Aesthetic Education\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface. \u003cp\u003eAcknowledgments.\u003c\/p\u003e \u003cp\u003eGeneral Introduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Classicism and the Renaissance\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eA. The Classical and Medieval Traditions.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1. Vitruvius.\u003c\/p\u003e \u003cp\u003efrom De architectura,Book 1 (c.25 B.C.).\u003c\/p\u003e \u003cp\u003e2. Vitruvius.\u003c\/p\u003e \u003cp\u003efrom De architectura, Book 2 (c.25 B.C.).\u003c\/p\u003e \u003cp\u003e3. Vitruvius.\u003c\/p\u003e \u003cp\u003efrom De architectura, Book 3 (c.25 B.C.).\u003c\/p\u003e \u003cp\u003e4. Vitruvius.\u003c\/p\u003e \u003cp\u003efrom De architectura, Book 4 (c.25 B.C.).\u003c\/p\u003e \u003cp\u003e5. Old Testament.\u003c\/p\u003e \u003cp\u003efrom I Kings.\u003c\/p\u003e \u003cp\u003e6. Old Testament.\u003c\/p\u003e \u003cp\u003efrom The Book of Ezekiel (c.586 B.C.).\u003c\/p\u003e \u003cp\u003e7. New Testament.\u003c\/p\u003e \u003cp\u003efrom The Revelation of Jesus Christ to Saint John (c.95 A.D.).\u003c\/p\u003e \u003cp\u003e8. Abbot Suger.\u003c\/p\u003e \u003cp\u003efrom The Book of Suger, Abbot of Saint-Denis (c.1144).\u003c\/p\u003e \u003cp\u003e9. William Durandus.\u003c\/p\u003e \u003cp\u003efrom Rationale divinorum officiorum (1286).\u003c\/p\u003e \u003cp\u003eB. Renaissance and Baroque Ideals.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e10. Antonio di Tuccio Manetti.\u003c\/p\u003e \u003cp\u003efrom The Life of Brunelleschi (1480s).\u003c\/p\u003e \u003cp\u003e11. Leon Battista Alberti.\u003c\/p\u003e \u003cp\u003efrom De re aedificatoria, Prologue and Book I (1443–1452).\u003c\/p\u003e \u003cp\u003e12. Leon Battista Alberti.\u003c\/p\u003e \u003cp\u003efrom De re aedificatoria, Book 6.\u003c\/p\u003e \u003cp\u003e13. Leon Battista Alberti.\u003c\/p\u003e \u003cp\u003efrom De re aedificatoria, Book 9.\u003c\/p\u003e \u003cp\u003e14. Il Filarete.\u003c\/p\u003e \u003cp\u003efrom Book I of untitled treatise on architecture (1461–3).\u003c\/p\u003e \u003cp\u003e15. Il Filarete.\u003c\/p\u003e \u003cp\u003efrom Book VIII of untitled treatise on architecture.\u003c\/p\u003e \u003cp\u003e16. Sebastiano Serlio.\u003c\/p\u003e \u003cp\u003efrom Book 3, De antiquita (1540).\u003c\/p\u003e \u003cp\u003e17. Giacomo Barozzi da Vignola.\u003c\/p\u003e \u003cp\u003efrom Preface to Regola delli cinque ordini d’architettura (1562).\u003c\/p\u003e \u003cp\u003e18. Palladio.\u003c\/p\u003e \u003cp\u003efrom I quattro libri dell’architettura (1570).\u003c\/p\u003e \u003cp\u003e19. Juan Bautista Villalpando.\u003c\/p\u003e \u003cp\u003efrom In: Ezekielem Explanationes (1604).\u003c\/p\u003e \u003cp\u003e20. Georgio Vasari.\u003c\/p\u003e \u003cp\u003efrom Preface to Le vite de piu eccellenti architetti, pittori, et scultori italiani (1550, 1568).\u003c\/p\u003e \u003cp\u003e21. Georgio Vasari.\u003c\/p\u003e \u003cp\u003efrom “Life of Michelangelo” in Le vite de piu eccellenti architetti, pittori, et scultori italiani (1550, 1568).\u003c\/p\u003e \u003cp\u003e22. Peter Paul Rubens.\u003c\/p\u003e \u003cp\u003efrom Preface to Palazzi di Genova (1622).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Classicism in France and Britain\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eA. French Classicism: Ancients and Moderns.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e23. René Descartes.\u003c\/p\u003e \u003cp\u003efrom Regulae ad Directionen Ingenii (1628).\u003c\/p\u003e \u003cp\u003e24. Roland Fréart de Chambray.\u003c\/p\u003e \u003cp\u003efrom Preface to Parallele de l’architecture antique et de la moderne (1650).\u003c\/p\u003e \u003cp\u003e25. Paul Fréart de Chantelou.\u003c\/p\u003e \u003cp\u003efrom Diary of the Cavaliere Bernini’s Visit to France (1665).\u003c\/p\u003e \u003cp\u003e26. François Blondel.\u003c\/p\u003e \u003cp\u003efrom “Discours pronounce par Mr Blondel a l’ouverture de l’Academie d’Architecture” (1671).\u003c\/p\u003e \u003cp\u003e27. François Blondel,.\u003c\/p\u003e \u003cp\u003efrom Cours d’architecture (1675).\u003c\/p\u003e \u003cp\u003e28. René Ouvrard.\u003c\/p\u003e \u003cp\u003efrom Architecture harmonique (1677).\u003c\/p\u003e \u003cp\u003e29. Claude Perrault.\u003c\/p\u003e \u003cp\u003eannotations to French translation of Les dix livres d’architecture de Vitruve (1673).\u003c\/p\u003e \u003cp\u003e30. François Blondel.\u003c\/p\u003e \u003cp\u003efrom Cours d'architecture, Vol. II (1683).\u003c\/p\u003e \u003cp\u003e31. Claude Perrault.\u003c\/p\u003e \u003cp\u003efrom Les dix livres d’architecture de Vitruve, second edition (1684).\u003c\/p\u003e \u003cp\u003e32. Claude Perrault.\u003c\/p\u003e \u003cp\u003efrom Ordonnance des cinq espèces de colonnes selon la méthode des Anciens (1683).\u003c\/p\u003e \u003cp\u003e33. Jean-François Félibien.\u003c\/p\u003e \u003cp\u003efrom Preface to Recueil historique de la vie et des ouvrages des plus célebres architectes (1687).\u003c\/p\u003e \u003cp\u003e34. Charles Perrault.\u003c\/p\u003e \u003cp\u003efrom Preface to Parallèle des anciens et des modernes en ce qui regarde les arts et les sciences (1688).\u003c\/p\u003e \u003cp\u003e35. Charles Perrault (1688–97).\u003c\/p\u003e \u003cp\u003efrom “Dessin d’un portail pour l’Église de Sainte-Geneviève à Paris” (1697).\u003c\/p\u003e \u003cp\u003e36. Michel de Frémin.\u003c\/p\u003e \u003cp\u003efrom Mémoires critiques d'architecture (1702).\u003c\/p\u003e \u003cp\u003e37. Jean-Louis de Cordemoy.\u003c\/p\u003e \u003cp\u003efrom Nouveau traité de toute l'architecture (1706, 1714).\u003c\/p\u003e \u003cp\u003eB. British Classicism and Palladianism.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e38. Henry Wotton.\u003c\/p\u003e \u003cp\u003efrom The Elements of Architecture (1624).\u003c\/p\u003e \u003cp\u003e39. Christopher Wren.\u003c\/p\u003e \u003cp\u003efrom Tract I on architecture (mid-1670s).\u003c\/p\u003e \u003cp\u003e40. Christopher Wren.\u003c\/p\u003e \u003cp\u003efrom Tracts II and IV on architecture (mid-1670s).\u003c\/p\u003e \u003cp\u003e41. Anthony Ashley Cooper, Third Earl of Shaftesbury.\u003c\/p\u003e \u003cp\u003efrom Characteristics of Men, Manners, Opinions, Times (1711).\u003c\/p\u003e \u003cp\u003e42. Anthony Ashley Cooper, Third Earl of Shaftesbury.\u003c\/p\u003e \u003cp\u003efrom \"A Letter Concerning Design\" (1712).\u003c\/p\u003e \u003cp\u003e43. Colin Campbell.\u003c\/p\u003e \u003cp\u003eIntroduction to Vitruvius Britannicus, Vol. I (1715).\u003c\/p\u003e \u003cp\u003e44. Nicholas Du Bois.\u003c\/p\u003e \u003cp\u003eTranslator’s Preface to The Architecture of A. Palladio (1715).\u003c\/p\u003e \u003cp\u003e45. William Kent.\u003c\/p\u003e \u003cp\u003e“Advertisement”to The Designs of Inigo Jones (1727).\u003c\/p\u003e \u003cp\u003e46. James Gibbs,.\u003c\/p\u003e \u003cp\u003eIntroduction to A Book of Architecture (1728).\u003c\/p\u003e \u003cp\u003e47. Robert Morris.\u003c\/p\u003e \u003cp\u003efrom An Essay in Defence of Ancient Architecture (1728).\u003c\/p\u003e \u003cp\u003e48. Alexander Pope.\u003c\/p\u003e \u003cp\u003efrom Of False Taste (1731).\u003c\/p\u003e \u003cp\u003e49. Isaac Ware.\u003c\/p\u003e \u003cp\u003e“Advertisement” to Andrea Palladio: The Four Books of Architecture (1737).\u003c\/p\u003e \u003cp\u003e50. Robert Morris.\u003c\/p\u003e \u003cp\u003efrom “An Essay upon Harmony” (1739).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Neoclassicism and the Enlightenment\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eA. Early Neoclassicism.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e51. Johann Bernhard Fischer von Erlach.\u003c\/p\u003e \u003cp\u003efrom Preface to Entwurf einer historischen Architektur (1721).\u003c\/p\u003e \u003cp\u003e52. Voltaire.\u003c\/p\u003e \u003cp\u003efrom Lettres philosophiques sur les anglais (1733).\u003c\/p\u003e \u003cp\u003e53. Jacques-Gabriel Soufflot.\u003c\/p\u003e \u003cp\u003efrom \"Mémoire sur les proportions de l’architecture” (1739).\u003c\/p\u003e \u003cp\u003e54. Jacques-Gabriel Soufflot.\u003c\/p\u003e \u003cp\u003efrom “Mémoire sur l’architecture gothique” (1741).\u003c\/p\u003e \u003cp\u003e55. Carlo Lodoli.\u003c\/p\u003e \u003cp\u003efrom Notes for a projected treatise on architecture (c.1740s).\u003c\/p\u003e \u003cp\u003e56. Baron de Montesquieu.\u003c\/p\u003e \u003cp\u003efrom Preface to L'Esprit des Lois (1748).\u003c\/p\u003e \u003cp\u003e57. Jean-Jacques Rousseau.\u003c\/p\u003e \u003cp\u003efrom Discours sur les sciences et les arts (1750).\u003c\/p\u003e \u003cp\u003e58. Jean Le Rond D'Alembert.\u003c\/p\u003e \u003cp\u003efrom “Discours préliminaire des editeurs” (1751).\u003c\/p\u003e \u003cp\u003e59. Jacques-François Blondel.\u003c\/p\u003e \u003cp\u003efrom “Architecture” in Diderot’s Encyclopédie (1751).\u003c\/p\u003e \u003cp\u003e60. Charles-Étienne Briseau.\u003c\/p\u003e \u003cp\u003efrom Preface to Traité du beau essentiel dans les arts (1752).\u003c\/p\u003e \u003cp\u003e61. Marc-Antoine Laugier.\u003c\/p\u003e \u003cp\u003efrom Essai sur l’architecture (1753).\u003c\/p\u003e \u003cp\u003e62. Marc-Antoine Laugier.\u003c\/p\u003e \u003cp\u003efrom Essai sur l’architecture (1753).\u003c\/p\u003e \u003cp\u003e63. Isaac Ware.\u003c\/p\u003e \u003cp\u003efrom A Complete Body of Architecture, Chapter II (1756).\u003c\/p\u003e \u003cp\u003e64. Isaac Ware.\u003c\/p\u003e \u003cp\u003efrom A Complete Body of Architecture, Chapter IX (1756).\u003c\/p\u003e \u003cp\u003e65. William Chambers.\u003c\/p\u003e \u003cp\u003efrom A Treatise on Civil Architecture (1759).\u003c\/p\u003e \u003cp\u003e66. William Chambers.\u003c\/p\u003e \u003cp\u003efrom A Treatise on the Decorative Part of Civil Architecture (1791).\u003c\/p\u003e \u003cp\u003eB. Greece and the Classical Ideal.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e67. James Stuart and Nicholas Revett.\u003c\/p\u003e \u003cp\u003eFrom \"Proposals for publishing an accurate description of the Antiquities of Athens” (1748).\u003c\/p\u003e \u003cp\u003e68. Robert Wood and James Dawkins.\u003c\/p\u003e \u003cp\u003efrom The Ruins of Palmyra (1753).\u003c\/p\u003e \u003cp\u003e69. Johann Joachim Winckelmann.\u003c\/p\u003e \u003cp\u003efrom Gedanken über die Nachahmung der griechischen Werke in der Mahlerey und Bildhauer-Kunst (1755).\u003c\/p\u003e \u003cp\u003e70. Allan Ramsay.\u003c\/p\u003e \u003cp\u003efrom “A Dialogue on Taste” in The Investigator (1755).\u003c\/p\u003e \u003cp\u003e71. Julien-David Leroy.\u003c\/p\u003e \u003cp\u003efrom Les Ruines des plus beaux monuments de la Grece (1758).\u003c\/p\u003e \u003cp\u003e72. Julien-David Leroy.\u003c\/p\u003e \u003cp\u003efrom Les Ruines des plus beaux monuments de la Grece (1758).\u003c\/p\u003e \u003cp\u003e73. James Stuart and Nicholas Revett.\u003c\/p\u003e \u003cp\u003efrom the Preface to The Antiquities of Athens (1762).\u003c\/p\u003e \u003cp\u003e74. Johann Joachim Winckelmann.\u003c\/p\u003e \u003cp\u003efrom Geschichte der Kunst des Alterthums (1764).\u003c\/p\u003e \u003cp\u003e75. Johann Joachim Winckelmann.\u003c\/p\u003e \u003cp\u003efrom Geschichte der Kunst des Alterthums (1764).\u003c\/p\u003e \u003cp\u003e76. Johann Joachim Winckelmann.\u003c\/p\u003e \u003cp\u003efrom Geschichte der Kunst des Alterthums (1764).\u003c\/p\u003e \u003cp\u003e77. Giovanni Battista Piranesi.\u003c\/p\u003e \u003cp\u003efrom Osservazioni sopra la letter de Monsieur Mariette (1765).\u003c\/p\u003e \u003cp\u003e78. Giovanni Battista Piranesi.\u003c\/p\u003e \u003cp\u003efrom Parere su l’architettura (1765).\u003c\/p\u003e \u003cp\u003e79. Giovanni Battista Piranesi.\u003c\/p\u003e \u003cp\u003efrom “An Apologetical Essay in Defence of the Egyptian and Tuscan Architecture” (1769).\u003c\/p\u003e \u003cp\u003eC. Character and Expression.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e80. Germain Boffrand.\u003c\/p\u003e \u003cp\u003efrom Livre d'architecture (1745).\u003c\/p\u003e \u003cp\u003e81. Étienne Bonnot de Condillac.\u003c\/p\u003e \u003cp\u003efrom Essai sur l’origine des connaissances humaines (1746).\u003c\/p\u003e \u003cp\u003e82. Julien-David Leroy.\u003c\/p\u003e \u003cp\u003efrom Histoire de la disposition et des formes differentes que les chréstiens ont données à leur temples (1764).\u003c\/p\u003e \u003cp\u003e83. Jacques-François Blondel.\u003c\/p\u003e \u003cp\u003efrom Cours d’architecture (1771).\u003c\/p\u003e \u003cp\u003e84. Nicolas Le Camus de Mézières.\u003c\/p\u003e \u003cp\u003efrom Le génie de l’architecture (1780).\u003c\/p\u003e \u003cp\u003e85. Nicolas Le Camus de Mézières.\u003c\/p\u003e \u003cp\u003efrom Le génie de l’architecture (1780).\u003c\/p\u003e \u003cp\u003e86. Jean-Louis Viel de Saint-Maux.\u003c\/p\u003e \u003cp\u003efrom Lettres sur l’architecture des anciens et celles des modernes (1787).\u003c\/p\u003e \u003cp\u003e87. A. C. Quatremère de Quincy.\u003c\/p\u003e \u003cp\u003efrom Encyclopédie méthodique (1788).\u003c\/p\u003e \u003cp\u003e88. Étienne-Louis Boullée.\u003c\/p\u003e \u003cp\u003efrom Architecture, essai sur l’art (c.1794).\u003c\/p\u003e \u003cp\u003e89. Étienne-Louis Boullée.\u003c\/p\u003e \u003cp\u003efrom Architecture, Essai sur l’art (c.1794).\u003c\/p\u003e \u003cp\u003e90. Claude Nicolas Ledoux.\u003c\/p\u003e \u003cp\u003efrom L'architecture considérée sous le rapport de l'art, des moeurs et de la législation (1804).\u003c\/p\u003e \u003cp\u003e91. John Soane.\u003c\/p\u003e \u003cp\u003efrom Royal Academy Lectures on Architecture (V and XI; 1812–15.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Theories of the Picturesque and Sublime\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eA. Sources of the Picturesque.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e92. John Locke.\u003c\/p\u003e \u003cp\u003efrom An Essay Concerning Human Understanding (1690).\u003c\/p\u003e \u003cp\u003e93. William Temple.\u003c\/p\u003e \u003cp\u003efrom \"Upon the Gardens of Epicurus; or, of Gardening in the Year 1685\" (1692).\u003c\/p\u003e \u003cp\u003e94. John Vanbrugh.\u003c\/p\u003e \u003cp\u003eLetter to the Duchess of Marlborough (1709).\u003c\/p\u003e \u003cp\u003e95. Anthony Ashley Cooper, Third Earl of Shaftesbury.\u003c\/p\u003e \u003cp\u003efrom “The Moralists” (1709).\u003c\/p\u003e \u003cp\u003e96. Joseph Addison.\u003c\/p\u003e \u003cp\u003efrom The Spectator (1712).\u003c\/p\u003e \u003cp\u003e97. Robert Castell.\u003c\/p\u003e \u003cp\u003efrom The Villas of the Ancients Illustrated (1728).\u003c\/p\u003e \u003cp\u003e98. Batty Langley.\u003c\/p\u003e \u003cp\u003efrom New Principles of Gardening (1728).\u003c\/p\u003e \u003cp\u003e99. Robert Morris.\u003c\/p\u003e \u003cp\u003efrom Lectures on Architecture (1734–1736).\u003c\/p\u003e \u003cp\u003e100. William Chambers.\u003c\/p\u003e \u003cp\u003efrom Designs of Chinese Buildings (1757).\u003c\/p\u003e \u003cp\u003eRecommended Readings.\u003c\/p\u003e \u003cp\u003eB. Toward a Relativist Aesthetics.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e101. John Locke.\u003c\/p\u003e \u003cp\u003efrom An Essay Concerning Human Understanding, fourth edition (1700).\u003c\/p\u003e \u003cp\u003e102. Joseph Addison.\u003c\/p\u003e \u003cp\u003efrom the Spectator (1712).\u003c\/p\u003e \u003cp\u003e103. Jean Baptiste du Bos.\u003c\/p\u003e \u003cp\u003efrom Critical Reflections on Poetry, Painting, and Music (1719).\u003c\/p\u003e \u003cp\u003e104. Francis Hutcheson.\u003c\/p\u003e \u003cp\u003efrom An Inquiry into the Original of our Ideas of Beauty and Virtue (1725).\u003c\/p\u003e \u003cp\u003e105. George Berkeley.\u003c\/p\u003e \u003cp\u003efrom the “Third Dialogue” of Alciphron (1732).\u003c\/p\u003e \u003cp\u003e106. David Hume.\u003c\/p\u003e \u003cp\u003efrom A Treatise of Human Nature (1739–40).\u003c\/p\u003e \u003cp\u003e107. Allan Ramsey.\u003c\/p\u003e \u003cp\u003efrom “A Dialogue on Taste” in The Investigator (1755).\u003c\/p\u003e \u003cp\u003e108. Alexander Gerard.\u003c\/p\u003e \u003cp\u003efrom An Essay on Taste (1756).\u003c\/p\u003e \u003cp\u003e109. David Hume.\u003c\/p\u003e \u003cp\u003efrom \"Of the Standard of Taste\" (1757).\u003c\/p\u003e \u003cp\u003e110. Edmund Burke.\u003c\/p\u003e \u003cp\u003efrom A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757).\u003c\/p\u003e \u003cp\u003e111. Edmund Burke.\u003c\/p\u003e \u003cp\u003efrom A Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful (1757).\u003c\/p\u003e \u003cp\u003e112. Lord Kames.\u003c\/p\u003e \u003cp\u003efrom Elements of Criticism (1762).\u003c\/p\u003e \u003cp\u003e113. Robert and James Adam.\u003c\/p\u003e \u003cp\u003efrom Preface to The Works in Architecture of Robert and James Adam (1773–78).\u003c\/p\u003e \u003cp\u003eC. Consolidation of Picturesque Theory.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e114. Thomas Whately.\u003c\/p\u003e \u003cp\u003efrom Observations on Modern Gardening (1770).\u003c\/p\u003e \u003cp\u003e115. Horace Walpole.\u003c\/p\u003e \u003cp\u003efrom “The History of the Modern Taste in Gardening” (1771).\u003c\/p\u003e \u003cp\u003e116. William Chambers.\u003c\/p\u003e \u003cp\u003efrom A Dissertation on Oriental Gardening (1772).\u003c\/p\u003e \u003cp\u003e117. William Gilpin.\u003c\/p\u003e \u003cp\u003efrom Observations on the River Wye (1782).\u003c\/p\u003e \u003cp\u003e118. Joshua Reynolds.\u003c\/p\u003e \u003cp\u003efrom Discourses on Architecture (1786).\u003c\/p\u003e \u003cp\u003e119. John Soane.\u003c\/p\u003e \u003cp\u003efrom Plans, Elevations, and Sections of Buildings (1788).\u003c\/p\u003e \u003cp\u003e120. Uvedale Price.\u003c\/p\u003e \u003cp\u003efrom Essays on the Picturesque (1794).\u003c\/p\u003e \u003cp\u003e121. Richard Payne Knight.\u003c\/p\u003e \u003cp\u003efrom “Postscript” to The Landscape, second edition (1795).\u003c\/p\u003e \u003cp\u003e122. Humphry Repton.\u003c\/p\u003e \u003cp\u003efrom Sketches and Hints on Landscape Gardening (1795).\u003c\/p\u003e \u003cp\u003e123. Uvedale Price.\u003c\/p\u003e \u003cp\u003efrom \"An Essay on Architecture and Buildings as connected with Scenery\" (1798).\u003c\/p\u003e \u003cp\u003e124. Richard Payne Knight.\u003c\/p\u003e \u003cp\u003efrom An Analytical Inquiry into the Principles of Taste (1805).\u003c\/p\u003e \u003cp\u003e125. John Soane.\u003c\/p\u003e \u003cp\u003efrom Royal Academy Lectures on Architecture, V, VIII, and XI (1812–15).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: The Rise of Historicism in the Nineteenth Century\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eA. Challenges to Classicism in France, 1802–34.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e126. Jean-Nicolas-Louis Durand.\u003c\/p\u003e \u003cp\u003efrom Précis de leçons d’architecture données à l’École Royale Polytechnique (1802).\u003c\/p\u003e \u003cp\u003e127. A. C. Quatremère de Quincy.\u003c\/p\u003e \u003cp\u003efrom De l’architecture égyptienne (1803).\u003c\/p\u003e \u003cp\u003e128. Christian Ludwig Stieglitz.\u003c\/p\u003e \u003cp\u003efrom Archaologie der Baukunst der Griechen und Römer (1801).\u003c\/p\u003e \u003cp\u003e129. A. C. Quatremère de Quincy.\u003c\/p\u003e \u003cp\u003efrom Le Jupiter olympien (1814).\u003c\/p\u003e \u003cp\u003e130. Charles Robert Cockerell.\u003c\/p\u003e \u003cp\u003efrom “On the Aegina Marbles” (1819).\u003c\/p\u003e \u003cp\u003e131. William Kinnard.\u003c\/p\u003e \u003cp\u003eAnnotations to Stuart and Revett’s The Antiquities of Athens, second edition (1825).\u003c\/p\u003e \u003cp\u003e132. Otto Magnus von Stackelberg.\u003c\/p\u003e \u003cp\u003efrom Der Apollotempel zu Bassae in Arcadien (1826).\u003c\/p\u003e \u003cp\u003e133. Jacques Ignace Hittorff.\u003c\/p\u003e \u003cp\u003efrom \"De l'architecture polychrôme chez les Grecs\" (1830).\u003c\/p\u003e \u003cp\u003e134. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Vorläufige Bemerkungen über bemalte Architectur und Plastik bei den Alten (1834).\u003c\/p\u003e \u003cp\u003e135. Léon Vaudoyer.\u003c\/p\u003e \u003cp\u003eExcerpts from three letters of 1829, 1830, and 1831.\u003c\/p\u003e \u003cp\u003e136. Émile Barrault.\u003c\/p\u003e \u003cp\u003efrom Aux Artistes (1830).\u003c\/p\u003e \u003cp\u003e137. Victor Hugo.\u003c\/p\u003e \u003cp\u003efrom Nôtre-Dame de Paris (1832).\u003c\/p\u003e \u003cp\u003e138. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Vorläufige Bemerkungen über bemalte Architectur und Plastik bei den Alten (1834).\u003c\/p\u003e \u003cp\u003e139. Léonce Reynaud.\u003c\/p\u003e \u003cp\u003efrom “Architecture” in Encyclopédie nouvelle (1834).\u003c\/p\u003e \u003cp\u003eB. The Gothic Revival in Britain, Germany, and France.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e140. Horace Walpole.\u003c\/p\u003e \u003cp\u003efrom Letter to H. Zouch (1759).\u003c\/p\u003e \u003cp\u003e141. Horace Walpole.\u003c\/p\u003e \u003cp\u003efrom A Description of the Villa of Horace Walpole at Strawberry Hill (1774).\u003c\/p\u003e \u003cp\u003e142. Johann Wolfgang Goethe.\u003c\/p\u003e \u003cp\u003efrom \"Von deutscher Baukunst\" (1772).\u003c\/p\u003e \u003cp\u003e143. François René Chateaubriand.\u003c\/p\u003e \u003cp\u003efrom Le génie du christianisme (1802).\u003c\/p\u003e \u003cp\u003e144. Friedrich von Schlegel.\u003c\/p\u003e \u003cp\u003efrom Briefen auf einer Reise durch die Niederlande, Rheingegenden, die Schweiz und einen Teil von Frankreich (1806).\u003c\/p\u003e \u003cp\u003e145. Joseph Görres.\u003c\/p\u003e \u003cp\u003efrom \"Der Dom in Köln\" (1814).\u003c\/p\u003e \u003cp\u003e146. Georg Moller.\u003c\/p\u003e \u003cp\u003efrom Denkmähler der detuschen Baukunst (1815–1821).\u003c\/p\u003e \u003cp\u003e147. Thomas Rickman.\u003c\/p\u003e \u003cp\u003efrom An Attempt to Discriminate the Styles of English Architecture (1817).\u003c\/p\u003e \u003cp\u003e148. William Whewell.\u003c\/p\u003e \u003cp\u003efrom Architectural Notes on German Churches (1830).\u003c\/p\u003e \u003cp\u003e149. Robert Willis.\u003c\/p\u003e \u003cp\u003efrom Remarks on the Architecture of the Middle Ages (1835).\u003c\/p\u003e \u003cp\u003e150. Augustus Welby Pugin.\u003c\/p\u003e \u003cp\u003efrom Contrasts (1836).\u003c\/p\u003e \u003cp\u003e151. Augustus Welby Pugin.\u003c\/p\u003e \u003cp\u003efrom The True Principles of Pointed or Christian Architecture (1842).\u003c\/p\u003e \u003cp\u003e152. John Mason Neale and Benjamin Webb.\u003c\/p\u003e \u003cp\u003efrom The Ecclesiologist (1841).\u003c\/p\u003e \u003cp\u003e153. Victor Hugo.\u003c\/p\u003e \u003cp\u003efrom Nôtre-Dame de Paris (1832).\u003c\/p\u003e \u003cp\u003e154. Léonce Reynaud.\u003c\/p\u003e \u003cp\u003efrom “Architecture,” Encyclopédie nouvelle (1834).\u003c\/p\u003e \u003cp\u003e155. Eugène-Emmanuel Viollet-le-Duc.\u003c\/p\u003e \u003cp\u003efrom “De la construction des édifices religieux en France” (1844).\u003c\/p\u003e \u003cp\u003eC. The German Style Debate.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e156. Immanuel Kant.\u003c\/p\u003e \u003cp\u003efrom Kritik der Urtheilskraft (1790).\u003c\/p\u003e \u003cp\u003e157. August Schlegel.\u003c\/p\u003e \u003cp\u003efrom Vorlesungen über schöne Litteratur und Kunst (1801–02).\u003c\/p\u003e \u003cp\u003e158. Friedrich Gilly.\u003c\/p\u003e \u003cp\u003efrom “Einige Gedanken über die Notwendigkeit, die verschiedenen Theile der Baukunst . . . zu vereinen\" (1799).\u003c\/p\u003e \u003cp\u003e159. Karl Friedrich Schinkel.\u003c\/p\u003e \u003cp\u003eLiterary fragments (c. 1805).\u003c\/p\u003e \u003cp\u003e160. Georg Wilhelm Friedrich Hegel.\u003c\/p\u003e \u003cp\u003efrom The Philosophy of Fine Art (1820s).\u003c\/p\u003e \u003cp\u003e161. Friedrich von Gärtner.\u003c\/p\u003e \u003cp\u003efrom Letter to Johann Martin von Wagner (1828).\u003c\/p\u003e \u003cp\u003e162. Heinrich Hübsch.\u003c\/p\u003e \u003cp\u003efrom Im welchem Style sollen wir bauen? (1828).\u003c\/p\u003e \u003cp\u003e163. Rudolf Wiegmann.\u003c\/p\u003e \u003cp\u003efrom \"Bemerkungen über die Schrift: Im welchem Style sollen wir bauen?\" (1829).\u003c\/p\u003e \u003cp\u003e164. Karl Friedrich Schinkel.\u003c\/p\u003e \u003cp\u003efrom Notes for a textbook on architecture (c.1830).\u003c\/p\u003e \u003cp\u003e165. Karl Friedrich Schinkel.\u003c\/p\u003e \u003cp\u003efrom Notes for a textbook on architecture (c.1835).\u003c\/p\u003e \u003cp\u003e166. Rudolf Wiegmann.\u003c\/p\u003e \u003cp\u003efrom \"Gedanken über Entwickelung eines zeitgemässen nazionalen Baustyls” (1841).\u003c\/p\u003e \u003cp\u003e167. Johann Heinrich Wolff.\u003c\/p\u003e \u003cp\u003efrom \"Einige Worte über die von Herrn Professor Stier bei der Architektenversammlung zu Bamberg zur Sprache gebrachten . . . architektonischen Fragen\" (1845).\u003c\/p\u003e \u003cp\u003e168. Eduard Metzger.\u003c\/p\u003e \u003cp\u003efrom “Beitrag zur Zeitfrage: In welchem Stil man bauen soll!” (1845).\u003c\/p\u003e \u003cp\u003e169. Carl Bötticher.\u003c\/p\u003e \u003cp\u003efrom \"Das Prinzip der hellenischen und germanischen Bauweise\" (1846).\u003c\/p\u003e \u003cp\u003eD. The Rise of American Theory.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e170. Thomas Jefferson.\u003c\/p\u003e \u003cp\u003eLetters (1787, 1791, 1805, 1812).\u003c\/p\u003e \u003cp\u003e171. Benjamin Latrobe.\u003c\/p\u003e \u003cp\u003eLetter to Thomas Jefferson (1807).\u003c\/p\u003e \u003cp\u003e172. George Tucker.\u003c\/p\u003e \u003cp\u003efrom \"On Architecture\" (1814).\u003c\/p\u003e \u003cp\u003e173. William Strickland.\u003c\/p\u003e \u003cp\u003efrom introductory lecture on architecture (1824).\u003c\/p\u003e \u003cp\u003e174. Thomas U. Walter.\u003c\/p\u003e \u003cp\u003efrom \"Of Modern Architecture\" (1841).\u003c\/p\u003e \u003cp\u003e175. Arthur Delavan Gilman.\u003c\/p\u003e \u003cp\u003efrom \"Architecture in the United States\" (1843).\u003c\/p\u003e \u003cp\u003e176. Thomas Alexander Tefft.\u003c\/p\u003e \u003cp\u003efrom \"The Cultivation of True Taste\" (1851).\u003c\/p\u003e \u003cp\u003e177. Ralph Waldo Emerson.\u003c\/p\u003e \u003cp\u003efrom \"Self-Reliance\" (1841).\u003c\/p\u003e \u003cp\u003e178. Ralph Waldo Emerson.\u003c\/p\u003e \u003cp\u003efrom \"Thoughts on Art\" (1841).\u003c\/p\u003e \u003cp\u003e179. Horatio Greenough.\u003c\/p\u003e \u003cp\u003efrom Letter to Washington Allston (1831).\u003c\/p\u003e \u003cp\u003e180. Horatio Greenough.\u003c\/p\u003e \u003cp\u003efrom \"American Architecture (1843).\u003c\/p\u003e \u003cp\u003e181. Horatio Greenough.\u003c\/p\u003e \u003cp\u003efrom \"Structure and Organization\" (1852).\u003c\/p\u003e \u003cp\u003e182. Henry David Thoreau.\u003c\/p\u003e \u003cp\u003efrom his journal (January 11, 1852).\u003c\/p\u003e \u003cp\u003e183. Andrew Jackson Downing.\u003c\/p\u003e \u003cp\u003efrom A Treatise on the Theory and Practice of Landscape Gardening.\u003c\/p\u003e \u003cp\u003e184. Andrew Jackson Downing.\u003c\/p\u003e \u003cp\u003efrom Cottage Residences (1842).\u003c\/p\u003e \u003cp\u003e185. Andrew Jackson Downing.\u003c\/p\u003e \u003cp\u003efrom Hints to Persons about Building in the Country (1847).\u003c\/p\u003e \u003cp\u003e186. Andrew Jackson Downing.\u003c\/p\u003e \u003cp\u003efrom The Architecture of Country Houses (1850).\u003c\/p\u003e \u003cp\u003e187. Calvert Vaux.\u003c\/p\u003e \u003cp\u003efrom Villas and Cottages (1857).\u003c\/p\u003e \u003cp\u003e188. James Jackson Jarves.\u003c\/p\u003e \u003cp\u003efrom The Art-Idea (1864).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Historicism in the Industrial Age\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eA. The Battle of the Styles in Britain.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e189. Thomas Hope.\u003c\/p\u003e \u003cp\u003efrom Observations on the Plans and Elevations Designed by James Wyatt (1804).\u003c\/p\u003e \u003cp\u003e190. Thomas Hope.\u003c\/p\u003e \u003cp\u003efrom An Historical Essay on Architecture (1835).\u003c\/p\u003e \u003cp\u003e191. Thomas Leverton Donaldson.\u003c\/p\u003e \u003cp\u003efrom \"Preliminary Discourse before the University College of London\" (1842).\u003c\/p\u003e \u003cp\u003e192. John Ruskin.\u003c\/p\u003e \u003cp\u003efrom The Seven Lamps of Architecture (1849).\u003c\/p\u003e \u003cp\u003e193. James Fergusson, Augustus Welby Pugin, Edward Lacy Garbett, Robert Kerr.\u003c\/p\u003e \u003cp\u003efrom The Builder (1850).\u003c\/p\u003e \u003cp\u003e194. Edward Lacy Garbett.\u003c\/p\u003e \u003cp\u003efrom Rudimentary Treatise on the Principles of Design in Architecture (1850).\u003c\/p\u003e \u003cp\u003e195. John Ruskin.\u003c\/p\u003e \u003cp\u003efrom “The Nature of Gothic” (1851–3).\u003c\/p\u003e \u003cp\u003e196. Matthew Digby Wyatt.\u003c\/p\u003e \u003cp\u003efrom The Industrial Arts of the Nineteenth Century (1851).\u003c\/p\u003e \u003cp\u003e197. Richard Redgrave.\u003c\/p\u003e \u003cp\u003efrom “Supplementary Report on Design” (1852).\u003c\/p\u003e \u003cp\u003e198. Owen Jones.\u003c\/p\u003e \u003cp\u003efrom The Grammar of Ornament (1856).\u003c\/p\u003e \u003cp\u003e199. John Ruskin.\u003c\/p\u003e \u003cp\u003efrom “The Deteriorative Power of Conventional Art over Nations” (1859).\u003c\/p\u003e \u003cp\u003e200. Robert Kerr.\u003c\/p\u003e \u003cp\u003e“The Battle of the Styles,” from The Builder (1860).\u003c\/p\u003e \u003cp\u003e201. James Fergusson.\u003c\/p\u003e \u003cp\u003efrom History of the Modern Styles of Architecture (1862).\u003c\/p\u003e \u003cp\u003e202. William Morris.\u003c\/p\u003e \u003cp\u003eProspectus for Morris, Marshall, Faulkner and Company (1861).\u003c\/p\u003e \u003cp\u003eB. Rationalism, Eclecticism, and Realism in France.\u003c\/p\u003e \u003cp\u003e203. Albert Lenoir and Léon Vaudoyer.\u003c\/p\u003e \u003cp\u003efrom “Études d’architecture en France”(1844).\u003c\/p\u003e \u003cp\u003e204. Eugène-Emmanuel Viollet-le-Duc.\u003c\/p\u003e \u003cp\u003efrom “De la construction des édifices religieux en France” (1845).\u003c\/p\u003e \u003cp\u003e205. César Daly.\u003c\/p\u003e \u003cp\u003efrom \"De la liberté dans l’art” (1847).\u003c\/p\u003e \u003cp\u003e206. Léonce Reynaud.\u003c\/p\u003e \u003cp\u003efrom Traité d'architecture (1850).\u003c\/p\u003e \u003cp\u003e207. Eugène-Emmanuel Viollet-le-Duc.\u003c\/p\u003e \u003cp\u003efrom “Architecture,” in Dictionnaire raisonné (1854).\u003c\/p\u003e \u003cp\u003e208. Gustave Courbet.\u003c\/p\u003e \u003cp\u003efrom “Statement on Realism” (1855).\u003c\/p\u003e \u003cp\u003e209. Charles Baudelaire.\u003c\/p\u003e \u003cp\u003efrom “The Painter of Modern Life” (1859).\u003c\/p\u003e \u003cp\u003e210. Eugène-Emmanuel Viollet-le-Duc.\u003c\/p\u003e \u003cp\u003efrom Entretiens sur l’architecture, Lecture VI (1859).\u003c\/p\u003e \u003cp\u003e211. César Daly.\u003c\/p\u003e \u003cp\u003efrom Revue générale, Vol. 21 (1863).\u003c\/p\u003e \u003cp\u003e212. César Daly.\u003c\/p\u003e \u003cp\u003efrom Revue générale, Vol. 23 (1866).\u003c\/p\u003e \u003cp\u003e213. Bourgeois de Lagny.\u003c\/p\u003e \u003cp\u003efrom “Salon de 1866”.\u003c\/p\u003e \u003cp\u003e214. Eugène-Emmanuel Viollet-le-Duc.\u003c\/p\u003e \u003cp\u003efrom “Style” in Dictionnaire raisonné (1866).\u003c\/p\u003e \u003cp\u003e215. Eugène-Emmanuel Viollet-le-Duc.\u003c\/p\u003e \u003cp\u003efrom Entretiens sur l’architecture, Lecture XII (1866).\u003c\/p\u003e \u003cp\u003e216. Émile Zola.\u003c\/p\u003e \u003cp\u003efrom Le ventre de Paris (1872).\u003c\/p\u003e \u003cp\u003eC. Tectonics and Style in Germany.\u003c\/p\u003e \u003cp\u003e217. Karl von Schnaase.\u003c\/p\u003e \u003cp\u003efrom Niederländische Briefe (1834).\u003c\/p\u003e \u003cp\u003e218. Karl Bötticher.\u003c\/p\u003e \u003cp\u003efrom Die Tektonik der Hellenen (1843).\u003c\/p\u003e \u003cp\u003e219. Eduard van der Nüll.\u003c\/p\u003e \u003cp\u003efrom “Andeutungen über die kunstgemässe Beziehung des Ornamentes zur rohen Form” (1845).\u003c\/p\u003e \u003cp\u003e220. Heinrich Leibnitz.\u003c\/p\u003e \u003cp\u003efrom Die struktive Element in der Architektur (1849).\u003c\/p\u003e \u003cp\u003e221. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Die Vier Elemente der Baukunst (1851).\u003c\/p\u003e \u003cp\u003e222. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Wissenschaft, Industrie und Kunst (1852).\u003c\/p\u003e \u003cp\u003e223. Jacob Burckhardt.\u003c\/p\u003e \u003cp\u003efrom Die Kultur der Renaissance in Italien (1860).\u003c\/p\u003e \u003cp\u003e224. Jacob Burckhardt.\u003c\/p\u003e \u003cp\u003efrom Die Geschichte der Renaissance in Italien (1867).\u003c\/p\u003e \u003cp\u003e225. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Der Stil in den technischen und tektonischen Künsten (1860).\u003c\/p\u003e \u003cp\u003e226. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Der Stil in den technischen und tektonischen Künsten (1860).\u003c\/p\u003e \u003cp\u003e227. Rudolf Hermann Lotze.\u003c\/p\u003e \u003cp\u003efrom Geschichte der Aesthetik in Deutschland (1868).\u003c\/p\u003e \u003cp\u003e228. Gottfried Semper.\u003c\/p\u003e \u003cp\u003efrom Über Baustyle (1869).\u003c\/p\u003e \u003cp\u003e229. Richard Lucae.\u003c\/p\u003e \u003cp\u003efrom “Über die Bedeutung und Macht des Raumes in der Baukunst” (1869).\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407838323031,"sku":"9781405102582","price":36.05,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405102582.jpg?v=1730500696","url":"https:\/\/bookcurl.com\/products\/architectural-theory-volume-1-9781405102582","provider":"Book Curl","version":"1.0","type":"link"}