(In this work of Langford Warren, left in manuscript at ii...)
In this work of Langford Warren, left in manuscript at iiis death, is presented in enduring form the essence of his vital teaching of the history and principles of architecture. I ts importance for the generation which has heard his inspiring message, a generation which has recreated an architecture of knowledge, order, and classic beauty, is best expressed in the words of his own essay on the study of architectural history :W ecannot, if we would, escape the influence of all the art of the past which is brought to our doors and, as it were, thrust into our hands. Our choice lies simply between really knowing it and using it wisely in the fulness of knowledge, or knowing it only superficially and misusing and misapplying it ignorantly. .. .W emust,seek to combine scholarship with artistic impulse and enthusiasm, must seek to give that impulse and enthusiasm the sure basis of knowledge. For the support which the architect of the past received from tradition, we must substitute scholarship. Not the scholarship which is concerned with facts merely,, with archaeological study of outward forms; but the scholarship concerned with principles, which studies the art of the great epochs of the past in order to understand if possible those fundamental qualities which made it great, which penetrates to the meaning of the forms used, which analyses and compares for the purpose of gaining inspiration, in order that it may create by following consciously the principles which are seen to have been, folfowed unconsciously in the great art of the past, developing if possible, by degrees a tradition of what is best in all past forms, because it understands what to take and what to modify in order to meet the conditions of the present. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics,
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(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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( Marcus Vitruvius Pollio, a Roman architect and engineer...)
Marcus Vitruvius Pollio, a Roman architect and engineer flourishing in the first century B.C., was the author of the oldest and most influential work on architecture in existence. For hundreds of years, the specific instructions he gave in his "Ten Books on Architecture" were followed faithfully, and major buildings in all parts of the world reveal the widespread influence of his precepts. According to the Encyclopedia Britannica, he was "the chief authority studied by architects, and in every point his precepts were accepted as final. Bramante, Michelangelo, Palladio, Vignola, and earlier were careful students of the work of Vitruvius." His book is thus one of those rare works that have been supremely important in the creation of the greatest art masterpieces. Vitruvius describes the classic principles of symmetry, harmony, and proportion in architecture; the design of the treasury, prison, senate house, baths, forum, and temples; the construction of the theater: its site, foundations, and acoustics; the proper style and proportion for private dwellings; the differences between the Ionic, Doric, and Corinthian styles; methods of giving durability and beauty to polished finishings; and many other topics that help us understand the methods and beliefs of the Roman architect. It is a direct, authoritative, and detailed introduction to the ancients' methods of construction, the materials of the architect, and the prevailing aesthetic beliefs of the times; but it is also a work of art. Vitruvius wrote in such a fascinating manner, and digressed from his subject so often (as, for instance, when he wrote about the winds, Archimedes in his bath, and why authors should receive awards and honors at least as often as athletes), that his book has had a continuing appeal to the general reader for many centuries. Besides being an instructive treatise on nearly everything connected with Roman and Greek architecture, it is an entertaining description of some aspects of the life and beliefs of the times. This edition is the standard English translation, prepared over a period of several years by Professor M. H. Morgan of Harvard University.
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( The Ten Books On Architecture By Vitruvius Pollio Tra...)
The Ten Books On Architecture By Vitruvius Pollio Translated by Morris Hicky Morgan With Illustrations and Original Designs prepared under the Direction of Herbert Langford Warren And Nelson Robinson De architectura (English: On architecture, published as Ten Books on Architecture) is a treatise on architecture written by the Roman architect Marcus Vitruvius Pollio and dedicated to his patron, the emperor Caesar Augustus, as a guide for building projects. The work is one of the most important sources of modern knowledge of Roman building methods, as well as the planning and design of structures, both large (aqueducts, buildings, baths, harbours) and small (machines, measuring devices, instruments). It is also the prime source of the famous story of Archimedes and his bath-time discovery. Vitruvius' work is one of many examples of Latin texts that owe their survival to the palace scriptorium of Charlemagne in the early 9th century. (This activity of finding and recopying classical manuscripts is part of what is called the Carolingian Renaissance.) Many of the surviving manuscripts of Vitruvius' work derive from an existing manuscript that was written there, British Library manuscript Harley 2767. These texts were not just copied, but also known at the court of Charlemagne, since his historian, the bishop Einhard, asked for explanations of some technical terms at the visiting English churchman Alcuin. In addition, a number of individuals are known to have read the text or have been indirectly influenced by it, including: Vussin, Hrabanus Maurus, Hermann of Reichenau, Hugo of St. Victor, Gervase of Melkey, William of Malmesbury, Theoderich of St. Trond, Petrus Diaconus, Albertus Magnus, Filippo Villani, Jean de Montreuil, Petrarch, Boccaccio, Giovanni de Dondi, Domenico di Bandino, Niccolo Acciaioli bequeathed copy to the Basilica of San Lorenzo, Florence, Bernward of Hildesheim, and St. Thomas Aquinas. In 1244 the Dominican friar Vincent of Beauvais made a large number of references to De architectura in his compendium of all the knowledge of the Middle Ages "Speculum maius".
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(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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Herbert Langford Warren was born in Manchester, England, the son of an American Swedenborgian missionary, Samuel Mills Warren, and Sarah Anne Broadfield. He was the second son and child in a family of seven children. His original ancestor in America was Arthur Warren, who settled in Weymouth, Massachussets, sometime before 1638.
The Warrens were in Germany in 1869-71, and the boy studied at Gymnasia in Gotha and Dresden. Later, 1871-75, he pursued collegiate studies at Owen College, Manchester, in which city, as a draftsman with William Dawes, he began his professional career. In the United States, where he arrived in 1876, he continued his studies at the Massachusetts Institute of Technology (1877 - 79) and at Harvard (1884).
He was directly under the influence of William Robert Ware, Charles Eliot Norton, Charles H. Moore, and Henry Hobson Richardson, being an assistant in the office of the last named from 1879 to 1884, when that great architect was at the height of his powers. After a year of travel in England, Italy, and France he returned in 1885 to set up his own architectural office, Warren, Smith & Biscoe, later Warren & Smith. Professionally he is remembered for the Orphan Asylum in Troy, N. Y. (1890 - 1901), the Church of the Holy City (Swedenborgian) in Washington, D. C. (1894 - 96 and 1908), and the chapel of the New-Church Theological School in Cambridge, Massachussets (1901). These buildings are sober, thoughtful, good, and to some extent personal, but not inventive. Warren became an instructor at Harvard in 1893, and the school of architecture there formed about him. The success of his first lectures as instructor brought him an assistant professorship in 1894; he was elected professor of architecture in 1899; and in 1903 he was chosen Nelson Robinson, Jr. , Professor of Architecture, which post he held until his death. The elder Nelson Robinson had given about two and a half million dollars to Harvard in memory of his son, who died tragically in 1899 while a student there. President Eliot applied the Robinson gift to a building and endowment which made graduate instruction in architecture possible. Leadership in this development fell to Warren, and he became the first dean of the independent faculty of architecture (1914). His work as design critic was cast in the eclectic mold of the time. His exposition of architectural theory, however, was such that his pupils have understood the significance of the new architecture. His work as design critic was cast in the eclectic mold of the time. His exposition of architectural theory, however, was such that his pupils have understood the significance of the new architecture. He was impressed with the principles of design in the arts formulated by Denman Ross, and applied them specifically to architecture, with exposition of the function of beauty in utility. He had so deep an appreciation of old architecture that he could not give to modern work the single-minded enthusiasm which alone carried the innovators forward in those earlier days. He was perhaps happiest as a medievalist; this fact, rather than modernist tendencies, explains his deep interest in handicraft. Warren's chief book is the first section of a projected large work on the history of architecture; the manuscript, somewhat augmented by Fiske Kimball, was published under the title The Foundations of Classic Architecture (1919). He also prepared the first volume, "Architectural Features, " of Picturesque and Architectural New England. He served on the editorial staff of the Sanitary Engineer, New York (1886 - 87), and he wrote articles for the important American architectural magazines throughout his career. In 1912 he founded the Architectural Quarterly of Harvard University, the publication of which had to be given up during the First World War. He was a collaborator on M. H. Morgan's Vitruvius, the Ten Books on Architecture (1914), and on Russell Sturgis's A Dictionary of Architecture and Building. All of his writing shows fastidious judgment and beautiful phrasing. In the last two or three years of his life he flung his failing energies into war work, particularly interventionist activity.
His genius was in the interpretation of great architecture and its principles, and unquestionably he was one of the best-informed and most eloquent lecturers in his field. His influence was widespread, for many teachers of the fine arts were trained at Harvard during the twenty-five years of his service.
( The Ten Books On Architecture By Vitruvius Pollio Tra...)
(In this work of Langford Warren, left in manuscript at ii...)
(This book was originally published prior to 1923, and rep...)
(This book was originally published prior to 1923, and rep...)
( Marcus Vitruvius Pollio, a Roman architect and engineer...)
He was a fellow of the American Academy of Arts and Sciences and of the American Institute of Architects; a charter member and president of the Society of Arts and Crafts, Boston; president of the National League of Handicraft Societies; and one of the founders of the Citizens' League, later the American Rights League.
On November 8, 1887, he was married to Catherine Clark Reed, daughter of the Rev. James Reed, a Swedenborgian minister, of Boston.
