FOOTNOTES[1]Sir David Brewster.[2]No. CLVIII., October 1843.[3]Diogenes Laërtius’s “Lives of the Philosophers,” literally translated. Bohn: London.[4]Ibid.[5]Rose’s “Biographical Dictionary.”[6]Professor Laycock, now of the University of Edinburgh.[7]“The Geometric Beauty of the Human Figure Defined,” &c.[8]Longman and Co., London.[9]SeeAppendix.[10]“The Orthographic Beauty of the Parthenon,” &c., and “The Harmonic Law of Nature applied to Architectural Design.”[11]For further details, see “Harmonic Law of Nature,” &c.[12]By a very simple machine, which I have lately invented, an ellipse of any given proportions, even to those of (¹⁄₆₄), which is the curve of the entases of the columns of the Parthenon (seePlate VII.), and of any length, from half an inch to fifty feet or upwards, may be easily and correctly described; the length and angle of the required ellipse being all that need be given.[13]“The Orthographic Beauty of the Parthenon,” &c.[14]“The Orthographic Beauty of the Parthenon,” &c.[15]Ibid.[16]“The Harmonic Law of Nature applied to Architectural Design.”[17]“Physio-philosophy.” By Dr Oken. Translated by Talk; and published by the Ray Society. London, 1848.[18]“The Science of those Proportions by which the Human Head and Countenance, as represented in Works of ancient Greek Art, are distinguished from those of ordinary Nature.”[19]“The Geometric Beauty of the Human Figure Defined,” &c., and “The Natural Principles of Beauty Developed in the Human Figure.”[20]“The Geometric Beauty of the Human Figure Defined,” &c.[21]“Essay on Ornamental Design,” &c., and “The Geometric Beauty of the Human Figure,” &c.[22]“A Nomenclature of Colours, applicable to the Arts and Natural Sciences,” &c., &c.[23]Seepp. 24 and 25.[24]“The Principles of Beauty in Colouring Systematised,” Fourteen Diagrams, each containing Six Colours and Hues.“A Nomenclature of Colours,” &c., Forty Diagrams, each containing Twelve Examples of Colours, Hues, Tints, and Shades.“The Laws of Harmonious Colouring,” &c., One Diagram, containing Eighteen Colours and Hues.[25]“Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, drawn from the Originals,” &c. By Charles Heathcote Tatham, Architect. London: Priestly and Weale. 1826.[26]“The Orthographic Beauty of the Parthenon,” &c.[27]“Science of those Proportions,” &c.[28]Abbé Barthélémie’s “Travels of Anacharsis in Greece,” vol iv., pp. 193, 195.[29]Abbé Barthélémie (vol. ii., pp. 168, 169), who cites as his authorities, Cicer. De Nat. Deor., lib. i., cap. ii., t. 2, p. 405; Justin Mart., Ovat. ad Gent., p. 10; Aristot. Metaph., lib. i., cap. v., t. 2, p. 845.[30]Müller’s “Ancient Art and its Remains.”[31]“Anacharsis’ Travels in Greece.” By the Abbé Barthélémie, vol. ii., p. 325.[32]“Anacharsis’ Travels in Greece.” By the Abbé Barthélémie, vol. vi., p. 225. The authorities the Abbé quotes are—Quintil., lib. xii., cap. x., p. 744; Plin., lib. xxxv., cap. ix., p. 691.[33]Müller’s “Archæology of Art,” &c.
FOOTNOTES
[1]Sir David Brewster.
[1]Sir David Brewster.
[2]No. CLVIII., October 1843.
[2]No. CLVIII., October 1843.
[3]Diogenes Laërtius’s “Lives of the Philosophers,” literally translated. Bohn: London.
[3]Diogenes Laërtius’s “Lives of the Philosophers,” literally translated. Bohn: London.
[4]Ibid.
[4]Ibid.
[5]Rose’s “Biographical Dictionary.”
[5]Rose’s “Biographical Dictionary.”
[6]Professor Laycock, now of the University of Edinburgh.
[6]Professor Laycock, now of the University of Edinburgh.
[7]“The Geometric Beauty of the Human Figure Defined,” &c.
[7]“The Geometric Beauty of the Human Figure Defined,” &c.
[8]Longman and Co., London.
[8]Longman and Co., London.
[9]SeeAppendix.
[9]SeeAppendix.
[10]“The Orthographic Beauty of the Parthenon,” &c., and “The Harmonic Law of Nature applied to Architectural Design.”
[10]“The Orthographic Beauty of the Parthenon,” &c., and “The Harmonic Law of Nature applied to Architectural Design.”
[11]For further details, see “Harmonic Law of Nature,” &c.
[11]For further details, see “Harmonic Law of Nature,” &c.
[12]By a very simple machine, which I have lately invented, an ellipse of any given proportions, even to those of (¹⁄₆₄), which is the curve of the entases of the columns of the Parthenon (seePlate VII.), and of any length, from half an inch to fifty feet or upwards, may be easily and correctly described; the length and angle of the required ellipse being all that need be given.
[12]By a very simple machine, which I have lately invented, an ellipse of any given proportions, even to those of (¹⁄₆₄), which is the curve of the entases of the columns of the Parthenon (seePlate VII.), and of any length, from half an inch to fifty feet or upwards, may be easily and correctly described; the length and angle of the required ellipse being all that need be given.
[13]“The Orthographic Beauty of the Parthenon,” &c.
[13]“The Orthographic Beauty of the Parthenon,” &c.
[14]“The Orthographic Beauty of the Parthenon,” &c.
[14]“The Orthographic Beauty of the Parthenon,” &c.
[15]Ibid.
[15]Ibid.
[16]“The Harmonic Law of Nature applied to Architectural Design.”
[16]“The Harmonic Law of Nature applied to Architectural Design.”
[17]“Physio-philosophy.” By Dr Oken. Translated by Talk; and published by the Ray Society. London, 1848.
[17]“Physio-philosophy.” By Dr Oken. Translated by Talk; and published by the Ray Society. London, 1848.
[18]“The Science of those Proportions by which the Human Head and Countenance, as represented in Works of ancient Greek Art, are distinguished from those of ordinary Nature.”
[18]“The Science of those Proportions by which the Human Head and Countenance, as represented in Works of ancient Greek Art, are distinguished from those of ordinary Nature.”
[19]“The Geometric Beauty of the Human Figure Defined,” &c., and “The Natural Principles of Beauty Developed in the Human Figure.”
[19]“The Geometric Beauty of the Human Figure Defined,” &c., and “The Natural Principles of Beauty Developed in the Human Figure.”
[20]“The Geometric Beauty of the Human Figure Defined,” &c.
[20]“The Geometric Beauty of the Human Figure Defined,” &c.
[21]“Essay on Ornamental Design,” &c., and “The Geometric Beauty of the Human Figure,” &c.
[21]“Essay on Ornamental Design,” &c., and “The Geometric Beauty of the Human Figure,” &c.
[22]“A Nomenclature of Colours, applicable to the Arts and Natural Sciences,” &c., &c.
[22]“A Nomenclature of Colours, applicable to the Arts and Natural Sciences,” &c., &c.
[23]Seepp. 24 and 25.
[23]Seepp. 24 and 25.
[24]“The Principles of Beauty in Colouring Systematised,” Fourteen Diagrams, each containing Six Colours and Hues.“A Nomenclature of Colours,” &c., Forty Diagrams, each containing Twelve Examples of Colours, Hues, Tints, and Shades.“The Laws of Harmonious Colouring,” &c., One Diagram, containing Eighteen Colours and Hues.
[24]“The Principles of Beauty in Colouring Systematised,” Fourteen Diagrams, each containing Six Colours and Hues.
“A Nomenclature of Colours,” &c., Forty Diagrams, each containing Twelve Examples of Colours, Hues, Tints, and Shades.
“The Laws of Harmonious Colouring,” &c., One Diagram, containing Eighteen Colours and Hues.
[25]“Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, drawn from the Originals,” &c. By Charles Heathcote Tatham, Architect. London: Priestly and Weale. 1826.
[25]“Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, drawn from the Originals,” &c. By Charles Heathcote Tatham, Architect. London: Priestly and Weale. 1826.
[26]“The Orthographic Beauty of the Parthenon,” &c.
[26]“The Orthographic Beauty of the Parthenon,” &c.
[27]“Science of those Proportions,” &c.
[27]“Science of those Proportions,” &c.
[28]Abbé Barthélémie’s “Travels of Anacharsis in Greece,” vol iv., pp. 193, 195.
[28]Abbé Barthélémie’s “Travels of Anacharsis in Greece,” vol iv., pp. 193, 195.
[29]Abbé Barthélémie (vol. ii., pp. 168, 169), who cites as his authorities, Cicer. De Nat. Deor., lib. i., cap. ii., t. 2, p. 405; Justin Mart., Ovat. ad Gent., p. 10; Aristot. Metaph., lib. i., cap. v., t. 2, p. 845.
[29]Abbé Barthélémie (vol. ii., pp. 168, 169), who cites as his authorities, Cicer. De Nat. Deor., lib. i., cap. ii., t. 2, p. 405; Justin Mart., Ovat. ad Gent., p. 10; Aristot. Metaph., lib. i., cap. v., t. 2, p. 845.
[30]Müller’s “Ancient Art and its Remains.”
[30]Müller’s “Ancient Art and its Remains.”
[31]“Anacharsis’ Travels in Greece.” By the Abbé Barthélémie, vol. ii., p. 325.
[31]“Anacharsis’ Travels in Greece.” By the Abbé Barthélémie, vol. ii., p. 325.
[32]“Anacharsis’ Travels in Greece.” By the Abbé Barthélémie, vol. vi., p. 225. The authorities the Abbé quotes are—Quintil., lib. xii., cap. x., p. 744; Plin., lib. xxxv., cap. ix., p. 691.
[32]“Anacharsis’ Travels in Greece.” By the Abbé Barthélémie, vol. vi., p. 225. The authorities the Abbé quotes are—Quintil., lib. xii., cap. x., p. 744; Plin., lib. xxxv., cap. ix., p. 691.
[33]Müller’s “Archæology of Art,” &c.
[33]Müller’s “Archæology of Art,” &c.