DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.48092#0234
214
durer’s literary remains.
[chap.
Pacioli’s instructions for the formation of Roman letters are then
given, and afterwards some rules of Durer’s own for the letters of
the Gothic alphabet.
Durer’s architectural designs give us an insight into his ideas
about architecture. He tells us that he is at one with Vitruvius
as to the proportions of buildings, but that the details give the
architect opportunity for the display of his own originality. He
says “ that old Roman’s skilful and masterly writings about the
stability, uses, and adornment of buildings are well known to all
good architects and workmen. Wherefore he is to be followed
before other men and his doctrine is to be used If, however,
I now propose to show how to make one or two columns for
youthful apprentices to practise on, I do so because all Germans
who have anything to make like to do it in some new fashion
never seen before.” Diirer, therefore, regarded architecture as a
field for the display of individual caprice. His own designs are
examples of the revolt against tradition, which destroyed Gothic
architecture and replaced it by the scientifically proportioned
style of the Renascence. He had no conception of architecture
as the organised expression of a nation’s intellectual life, the
product of a nation’s development, and the satisfaction of its
needs. He thought of it as an art individual to each artist, in
the same way that painting or music may be. In Durer’s day
the individualizing tendency was growing strong, and, as it grew,
architecture passed away. Diirer could only design small ob-
jects for the goldsmiths—cups and little fountains, candelabra,
ewers, and jugs. Monumental work was beyond the scope of
his powers, as his architectural designs, in the book under con-
sideration, conclusively prove.
If the British Museum Manuscripts throw relatively little
light upon the preliminary labours for the bulk of the Book of
Measurements, they are, on the other hand, very rich in archi-
tectural notes. The influence of Vitruvius and, to a less extent,
that of Italian Renascence architecture, is apparent in almost
every note. A portion of one of the longest passages (i. 207T;
see below, p. 224) is here translated.
1 Earlier notes for this passage are to be found, accompanied by rough sketches,
on leaf ill. 23.
durer’s literary remains.
[chap.
Pacioli’s instructions for the formation of Roman letters are then
given, and afterwards some rules of Durer’s own for the letters of
the Gothic alphabet.
Durer’s architectural designs give us an insight into his ideas
about architecture. He tells us that he is at one with Vitruvius
as to the proportions of buildings, but that the details give the
architect opportunity for the display of his own originality. He
says “ that old Roman’s skilful and masterly writings about the
stability, uses, and adornment of buildings are well known to all
good architects and workmen. Wherefore he is to be followed
before other men and his doctrine is to be used If, however,
I now propose to show how to make one or two columns for
youthful apprentices to practise on, I do so because all Germans
who have anything to make like to do it in some new fashion
never seen before.” Diirer, therefore, regarded architecture as a
field for the display of individual caprice. His own designs are
examples of the revolt against tradition, which destroyed Gothic
architecture and replaced it by the scientifically proportioned
style of the Renascence. He had no conception of architecture
as the organised expression of a nation’s intellectual life, the
product of a nation’s development, and the satisfaction of its
needs. He thought of it as an art individual to each artist, in
the same way that painting or music may be. In Durer’s day
the individualizing tendency was growing strong, and, as it grew,
architecture passed away. Diirer could only design small ob-
jects for the goldsmiths—cups and little fountains, candelabra,
ewers, and jugs. Monumental work was beyond the scope of
his powers, as his architectural designs, in the book under con-
sideration, conclusively prove.
If the British Museum Manuscripts throw relatively little
light upon the preliminary labours for the bulk of the Book of
Measurements, they are, on the other hand, very rich in archi-
tectural notes. The influence of Vitruvius and, to a less extent,
that of Italian Renascence architecture, is apparent in almost
every note. A portion of one of the longest passages (i. 207T;
see below, p. 224) is here translated.
1 Earlier notes for this passage are to be found, accompanied by rough sketches,
on leaf ill. 23.