DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29898#0021
PEBFACE.
XVII
abridgment, if there existed any larger history from which it could
be supposed to be abridged. At one time I intended to designate it
‘ An Historical Introduction to the Stucly of Architecture, considerecl as
a Fine Art; ’ but though such a title might describe correctly enough
the general scope of the work, its length is objectionable, ancl, like
every periphrasis, it is liable to'inisconstruction.
The simple title of ‘ History ’ has therefore been adopted, uncler
the impression that it is entitled to such a denomination until at least
some narrative more worthy of the subject takes its place. Con-
sidering the limits it thus became necessary to impose on the extent
of the work, it must be obvious that the great difficulty of its com-
position was in the first place to compress so vast a subject into so
small a compass ; and next, to determine what buildings to select for
illustration, and what to reject. It woulcl have been infinitely easier
to explain what was necessary to be said, had the number of woodcuts
been doubled. Had the text been increased in the same ratio a great
many things might have been made clear to all, which will now, I
fear, demand a certain amount of previous knowledge on the part of
my readers. To have clone this, however, would have defeated some
of the great objects of the present publication, which is intended to
convey a general view of the history and philosophy of the subject,
without extencling the work so as to make it inconveniently large, or
increasing the price so as to render it inaccessible to a large number
of readers. The principle consequently that has been adopted in the
selection of the illustrations is, first, that none of the really important
typical specimens of the art shall be passed over without some such
illustrations as shall render them intelligible; and, after this, those
examples are chosen which are remarkable either for their own
intrinsic mer: j, or for their direct bearing in elucidation of the
progress or affinities of the style under discussion; all others being
sternly rejected as irrelevant, notwithstanding the almost irresistible
temptation at times to aclorn my pages with fascinating illustrations.
The reader who desires information not bearing on the general thread
of the narrative must thus have recourse to monographs, or other special
works, which alone can supply his wants in a satisfactory manner.
It may tend to explain some things which appear open to remark
,in the following pages, if I allude here to a difference of opinion
which has frequently been pointed out as existing between the views
I have expressed and those generally received regarding several points
of ancient history or ethnology. I always have been aware that this
b
VOL. I.
XVII
abridgment, if there existed any larger history from which it could
be supposed to be abridged. At one time I intended to designate it
‘ An Historical Introduction to the Stucly of Architecture, considerecl as
a Fine Art; ’ but though such a title might describe correctly enough
the general scope of the work, its length is objectionable, ancl, like
every periphrasis, it is liable to'inisconstruction.
The simple title of ‘ History ’ has therefore been adopted, uncler
the impression that it is entitled to such a denomination until at least
some narrative more worthy of the subject takes its place. Con-
sidering the limits it thus became necessary to impose on the extent
of the work, it must be obvious that the great difficulty of its com-
position was in the first place to compress so vast a subject into so
small a compass ; and next, to determine what buildings to select for
illustration, and what to reject. It woulcl have been infinitely easier
to explain what was necessary to be said, had the number of woodcuts
been doubled. Had the text been increased in the same ratio a great
many things might have been made clear to all, which will now, I
fear, demand a certain amount of previous knowledge on the part of
my readers. To have clone this, however, would have defeated some
of the great objects of the present publication, which is intended to
convey a general view of the history and philosophy of the subject,
without extencling the work so as to make it inconveniently large, or
increasing the price so as to render it inaccessible to a large number
of readers. The principle consequently that has been adopted in the
selection of the illustrations is, first, that none of the really important
typical specimens of the art shall be passed over without some such
illustrations as shall render them intelligible; and, after this, those
examples are chosen which are remarkable either for their own
intrinsic mer: j, or for their direct bearing in elucidation of the
progress or affinities of the style under discussion; all others being
sternly rejected as irrelevant, notwithstanding the almost irresistible
temptation at times to aclorn my pages with fascinating illustrations.
The reader who desires information not bearing on the general thread
of the narrative must thus have recourse to monographs, or other special
works, which alone can supply his wants in a satisfactory manner.
It may tend to explain some things which appear open to remark
,in the following pages, if I allude here to a difference of opinion
which has frequently been pointed out as existing between the views
I have expressed and those generally received regarding several points
of ancient history or ethnology. I always have been aware that this
b
VOL. I.