DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29898#0039
INTRODUCTION.
PAET I.
SlCTION I.
Likb every other object of human inquiry, Architecture may be
studied from two distinct points of view. Either it may be regarded
statically, and described scientifically as a thing existing, without any
reference to the manner in which it was invented ; or it may be
treated historically, tracing every form from its origin ancl noting the
infiuence one style has hacl upon another in the progress of time.
The first of these methods is more technical, ancl clemands on the
part of the student very considerable previous knowledge before it
can be successfully prosecuted. The other, besides being more popular
and easily followecl, has the advantage of separating the objects of
study into natural groups, and tracing more reaclily their connection
and relation to one another. The great superiority, however, of the
historical mode of stucly arises from the fact that, when so treated,
Architecture ceases to be a mere art, interesting only to the artist or
his employer, but becomes one of the most important adjuncts of
history, filling up many gaps in the written recorcl ancl giving life
and reality to much that without its presence could with difficulty be
realised.
A still more important use of architecture, when followed as a
history, is found in its ethnographic value. Every different race of
men had their own peculiar forms in using the productions of this art,
ancl their own mode of expressing their feelings or aspirations by its
means. When properly studied, it consequently affords a means as
mportant as language for discriminating between the different races of
mankind—often more so, ancl one always more trustworthy and more
easily understood.
In consequence of these advantages, the historical mode is that
which will be followed in this work. But before entering upon the
narrative, it will be well if a correct definition of what Architecture
really is can be obtained. Without some clear views on the technical
position of the art, much that follows will be unintelligible and the
meaning of what is said may be mistaken.
b 2
PAET I.
SlCTION I.
Likb every other object of human inquiry, Architecture may be
studied from two distinct points of view. Either it may be regarded
statically, and described scientifically as a thing existing, without any
reference to the manner in which it was invented ; or it may be
treated historically, tracing every form from its origin ancl noting the
infiuence one style has hacl upon another in the progress of time.
The first of these methods is more technical, ancl clemands on the
part of the student very considerable previous knowledge before it
can be successfully prosecuted. The other, besides being more popular
and easily followecl, has the advantage of separating the objects of
study into natural groups, and tracing more reaclily their connection
and relation to one another. The great superiority, however, of the
historical mode of stucly arises from the fact that, when so treated,
Architecture ceases to be a mere art, interesting only to the artist or
his employer, but becomes one of the most important adjuncts of
history, filling up many gaps in the written recorcl ancl giving life
and reality to much that without its presence could with difficulty be
realised.
A still more important use of architecture, when followed as a
history, is found in its ethnographic value. Every different race of
men had their own peculiar forms in using the productions of this art,
ancl their own mode of expressing their feelings or aspirations by its
means. When properly studied, it consequently affords a means as
mportant as language for discriminating between the different races of
mankind—often more so, ancl one always more trustworthy and more
easily understood.
In consequence of these advantages, the historical mode is that
which will be followed in this work. But before entering upon the
narrative, it will be well if a correct definition of what Architecture
really is can be obtained. Without some clear views on the technical
position of the art, much that follows will be unintelligible and the
meaning of what is said may be mistaken.
b 2