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5名無しさん@おーぷん :2016/12/23(金)16:27:51 ID:Tjb()
As the management of light is a matter of importance in
architecture, it is worth inquiring, how far this remark is
applicable to building. I think then, that all edifices calculated to
produce an idea of the sublime, ought rather to be dark and
gloomy, and this for two reasons; the first is, that darkness itself
on other occasions is known by experience to have a greater
effect on the passions than light. The second is, that to make an
object very striking, we should make it as different as possible
from the objects with which we have been immediately
conversant; when therefore you enter a building, you cannot pass
into a greater light than you had in the open air; to go into one
some few degrees less luminous, can make only a trifling change;
but to make the transition thoroughly striking, you ought to pass
from the greatest light, to as much darkness as is consistent with
the uses of architecture. A night the contrary rule will hold, but
for the very same reason; and the more highly a room is then
illuminated, the grander will the passion be.

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