Summary:

Laugier begins by reducing architecture to its most primitive state the simple hut
consisting only of columns, entablature, and pediment. Laugier discusses each of
the three elements in greater detail, defining the principle faults found in each,
using contemporary (and Classical) examples. Columns must be strictly vertical,
unengaged from the wall, round, tapered from bottom to top, and sit directly on the
ground. Entablature must always rest directly on the columns, and the entirety of
the element must be straight (without projections). Pediments must be on the short
side of the building, triangular, and there may not be more than one pediment on
top of another. The second reading introduces Johann Winckelmann, the author of
The History of Ancient Art, considered the first comprehensive history-of-art text.
Excerpts from this text follow, with Winkelmann first pointing out the inadequacies
of previous attempts at art-history texts, particularly in the requirement that Ancient
art can only be studied thoroughly by in-person observation in Rome. Winkelmann
argues that the Greeks raised art to the highest beauty, making comparisons to the
rigid artwork of the Egyptians, and the exaggerated art of the Etruscans.
Winkelmann concludes with a discussion of beauty particularly individual vs. ideal
beauty which he considers a mystery of nature (what really makes something
beautiful?). The final reading (Wolfflin) is a discussion of the Origin of the Baroque
period and its principle characteristics. The Baroque (a nearly 200 year period)
followed the High Renaissance and preceded Neoclassicism, and naturally evolved
tremendously throughout the period. Baroque art is characterized first by
massiveness and movement, adding a sense of direction and momentum to artwork
that had previously been missing. There was also a tendency for upwardness to
be emphasized in architecture, with light used as a principle element to create an
effect of celestial-ness.
(299 words)
Question Responding to the Readings:
(In relation to the third reading) What political/social/economic changes were
occurring in Europe that caused the shift from the permanence and repose of
Renaissance art, to the desire for movement and play-of-light of the Baroque
period?

Relevant Image:

This is an image of St. Annes Church in Warsaw, Poland. I am including this image
as an example of something I consider to be an extreme counterexample to
Laugiers architectural ideals (and that would probably make him pretty upset). In
use are engaged columns raised on pedestals, square-engaged pilasters at the
corners, and a pediment with additional roof structure above it all elements that
Laugier would declare (with his favorite word) ridiculous.