A Quote by Kenneth Clark

Opera, next to Gothic architecture, is one of the strangest inventions of Western man. It could not have been foreseen by any logical process. — © Kenneth Clark
Opera, next to Gothic architecture, is one of the strangest inventions of Western man. It could not have been foreseen by any logical process.
Gothic architecture requires individual craftsmanship. The wish to create an enclosed world for the congregation gives rise in Gothic architecture to the need to create something wherein the activity of the congregation plays a part.
I've never left China. My family's been there for 600 years. But my architecture is not consciously Chinese in any sense. I'm a western architect.
Architecture traditionally has been the slowest of art forms. It was not unusual for great cathedrals to take centuries to complete, with stylistic changes from Romanesque to Gothic or Renaissance to Baroque as common as the addition of chapels or spires. But because the function remained the same, the form could be flexible and its growth organic.
I hope you will understand that architecture has nothing to do with the inventions of forms. It is not a playground for children, young or old. Architecture is the real battleground of the spirit.
As the architecture of a country always follows the earliest structures, American architecture should be a refinement of the log-house. The Egyptian is so of the cavern and the mound; the Chinese, of the tent; the Gothic, of overarching trees; the Greek, of a cabin.
No civilisation, not even that of ancient Greece, has ever undergone such a continuous and profound process of change as Western Europe has done during the last 900 years. It is impossible to explain this fact in purely economic terms by a materialistic interpretation of history. The principle of change has been a spiritual one and the progress of Western civilisation is intimately related to the dynamic ethos of Western Christianity, which has gradually made Western man conscious of his moral responsibility and his duty to change the world.
Writing is the process of asking the next logical question.
I was attracted to opera when I was 15 or 16. A very rich man in England bankrupted himself to put on a lot of opera during the war, but he converted a lot of people, myself included, in the process.
But Opera Man, I go, "Oh, crap! Why didn't I think of that?" Because I could sing fake opera pretty good.
But Opera Man, I go, 'Oh, crap! Why didn't I think of that?' Because I could sing fake opera pretty good.
Yet for my part, deeply as I am moved by the religious architecture of the Middle Ages, I cannot honestly say that I ever felt the slightest emotion in any modern Gothic church.
But of all other stupendous inventions, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very far distant either in time or place? And with no greater difficulty than the various arrangement of two dozen little signs upon paper? Let this be the seal of all the admirable inventions of man.
If we could understand the full significance of a woman's hat we could prophesy her clothes for the next year, the interior decoration of the next two years, the architecture of the next ten years, and we would have a fairly accurate notion of the pressures, political, economic and religious that go to make the shape of an age.
The difference between me and, say, the opera critic is that I'm charged with thinking about the world beyond opera. I could go see 'Die Fledermaus', for instance. I've never done any of this, by the way. I've never written about one opera since I've had this job.
Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.
The principle of the Gothic architecture is infinity made imaginable.
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