A History of Architectural Development ..., Volum 3Longmans, Green, and Company, 1911 |
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A History of Architectural Development, Volum 3 Frederick Moore Simpson Uten tilgangsbegrensning - 1913 |
Vanlige uttrykk og setninger
aisles Alberti Alinari Andrea angle ribs arcade arches architect architecture attic barrel vaults bays Blois Bramante Bramante's brick Brunelleschi buildings built carried carved central centre chapels château church Classic commenced cornice court courtyard crowning detail dome doorways drum early engaged columns entablature entrance examples externally façade face fifteenth Filarete flanking floor Florence Cathedral Florentine followed framed France French frieze front gallery garden Giacomo della Porta Giorgio Gothic ground storey Hall height Hôtel houses Inigo Jones Italian Italy lantern later Leslie Wilkinson Lorenzo Louvre Mantua Mediæval Michael Angelo Milan nave octagonal openings palaces Palazzo Palazzo Rucellai Palladio panels Paris Pazzi Chapel pediment Peruzzi Peter's Photo piers pilasters Pitti Porta portion proportions Renaissance ribs Riccardi Roman Rome Rucellai rusticated San Gallo Sansovino SCALE OF FEET sculptors side sixteenth century square staircase stone Strozzi towers town upper storeys Venice Verona walls whilst width Wren
Populære avsnitt
Side 12 - Listen! There never was an artistic period. There never was an Art-loving nation. In the beginning, man went forth each day — some to do battle, some to the chase, others again to dig and to delve in the field — all that they might gain and live or lose and die. Until there was found among them one differing from the rest, whose pursuits attracted him not, and so he stayed by...
Side 302 - What the back-ground is in painting, in architecture is the real ground on which the building is erected ; and no architect took greater care that his work should not appear crude and hard, that is, that it did not abruptly start out of the ground without expectation or preparation.
Side 302 - I mean to speak of him in the language of our art. To speak then of Vanbrugh in the language of a painter, he had originality of invention, he understood light and shadow, and had great skill in composition.
Side 302 - Landscape ; and it is from hence, in a great degree, that, in the buildings of Vanbrugh, who was a Poet as well as an Architect, there is a greater display of imagination than we shall find, perhaps, in any other...
Side 254 - You shall have sometimes fair houses so full of glass that one cannot tell where to be come to be out of the sun or cold.
Side 12 - The speech of the Italians at that epoch, their social habits, their ideals of manners, their standard of morality, the estimate they formed of men, were alike conditioned and qualified by art. It was an age of splendid ceremonies and magnificent parade, when the furniture of houses, the armour of soldiers, the dress of citizens, the pomp of war, and the pageantry of festivals were invariably and inevitably beautiful.
Side 272 - ... the women as they make here the language and fashions and meddle with Politics and Philosophy, so they sway also in Architecture ; works of Filgrand and little Knacks are in great vogue ; but Building certainly ought to have the attribute of Eternal and therefore the only thing uncapable of new Fashions.
Side 287 - I suppose you have good masons ; however, I would willingly take a further pains to give all the mouldings in great ; we are scrupulous in small matters, and you must pardon us, the architects are as great pedants as critics and heralds.
Side 305 - Under this stone, reader, survey Dead Sir John Vanbrugh's house of clay: Lie heavy on him, Earth, for he Laid many heavy loads on thee— is the composition of another doctor of divinity —Dr.
Side 188 - Meeting of Henry VIII. and Francis I. on the Field of the Cloth of Gold (near Guines, France).