 | British empire - 1847 - 812 sider
...union of the building with the surrounding locality, and the great care which " the architect took that his work should not appear crude and hard : that...of the ground without expectation or preparation." Woodstock will, of course, be looked at on quitting Blenheim. But there is nothing in it worthy of... | |
 | Leigh Hunt - 1848 - 348 sider
...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...ground without expectation or preparation. This is a tribute which a painter owes to an architect who composed like a painter, and was defrauded of the... | |
 | Sir Joshua Reynolds - 1852 - 512 sider
...and no Architect took greater care than he that his work should not appear crude and hard ; that is, it did not abruptly start out of the ground without expectation or preparation. This is a tribute which a Painter owes to an Architect who composed like a painter ; and was defrauded of the... | |
 | 1856 - 586 sider
...union of the building with the surrounding locality, and the great care which " the architect took that his work should not appear crude and hard : that...of the ground without expectation or preparation." Woodstock will, of course, be looked at on quitting Blenheim. But there is nothing in it worthy of... | |
 | Charles Knight - 1859 - 536 sider
...and no architect took greater care than he that his work should not appear crude and hard: that is, it did not abruptly start out of the ground without expectation or preparation. This is a tribute which a painter owes to an architect who composed like a painter; and was defrauded of the... | |
 | Sir Joshua Reynolds, Allan Cunningham - 1860 - 394 sider
...and no Architect took greater care than he that his work ehould not appear crude and hard ; that is, it did not abruptly start out of the ground without expectation or preparation. This is a tribute which a Painter owes to an Architect who composed like a painter ; and was defrauded of the... | |
 | Amos Dean - 1869 - 652 sider
...What the back ground is in painting, is the real ground upon which the building is erected ; l and no architect took greater care that his work should not appear crude and hard, that is, it did not abruptly start out of the ground without expectation or preparation." So, Sir Uvcdale Price,... | |
 | William Wycherley - 1875 - 770 sider
...back-ground is in painting, in architecture is the real ground on which the building is erected ; and . 0C . a tribute which a painter owes to an architect who composed like a painter, and was defrauded of the... | |
 | William Wycherley - 1875 - 770 sider
...back-ground is in painting, in architecture is the real ground on which the building is erected ; and E 2 [ 榡 C Th&t껈2 | a9 j;"WjSr C A G % Y9 lN ʑ1 I 7Rf I q g: ThU is a tribute which a painter owes to an architect who composed like a painter, and was defrauded... | |
 | C. Rachel Jones - 1885 - 240 sider
...advantage. " What the foreground is in painting is the real ground " upon which the building is erected, and no architect took " greater care that his work should not appear crude and " hard — that is, it did not abruptly start out of the ground " without expectation or preparation. This is the tribute... | |
| |
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... 
