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ancient angles apse arcades architecture architrave barrel-vault basilica brick broad building built campanile capitals carried Cathedral cavea ceiling cella central centre century chapels choir church clerestory corbels Corinthian columns Corinthian pilasters cornice court covered crossing crowned crypt decorated diameter divided dome door doorway Doric columns early east enclosed entablature entrance exterior facade flanked flat four frieze front gable gallery Gothic groined groined vaults height hexastyle inscription interior Ionic Italy loggia Maria masonry middle mosaic moulded narthex nave and aisles niches octagonal opisthodomos original ornamented palace Palazzo panels pediment peripteral peristyle piers plain pointed arches porch portico pronaos rebuilt rectangular remains Renaissance Roman roof round arches sculptured second story semicircular shafts side square bays stage stands statues stone style stylobate surrounded temple theatre tion tomb tower transept umns upper story vaulted wall white marble wide xvi cent
Page 177 - It is one of the finest specimens of Greek military architecture in existence. It is a double gate with an intermediate circular court of sixty-two feet in diameter, and the interior masonry is the most exact and beautiful I ever saw.
Page 425 - It contains forty-nine rows of seats, in two series ; twenty-six below, and twenty-three above the diazomatos or broad platform, which forms a gallery of communication round the interior. This gallery and its parallel corridor, which is vaulted and carried round the whole extent of the building, are on a level with the surface of the ground at the back of the theatre, and with which they communicate by twenty-three arched passages or vomitories. Another but smaller corridor , surrounds the thirteenth...
Page 343 - which period," says Hall, "may conveniently be taken to extend from the age of Petrarch and Boccaccio to the sack of Rome by the troops of Charles V in 1527. It is not to be supposed that the classical literatures would have perished but for that revival. Both, however, were at a critical period of their history.
Page 154 - It is rather more than a quarter of a mile long from north to south, by i ,000 feet in breadth at the northern end, and 750 feet at the southern end.
Page 302 - ... Guided by Macdonald, we do not reach the ruins in the order of their antiquity, but according as they happen to lie. The more southerly group reached first in the series is a nunnery, of which the chapel, with walls tolerably entire, is the principal remnant. This monastic establishment for females is said to have been founded in the early part of the thirteenth century, a date almost indicated by its finely rounded Saxon arches. Within and around it are some flat tombstones commemorative of...
Page xxii - Its two ends were formed of large masses of rude stones and mortar, faced with regular masonry ; these are now mere shapeless heaps of rubbish. The excavated part of the theatre preserves the remains of sixty-seven rows of seats, in three divisions, separated by diazomata...
Page 336 - This is one of the oldest as well as one of the largest and most influential religious societies in New England, being 10 fifth in the order of time, those of Salem (1629), Dorchester (1630), Boston, and Watertown (1632) having alone preceded it.
Page 265 - ... the whole. After gazing with astonishment at this wondrous scene, we plunged among the maze of ruins, making a hurried ramble through them so as to become acquainted with the localities of the site, intending to pay future visits for the purpose of more minute exploration. We first visited a fine theatre, excavated in the side of a woody hill, fronting the city. The Lycian theatres are invariably so placed as to command a grand prospect, or when by the seaside, a broad expanse of ocean. For a...
Page 267 - ... sixty years. William of Innsbruck recommenced the work in 1234. The floor of the fourth gallery was then eleven inches out of level. William continued the corrections by making the columns on the south side of the fourth gallery about five inches longer than those on the north, and continuing the plan in the fifth and sixth galleries. At this point there was a second suspension of the work, and the belfry was added in 1350 by Thomas of Pisa. The tipping of the tower does not seem to have increased...