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academic aisles apse arcades arch architects architrave baroque barrel vault basilica Baukunst Bramante brick buildings built buttresses Byzantine architecture capital cathedral cella central century chapel character characteristic church classic architecture classical clerestory colonnade columns Constantinople construction Corinthian cornice court decoration detail dome Doric Doric order early Christian elements England English entablature especially examples exterior facade Florence forms France French frieze Germany Gothic architecture Greece Greek groin vault Hagia Sophia hall Hellenistic imitation important influence interior Ionic Italian Italy later lintel marble masonry medieval architecture ment modern moldings monuments nave original ornament palace Palazzo Paris pediment period peristyle piers pilasters portico prostyle rectangular Renaissance ribs Roman architecture Romanesque Romanesque architecture Rome roof Saint Peter's sculpture side square stone story structural style temple tendency theater thermae thrusts tion tombs towers triglyphs Villa vols wall
Page 500 - The two great rules for design are these: 1st, that there should be no features about a building which are not necessary for convenience, construction, or propriety; 2nd, that all ornament should consist of enrichment of the essential construction of the building.
Page 541 - ... Independence was felt by its authors to apply in artistic matters also. Thus while minor craftsmen for a time continued traditions essentially colonial and English, the leaders sought to establish an architecture which should not be borrowed from contemporary European styles, but should be founded on the authority of the ancients, in whose republics the new states were felt to have their closest analogy. The initiative of amateurs and laymen such as Jefferson and Nicholas Biddle established the...
Page 424 - The principal function of the academy shall be to labour with all care and diligence to give certain rules to our language, and to render it pure, eloquent and capable of treating the arts and sciences
Page 320 - When we arrive at the end of the thirteenth and the beginning of the fourteenth century...
Page 526 - Doorway showing squared and dressed stones of jamb. c. Wooden lintels cut midway in length. d. Doorway connecting front with back chamber and showing position of cord holders. e. Inner face of arch dressed with the slope.
Page 275 - ... to the temper of the age, but it tended to diverge from and even stand in antagonism to the dispositions of a scientific sociology. It introduced a cleavage between the facts of social development and the ideals of the cultured world. The same spirit that Moliere expressed regarding mediaeval art Le fade gout des monuments gothiques Ces monstres odieux des siecles ignorants...
Page 542 - It is little realized that this design considerably antedated anything similar abroad. Classical examples had indeed been imitated in garden temples and commemorative monuments, but never on such a large scale and never in a building intended for practical use.
Page 595 - Guttae (gut'S), pi. of Gutta. One of a series of pending ornaments, generally in the form of a frustum of a cone — but sometimes cylindrical — attached to the underside of the mutule and regula of the Doric entablature. (See Figs. 7 and 8.) They probably represent the wooden pegs or tree-nails which occupied these positions in primitive wooden construction. H Hadrian (ha'dri-an).
Page 345 - Renaissance architecture was less concerned with problems of structure and more with those of pure form. As in the case of Roman architecture, the forms of detail were sometimes used as trophies of classical culture, with relative indifference to their original structural functions. The forms were not merely ends in themselves, however, but means for a rhythmical subdivision of space, more complex and more varied than either ancient or mediaeval times had known.