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adopted ancient appear applied arch architects architecture arrangement Aryan Assyria attempt beautiful belonging building built called capital carried Cathedral century certainly Church colour columns complete consequently considered construction dimensions doubt dynasty effect Egypt Egyptian employed enable equal erected essential examples exist extent external fact feelings feet give Gothic Gothic art Greece Greeks hall height important instance interesting internally Italy kings knowledge known least less light materials means mode monuments nature nearly never object original ornament painted palace perfect perhaps period Persian pillars Plan possess present principal probably proportion pyramid races remains represented restore Roman Rome roof Scale sculpture seems side square stands stone style sufficient temple tombs trace true Turanian vault View walls whole woodcut
Page 107 - No language can convey an idea of its beauty, and no artist has yet been able to reproduce its form so as to convey, to those who have not seen it, an idea of its grandeur. The mass of its central piers, illumined by a flood of light from the clerestory, and the smaller pillars of the wings gradually fading into obscurity, are so arranged and lighted as to convey an idea of infinite space; at the same time the beauty and massiveness of the forms, and the brilliancy of their...
Page 126 - Taken altogether, perhaps it may be safely asserted that the Egyptians were the most essentially a building people of all those we are acquainted with, and the most generally successful in all they attempted in this way. The Greeks, it is true, surpassed them in refinement and beauty of detail, and in the class of sculpture with which they ornamented their buildings...
Page 82 - ... the roof of the principal apartment, in the alignment of the sloping galleries, in the provision of ventilating shafts, and in all the wonderful contrivances of the structure. All these, too, are carried out with such precision that, notwithstanding the immense superincumbent weight, no settlement in any part can be detected to the extent of an appreciable fraction of an inch. Nothing more perfect, mechanically, has ever been erected since that time...
Page ii - AN ESSAY ON THE ANCIENT TOPOGRAPHY OF JERUSALEM ; with restored Plans of the Temple, and with Plans, Sections, and Details of the Church built by Constantine the Great over the Holy Sepulchre, now known as the Mosque of Omar. It;-. or 21>. half Russia. London, Weaie, 1847. NOTES ON THE SITE OF THE HOLY SEPULCHRE AT JERUSALEM. An answer to
Page 468 - ... and consequently a low clerestory. But before it was rebuilt in the end of the 12th, or beginning of the 13th century, the mania for painted glass had seized on the French architects, and all architectural propriety was sacrificed to this mode of decoration. In the present instance we cannot help contrasting the solid grandeur of the basement with the lean and attenuated forms of the superstructure, although this attenuation was in other examples carried to a still greater extent afterwards.
Page 489 - Nothing can exceed the majesty of its deeply-recessed triple portals, the beauty of the rose-window that surmounts them, the elegance of the gallery that completes the facade and serves as a basement to the light and graceful towers that crown the composition.
Page 334 - Tt certainly gives us a most exalted idea of what the splendor of the imperial palace at Rome must have been, when we find one emperor — certainly neither the richest, nor the most powerful — building, for his retirement, a villa in the country of almost exactly the same dimensions as the Escurial in Spain, and consequently surpassing in size, as it did in magnificence, most of the modern palaces of Europe. It...
Page 285 - ... window, and that placed high up in the building. I know of no other temples which possess this feature except the great rock-cut Buddhist basilicas of India. In them the light is introduced even more artistically than here ; but, nevertheless, that one great eye opening upon heaven is by far the noblest conception for lighting a building to be found in Europe.
Page 106 - Its principal dimensions are 1200 feet in length, by about 360 in width, and it covers therefore about 430,000 square feet, or nearly twice the area of St. Peter's at Rome, and more than four times that of any mediaeval cathedral existing. This, however, is not a fair way of estimating its dimensions, for our churches are buildings entirely under one roof; but at Karnac a considerable portion of the area was uncovered by any buildings, so that no such comparison is just. The great...
Page 124 - No Gothic architect in his wildest moments ever played so freely with his lines or dimensions, and none, it must be added, ever produced anything so beautifully picturesque as this. It contains all the play of light and shade, all the variety of Gothic art, with the massiveness and grandeur of the Egyptian...