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Updated: June 24, 2025
The church of Montmorency is a good specimen of Gothic architecture, and greatly embellishes the little town, which is built on the side of a hill, and commands a delicious view of the chestnut forest and valley, clothed with pretty villas, that render it so much and so justly admired.
Thus we find it used in early buildings throughout the whole of the north and south of Europe, in forms sufficiently represented by the two examples in Plate IV.: 1, from St. Antonio, Padua; 2, from Sens in France. § XII. I wish, however, at present to fix the reader's attention on the form of the bracket itself; a most important feature in modern as well as ancient architecture.
Close by Tibur, on a gently rising slope, sheltered by mountains alike from northern winds and from the unwholesome breathing of the south, stood the vast pleasure-house built by the Emperor Hadrian, with its presentment in little of the scenes and architecture which had most impressed him in his travels throughout the Roman world.
At 8:34 a.m., the English Channel came again into view. To see odd styles of architecture, and watch the strange ways about a people, may afford a pleasant diversion for a time; but the eyes, too, become tired of looking. A striking feature about the agriculture is the smallness of many of the fields; there being no fences, the fields are distinguished by their crops.
Frankly, it is a mocking, decadent eighteenth century architecture that presents itself, but of such vast proportions that one sets it down as something grand if not actually of surpassing good taste. In general the architecture of the palace presents at first glance a coherent unit, though in reality it is of several epochs.
Accordingly, we have first to judge of St. Mark's merely as a piece of architecture, not as a church; secondly, to estimate its fitness for its special duty as a place of worship, and the relation in which it stands, as such, to those northern cathedrals that still retain so much of the power over the human heart, which the Byzantine domes appear to have lost for ever.
A picturesque group of buildings erected by the States and Territories of the American Union, rose in a semicircle around the Fine Arts Galleries, a palace costing half a million. Grecian-ionic in style, this edifice represented a pure type of the most refined classic architecture.
He had amassed a large treasure, but he liked best to spend it in splendid architecture, in noble fountains, in magnificent collections of art, science, and literature, and, above all, in building up fortunes for the children of his sister the washerwoman, and in allying them all to the most princely houses of Italy, while never allowing them even to mention the name of their father, so base was his degree; but he cared not to disburse from his hoarded dollars to supply the necessities of the League.
For a moment in history, the rival spirits of the two great schools of architecture stand face to face like opposing ideals. The classical one, recalled from the region of things past and forgotten, again to play a part on earth with at least the semblance of life; the Gothic spirit, under notice to quit and betake itself to that oblivion from which its rival is reemerging.
Now, as far as I have been able to compare the three schools, it appears to me that the Arab and Lombard are both distinguished from the Byzantine by their energy and love of excitement, but the Lombard stands alone in his love of jest: Neither an Arab nor Byzantine ever jests in his architecture; the Lombard has great difficulty in ever being thoroughly serious; thus they represent three conditions of humanity, one in perfect rest, the Byzantine, with exquisite perception of grace and dignity; the Arab, with the same perception of grace, but with a restless fever in his blood; the Lombard, equally energetic, but not burning himself away, capable of submitting to law, and of enjoying jest.
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