The Quarterly Review, Volumes 246-247William Gifford, Sir John Taylor Coleridge, John Gibson Lockhart, Whitwell Elwin, William Macpherson, Sir William Smith, Sir John Murray (IV), Rowland Edmund Prothero Baron Ernle, George Walter Prothero John Murray, 1926 |
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Page 6
... whole cast of Wren's temperament , his traditions and associations , were entirely different from those of Chambers and Gandon , but our young heroes regard the work of the 18th century as vieux jeu , fit only to be lumped together and ...
... whole cast of Wren's temperament , his traditions and associations , were entirely different from those of Chambers and Gandon , but our young heroes regard the work of the 18th century as vieux jeu , fit only to be lumped together and ...
Page 8
... whole history of archi- tecture behind it modern English architecture may be looked upon as the immediate product of the Greek and Gothic revivals . ' If this were really so , the result could only be a hopeless jumble of incongruous ...
... whole history of archi- tecture behind it modern English architecture may be looked upon as the immediate product of the Greek and Gothic revivals . ' If this were really so , the result could only be a hopeless jumble of incongruous ...
Page 13
... whole range of the art . Architecture is a very complex art , and cannot be treated on a single issue . It is , after all , the art of building under definite conditions and with a definite purpose , and that implies the adaptation of ...
... whole range of the art . Architecture is a very complex art , and cannot be treated on a single issue . It is , after all , the art of building under definite conditions and with a definite purpose , and that implies the adaptation of ...
Page 15
... whole of architecture , ' he says , ' is in fact unconsciously invested by us with human movement or human moods . ' We transcribe architecture into terms of ourselves . ' This , he says , is the basis of creative design and of critical ...
... whole of architecture , ' he says , ' is in fact unconsciously invested by us with human movement or human moods . ' We transcribe architecture into terms of ourselves . ' This , he says , is the basis of creative design and of critical ...
Page 22
... whole dome appears to have collapsed on its side like a jelly . Pozzo's vanishing point is taken close to the west end , and from anywhere but the one point of view the effect is absurd . In the Palazzo Pisani at Stra , near Padua , the ...
... whole dome appears to have collapsed on its side like a jelly . Pozzo's vanishing point is taken close to the west end , and from anywhere but the one point of view the effect is absurd . In the Palazzo Pisani at Stra , near Padua , the ...
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