A History of Western ArchitectureIn his highly acclaimed reference work David Watkin traces the history of western architecture from the earliest times to the 21st century. Adopting an approach that sees architectural history as a continuous narrative, the author emphasizes the ongoing vitality of the Classical language of architecture, underlining the continuity between, for example, the work ofIctinus in 5th-century BC Athens and that of McKim, Mead and White in 20th-century New York. |
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Table des matières
| 6 | |
| 89 | |
| 107 | |
The Gothic Experiment | 149 |
O Renaissance Harmony | 211 |
Baroque Expansion | 281 |
The Nineteenth Century | 439 |
Art Nouvi | 537 |
The Twentieth Century | 565 |
Glossary | 701 |
Acknowledgements | 709 |
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Expressions et termes fréquents
ancient antique apse arcade arches architect architecture Art Nouveau Athens Baroque basilica Beaux-Arts begun Berlin Bernini Borromini brick built Byzantine capital carved Castle cathedral central centre century BC chapel choir church circular classical classical architecture clerestorey colonnade coloured columns concrete construction Corinthian court courtyard create decorative designed developed dome Doric order early east echo Ecole des Beaux-Arts England entablature Europe example Exterior facade flanked France French gallery garden German glass Gothic Greek Doric grid plan Hagia Sophia hall Hellenistic House ideals influence influential inspired interior Ionic Italian Italy Le Corbusier loggia London marble Mead and White medieval modern monument Museum nave neo-classical octagonal ornament painted palace Palazzo Pantheon Paris pavilion Piazza Picturesque piers portico public buildings Renaissance ribs Rococo Roman Romanesque Rome roof royal sculpture square staircase stone style survives temple theatre tower town tradition transept urban vaults Villa walls west front
Fréquemment cités
Page 105 - ... a confusion of delight, amidst which the breasts of the Greek horses are seen blazing in their breadth of golden strength, and the St Mark's lion, lifted on a blue field covered with stars, until at last, as if in ecstasy, the crests of the arches break into a marble foam, and toss themselves far into the blue sky in flashes and wreaths of sculptured spray, as if the breakers on the Lido shore had been frostbound before they fell, and the sea-nymphs had inlaid them with coral and amethyst.
Page 104 - Cross; and above them, in the broad archivolts, a continuous chain of language and of life - angels, and the signs of heaven, and the labours of men, each in its appointed season upon the earth; and above these, another range of glittering pinnacles, mixed with white arches edged with scarlet flowers, - a confusion of delight, amidst which the breasts of the Greek horses are seen blazing in their breadth of golden strength...
Page 104 - ... a multitude of pillars and white domes, clustered into a long low pyramid of coloured light; a treasure-heap, it seems, partly of gold, and partly of opal and mother-of-pearl, hollowed beneath into five great vaulted porches, ceiled with fair mosaic, and beset with sculpture of alabaster, clear as amber and delicate as ivory...
Page 104 - And well may they fall back, for beyond those troops of ordered arches there rises a vision out of the earth, and all the great square seems to have opened from it in a kind of awe, that we may see it far away...
Page 523 - It must be tall, every inch of it tall. The force and power of altitude must be in it, the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line— that it is the new, the unexpected, the eloquent peroration of most bald, most sinister, most forbidding conditions.
Page 8 - While stands the Coliseum, Rome shall stand; 'When falls the Coliseum, Rome shall fall; 'And when Rome falls — the World.
Page 336 - The churches, therefore, must be large ; but still, in our reformed religion it should seem vain to make a parish church larger than that all who are present can both hear and see. The Romanists, indeed, may build larger churches ; it is enough if they hear the murmur of the Mass, and see the elevation of the Host ; but ours are to be fitted for auditories.
Page 434 - ... principal stones. The staircase has now another situation. It will be less curious but have I think some beauty. The area of the stairs will be occupied by a vestibule, in the center of which a circular colonade will support a dome for the purpose of admitting light. The columns of the rotunda, 16 in number, must be more slender than the Ionic order will admit, and ought not to be of the Corinthian because the chamber itself is of the Ionic order. I have therefore composed a capital of leaves...
Page 97 - And whenever anyone enters this church to pray, he understands at once that it is not by any human power or skill, but by the influence of God, that this work has been so finely turned.

