Sinopsis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1877 edition. Excerpt: ...or general arrangements of plan. They continued to draw Gothic plans and to construct like their predecessors, to cover their buildings with high roofs, to crown them with conspicuous chimney shafts, to build their porticoes low to afford shelter from the rain, to make mullioned windows, narrow and nmuerous staircases, build great halls flooded with light for large gatherings, and small apartments for daily use; to care little for symmetry, to flank the main buildings with towers or pavilions, to jjrovide for defence, to detach the parts of their buildings from each other in case of need, and to proportion the windows to the apartments they were destined to light. Meanwhile noble amateurs loudly applauded, because they saw Italian columns and porticoes, arabesques and Caryatides on the facades of their palaces; and everybody said--and it has been foolishly repeated from that time forward--'that these edifices were the works of the Jocondes, the Rossos, the Primaticcios, and Serlios! It is worth remarking that most of these artists joined the party of the Reformation as soon as it began to make proselytes in France. Amid all its glory, the sixteenth century was in France a period of protracted and sometimes tragic mystification. We deceived each other; every one paraded sentiments opposed to his real inclinations or interests. Though religious questions were made the occasion of civil war, both Catholics and Reformers were the most incredulous of mortals. The Reformation found its chief supporters among the higher classes who had everything to lose in a social revolution, and who did not apply the Reformation to their own morals. The common people were fanatical adherents of religious tradition, though they had nothing to lose and everything to...
Reseña del editor
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1877 edition. Excerpt: ...or general arrangements of plan. They continued to draw Gothic plans and to construct like their predecessors, to cover their buildings with high roofs, to crown them with conspicuous chimney shafts, to build their porticoes low to afford shelter from the rain, to make mullioned windows, narrow and nmuerous staircases, build great halls flooded with light for large gatherings, and small apartments for daily use; to care little for symmetry, to flank the main buildings with towers or pavilions, to jjrovide for defence, to detach the parts of their buildings from each other in case of need, and to proportion the windows to the apartments they were destined to light. Meanwhile noble amateurs loudly applauded, because they saw Italian columns and porticoes, arabesques and Caryatides on the facades of their palaces; and everybody said--and it has been foolishly repeated from that time forward--'that these edifices were the works of the Jocondes, the Rossos, the Primaticcios, and Serlios! It is worth remarking that most of these artists joined the party of the Reformation as soon as it began to make proselytes in France. Amid all its glory, the sixteenth century was in France a period of protracted and sometimes tragic mystification. We deceived each other; every one paraded sentiments opposed to his real inclinations or interests. Though religious questions were made the occasion of civil war, both Catholics and Reformers were the most incredulous of mortals. The Reformation found its chief supporters among the higher classes who had everything to lose in a social revolution, and who did not apply the Reformation to their own morals. The common people were fanatical adherents of religious tradition, though they had nothing to lose and everything to...
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