Some more monumental finds will be recomposed to be admired in situ.
|
|
The greater the film—the greater Hollywood's hubris—the more monumental the fall.
|
|
"The Arch of Life" (2016) is modest compared with this renowned couple's more monumental installations.
|
|
Projecting forward with what we know, 2019 could be an even more monumental year for OnePlus.
|
|
Castro might even be equipped to do something more monumental — bring some life to Yankee Stadium.
|
|
The Armory production, which opened on Tuesday night, feels even more monumental than "The Hairy Ape," both larger and grimmer.
|
|
Yes, her just-released album, Invasion of Privacy, was climbing the charts, but arguably something even more monumental came into her life.
|
|
While reflecting on the more monumental gifts they'd received, the couple decided that the unopened box was the gift that meant the most.
|
|
"The Neighborhood," Vargas Llosa's 20th novel, is a political mystery of the kind he regularly turns out between his more monumental historical productions.
|
|
He's true to details, but compresses the stone and drops out the foreground so the scene appears more monumental than in real life.
|
|
Idaho, the top potato producer in the US, had an estimated production fall of 5.5%, while other states had even more monumental drops.
|
|
And nowhere are the consequences more monumental than in the telecom, media and technology (TMT) sector, where the erstwhile status quo stands to be upended soon.
|
|
Other works in the show are more monumental in size and are almost completely devoid of their original content, beyond peaking slivers of their original color.
|
|
Elizabeth is at once more fragile and more monumental than she has generally seemed; without a crown on her head, she could pass for the class bully.
|
|
A victory on Tuesday would be an even more monumental achievement and possibly signal a shift in one of the most reliably Republican states in the country.
|
|
But yesterday was also a day because while I was busy at a phone event, the rest of the Verge was absorbing and writing about more monumental happenings.
|
|
It demonstrates that coins and other small finds, while often ignored in media accounts of more monumental heritage, make up the vast majority of artifacts offered for sale.
|
|
Three versions of "Altarpiece" (1915) are more monumental with solidly blocked-out color, exploring chromatic shading combined with the hard, basic geometric shapes of a triangle and circle.
|
|
And also brand-new tonight, more monumental setbacks for Robert Mueller&aposs imploding witch hunt and new evidence that the DOJ is, in fact, installing it stonewalling even further.
|
|
"The problem with a large multinational company being tied too closely to a particular individual is that it makes a departure more monumental," Dan Hill, CEO of Hill Impact, told CNBC via email.
|
|
His painterly style, developed and refined out of four decades of working, became bolder, his figures and forms more monumental, his use of black more prominent, his sense of space – compressed but never flattened – more self-assured.
|
|
The painting, which features a flame-red field, resembled a more monumental 19823 abstract by Still that soared to a double-the-estimate $61.7 million at Sotheby's in 2011, sparking a new interest in the American artist.
|
|
While Democrats and their wingmen in the media are falling over themselves to make superstars out of shiny new socialists such as Alexandria Ocasio-Cortez and Rashida Tlaib, the unapologetic capitalist in the White House is achieving something much more monumental.
|
|
With the iPhone 24S came three features that were arguably more monumental than anything else we've seen in smartphones: iCloud on iOS 5; Siri, Apple's personified artificial intelligence; and much better camera capabilities, including an eight-megapixel rear camera and 1080p HD video capturing.
|
|
Yet the more monumental retail push occurred last summer, when Amazon purchased grocery chain Whole Foods for $13.7 billion and proved, yet again, that Bezos is willing and able to buy his way into a new market when it's unfavorable to start from scratch.
|
|
This assembly is itself framed by a more monumental round-arched molding with keystone. The building was listed on the National Register of Historic Places in 2008.
|
|
It stayed influential for several centuries, even if outshined by the even more monumental Bencao gangmu of the Ming Dynasty. Its author, Li Shizhen spoke about Tang Shenwei favorably.
|
|
A mensa is a niche in the wall holding a sarcophagus while a cubiculus is more private, more monumental, and usually more decorated. Cubicula use architectural structures, such as columns, pilasters, and arches, along with bold geometric shapes. Their size and elaborate decor indicate wealthier occupants. With the issuance of the Edict of Milan, as Christians were less persecuted and gained more members of the upper class, the catacombs were greatly expanded and grew more monumental.
|
|
He and other painters led French painting to return to the Grand Style, with more horizontal compositions, more sculptural drapery, colder colouring and set in ever more monumental architecture. He died in Paris.
|
|
The chateau was surrounded by a new park in the style of the Italian Renaissance garden, with pavilions and the first grotto in France. Primaticcio created more monumental murals for the gallery of Ulysses.Salmon, p. 8.
|
|
Replacing an earlier hotel of the same name, the Royal Hotel opened in 1899. Historic England describe it as a "forceful building, in the manner of Richard Norman Shaw's more monumental work in this style and demonstrating a characteristic late Victorian approach to urban development".
|
|
He also designed Plymouth Congregational Church in Syracuse. White prepared designs for over 100 churches. While White designed many houses, his papers have been lost, therefore, the identity and attribution of most of them has been obscured. Accordingly, he is remembered mostly for his more monumental work.
|
|
He painted a portrait of Sødring which now hangs in the Hirschsprung Collection. In 1834 he moved, along with his parents, outside of Copenhagen’s fortifications near Sortedam Lake (Sortedamssøen). He painted many views overlooking the lake towards the city and the embankments surrounding the city. His work became larger, more monumental.
|
|
Art critic Brian Sewell said "Our country is littered with public art of absolutely no merit. We are entering a new period of fascist gigantism. These are monuments to egos and you couldn't find a more monumental ego than Boris." The Times reported the description of it being the "Godzilla of public art".
|
|
In the second part of the 18th century the roof was renovated while in the 19th century the cathedral was regothicised. The bishop Wincenty Teofil Chosciak wanted the cathedral to look more monumental and decided to enlarge the towers. The works began in 1878. They enlarged the towers, and finished them off with pointed cupolas.
|
|
It is known locally as the Parish of the Inmaculada Concepción. The Church of Santo Domingo is built over a solid platform, which makes it look more monumental. It was taken over by the Dominicans when the Jesuits were expelled from Mexico in the 18th century. It would substitute for the cathedral when it was in construction.
|
|
His court and military barrack were located right behind the gate, at the very entrance into the fort. The National Theatre is today located on that spot. From descriptions, it is known that it was much larger and more monumental than the latter Stambol Gate, but there are no surviving illustrations so the exact appearance of the gate is unknown.
|
|
Large earthworks were necessary, especially in the section between Ditzingen and Leonberg. The station was built west of Leonberg on the border with the Eltingen district. The Royal Württemberg State Railways () built a more monumental station building for the Oberamt town than was usual on the line. It consisted of a three-story main building, with a single storey extension.
|
|
Romain Rolland wrote that these anthems (or Psalms) stood, in relation to Handel's oratorios, much the same way that the Italian cantatas stood to his operas: "splendid sketches of the more monumental works". John A. Davis wrote that they contain "almost every type and style of Handel's music", and thus "present a rather comprehensive panorama of the composer's creative output".
|
|
He entered the international competition to design the Australian War Memorial in Canberra. His design was considered exceptional but, as with most of those entered, was over budget. The only entry within budget was by John Crust and so the two architects were commissioned to work together on an amended design. Crust project managed the new building to Sodersten's even more monumental design.
|
|
Art colony members were required to contribute to the local culture by giving art shows, lectures and plays. In 1904, Taft created The Blind and then began focusing on more monumental works including The Eternal Indian located just north of Oregon in Illinois' Lowden State Park. Several other Taft works are located in and around Oregon, including The Soldiers' Monument on the courthouse lawn.Novak, pp. 55-56.
|
|
Creswell was granted 800 Egyptian pounds for three years to finance the work. Creswell hastily returned to England for demobilisation, and returned to Cairo on 13 October 1920. Aerial view of Ibn Tulun's mosque and the surrounding neighbourhood The work proved to be even more monumental than Creswell had anticipated. Archaeological excavations had significantly increased the number of known monuments, and no draughtsman was made available to him.
|
|
"This reprise of the painting Bacon considered his 'Opus I' is both larger and more monumental than the original, the sumptuous, dusky crimson backgrounds and deep space evoking a subverted Baroque altarpiece. Conscious no doubt of his artistic legacy, Bacon intended a posthumous bequest of the painting to the Tate; he was persuaded to bring forward the donation and, on condition there should be no ceremony, gifted it to the gallery in 1991".
|
|
HOME will commission, produce and present a programme of contemporary theatre, film, and visual art.Chris Greenhalgh, "Fifteen Fantastic Openings in 2015 That Will Make Manchester Even More Monumental" , I Love Manchester, 6 January 2015. The programme will feature new commissions, international collaborations, off-site and interdisciplinary productions, with an emphasis on innovative visual storytelling and cross-art form collaboration."Manchester announces huge new culture/arts/cinema space", Louder Than War, 14 January, 2015.
|
|
Caspar Frederik Harsdorff favoured French classicism inspired by ancient Greece and Rome. The odd-shaped corner site inspired Harsdorff to build a property with three different model facades. The more monumental, central section is decorated with Ionic order pilasters and crowned by a triangular pediment with relief decoration. The house came to serve as inspiration for hundreds of houses in the rebuilding of Copenhagen during the years after the Great Fire of 1795.
|
|
The Bortier Gallery (, ) is a shopping arcade designed by Jean-Pierre Cluysenaer. It was constructed in 1847 and opened in the following year. It is situated in the centre of the City of Brussels between the Mont des Arts/Kunstberg and the Grand Place/Grote Markt, not far from the more monumental Royal Saint-Hubert Galleries. This site is served by Brussels Central Station on lines 1 and 5 of the Brussels metro).
|
|
The level of borrowing of motifs from Rubens suggests that he had some form of contract with the workshop of Rubens since some models he could only have seen there. The influence is shown in a more monumental rendering of figures in more balanced compositions. Until 1630, de Crayer followed the style of Rubens' Classicist period. The work Mocking of Job (1619, Musée des Augustins, Toulouse) is an example of this style.
|
|
1960s) shows a boxing match, with an attempt to express the drama of the fight through few brushstrokes. Alston worked with oil-on-Masonite during this period as well, using impasto, cream, and ochre to create a moody cave-like artwork. Black and White #1 (1959) is one of Alston's more "monumental" works. Gray, white and black come together to fight for space on an abstract canvas, in a softer form than the more harsh Franz Kline.
|
|
The main door is more monumental that the others. Its pointed pediment is filled with a sculpture of the Madonna and the Child set in a scallop shell. The rim of the niche is decorated with cherubs among six-pointed stars and whiffs of clouds. The frieze has a fine carved decoration of artificial foliage, pecking birds and three putti who are holding torches and oak branches in their hands and carrying bowls of fruit on their heads.
|
|
The twentieth century saw a new generation of hotels, much larger and more monumental than before as the skyscraper came to prominence. The King Edward Hotel was established in 1903, and is the oldest major hotel still in operation in the city. In 1927 the Queen's Hotel was demolished and replaced by the Royal York Hotel. At the time the new hotel was the tallest building in Canada and quickly became the city's most elite lodging.
|
|
His genre scenes in the 1630s showed the influence of Bartolomeo Manfredi. An example is the Card Players (1634, private collection). Portrait of a Bruges family After this early Caravaggesque influence, his work developed towards more monumental figures and a more classicist treatment that reflected the work of Annibale Carracci and his follower Domenichino. From the 1650s, his work started to display greater emotionality, the use of dramatic spatial effects and a palette closer to Venetian art.
|
|
He held exhibitions in many different countries and in a great number of important museums around the world, among which Moscow State Tretyakov Gallery, Saint-Petersburg State Russian Museum, Hannover Sprengel Museum, Frankfurt Staedel Museum, British Museum, Luxembourg National Museum. Some works by Kantor are in the Vatican Pontifical Academy of Sciences, Paris Saint Merry Church and the Brussels cathedral. Maxim Kantor has created three more monumental portfolio of etchings and prints with the following titles Metropolis.
|
|
The completed Museum of Archaeology The Museum of Archaeology began construction in 2009 and opened in September, 2014. Although the building primarily serves as a museum, it also houses the Constitutional Court and the National Archive of the Republic of Macedonia. It is situated on the eastern bank of the Vardar, across the river from Macedonia Square. The exterior of the museum is among the more monumental buildings of the project, with its Greek Revival architecture.
|
|
This made Cholula the dominant political force in the region. This was also the time when work on the Great Pyramid began, along with another monument called the Edificio Rojo. Cholula continued to grow during the Classic period (200 – 800 CE) to an extension of over and a population of between 20,000 and 25,000. It also remained dominant over the Puebla-Tlaxcala region, with more monumental construction, including the addition of two stages to the Great Pyramid.
|
|
The Colosseum, the largest amphitheatre ever built, and a most popular tourist attraction Roman amphitheatres are Roman theatres – large, circular or oval open-air venues with raised seating – built by the ancient Romans. They were used for events such as gladiator combats, venationes (animal slayings) and executions. About 230 Roman amphitheatres have been found across the area of the Roman Empire. Early amphitheatres date from the Republican period, though they became more monumental during the Imperial era.
|
|
In the west, these included the Gladstone Hotel and the Drake Hotel, while in the east, New Broadview House Hotel and the New Edwin Hotel were built. The twentieth century saw a new generation of hotels, much larger and more monumental than before as the skyscraper came to prominence. The King Edward Hotel was established in 1903, and is the oldest major hotel still in operation in the city. In 1927, the Queen's was demolished and replaced by the Royal York Hotel.
|
|
The third sketch (№ 238) from 1913 Some major changes were introduced in a third watercolour painting (№ 238) which he made during the autumn of 1913. This version was given the text En drömsyn. En konung offras för folket ("a dream vision, a king sacrificed for his people"), a text which was possibly added in the hope that it would not be considered to be an attempt at a historically faithful reconstruction.Gunnarsson 1992:223ff The most essential change consisted of a more monumental composition.
|
|
In the Imperial era, amphitheatres became an integral part of the Roman urban landscape. As cities vied with each other for preeminence in civic buildings, amphitheatres became ever more monumental in scale and ornamentation. Imperial amphitheatres comfortably accommodated 40,000–60,000 spectators, or up to 100,000 in the largest venues, and were only outdone by the hippodromes in seating capacity. They featured multi-storeyed, arcaded façades and were elaborately decorated with marble and stucco cladding, statues and reliefs, or even partially made of marble.
|
|
The Intraurban Sanctuary of Demeter and Persephone was an intraurban sanctuary in ancient Cyrene in Libya, dedicated to Demeter and Persephone.Susan-Marie Cronkite , The Sanctuary of Demeter at Mytilene: A Diachronic and Contextual Study. Volume Two Catalogue, 1997, Institute of Archaeology, University College London The sanctuary was located on the north-west edge of the agora. It was founded in 7th-century BC, and the predecessor of the larger and more monumental Extramural Sanctuary of Demeter and Persephone at Cyrene, Libya, which was founded somewhat later.
|
|
Amongst other cuts in its expenses, the theatre had to abolish its Corps de Ballet. During this period, many famous French actors and singers gave regular performances in the theatre whilst touring the provinces of the Empire. Still a consul, Napoleon, on his visit to Brussels, judged the old theatre too dilapidated for one of the most prestigious cities of his Empire. He ordered plans to replace the old building with a new and more monumental edifice, but nothing was done during the Napoleonic rule.
|
|
One of its sections is the chapel, where at the upper level the most prominent members of the monastery are buried, including Francisco de Vitoria and Domingo de Soto. Ordinary members of the order are buried at the lower level where the monks sat on benches against the walls for their meetings. The "New Chapter" is larger, more monumental and better lit than the older one and dates from the 17th century. It is similar in design to the sacristy, which is accessed via the Soto staircase.
|
|
This is dominated by a central, glass-enclosed lobby. During the construction of the Hanover–Würzburg high-speed line in the 1980s, Fulda station was redesigned. Bahnhofstrasse, the street on the southwest side of the station, was lowered to the station’s basement level and a new entrance area was created, so that the pedestrian tunnel running under the tracks now emerges at ground level. Due to this lowering of the station forecourt, the entrance building now appears higher and more monumental than it did originally.
|
|
The Tausig transcription of Bach's Toccata and Fugue in D minor (BWV 565) (score) is well known and sometimes still performed, but the Busoni version (score) over time has proved more popular. According to Hugo Leichtentritt, Busoni's "building of the climaxes is more monumental, in simple lines, more thoughtful and much more effective than Tausig's somewhat arbitrary rise and fall...."Hugo Leichtentritt, "Ferruccio Busoni as Composer," Musical Quarterly, 3 (1917), pp. 69-97. Quoted and cited by Sitsky (2008), p. 310. Moreover, Busoni carefully avoids arpeggios, a technique used on piano, but not on organ.
|
|
Belbello tried to appeal to the Marchioness, which subsequently failed and forced him to stop working on it. In 1462 Belbello seems to have been working for the Duchess of Milan for a short stint, as evident by a letter dated 1462. After 1461 Belbello's style changed, becoming much more monumental and embracing artistic qualities from the Renaissance. This change in style is attributed to his forceful exit from his work on the Missal by the Marchioness of Mantua as well as his replacement with a younger artist who was more in style.
|
|
Beyer produced more monumental figures in an early Neoclassical style, including a set of musicians.Battie, p. 100 Part of a service with the Martinelli-Giovanelli arms, by Gottlieb Friedrich Riedel, 1762–1763 The original manufactory became famous for its figurines, which are interesting because they very likely were modelled directly on the costumes used in the court ballet, another enthusiasm of Duke Charles Eugene. Between 1760 and 1766 he had managed to entice to Stuttgart the innovative choreographer and ballet master Jean-Georges Noverre, then out of favour in Paris.
|
|
His body lay in state at the State Capitol where approximately 100,000 people--some from as far away as Arkansas, Mississippi and Texas--paid their respects. On September 13, Long was interred on the grounds in front of the Capitol. In 1938, the State Legislature appropriated $50,000 to replace Long's original gravemarker, a simple tombstone, with a more monumental one; two years later, a marble pedestal surmounted by a bronze statue was erected. On April 26, 1970, a bomb consisting of "twenty to sticks of dynamite" was detonated in the Senate Chamber.
|
|
Hermit in the Desert The influences on his work are obscure. Some suspect the influence of the loose painterly style of his Venetian contemporary Sebastiano Ricci (1659–1734), the Genoese Domenico Piola (1627–1703) and Gregorio de Ferrari, although the most prominent of the three, Ricci, painted in a more monumental and mythic style, and these artists may in fact have been influenced by Magnasco. Magnasco was likely influenced by Milanese il Morazzone (1573–1626) in the emotional quality of his work. Some of his canvases (see ill.
|
|
Oldest of these are a number of purely decorative, grey triangles and crosses, dating perhaps from the earliest construction period. A set of more monumental but likewise purely decorative paintings in the nave and around the east window of the apse date from c. 1280. Later, from the 14th century, are murals in the apse depicting six apostles, unique in their appearance on Gotland. Among the furnishings, the medieval altar (which has probably once housed a relic) has a Baroque top, dated 1683 and with the monogram of King Charles XI of Sweden.
|
|
The Theatre in 2010 During the reign of Septimius Severus at the beginning of the 3rd century, the old scaenae frons was replaced by a new, more monumental one, organized on three storeys and flanked by two imposing side entry buildings. Sculptural reliefs, displaying mythological subjects, were placed on the different storeys, while dedicatory inscriptions ran along the entablatures. The transformation was outstanding due to the size of the structures, the high quality of workmanship and materials employed.Filippo Masino, Giorgio Sobrà, La frontescena severiana del Teatro di Hierapolis di Frigia.
|
|
"The Chandos portrait of Georg Friedrich Händel" by James Thornhill, c. 1720 In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the Chandos Anthems. Romain Rolland wrote that these anthems (or Psalms) stood in relation to Handel's oratorios, much the same way that the Italian cantatas stood to his operas: "splendid sketches of the more monumental works." Another work, which he wrote for The 1st Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work.
|
|
Although "eight bells" can be either 8 o'clock, 12 o'clock, or 4 o'clock, the painting refers to taking the "noon sight" at local apparent noon, a standard during the days of celestial navigation. Sights are also taken at dawn or dusk.Mixter, 297 More monumental than the three panels that preceded it, the two figures dominate the foreground of Eight Bells, and the details of the ship are minimally rendered. Homer shows the figure at left using an octant to take a reading of the sun, the other apparently reading the altitude of a completed sight on his octant.
|
|
Friedländer, 64 Although the Madonna's throne is in the mid-ground, her head is level with the standing figures in the foreground, who are closer in perspective. The apse in which she sits adds to the illusion of depth and is an expanded area for her throne. A similar approach can be seen in the later Dresden Triptych, but that work contains a better handling of spatial depth; Mary's throne is moved back, and the donors and saints are relegated to wing panels. The figures in Canon van der Paele are within a more confined space, are somewhat cramped, but far more monumental.
|
|
This fear was allayed by Sebastiano Ximenes because of the work on his own Palazzo Ximenes da Sangallo in Florence. Already in Leo X's day, the frescoes of the salon were started by the greatest Florentine masters of the time: Pontormo, Andrea del Sarto and the Franciscan himself. The paintings were completed some fifty years later by Alessandro Allori, with a rethinking of the original project in a more monumental key, giving more space to the figures than to painted architectures. The villa was the place where foreign brides of the family members in Florence were welcomed.
|
|
The old theatre was replaced by a new neoclassical building designed by the French architect Louis Damesme. Unlike Bombarda's building, which was situated along the street and completely surrounded by other buildings, the new theatre was placed in the middle of a newly constructed square. This gave it a more monumental appearance, but it was primarily the result of safety concerns since it was more accessible to firemen, reducing the chance that fire would spread to surrounding buildings. The new auditorium was inaugurated on 25 May 1819 with the opera La Caravane du Caire by the Belgian composer André Ernest Modeste Grétry.
|
|
The first sanctuary is dated to the late 7th-century or early 6th-century BC. A new and more monumental temple was erected in the 1st century BC during the Hellenistic period and financed by the wealthy freedman Zolios. The sanctuary was granted the status of asylum by the senatus consultuni de Aphrodisiensibus of 39 BC. The temple formed the center of the city and was the center of the city's prosperity. The Temple of Aphrodite was a focal point of the town. The Aphrodisian sculptors became renowned and benefited from a plentiful supply of marble close at hand.
|
|
The building was among the first monumental civic buildings in Grand Forks. Originally completed in 1906, the building was envisioned to be a majestic Post Office and Federal Courthouse at a time when Grand Forks was achieving increasing prominence in the agricultural hub of the Red River Valley. The city's existing post office, housed in an 1870s log cabin, had become obsolete and rising political and business influences demanded a more monumental and permanent post office and courthouse. The new Federal building was sited at the north corner of Fourth Street and First Avenue in the downtown business district.
|
|
It seems probable that each artist "subtly altered his style of painting as a result of this direct confrontation with the other", and "Annibale's monumental saints, whose hands and feet seem to pierce the picture plane" may have influenced Caravaggio.Kate Ganz: Annibale's Rome: Art and Life in the Eternal City, in The Drawings of Annibale Carracci, National Gallery of Art, Washington, 1999, p. 203. The Cerasi Assumption was a turning point in Annibale's painting style as his compositions became darker, the figures larger and more monumental during the last phase of his career. Donald Posner termed his style in this period 'hyper-idealized'.
|
|
1430 is the panel with Madonna and Child, in the Accademia Carrara, once attributed to Gentile da Fabriano. In 1441, at Ferrara, where he was at the service of Leonello d'Este together with Leon Battista Alberti, he executed a portrait of that Marquess, now lost. Of this period survives the Madonna dell'Umiltà, probably commissioned by one of the brothers of Leonello. The influence from Masolino da Panicale towards more modern, early Renaissance themes is visible in the Madonna with Child (dated 1448) in the Pinacoteca di Brera: for the first time, perspective is present and the figure are more monumental.
|
|
No. 18: The Bachmann House A number of architectural styles are represented in spite of Gammeltorv's small size and harmonic character. No. 14, 16 and 18 on the square's north side and No. 20 and No. 22 on its west side all date from the years 1795-1801 but none of the architects are known. The more monumental of the three houses is the Bachmann House at No. 18. The facade is decorated with Ionic order pilasters and is tipped by a triangular pediment. The Suhr House at No. 22 is also decorated with Ionic order pilasters.
|
|
Those from upper Cetina are smaller and by type and style relate to those from Knin and Livno, while those from mid Cetina are more monumental. Specific plate stećci were found in village Bitelić which are decorated with identical geometric ornament, not found in Dalmatia nor in Bosnia and Herzegovina, however by the nature of ornament and surface treatment is considered possible connection with several monuments near Church of St. Peter in Nikšić, Montenegro. In Montenegro could have existed around Nikšić, while in Glisnica and Vaškovo in Pljevlja Municipality. According to Bešlagić, in Serbia seemingly were no specific centers yet the masons arrived from Bosnia and Herzegovina.
|
|
Although a bridge was envisaged on the site already in the 1930s by the architect Jože Plečnik, who arranged his Water Axis along the Ljubljanica, Plečnik's bridge would be far more monumental and the current bridge is rather an antithesis than a completion of his plans. With its length of and the width of , it functions as a square on water and is in this regard similar to Plečnik's bridges. Shortly after the opening of the bridge padlocks of couples in love started appearing on its steel wires, symbolizing declarations of eternal love, a phenomenon similar to the one on the Parisian Pont des Arts.
|
|
However larger works for churches or outdoor display are also covered by the term. By the mid-15th century andachtsbilder were influencing large monumental works, a process James Snyder discusses in relation to major works such as Rogier van der Weyden's Prado Deposition, the Isenheim Altarpiece of Matthias Grünewald and the carved Altarpiece of the Holy Blood by Tilman Riemenschneider at Rothenburg ob der Tauber.Snyder, pp. 128, 348-50, 306 respectively The Mass of St Gregory, which included a vision of the Man of Sorrows, was a composition often used on altarpieces which took a common andachtsbilder subject and expanded it into a subject suitable for more monumental works.
|
|
It was a period in which the State and the government itself led the city's cultural life and progress, promoting and funding new activities and rewarding the most deserving citizens and achievements.Mazzocca, 46 During this initial period, Neoclassicism was characterized by a more sober and austere approach, resulting in symmetrical, well-ordered structures. The Napoleonic period, while demonstrating some continuity in reinitiating work suspended under the Austrian government, was also characterized by a more monumental and celebratory style, striving to promote Milan as one of the great European capitals with Eclectic and Romantic architectural features. In particular, outstanding new roads and city gates were completed.
|
|
Also in 1850 he designed, without polychromy, St Matthias' in Stoke Newington, with a bold gable-roofed tower. At St Bartholomew's, Yealmpton in the same year, Butterfield used a considerable amount of marquetry work for the interior, and built striped piers, using two colours of marble.Hitchcock 1977, pages 247–8 Blue plaque, 42 Bedford Square, London At Oxford, Butterfield designed Keble College, in a style radically divergent from the University's existing traditions of Gothic architecture, its walls boldly striped with various colours of brick. Intended for clerical students, it was largely built in 1868–70, on a fairly domestic scale, with a more monumental chapel of 1873–6.
|
|
Apart from a one-movement sonata for violin and piano dating from 1899, unpublished in the composer's lifetime, Ravel wrote seven chamber works. The earliest is the String Quartet (1902–03), dedicated to Fauré, and showing the influence of Debussy's quartet of ten years earlier. Like the Debussy, it differs from the more monumental quartets of the established French school of Franck and his followers, with more succinct melodies, fluently interchanged, in flexible tempos and varieties of instrumental colour.Griffiths, Paul. "String quartet", Grove Music Online, Oxford University Press, retrieved 31 March 2015 The Introduction and Allegro for harp, flute, clarinet and string quartet (1905) was composed very quickly by Ravel's standards.
|
|
Instead of using stone for decorative exterior elements including trim and faces, as was common at the time of construction, Pilcher utilized terracotta. Other external features include a pitched copper roof with a low slope, limestone-surrounded entrances, crenellations, and light red brick. According to architectural writers Karen Van Lengen and Lisa Reilly, the tower's presence "created a more monumental and less homelike impression than that of its neighbor, Josselyn" which they speculate may have earned the dorm its nickname, "Pilcher's Crime". Upon opening, the house featured two dining rooms with student rooms arranged along lengthy hallways radiating from the center of the structure.
|
|
He had responded to Raphael's work by making the figures in his altarpieces more monumental and heroic. He also included classical architecture in his compositions. During his stay in Rome, Coxie was able to directly study the works of Raphael, Michelangelo and other Renaissance painters as well as study the works of Antiquity that were being rediscovered at the time. He also read classical literature and philosophy and was aware of the intellectual discussions on the reception of Antique art in Italy. The panel Plato’s Cave which he likely painted during his stay in Rome is an attempt by Coxie to express these visual and philosophical influences.
|
|
George Meade Gibbs, MA was archdeacon of Saint Kitts from 1861 until 1882."More Monumental Inscriptions: Tombstones of the British West Indies" Brown, L.B; OLiver V.L p125: : United States, Borgo Press, 1993 Gibbs was educated at Trinity College, Dublin;"Alumni Dublinenses : a register of the students, graduates, professors and provosts of Trinity College in the University of Dublin (1593–1860)" Burtchaell, George Dames/Sadleir, Thomas Ulick (Eds) p323 Dublin, Alex Thom and Co, 1935 and ordained in 1849.'ORDINATIONS' The Morning Post (London, England), Friday, 28 September 1849; pg. 5; Issue 23653 After curacies in Derby, Southwark and Wonston he was Rector of St. George, Basssseterre from 1861'ECCLESIASTICAL' Hampshire Advertiser (Southampton, England), Saturday, 28 December 1861; pg.
|
|
The National Theatre and Kale Fortress before the 1963 earthquake Macedonia Square from the Stone Bridge in July 2011. Visible are the statues of Dame Gruev, Goce Delčev, Tsar Samuil, and the under construction Warrior on a Horse monument The 1963 Skopje earthquake destroyed approximately 80% of the city, including most of the neoclassical buildings in the central part of Skopje.Marking the 44th anniversary of the catastrophic 1963 Skopje earthquake MRT, Thursday, 26 July 2007 The rebuilding that followed saw the construction of mostly plain modernist architecture. This is one of the reasons given by the VMRO-DPMNE government for the necessity of the project, to give Skopje a more monumental and visually pleasing image.
|
|
However, it is clear from the oldest examples (such as Mob Quad) which are plain and unadorned with arcades, that the medieval colleges at Oxford and Cambridge were creating practical accommodation for college members. Grander quadrangles that look like cloisters came later, once the idea of a college was well established and benefactors or founders wished to create more monumental buildings.See the references at Mob Quad Although architectonically analogous, for historical reasons quads in the colleges of the University of Cambridge are always referred to as courts (such as the Trinity Great Court). In North America, Thomas Jefferson's design for the University of Virginia centered the housing and academic buildings in a Palladian form around three sides of the Lawn, a huge grassy expanse.
|
|
The mosque today has two minarets flanking the mausoleum chamber on the southeastern side of the structure. The southern one of this pair, which is still in its original form, is the highest minaret of Mamluk architecture, its summit being 84 meters above the street level at the time. The northern one collapsed in 1659 and was rebuilt in its current form in 1671-72. The original northern minaret was said to be more monumental, and its summit was "double-headed"; in other words, it culminated in two lantern structures (instead of the usual one), a feature that reappeared much later in the minaret of Sultan al-Ghuri at the al-Azhar Mosque and in the minaret of the nearby Mosque of Qanibay ar-Rammah.
|
|
Similarly, the arch's bas-reliefs were intended to depict Napoleon's exploits but when work began, under the influence of the Austrians, some of the scenes were changed to represent episodes from the Restoration and the Congress of Vienna while others depicting Napoleon were replaced with heads resembling Francis I. The customs offices on either side of the Arco della Pace date from 1838. Quite differently designed by Piermarini in 1787 was the Porta Orientale, later renamed the Porta Venezia. Its two customs houses were completed by Rodolfo Vantini in 1828. Characterized by three Doric portals on the outer side facing the ramparts, they have a much more monumental look than the other customs houses in Milan and are also far more ornate.
|
|
Olivetti, however, "were then the most discerning patrons of industrial building - anywhere," according to Rykwert, and Kahn was happy to work for a client as sophisticated as Olivetti. The key design limitation was that the factory floor needed to be as open as possible to enable rapid reconfiguration of equipment to meet changing market requirements. The easy way to meet this limitation would have been to build the factory as a steel frame structure, but Kahn didn't build any structures of that type after 1950, preferring the more monumental appearance he could achieve with materials like concrete and brick. Kahn, relying on the expertise of August Komendant, a structural engineer and Kahn's preferred collaborator, instead designed the building as a concrete structure.
|
|
St. Trudokerk at Trudo Zundert This led to the attribution to Fruytiers of other paintings in collections of the Royal Museums of Fine Arts of Belgium in Brussels, the Royal Museum of Fine Arts Antwerp and the Museo del Prado in Madrid, and in the parish church of Gistel, West Flanders. Drawings for some of his altarpieces are kept in the Plantin- Moretus Museum in Antwerp, the Yale University Art Gallery and the Kupferstichkabinett Berlin. St. Francis of Assisi Fruytiers' style is generally much closer to the refinement and delicacy of Anthony van Dyck than to the more monumental art of Rubens. An expressive portrait drawing of the Jesuit Jan de Tollenaere (Johannes Tollenarius) (Morgan Library & Museum) was a study for an engraving made by Jacob Neefs.
|
|
The tower, detail of the third floor Both of the side wings have escalated frontage, each level is decorated with profiled quatrafoil and a little roof over it. The shape of the frontage copies the shape of a saddle roof, whilst it is taller and makes the wings appear more monumental than they actually are. It may appear that the side wings were not jointed to the main wing in the first place since the profilation of the frontage is repeated on the other side of the side wings facing the main wing just a couple of meters far from it. Since the side wings were originally used as stable there are only three small front windows in a row, centrally placed on the wall.
|
|
In some cases, these madrasas were directly attached and integrated into larger mosques, as with those attached to the Shah Mosque in Isfahan (17th century). In other cases they were built as more or less separate entities, such as with the Chahar Bagh Madrasa (also in Isfahan, 17th-18th centuries), or the 15th-century Timurid Ulugh Beg Madrasa and two other monumental 17th-century madrasas at the Registan complex in Samarkand. The form of the madrasa does not appear to have changed significantly over time in this region. The Timurid period (late 14th and 15th century), however, was a "golden age" of Iranian madrasas, during which the four-iwan model was made much larger and more monumental, on a par with major mosques, thanks to intense patronage from Timur and his successors.
|
|
Bañuelo hammam in Granada, Spain Although the traditions of hammams eventually disappeared in the centuries after the end of Muslim rule on the Iberian Peninsula in 1492, many historic hammam structures have nonetheless been preserved to varying degrees across many cities, mostly in Spain. Today, many of them are archeological sites or are open as historical attractions for tourists. The hammams of the region are partly distinguished from others by their relatively larger and more monumental warm rooms (bayt al-wastani) and changing rooms (bayt al-maslaj), a feature also shared with some Moroccan hammams. An early example, but partially destroyed, are the 10th-century Caliphal Baths which were attached to the Umayyad royal palace of Cordoba (later turned into the Christian Alcazar), later expanded by the Almohads (12th to early 13th centuries).
|
|
View from the courtyard towards the 18th-century left al-Qandusi's large 19th-century painting of the word Allah in the courtyard of the zawiya At a more national level, the renewed prestige of the sharifs in general was so successful that two sharifian dynasties, the Saadis and the Alaouites (the current monarchy to this day), subsequently took over and ruled Morocco. The Idrisids, the original sharifian rulers of early Islamic Morocco, fit more easily into the narrative of political legitimacy of these dynasties. Perhaps because of this, numerous contributions to the zawiya were made throughout this time, culminating in a major reconstruction in the early 18th century which gave the sanctuary its overall current form. In 1557, the Saadi sultan Mohammad al- Sheikh built a new roof over the mausoleum to make it more monumental.
|
|
25, composed in 1901, and is most apparent in the tone poem O věčné touze (Of the Eternal Longing, op. 33, completed 1905). Meanwhile, the more monumental aspects of his style, evident in the Slovak-inspired tone poem V Tatrách (In the Tatras, op. 26, 1902) and the song cycle Údolí nového království (Valley of the New Kingdom, op. 31, 1903) combined with his discovery of the music of Strauss: the result was the tone poem, Toman a lesní Panna (Toman and the Wood Nymph, op. 40, completed 1907). The height of his compositional career was considered, including in the criticism of the day, to consist of two principal achievements, both completed in 1910: Pan, the five-movement tone poem for piano solo (totalling some sixty pages of music, op. 43), and Bouře (The Tempest, op. 42, to a text by Svatopluk Čech).
|
|
His earlier Hume School, built in 1891, is on the National Register of Historic Places, along with the National Metropolitan Bank Building, the Wyoming Apartments, and the Barr Building. The National Metropolitan Bank Building Although he never studied at the École des Beaux-Arts, B. Stanley Simmons became a student of the Beaux Arts tradition and the City Beautiful Movement. While his earlier 19th-century buildings (namely speculative row houses) reflect Victorian styles of architecture, his later early 20th-century buildings are grander and more monumental structures that reflect a variety of academic styles inspired the City Beautiful movement, including the Classical Revival style and Renaissance Revival. Simmons passed away in 1931 at age 60, but as many of his buildings were recognized in the late 20th century, he was survived by a son, B. Stanley Jr., and 11 grandchildren.
|
|
During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of LuganoMuseo Cantonale d'Arte, Lugano: Pietro Consagra and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968.
|
|
They had more easy access to Italy, where Denis Calvaert lived from the age of twenty in Bologna, though selling much of his work back to Flanders. Both Marten de Vos and Otto van Veen had travelled there; Van Veen, who had actually worked in Rudolf's Prague, was the founder of the Guild of Romanists, an Antwerp club for artists who had visited Rome. They were more conscious of recent trends in Italian art, and the emergence of Baroque style, which in the hands of Van Veen's pupil from 1594 to 1598, Rubens, would soon sweep over Flemish art.Shawe-Taylor, 37–40 In religious works, Flemish artists were also subject to the decrees of the Council of Trent, leading to a reaction against the more extreme virtuosities of Mannerism and to a clearer, more monumental style akin to the Italian maniera grande.
|
|
The Watseka Women's Club provided planning input on the city's behalf; their influence resulted in the addition of a women's waiting room and a more monumental station with a depot park, both uncommon elements in a station serving a city of Watseka's size. By 1916, the new station served six trains which started or ended service in Watseka and twelve through routes; the line through Watseka remained profitable through the 1940s, and the city retained C&EI; service until 1971. The depot was nominated for the National Register of Historic Places in 1988; it was determined eligible, but was not listed due to an objection from the railways that owned the station. In 1989–90, the building was moved to save it from demolition; its National Register eligibility was revoked due to the move, but it was nominated again and listed on December 22, 1999.
|
|
The gate was intended to control access to the newly delimited Southern Enclosure which Baybars then developed into a more elaborate and more exclusive royal complex. A part of the Southern Enclosure became reserved for the harem, the private and domestic area of the sultan and his family, while another part became the site of more monumental structures whose functions were more public, ceremonial, or administrative. Among the structures he built here was one called the Dar al-Dhahab ("the Hall of Gold"), which he seems to have used as his private reception hall and which may have been located in the area of the present Police Museum. Another important structure he built in the area is referred to as the Qubba al- Zahiriyya ("the Dome of al-Zahir"), a monumental and richly decorated hall with a central dome which acted as an audience hall or throne hall.
|
|
Tessin's cross- section of the southern row with the Hall of State to the left and the Royal Chapel to the right, circa 1700 When Tessin got the commission to design the new palace, he abandoned parts of his earlier plan about building a square palace and added the lower wings flanking the palace in the east and west. This was made to give the palace a more monumental look and this could be executed since there was now more open land in which to expand the palace such as the western area where King Gustav I's moat and cannon mounds had previously been. The southwest wing had to be made shorter since the Storkyrkan was in the way. This asymmetry, created by the different lengths of the wings, was compensated by adding the two detached, semicircular wings for the Royal guards and the Commanders, west of the main building.
|
|
The two houses flanking Lile Strandstræde (No. 9-11 and 13) and No. 15 are also listed, Neoclassical houses from the late 1790s. Both No. 19 and No. 21 were built by Andreas Hallander, one of the most active builders of the period. The latter, known as Ploug House, locasted on the corner with Ved Stranden, was given a more monumental facade than those of the other houses on the square to make it better match Christiansborg Chapel on the other side of the canal. The pilaster motifs are in such numbers that they dominate the entire building and are not limited to a single section of the façade, as was seen in Harsdorff’s House. No. 4: Former home of Johan Frederik Schultz's printing business The large property at No. 4 on the other side of the square, at the corner of Læderstræde, is from 1796-1797 and was originally built as a new headquarters for Johan Frederik Schultz's printing business.
|
|
Robert Layton offers another perspective on the relationship between the two versions in his review of the Fourth Symphony. It provides some insight into the relative neglect that Opus 47 has felt, in comparison to the more monumental Opus 112: Valery Gergiev, with Vladimir Putin, 2001 > It is generally agreed that the transformation from dance to symphony in the > Fourth is accomplished with less success than is the metamorphosis from The > Flaming Angel to the Third Symphony, and whether in reworking the 1930 > version Prokofiev wholly succeeded remains open to question. Let us hope > that the appearance of these scores presages a resurgence of interest in > Prokofiev's Paris years, for works such as the now neglected Quintet, Op. > 39, and the almost forgotten Divertissement for orchestra, Op. 43, deserve a > far more prominent place in the repertory. It was not until the mid-1980s that both Opus 47 and Opus 112 were presented in complete recordings of Prokofiev symphonies.
|
|
Henry R. Holme memorial in the garden of St. John's Cathedral, Belize City Henry Redmayne Holme (8 November 1839 in Kirk Leatham – 6 July 1891 at Basseterre)"More Monumental Inscriptions: Tombstones of the British West Indies" Brown, L.B; OLiver V.L p127: : United States, Borgo Press, 1993 was an Anglican bishop in the late 19th century. Of a Yorkshire family, Henry Redmayne Holme was son of the Rev. James Holme. He was educated at Christ's College Cambridge, graduating B.A. in 1868. Ordained in 1868,The Times, Wednesday, 23 December 1868; pg. 6; Issue 26315; col F Ordinations. Archdiocese of York his first posts were curaciesCerical Appointments and Vacancies The Pall Mall Gazette (London, England), Thursday, 26 December 1867; Issue 897 in AttercliffeRootsweb and Lythe.Local Intelligence, The Sheffield & Rotherham Independent (Sheffield, England), Monday, 15 June 1874; pg. 3; Issue 5615 From 1875 to 1881, he was Vicar of St Anthony's Montserrat, and from 1882 to 1891 Vicar of St George's, Basseterre, and Chaplain to the Bishop of Antigua; he was also Archdeacon of St Kitts from 1885 to 1891.
|
|
The style of the "Liuthar group", unlike other schools in Ottonian art, departs further from rather than returning to classical traditions; it "carried transcendentalism to an extreme", with "marked schematization of the forms and colours", "flattened form, conceptualized draperies and expansive gesture".Beckwith, 104, 102 Backgrounds are often composed of bands of colour with a symbolic rather than naturalistic rationale, the size of figures reflects their importance, and in them "emphasis is not so much on movement as in gesture and glance", with narrative scenes "presented as a quasi-liturgical act, dialogues of divinity".Beckwith, 108–110, both quoted The group were produced perhaps from the 990s to 1015 or later, and major manuscripts include the Munich Gospels of Otto III, the Bamberg Apocalypse and a volume of biblical commentary there, and the Pericopes of Henry II, the best known and most extreme of the group, where "the figure-style has become more monumental, more rarified and sublime, at the same time thin in density, insubstantial, mere silhouettes of colour against a shimmering void".Beckwith, 112 The group introduced the background of solid gold to Western illumination.
|
|