By Nikolaus Pevsner
The most greatly learn boks on ecu structure, Nikolaus Pevsner's landmark paintings was once first released in 1942. via a number of revisions and updates in the course of Pevsner's lifetime, it persisted to be a seminal essay at the topic, or even after his loss of life, it is still as stimulating because it used to be again within the mid-twentieth century. Sir Nikolaus Pevsner (1902-1983) used to be one of many 20th century's so much realized and stimulating writers on paintings and structure. He demonstrated his acceptance with Pioneers of recent layout, even though he's most likely most sensible recognized for his celebrated sequence of courses, The constructions of britain, said as one of many nice achievements of twentieth-century scholarship. He used to be additionally founding editor of The Pelican heritage of artwork, the main finished and scholarly background of paintings ever released in English. A revised and up-to-date full-color version of the vintage learn of the background of ecu structure
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L bay of its nave an Aquitanial1 aislcless church which l1ad already its transepts. Thus a Greek cross resulted, with a square for the centre and four squares for the arms. Each square has in its turn again short arms and is covered by a vast dome. 1 There is no sculptural decoration anywl1crc except for some arcading along the walls. The systenl is copied from S. Mark's in Venice, begun in 1063. There, 110wever, where it stands in the centre of the most oriental and Inost rOl11al1tic of European cities, as an outpost of Byzantine architecture, it llas all the magic of the East, mosaics, luxuriant capitals, arcades to separate centres from arms and concealed spatial relations in the sense Wllich we have seen at Ravenna.
22), a tower of Laon Cathedral (he says: "1 have been in many countries as you can see from this book, but I have never seen such another tower" ), windows from the choir of Rheinl s (fig. 24; he says: "1 was on my way to Hungary, when I drew this, because I liked it best"), and a rose window at Lausanne. He traces a labyrinth, and draws foliage. He designs a foliated end for a choir stall and a lectern with three evangelists. He has diagrams of mouldings alld of tilnber construction. t turns its head, or a heatable metal orb for a bishop to hold in his hand.
1170. FRENCH CATHEDRALS I14~I250 Such was the range ofknowledge and experience ofthe men who bttilt the great Gothic cathedrals. They were invited abroad as the bringers of the new Gothic style, the "opus francigenum", as it is called in a German record of that time; they kept their eyes open while they travelled, and noted buildings, sculptures and paintings with the same eagerness. They knew as much of the carving of figures and ornaments as of building construe":' tion, although their drawing technique was still 1 elementary.