A Dictionary of Architecture and Building: Biographical, Historical, and Descriptive, Том 3Macmillan, 1901 |
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aisles ancient angles arch archæology archi architect architecture artistic barrel vaults beam brick building built called carved cathedral century chapel CHIG choir church colour columns construction corbels court covered decoration door early England entablature erected especially feet floor frame France French glass Gothic Greek groined vault ground hall horizontal important inches interior Italian Italy light lines marble masonry material mediæval ment metal MICHI modern monuments moulding nave neoclassic architecture ornament painting palace Palazzo panel Paris PERSIAN ARCHITECTURE piece piers plane plaster plate portico projection Renaissance ribs Roman Roman architecture Romanesque ROMANESQUE ARCHITECTURE Rome roof RSITY sash sculpture side SITY sometimes Spain square stair stone story structure style surface Syria tecture temple term thermæ tiles timber tion tomb tower tracery transept ture United UNIV UNIV usually Vasari vault Venice vertical villa Vitruvius wall window wood
Популярні уривки
Сторінка 1091 - AN INQUIRY INTO THE DIFFERENCE OF STYLE OBSERVABLE IN ANCIENT GLASS PAINTINGS, especially in England, with Hints on Glass Painting, by the late CHARLES WINSTON.
Сторінка 1153 - GAUCHERY, Les travaux d'art exécutés pour Jean de France, duc de Berry avec une étude biographique sur les artistes employés par ce prince, Paris 1894, p.
Сторінка 589 - STABILITY. As applied to structures, the property of remaining in equilibrium without change of position, although the externally applied force may deviate to a certain extent its mean amount or position. The conditions of equilibrium of a structure are these : — 1. That the forces exerted on the whole structure by external bodies shall balance each other. The external forces are the force of gravity, causing the weight of the structure, the pressures exerted against it by bodies not forming part...
Сторінка 383 - Rubble. — Rough stones of irregular shapes and sizes, broken from larger masses either naturally or artificially, as by geological action, in quarrying, or in stone cutting or blasting.
Сторінка 187 - PORTCULLIS. A strong door sliding vertically, usually a grating heavily framed of wood with pointed iron bars at the bottom. It is arranged so as to be dropped suddenly and thus protect an entrance in case of a surprise. The portcullis was a constant feature in mediaeval fortification, there being sometimes two or three in the same passageway.
Сторінка 71 - Chaldaea and Susiana; with an Account of Excavations at Warka, the "Erech" of Nimrod, and Shush, "Shushan the Palace...
Сторінка 1045 - For any position of the speaker there is a corresponding point at which the whisper is more or less accurately focussed. The ceiling, painted so that it appears deeply panelled, is smooth. Had the ceiling been panelled, the reflection would have been irregular and the effect very much reduced. The most accurate form for a whispering gallery is that in which the reflecting surface is a considerable portion of the surface of an ellipsoid, that has for its foci the two points between which there is...
Сторінка 523 - ... laying out foundations, trenches, and the like. (See Surveying.) SKIRT. An apron-piece or border, as the moulded piece under a window stool, or the plinth board or mopboard of a room or passage, which last is in the United States called base or baseboard. SKIRTING ; SKIRTING BOARD. Same as Base, C. (See also Skirt.) SKYLIGHT. A glazed aperture in a roof, whether a simple glazed frame set in the plane of a roof, or a structure surmounting a roof with upright or sloping sides and perhaps an independent...
Сторінка 9 - ... foundation for the tidal register in the deep water itself. The superstructure for the tidal station is simple and inexpensive. — CLEVELAND ABBE. OBSIDIAN. A natural glass formed by the rapid cooling of acid lavas. Colours: gray, redbrown, to black. — GPM OBSTAL (See Opstal.) OCTASTYLE.
Сторінка 1079 - ... porcelain, but often so badly made as to be more than translucent, suggested a means of meeting the defects of thinness of texture and flatness of colour, and of securing a permanent recall of the necessary complementary colour. The deficient pieces, which were translucent, exhibited that peculiar effect of two contrasting colours, which we call opaline. The making of such glass seems to have been known for an indefinite period, though it does not appear that this glass has been used in this...