Baroque Architecture Quotes

Prose is architecture and the Baroque age is over.

Eiffel saw his Tower in the form of a serious object, rational, useful; men return it to him in the form of a great baroque dream which quite naturally touches on the borders of the irrational ... architecture is always dream and function, expression of a utopia and instrument of a convenience.

Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

Among many, many others, the following things were definitely not interesting: the pupillary sphincter, mitosis, baroque architecture, jokes that have physics equations as punch lines, the British monarchy, Russian grammar, and the significant role that salt has played in human history.

Billy switched on a floor lamp. The light from the single source threw the baroque detailing of Montana’s body into sharp relief. Billy was reminded of fantastic architecture in Dresden, before it was bombed.

Meanwhile the thinking person, by intellect usually left-wing but by temperament often right-wing, hovers at the gate of the Socialist fold. He is no doubt aware that he ought to be a Socialist. But he observes first the dullness of individual Socialists, then the apparent flabbiness of Socialist ideals, and veers away. Till quite recently it was natural to veer towards indinerentism. Ten years ago, even five years ago, the typical literary gent wrote books on baroque architecture and had a soul above politics. But that attitude is becoming difficult and even unfashionable. The times are growing harsher, the issues are clearer, the belief that nothing will ever change (i.e. that your dividends will always be safe) is less prevalent. The fence on which the literary gent sits, once as comfortable as the plush cushion of a cathedral-stall, is now pinching his bottom intolerably; more and more he shows a disposition to drop off on one side or the other. It is interesting to notice how many of our leading writers, who a dozen years ago were art for art's saking for all they were worth and would have considered it too vulgar for words to even vote at a general election, are now taking a definite political standpoint; while most of the younger writers, at least those of them who are not mere footlers, have been 'political' from the start. I believe that when the pinch comes there is a terrible danger that the main movement of the intelligentsia will be towards Fascism. . . . That will also be the moment when every person with any brains or decency will know in his bones that he ought to be on the Socialist side. But he will not necessarily come there of his own accord; there are too many ancient prejudices standing in the way. He will have to be persuaded, and by methods that imply an understanding of his viewpoint. Socialists cannot afford to waste any more time in preaching to the converted. Their job now is to make Socialists as rapidly as possible; instead of which, all too often, they are making Fascists.

Prose is architecture, not interior decoration, and the Baroque is over.

Why, then, do you go there at such a season?" my editor asked me once, sitting in a Chinese restaurant in New York, with his gay English charges. "Yes, why do you ?" they echoed their prospective benefactor. "What is it like there in winter ?" I thought of telling them about acqua alta; about the various shades of gray in the window as one sits for breakfast in one's hotel, enveloped by silence and the mealy morning pall of newlyweds' faces; about pigeons accentuating every curve and cornice of the local Baroque in their dormant affinity for architecture; about a lonely monument to Francesco Querini and his two huskies carved out of Istrian stone, similar, I think, in its hue, to what he saw last, dying, on his ill-fated journey to the North Pole, now listening to the Giardini's rustle of evergreens in the company of Wagner and Carducci; about a brave sparrow perching on the bobbing blade of a gondola against the backdrop of a sirocco-roiled damp infinity. No, I thought, looking at their effete but eager faces; no, they won't do. "Well, I said, "it's like Greta Garbo swimming.

In my previous murals, I had tried to achieve a harmony in my painting with the architecture of the building. But to attempt such a harmony in the garden of the Institute would have defeated my purposes. For the walls here were of an intricate Italian baroque style, with little windows, heads of satyrs, doorways, and sculpturesque mouldings. It was within such a frame that I was to represent the life of an age which had nothing to do with baroque refinements -- a new life which was characterized by masses, machines, and naked mechanical power. So I set to work consciously to over-power the ornamentation of the room.

Take the architectural legacy of Bucharest: Byzantine, Brâncoveanu, Ottoman, Renaissance, Venetian Classical, French Baroque, Austrian Secession, Art Deco, and Modernist, all writhing and struggling to break free of a dirty gray sea of pillbox Stalinism, like Michelangelo’s Unfinished Slaves struggling to break free of their marble blocks.

Why, then, do you go there at such a season?" my editor asked me once, sitting in a Chinese restaurant in New York, with his gay English charges. "Yes, why do you ?" they echoed their prospective benefactor. "What is it like there in winter ?" I thought of telling them about acqua alta; about the various shades of gray in the window as one sits for breakfast in one's hotel, enveloped by silence and the mealy morning pall of newlyweds' faces; about pigeons accentuating every curve and cornice of the local Baroque in their dormant affinity for architecture; about a lonely monument to Francesco Querini and his two huskies carved out of Istrian stone, similar, I think, in its hue, to what he saw last, dying, on his ill-fated journey to the North Pole, now listening to the Giardini's rustle of evergreens in the company of Wagner and Carducci; about a brave sparrow perching on the bobbing blade of a gondola against the backdrop of a sirocco-roiled damp infinity. No, I thought, looking at their effete but eager faces; no, they won't do. "We;;, I said, "it's like Greta Garbo swimming.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of those subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time.

St Peter’s – as Michelangelo re-imagined it – was the prototypical baroque church. Elderly, grief-stricken, constipated, Michelangelo made himself a great master of architecture: an art that, of course, was not even his profession.

As students in the 1950s we were conditioned into despising the excesses of baroque/rococo architecture; that is, until we were reprogrammed by Nikolaus Pevsner in his Slade lectures at Cambridge.

L'architecture arabe nous donne un enseignement précieux. Elle s'apprécie à la marche, avec le pied : c'est en marchant, en se déplaçant que l'on voit se développer les ordonnances de l'architecture. C'est un principe contraire à l'architecture baroque qui est conçue sur le papier, autour d'un point fixe théorique. Je préfère l'enseignement de l'architecture arabe. Dans cette maison ci, il s'agit d'une véritable promenade architecturale, offrant des aspects constamment variés, inattendus, parfois étonnants.

Le rapport d’analogie entre les intellections et les formes matérielles explique comment l’ésotérisme a pu se greffer sur l’exercice des métiers, et notamment sur l’art architectural ; les cathédrales que les initiés chrétiens ont laissées derrière eux apportent le témoignage le plus explicite et aussi le plus éclatant de l’élévation spirituelle du moyen âge (2). Nous touchons ici à un aspect fort important de la question qui nous préoccupe : l’action de l’ésotérisme sur l’exotérisme moyennant les formes sensibles dont la production est précisément l’apanage de l’initiation artisanale; par ces formes, véritables véhicules de la doctrine traditionnelle intégrale, et qui grâce à leur symbolisme transmettent cette doctrine en un langage immédiat et universel, l’ésotérisme infuse à la portion proprement religieuse de la tradition une qualité intellectuelle et par là un équilibre dont l’absence entraînerait finalement la dissolution de toute la civilisation, comme cela s’est produit dans le monde chrétien. L’abandon de l’art sacré enleva à l’ésotérisme son moyen d’action le plus direct ; la tradition extérieure insista de plus en plus sur ce qu’elle a de particulier, donc de limitatif ; enfin, l’absence du courant d’universalité qui, lui, avait vivifié et stabilisé la civilisation religieuse par le langage des formes, occasionna des réactions en sens inverse ; c’est-à-dire que les limitations formelles, au lieu d’être compensées, et par là stabilisées, par les interférences supra-formelles de l’ésotérisme, suscitèrent, par leur « opacité » ou « massivité » même, des négations pour ainsi dire infra-formelles, puisque venant de l’arbitraire individuel, et celui-ci, loin d’être une forme de la vérité, n’est qu’un chaos informe d’opinions et de fantaisies. (2) Devant une cathédrale, on se sent réellement situé au centre du monde; devant une église en style Renaissance, baroque ou rococo, on ne se sent qu’en Europe

Dresden was built in the 11th century following Roman architectural patterns, but the main Baroque church was built in the early seventeen hundreds by George Bahr, who died before it could be completed. Earlier built as a Lutheran parish church, the structure had undergone years of remodeling before finally being baptized as a Protestant one. Many of the church’s features attested to that; for example the altar, pulpit and the baptismal font were built in the front so they could be in the view of the congregation.

Dylan O’Connor understood this turbulent age too well, yet he remained profoundly optimistic, for in every moment of every day, in the best works of humanity as in every baroque detail of nature, he saw beauty that lifted his spirit, and everywhere he perceived vast architectures and subtle details that convinced him the world was a place of deep design as surely as were his paintings. This combination of realistic assessment, faith, common sense, and enduring hope ensured that the events of his time seldom surprised him, rarely struck terror in him, and never reduced him to despair.

Baroque was a call to the pleasures, fantasies and dreams of life, a reaction against the pure spiritualness of the Gothic and the severity of Protestant architecture in the north. It was warm, sensuous and full of movement.

Detroit, Leary writes, the storied birthplace of the United States's hi-tech, labor intensive, middle-class-creating industrial capitalism, “remains the Mecca of urban ruins,” its blighted baroque and modernist architecture captured in glossy coffee-table books and New York Times essays,

Finch refused to discuss these ideas and didn't brook criticism from his colleagues, much less from a mere photographer. What must it be like, Guilford wondered, to have such a baroque architecture crammed inside one's skull? Such a strange cathedral, so well buttressed, so well defended?

There are two eyes in the human head--the eye of mystery, and the eye of harsh truth--the hidden and the open--the woods eye and the prairie eye. The prairie eye looks for distance, clarity, and light; the woods eye for closeness, complexity, and darkness. The prairie eye looks for usefulness and plainness in art and architecture, the woods eye for the baroque and ornamental. Dark old brownstones on Summit Avenue were created by a woods eye; the square white farmhouse and red barn are prairie eye's work.

It was an ancient English church of that school of architecture known to scholars as A Big Pile of Rocks.

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【V信83113305】：The University of Bamberg, officially Otto-Friedrich-Universität Bamberg, is a distinctive public university located in the historic city of Bamberg, a UNESCO World Heritage Site. Founded in 1647, it seamlessly blends centuries-old tradition with modern academic excellence. The university is particularly renowned for its strong focus on the humanities, cultural studies, social sciences, economics, and applied computer science. Its unique profile is characterized by highly interdisciplinary research and teaching, often integrating the digital humanities. Unlike larger institutions, Bamberg offers a more intimate and personalized study experience within a breathtaking architectural setting. Students enjoy a high quality of life, studying in a beautifully preserved Baroque and medieval town, which provides an inspiring and unique environment for academic pursuit and personal growth.，原版班贝格大学毕业证书办理流程, Otto-Friedrich-Universität Bamberg学位证书办理打开职业机遇之门, Otto-Friedrich-Universität Bamberg留学成绩单毕业证, Otto-Friedrich-Universität Bamberg文凭制作服务您学历的展现, 高质Otto-Friedrich-Universität Bamberg班贝格大学成绩单办理安全可靠的文凭服务, 办理班贝格大学毕业证, Otto-Friedrich-Universität Bamberg毕业证最稳最快办理方式, Otto-Friedrich-Universität Bamberg毕业证书, 终于找到哪里办Otto-Friedrich-Universität Bamberg毕业证书

【V信83113305】：The University of Artois, situated in the Hauts-de-France region, is a dynamic and multi-campus public institution. Its faculties are spread across five historic cities: Arras, Béthune, Douai, Lens, and Liévin. This unique structure allows the university to deeply embed itself within the local community while offering a wide range of academic programs in Law, Arts, Humanities, Science, and Technology. Founded in 1991, it is a relatively young university, yet it thrives in locations rich with cultural heritage, particularly Arras with its stunning Flemish-Baroque architecture. The university is committed to innovative research and provides a supportive environment for its students, fostering both academic excellence and personal development, all while contributing significantly to the socio-economic vitality of the region.，UA阿尔图瓦大学挂科了怎么办？, 100%安全办理阿尔图瓦大学毕业证, Université d'Artois阿尔图瓦大学多少钱, Offer(Université d'Artois成绩单)Université d'Artois阿尔图瓦大学如何办理?, 购买UA毕业证和学位证认证步骤, UA毕业证办理多少钱又安全, Université d'Artois阿尔图瓦大学原版购买, 定做阿尔图瓦大学毕业证UA毕业证书毕业证, 定做阿尔图瓦大学毕业证UA毕业证书毕业证