Palace Of Fine Arts Quotes

William Stead recognized the power of the fair immediately. The vision of the White City and its profound contrast to the Black City drove him to write If Christ Came to Chicago, a book often credited with launching the City Beautiful movement, which sought to elevate American cities to the level of the great cities of Europe. Like Stead, civic authorities throughout the world saw the fair as a model of what to strive for. They asked Burnham to apply the same citywide thinking that had gone into the White City to their own cities. He became a pioneer in modern urban planning. He created citywide plans for Cleveland, San Francisco, and Manila and led the turn-of-the-century effort to resuscitate and expand L’Enfant’s vision of Washington, D.C. In each case he worked without a fee. While helping design the new Washington plan, Burnham persuaded the head of the Pennsylvania Railroad, Alexander Cassatt, to remove his freight tracks and depot from the center of the federal mall, thus creating the unobstructed green that extends today from the Capitol to the Lincoln Memorial. Other cities came to Daniel Burnham for citywide plans, among them Fort Worth, Atlantic City, and St. Louis, but he turned them down to concentrate on his last plan, for the city of Chicago. Over the years many aspects of his Chicago plan were adopted, among them the creation of the city’s lovely ribbon of lakefront parks and Michigan Avenue’s “Miracle Mile.” One portion of the lakefront, named Burnham Park in his honor, contains Soldier Field and the Field Museum, which he designed. The park runs south in a narrow green border along the lakeshore all the way to Jackson Park, where the fair’s Palace of Fine Arts, transformed into a permanent structure, now houses the Museum of Science and Industry. It looks out over the lagoons and the Wooded Island, now a wild and tangled place that perhaps would make Olmsted smile—though no doubt he would find features to criticize.

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

For a start, most books like this, rich in such expensive pigments, had been made for palaces or cathedrals. But a haggadah is used only at home. The word is from the Hebrew root ngd, “to tell,” and it comes from the biblical command that instructs parents to tell their children the story of the Exodus. This “telling” varies widely, and over the centuries each Jewish community has developed its own variations on this home-based celebration. But no one knew why this haggadah was illustrated with numerous miniature paintings, at a time when most Jews considered figurative art a violation of the commandments. It was unlikely that a Jew would have been in a position to learn the skilled painting techniques evinced here. The style was not unlike the work of Christian illuminators. And yet, most of the miniatures illustrated biblical scenes as interpreted in the Midrash, or Jewish biblical exegesis. I turned the parchment and suddenly found myself gazing at the illustration that had provoked more scholarly speculation than all the others. It was a domestic scene. A family of Jews—Spanish, by their dress—sits at a Passover meal. We see the ritual foods, the matzoh to commemorate the unleavened bread that the Hebrews baked in haste on the night before they fled Egypt, a shank bone to remember the lamb’s blood on the doorposts that had caused the angel of death to “pass over” Jewish homes. The father, reclining as per custom, to show that he is a free man and not a slave, sips wine from a golden goblet as his small son, beside him, raises a cup. The mother sits serenely in the fine gown and jeweled headdress of the day. Probably the scene is a portrait of the family who commissioned this particular haggadah. But there is another woman at the table, ebony-skinned and saffron-robed, holding a piece of matzoh. Too finely dressed to be a servant, and fully participating in the Jewish rite, the identity of that African woman in saffron has perplexed the book’s scholars for a century. Slowly, deliberately, I examined and made notes on the condition of each page. Each time I turned a parchment, I checked and adjusted the position of the supporting forms. Never stress the book—the conservator’s chief commandment. But the people who had owned this book had known unbearable stress: pogrom, Inquisition, exile, genocide, war.

In just a bony fistful of years, classical Russian food culture vanished, almost without a trace. The country's nationalistic euphoria on entering World War I in 1914 collapsed under nonstop disasters presided over by the 'last of the Romanovs': clueless, autocratic czar Nicholas II and Alexandra, his reactionary, hysterical German-born wife. Imperial Russia went lurching toward breakdown and starvation. Golden pies, suckling pigs? In 1917, the insurgent Bolsheviks' banners demanded simply the most basic of staples - khleb (bread) - along with land (beleaguered peasants were 80 percent of Russia's population) and an end to the ruinous war. On the evening of October 25, hours before the coup by Lenin and his tiny cadre, ministers of Kerensky's foundering provisional government, which replaced the czar after the popular revolution of February 1917, dined finely at the Winter Palace: soup, artichokes, and fish. A doomed meal all around.

is July 2009. We step off our respective planes and lug our gear into the sweltering Vegas sun. Our taxis creep through downtown tourist traffic, swing around the airport, and unceremoniously drop us off in a giant, industrial-looking parking lot. The Las Vegas Sports Center sulks unimpressively in the heat, but under the sounds of arriving planes, there’s also a low hum and periodic whistles. Inside, the air is cooler and smells vaguely of . . . what is that smell? Sweat? Feet? Happiness? And when our eyes adjust to the light, we see skaters from every corner of the world—their helmets whiz by in every direction looking as if they are floating on air. On their feet are skates—black skates, white skates, blue skates, camouflage skates—propelled by a rainbow of wheels. On the sport floor, coaches with names like Carmen Getsome and Miss Fortune are drilling a centipede line of skaters in the fine art of knocking each other’s asses to the ground. Refs and skaters gear up for the mixed league, multination, battle du jour: Team Australia vs. Team Canada. Someone hobbles by with an ice pack strapped to her knee, still smiling. We smile too. Across town, nearly one thousand other skaters throng the casino and head to seminars in the meeting halls of the Imperial Palace Hotel, with nothing but roller derby on their minds. This is the fifth annual derby convention known as RollerCon.

The Urban Simulation Team at UCLA has created a truly incredible online simulation of the 1893 Columbian Exposition that made me feel as though I’d actually strolled the sidewalks of the Wooded Island, toured the Palace of Fine Arts, and explored the Midway Plaisance.

If the Sussexes had any residual misgivings about whether they wanted out, those doubts vanished when they viewed the Queen’s 2019 televised Christmas message. With their own eyes, they saw that they had been kicked to the margins of the monarchy. Her Majesty eloquently made the point in her speech by saying nothing. The subtext was all in the flotilla of carefully arranged family photographs positioned on her writing desk, a grouping that, in case anyone thinks is accidental, has been artfully changed every year since the monarch’s first televised seasonal message in 1957. The previous Christmas, a family portrait of Charles, Camilla, the five Cambridges, and Harry and Meghan was exhibited at Her Majesty’s elbow. But in December 2019, the Sussexes had evaporated, their image excised as skillfully as Stalin would have done to an apparatchik out of favor. According to author Christopher Andersen, the Queen told the director of the broadcast that all the displayed photographs were fine to remain in the shot except for one. Her Majesty pointed at a winsome portrait of Harry, Meghan, and baby Archie. “ That one,” said the Queen. “I suppose we don’t need that one.” And a happy Christmas to you too, Granny! William was said to have been appalled when he saw the Sussexes had been edited out. He knew his brother well enough to predict a Category 5 tantrum brewing.

The President of the Institute shook his hand, booming: “Stanton will be proud of you, my boy.” The Dean shook his hand, repeating: “... a glorious future ... a glorious future ... a glorious future ...” Professor Peterkin shook his hand, and patted his shoulder, saying: “... and you’ll find it absolutely essential; for example, I had the experience when I built the Peabody Post Office ...” Keating did not listen to the rest, because he had heard the story of the Peabody Post Office many times. It was the only structure anyone had ever known Professor Peterkin to have erected, before he sacrificed his practice to the responsibilities of teaching. A great deal was said about Keating’s final project—a Palace of Fine Arts. For the life of him, Keating could not remember at the moment what that project was.

Look!” The Khwaja nudged a sleepy Bizhad. What was white before sparkled with a fine glaze of crimson, smearing the ashen tents that housed soldiers and animals inside the fort’s walls, lighting up the city of palaces and mosques, casting a halo over the silent fountains and the imperial boat. One by one, the great doorways of the fort gleamed like mirrors, reflecting the sun, now a spear’s length over the horizon. Marble palaces breathed free of the crisscrossing beams, managing to stand aloof from common homes. The intruder, satisfied by the result, turned an effortless gold – a gold coin floating on the river, at its still centre. A bird called, flew across, reflecting the world on its tiny wings – the lapis sky, the turquoise river, the crimson fort and the golden sun. “Look!” The Khwaja whispered into Bizhad’s ear, tracing its flight with his raised finger. “The finest artist in all Agra!” And so on Saturday the twenty-seventh of Rabi, year 975 of the Hegira, 1568 of the Christian era, the sun lit imperial Agra, blessing every moment and delighting every one of its subjects. It rose for the ten thousandth time since that dawn when Babur, the Mughal invader, had woken after a restful night to find himself the conqueror of Hindustan. Under the western wall of the fort, his grandson, the emperor, was about to rise. Rise and begin his favorite sport – racing elephants when they are in their frightening best. In heat.

Name/ First name: Madeline (mads, or maddy) Middle name: Marie Last name: Fractures --------------------------- Birth/ Age: 17 Date of birth: 9/13 Date of death: none Place of birth: West Place of death: none ---------------------------- Romantic and social/ Gender: Girl Sexuality: heterosexual Friends: 3 Boyfriend/ Girlfriend: none Crush: none ---------------------------- Personality/ Likes:hunting, reading, drawing, knife throwing, music, fighting Dislikes: none can think of Disorders: PTSD (explained in history) Personality: Strong, has had a rough life, may seem stuck up at times, is close to her 3 friends as she can be because she is afraid to loose them if they see her violent side. She has this side because of what happened when she and her twin brother were small. ---------------------------- History/ History: was born in west katos, and lost parents and older brothers when she was five, only she and her twin survived. Was on the streets for one year with her brother before he was found while he was looking for food. They were reunited at the age of 7 one year later. He was living at the palace with a noble family, she was allowed to return with him and stay, she soon became close friends with the secondborn boy Jacob (if this is'nt fine let me know). When she was 13 her brother was kidnapped by a group from the east, she soon discovered that they were the same group that killed their family.4 years later she is still looking. Now she works at the palace as a hunter, archivest, and guard, and does some art. Lore: ( Any lore behind your character?) ---------------------------- Appearance/ Description : Dark brown hari, Forest green eyes, and one scar on the left side of her face from her first fight. Picture: Hair: Dark Brown Eyes: kind of almond shaped but also round and are forest green Skin: lightly tan ---------------------------- Family/ Mother : Deceased Father: Deceased Husband/ Wife: None Sons/ Daughters/ Offspring : None ---------------------------- Other/ Living situation: Small cottage in woods with her 3 friends Money: not rich but not poor either Pets: A wolf named Alla (a-la) Job: Hunter, guard, and archivest Other Side: West