Timber Roof Quotes

I pictured a low timber house with a shingled roof, caulked against storms, with blazing log fires inside and the walls lined with all the best books, somewhere to live when the rest of the world blew up.

Instead of spending so much time thinking about what’s missing from your life, remind yourself (if only for twenty minutes a day), of everything you already have: from a comfortable bed to sleep on, to a roof over your head, to clean air, drinking water, food, clothes, friends, functioning lungs, and a beating heart.

I lie down on many a station platform; I stand before many a soup kitchen; I squat on many a bench;--then at last the landscape becomes disturbing, mysterious, and familiar. It glides past the western windows with its villages, their thatched roofs like caps, pulled over the white-washed, half-timbered houses, its corn-fields, gleaming like mother-of-pearl in the slanting light, its orchards, its barns and old lime trees. The names of the stations begin to take on meaning and my heart trembles. The train stamps and stamps onward. I stand at the window and hold on to the frame. These names mark the boundaries of my youth.

All living is storm chasing. Every good heart has lost its roof. Let the walls collapse at your feet. Scream, 'Timber,' when they ask how you are. 'Fine' is the suckiest word. It is the opposite of 'here.

For the law is not jurisprudence, not a weighty tome full of articles, not philosophical treatises, not peevish nonsense about justice, not hackneyed platitudes about morality and ethics. The law means safe paths and highways. It means backstreets one can walk along even after sundown. It means inns and taverns one can leave to visit the privy, leaving one’s purse on the table and one’s wife beside it. The law is the sleep of people certain they’ll be woken by the crowing of the rooster and not the crashing of burning roof timbers! And for those who break the law; the noose, the axe, the stake and the red-hot iron! Punishments which deter others.

One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.

The present Mr. Parslow was teaching his son the craft; the two of them and their three workmen would scramble like industrious termites over the scaffolding they’d erected at the corner of the library, or over the roof of the chapel, and haul up bright new blocks of stone or rolls of shiny lead or balks of timber. The

No picture of a medieval library can be complete unless it be remembered that in many cases beauty was no less an object than utility. The bookcases were fine specimens of carpentry-work, carved and decorated; the pavement was of encaustic tiles worked in patterns; the walls were decorated with plaster-work in relief; the windows were filled with stained glass; and the roof-timbers were ornamented with the coat-armour of benefactors.

Then, as though she held a dandelion blowball in her hand, she simply blew away the nightmare that dominated her life for so many long years. She released each painful memory to dance on the wind, to soar high with each tiny propeller from the seed head. With the last puff of breath, she found a measure of forgiveness for her father. With that act, the cell imprisoning her mind fractured. The walls split and fell apart, the roof slid to one side, and the terrified girl was freed. As bricks and timber disintegrated into dust, she stood in a meadow surrounded by tall trees. One half bathed in sunlight, the other wrapped in shadows and dark. "You are free to walk whatever path you chose,

The bombs fell until 6:15 A.M. The blackout ended at 7:54. The moon still shone in the clear dawn sky, but the bombers were gone. The cathedral was a ruin, with melted lead still dripping from its roofs, and fragments of charred timber now and then coming loose and falling to the ground. Throughout the city, the most common sound was that of broken glass crunching under people’s shoes. One news reporter observed glass “so thick that looking up the street it was as if it was covered with ice.” Now came scenes of horror. Dr. Ashworth reported seeing a dog running along a street “with a child’s arm in its mouth.” A man named E. A. Cox saw a man’s headless body beside a bomb crater. Elsewhere, an exploded land mine left behind a collection of charred torsos. Bodies arrived at a makeshift morgue at a rate of up to sixty per hour, and here morticians had to deal with a problem they had rarely, if ever, been compelled to confront: bodies so mangled that they were unrecognizable as bodies. Between 40 and 50 percent were classified as “unidentifiable owning to mutilation.

So often have I studied the views of Florence, that I was familiar with the city before I ever set foot within its walls; I found that I could thread my way through the streets without a guide. Turning to the left I passed before a bookseller's shop, where I bought a couple of descriptive surveys of the city (guide). Twice only was I forced to inquire my way of passers by, who answered me with politeness which was wholly French and with a most singular accent; and at last I found myself before the facade of Santa Croce. Within, upon the right of the doorway, rises the tomb of Michelangelo; lo! There stands Canova's effigy of Alfieri; I needed no cicerone to recognise the features of the great Italian writer. Further still, I discovered the tomb of Machiavelli; while facing Michelangelo lies Galileo. What a race of men! And to these already named, Tuscany might further add Dante, Boccaccio and Petrarch. What a fantastic gathering! The tide of emotion which overwhelmed me flowed so deep that it scarce was to be distinguished from religious awe. The mystic dimness which filled the church, its plain, timbered roof, its unfinished facade – all these things spoke volumes to my soul. Ah! Could I but forget...! A Friar moved silently towards me; and I, in the place of that sense of revulsion all but bordering on physical horror which usually possesses me in such circumstances, discovered in my heart a feeling which was almost friendship. Was not he likewise a Friar, Fra Bartolomeo di San Marco, that great painter who invented the art of chiaroscuro, and showed it to Raphael, and was the forefather of Correggio? I spoke to my tonsured acquaintance, and found in him an exquisite degree of politeness. Indeed, he was delighted to meet a Frenchman. I begged him to unlock for me the chapel in the north-east corner of the church, where are preserved the frescoes of Volterrano. He introduced me to the place, then left me to my own devices. There, seated upon the step of a folds tool, with my head thrown back to rest upon the desk, so that I might let my gaze dwell on the ceiling, I underwent, through the medium of Volterrano's Sybills, the profoundest experience of ecstasy that, as far as I am aware, I ever encountered through the painter's art. My soul, affected by the very notion of being in Florence, and by proximity of those great men whose tombs I had just beheld, was already in a state of trance. Absorbed in the contemplation of sublime beauty, I could perceive its very essence close at hand; I could, as it were, feel the stuff of it beneath my fingertips. I had attained to that supreme degree of sensibility where the divine intimations of art merge with the impassioned sensuality of emotion. As I emerged from the porch of Santa Croce, I was seized with a fierce palpitations of the heart (that same symptom which, in Berlin, is referred to as an attack of nerves); the well-spring of life was dried up within me, and I walked in constant fear of falling to the ground. I sat down on one of the benches which line the piazza di Santa Croce; in my wallet, I discovered the following lines by Ugo Foscolo, which I re-read now with a great surge of pleasure; I could find no fault with such poetry; I desperately needed to hear the voice of a friend who shared my own emotion (…)

The house had probably cost a couple of million quid, with its two stories plus loft conversion, red brick, and detailing on the porch roof that hinted at Arts and Crafts without actually making it over the finishing line. It was at least mercifully free of pebble-dash and fake half-timbering. They’d retained the original sash windows but installed the venetian blinds that have replaced net curtains as the genteel response to sharing your neighborhood with other human beings.

The houses behind the shops had recently been used for social housing, but as time passed and their tenants were moved into the high-rise blocks that dominated the nearby skyline, they had been allowed to begin their long slide into decrepitude. Those that were left vacant were boarded up. Damaged roofs were left unrepaired. Windows were shattered and left open to the rain. Four houses had been gutted by fire, the exposed bricks crusted black with soot and ash and the timbers exposed like cracked and broken bones. Those buildings had been condemned and demolished, tearing holes in the terrace like the teeth yanked from a cancerous mouth. Boards had been erected around the blackened remnants of the extension, and these had been scarified by graffiti and posters for illegal raves.

Something else too. Private Gallagher sees it first, points–slowly, but emphatically. On the other side of the green is exactly what the sergeant told them to look for: a big detached house, two storeys, standing in its own grounds. It’s a mini-mansion of modern design, masquerading as a country house of an earlier age–but given away by its anachronistic excess. It’s a Frankenstein’s monster of a house, with a half-timbered front, Gothic arches on the ground-floor windows, pilasters framing the front door, gables adhering like barnacles to the roof ridge. The sign on the gate says WAINWRIGHT HOUSE. “Good

He leaned back, gazed up into the timbers of the ceiling. He felt as if he could rip the roof down with a look. Why hadn't he been like this before? Why hadn't he known that what he was depended on no more than what he willed himself to be?

According to the World Monuments Fund, “The present state of the church is worrying. Many roof timbers are rotting, and have not been replaced since the 19th century. The rainwater that seeps into the building not only accelerates the rotting of the wood and damages the structural integrity of the building, but also damages the 12th-century wall mosaics and paintings. The influx of water also means that there is an ever-present chance of an electrical fire. If another earthquake were to occur on the scale of the one of 1834, the result would most likely be catastrophic. ... It is hoped that the listing will encourage its preservation, including getting the three custodians of the church – the Greek Orthodox Church, the Armenian Orthodox Church, and the Franciscan order – to work together, which has not happened for hundreds of years. The Israeli government and the Palestinian Authority would also have to work together to protect it.

Grateful for their generosity, Muhammad orders the land to be leveled, the graves dug up, and the palm trees cut down for timber to build a modest home. He envisions a courtyard roofed in palm leaves, with living quarters made of wood and mud lining the walls. But this will be more than a home. This converted drying-ground and cemetery will serve as the first masjid, or mosque, of a new kind of community, one so revolutionary that many years later, when Muslim scholars seek to establish a distinctly Islamic calendar, they will begin not with the birth of the Prophet, nor with the onset of Revelation, but with the year Muhammad and his band of Emigrants came to this small federation of villages to start a new society. That year, 622 C.E., will forever be known as Year 1 A.H. (After Hijra); and the oasis that for centuries had been called Yathrib will henceforth be celebrated as Medinat an-Nabi: “The City of the Prophet,” or more simply, Medina. There

Three copper paintings, wrapped in red Air France blankets, are discarded in a forest near the tapestry drop. A timber cutter finds them. He is more excited about the new-looking blankets, though he also sees worth in the coppers: his henhouse has been leaking, so he hammers the works to the roof. One of them, Allegory of Autumn, is the piece attributed to Brueghel. Taped to the back is a note. “All my life, I will always adore art,” it says, signed “Stéphane and Anne-Catherine.

The simple labourer’s cottage could be said to be Britain’s indigenous, vernacular building. It was always built with materials specific to the region, but was predominantly made out of stone and mud from the fields to make up the foundations and walls. Local trees were used for the roof timbers, and the grasses and reeds from the surrounding area for the thatch roof. It was generally built by its owner with the help of the pooled labour resources of the community, which comprised the poor, rural workforce that served the local estate, owned by the landed gentry. These made up the homes of the ordinary people in pre-industrial Britain.

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that I swore to myself that the law would rule on my turf. At any cost, and using any methods, per fas et nefas. For the law is not jurisprudence, not a weighty tome full of articles, not philosophical treatises, not peevish nonsense about justice, not hackneyed platitudes about morality and ethics. The law means safe paths and highways. It means backstreets one can walk along even after sundown. It means inns and taverns one can leave to visit the privy, leaving one’s purse on the table and one’s wife beside it. The law is the sleep of people certain they’ll be woken by the crowing of the rooster and not the crashing of burning roof timbers! And for those who break the law: the noose, the axe, the stake and the red-hot iron! Punishments which deter others. Those that break the law should be caught and punished. Using all available means and methods… Eh, witcher? Is the disapproval written on your countenance a reaction to the intention or the methods? The methods, I think! For it’s easy to criticise methods, but we would all prefer to live in a safe world, wouldn’t we? Go on, answer!” “There’s nothing to say.” “Oh, I believe there is.” “Mr. Fulko,” Geralt said calmly, “the world you envision quite pleases me.” “Indeed? Your expression suggests otherwise.” “The world you envision is made for a witcher. A witcher would never be short of work in it. Instead of codes, articles and peevish platitudes about justice, your idea creates lawlessness, anarchy, the licence and self-serving of princelings and mandarins, the officiousness of careerists wanting to endear themselves to their superiors, the blind vindictiveness of fanatics, the cruelty of assassins, retribution and sadistic vengeance. Your vision is a world where people are afraid to venture out after dark; not for fear of cut-throats, but of the guardians of public order. For, after all, the result of all great crackdowns on miscreants is always that the miscreants enter the ranks of the guardians of public order en masse. Your vision is a world of bribery, blackmail and entrapment, a world of turning imperial evidence and false witnesses. A world of snoopers and coerced confessions. Informing and the fear of being informed upon. And inevitably the day will come in your world when the flesh of the wrong person will be torn with pincers, when an innocent person is hanged or impaled. And then it will be a world of crime.

All living is storm chasing Every good heart has lost its roof Let all the walls collapse at your feet. Scream “timber” when they ask you how you are. “Fine” is the suckiest word, it’s the opposite of “here.

For the law is not jurisprudence, not a weighty tome full of articles, not philosophical treatises, not peevish nonsense about justice, not hackneyed platitudes about morality and ethics. The law means safe paths and highways. It means backstreets one can walk along even after sundown. It means inns and taverns one can leave to visit the privy, leaving one’s purse on the table and one’s wife beside it. The law is the sleep of people certain they’ll be woken by the crowing of the rooster and not the crashing of burning roof timbers! And for those who break the law; the noose, the axe, the stake and the red-hot iron!

country roads of Guanajuato—green pastures of browsing cows, old timber corrals and tile-roofed ranchitos, wildflowers, butterflies,

St Paul's cathedral stands like a cornered beast on Ludgate hill, taking deep breaths above the smoke.  The fire has made terrifying progress in the night and is closing in on the ancient monument from three directions.  Built of massive stones, the cathedral is held to be invincible, but suddenly Pegge sees what the flames covet: the two hundred and fifty feet of scaffolding erected around the broken tower.  Once the flames have a foothold on the wooden scaffolds,, they can jump to the lead roof, and once the timbers burn and the vaulting cracks, the cathedral will be toppled by its own mass, a royal bear brought down by common dogs.

Not homes with beautiful roofs, nor walls of permanent stone, nor canals and piers for ships make the city—but men of strength. Not stone and timber, nor skill of carpenter—but men brave who will handle sword and spear. With these you have a city and walls.

Lily lay back in Jake's arms looking at the timbered roof overhead, planks and beams smooth and worn, antiqued by a century of summers.