Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700 |
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Page 63
... church in form of a Greek cross or the church like Santo Spirito , Florence , with transepts and apse in identical proportions , is a reaction against the incommensurate space of the gothic nave . Within this church we are not induced ...
... church in form of a Greek cross or the church like Santo Spirito , Florence , with transepts and apse in identical proportions , is a reaction against the incommensurate space of the gothic nave . Within this church we are not induced ...
Page 126
... church was replaced by the mannerist church having a strong medial axis because of its long nave , sur- mounted by a dome at the crossing , where the high altar stands in a flare of sunlight . Except for this , the mannerist church is ...
... church was replaced by the mannerist church having a strong medial axis because of its long nave , sur- mounted by a dome at the crossing , where the high altar stands in a flare of sunlight . Except for this , the mannerist church is ...
Page 235
... churches , the baroque dome is treated as the obvious and imperious climax of the broad façade and the wide interior ... church . Baroque architects often reverted to a " centralized " design more headstrong and mouvementé than the ren ...
... churches , the baroque dome is treated as the obvious and imperious climax of the broad façade and the wide interior ... church . Baroque architects often reverted to a " centralized " design more headstrong and mouvementé than the ren ...
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academic accents action aesthetic aissance architect architecture artist Aureng-Zebe baroque architecture baroque art Bernini body Botticelli Caravaggio century church classic color columns composition consciousness contour contrast Council of Trent Counter-Reformation critics Descartes dome Domenichino Donne Donne's double drama Dryden El Greco emotion energy epic experience expressed façade feel figures flesh foreground gesture gothic art Greco Hamlet harmony heroic high-baroque human illusion imagination Jacobean Jesuit late-baroque light logic Lycidas mannerism mannerist art mannerist painting mass Measure for Measure medieval ment Michaelangelo Milton mind moral motion nerist painter Paradise Lost Parmigianino passion perspective phase Photo Alinari pictorial piety pilasters plane play poem poet poetry Poussin proportions psychological Racine Racine's renais renaissance art renaissance style Rome roque Rubens Saint Samson sance says Scala Regia scene sculpture seems sense soul space structure surface techniques tension theater things Tintoretto tion tragic ture unity verse vision wall Woelfflin