998 resultados para Picturesque, The


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"An illustrated magazine, devoted to the literature, history, and picturesque features of Connecticut."

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"A second edition - not divested of ornaments, but contrariwise, possessing some which do not appertain to its precursor ... possessing, in the running notes, critical replies and biographical memoranda, advantages which, in these respects, give it a superiority over the first."--Dibdin's Reminiscences, v.2, p. 696.

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Added title-pages, engr.

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XVI. A child's garden of verses. Underwoods. Ballads.--XVII. Vailima letters: correspondence addressed to Sidney Colvin.--XVIII. Memoir of Fleming Jenkins. Records of a family of engineers.--XIX. In the South seas. A foot-note to history.--XX. Weir of Hermiston. The plays of W.E. Henley and R.L. Stevenson. Fables.--XXI. St. Ives: being the adventures of a French prisoner in England.--XXII. Sketches. Criticisms., etc.--XXIII-XXIV. Letters to his family and friends, selected and ed. ... by S. Colvin.-- ... XXV. New Letters, selected and ed. by S. Colvin.

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Mode of access: Internet.

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pt. 1. Picturesque Mexico, by M. E. Blake.- pt. 2. Political and progressive Mexico, by M. F. Sullivan.

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Added half-title, engraved.

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Mode of access: Internet.

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"Heath's picturesque annual"--Spine.

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Criticisms, etc.--XXIII-XXIV. Letters to his family and friends, selected and ed. ... by S. Colvin.--XXV-XXVI. The life of Robert Louis Stevenson, by G. Balfour.--XXVII. New letters, selected and ed. by S. Colvin.

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Extinction of the ballet. Operatic management. Musical agents. Libretti. Operatic and theatrical anomalies. The literary maltreatment of music. Dictionaries of music. Grove's musical dictionary. Quartett concerts and the classical in music. Reasonableness of opera. Tatra Füred, and the music of the Hungarian gipsies. The byeways of bookmaking.

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Knowledge of the plan competes with self-consciousness of experience. The less we are able to understand our spatio-visual experience by the abstract coordinates of the plan, the more we are thrust back into a lived experience of the building in duration. This formula, frequently unacknowledged, has been one of the main precepts of the experientialist modernism which arises out of the picturesque and which stands in critique of classical idealism. One of the paths to critique this formula is by showing that the attention to the experience of the spaces in duration is predicated on obscuring, complicating and weakening the apprehension of the plan as a figure. Another development in the practice of modern planning has been architects using a kind of over-drawing where human circulation diagrams or 'movement lines' are drawn expressively across the orthographic plane; thus representing the lived experience of buildings. We will show that these two issues are linked; the plan's weak figure and the privilege this supposes for durational experience has a corollary - experience itself demands to be visible in the plan, and this is one origin of the present fascination with 'diagramming'. In this paper we explore the practice of architectural planning and its theoretical underpinnings in an attempt to show the viability of a history of architectural planning methods.

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The English garden design style and the landscape garden movement became the most emblematic cultural achievement of England in the 18th-19th century. The natural garden style proved to be the symbol of the liberal philosophy and the enlightened way of thinking. But the English landscape garden, which can be seen as an idealized view of nature, is inspired by the classical landscape paintings and is also influenced by the classic Chinese gardens, which had recently been described by European travellers. The interest for Chinese culture, architecture and garden design spread around the British island and inspired the talented garden designers. The gardens of Chambers created a new section in the picturesque landscape gardens, the so called anglo-chinoiseric gardens where eastern, mainly Chinese architectural motives and garden elements have been used in most cases without integrating the Chinese nature philosophy. This first, more or less formal effects of Chinese garden design on European landscape architecture were overwritten by garden designers and horticulturalist during the gardenesque period of the early 19th century when great variety in plant design was taken into the focus of landscape architecture.