gregunalapin.cf/the-view-from-here.php Boada, Isidro Puig, and Seiji Miyaguchi. Directed by Hiroshi Teshigahara. Hope that many of you can join us as we look at he stories behind some truly wonderful art. Terry Glaspey is a writer, an editor, a creative mentor, and someone who finds various forms of art—painting, films, novels, poetry, and music—to be some of the places where he most deeply connects with God.
The Spiritual Legacy of C. Terry enjoys writing and speaking about a variety of topics including creativity and spirituality, the artistic heritage of the Christian faith, the writing of C. Lewis, and creative approaches to apologetics. Some of the greatest painters, musicians, architects, writers, filmmakers, and poets have taken their inspiration from their faith and impacted millions of people with their stunning creations.
Now readers can discover the stories behind seventy-five of these masterpieces and the artists who created them. Order it HERE today. The straight line is the line of Man, the curve is the line of God Cathedrals are breath-taking by design. Interior of La Sagrada Familia Cathedral, Barcelona Whereas much of the statuary on a traditional cathedral seems to be an accessory to the building, here the abundant carvings swarm over the whole structure in such a way that they seem to be the building.
Does ornate architecture inspire or detract from reverence?
Things to Do 3, Hotels Restaurants 11, Wrought iron — Wrought iron is an iron alloy with a very low carbon content in contrast to cast iron. He and the Maitre de Chartes were two architects working in the same artistic and spiritual tradition, separated by six centuries. Its building was designed by architect Francisco Mora Berenguer between and and this is a clear example of Modernist architecture of the early century. In the case of hot forging, a furnace is required to heat ingots or billets. Review tags are currently only available for English language reviews.
The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. Gothic art is imperfect, only half resolved; it is a style created by the compasses, a formulaic industrial repetition. Its stability depends on constant propping up by the buttresses: The proof that Gothic works are of deficient plasticity is that they produce their greatest emotional effect when they are mutilated, covered in ivy and lit by the moon.
Modernisme in its earlier stages was inspired by historic architecture. Its practitioners saw its return to the past as a response to the industrial forms imposed by the Industrial Revolution 's technological advances.
The use of these older styles represented a moral regeneration that allowed the bourgeoisie to identify with values they regarded as their cultural roots. Some essential features of Modernisme were: They are imaginative works that find their main inspiration in nature. He used to equate the helicoid form to movement and the hyperboloid to light. Concerning ruled surfaces, he said:. Paraboloids, hyperboloids and helicoids, constantly varying the incidence of the light, are rich in matrices themselves, which make ornamentation and even modelling unnecessary. He had studied geometry thoroughly when he was young, studying numerous articles about engineering, a field that praised the virtues of the catenary curve as a mechanical element, one which at that time, however, was used only in the construction of suspension bridges.
These constructional forms are highly suited to the use of cheap materials such as brick. He inclined the columns so they could better resist the perpendicular pressure on their section. He also gave them a double-turn helicoidal shape right turn and left turn , as in the branches and trunks of trees. This created a structure that is now known as fractal. The hyperboloid vaults have their center where Gothic vaults had their keystone, and the hyperboloid allows for a hole in this space to let natural light in. He used to say that he had acquired this spatial sense as a boy by looking at the drawings his father made of the boilers and stills he produced.
Reluctant to draw plans, only on rare occasions did he sketch his works—in fact, only when required by authorities. There, he set up a model that had strings with small bags full of birdshot hanging from them. On a drawing board that was attached to the ceiling he drew the floor of the church, and he hung the strings for the catenaries with the birdshot for the weight from the supporting points of the building—columns, intersection of walls. These weights produced a catenary curve in both the arches and vaults.
The outline of the church defined, he recorded every single detail of the building: It could be said that these styles culminated in his work, which reinterpreted and perfected them. This knowledge allowed him to design architectural projects, including all the elements of his works, from furnishings to illumination to wrought ironwork. For the restoration of Mallorca Cathedral he invented a new technique to produce stained glass, which consisted of juxtaposing three glass panes of primary colours , and sometimes a neutral one, varying the thickness of the glass in order to graduate the light's intensity.
He would thoroughly study the anatomy of the figure, concentrating on gestures. For this purpose, he studied the human skeleton and sometimes used dummies made of wire to test the appropriate posture of the figure he was about to sculpt. In a second step, he photographed his models, using a mirror system that provided multiple perspectives. He then made plaster casts of the figures, both of people and animals on one occasion he made a donkey stand up so it would not move.
He modified the proportions of these casts to obtain the figure's desired appearance, depending on its place in the church the higher up, the bigger it would be. Eventually, he sculpted the figures in stone. He aimed to place his works in the most appropriate natural and architectural surroundings by studying the location of his constructions thoroughly and trying to naturally integrate them into those surroundings.
For this purpose, he often used the material that was most common in the nearby environment, such as the slate of Bellesguard and the grey Bierzo granite in the Episcopal Palace, Astorga. In each case he knew how to apply stylistic particularities, personalising the decoration according to the owner's taste, the predominant style of the arrangement or its place in the surroundings—whether urban or natural, secular or religious. Many of his works were related to liturgical furnishing. Many of his furnishings are exhibited at Gaudi House Museum.
Another aspect is the intelligent distribution of space, always with the aim of creating a comfortable, intimate, interior atmosphere. Apart from taking care of every detail of all structural and ornamental elements, he made sure his constructions had good lighting and ventilation. For this purpose, he studied each project's orientation with respect to the cardinal points, as well as the local climate and its place in its surroundings.
With regard to light, he stated:. This can be considered medium light, and it offers the most perfect vision of objects and their most exquisite nuances. It is the Mediterranean light. He also tended to build south-facing houses to maximise sunlight. Together with his inspiration from nature and the original touch of his works, this amalgam gives his works their personal and unique character in the history of architecture.
Although he moved on from his initially historicist approach to immerse himself completely in the modernista movement which arose so vigorously in the last third of the 19th century in Catalonia, before finally attaining his personal, organic style, this process did not consist of clearly defined stages with obvious boundaries: He also carried out a project for Martorell for the competition for a new facade for Barcelona cathedral , which was never accepted.
He received the request from the city council of Barcelona in February , when he had graduated but not yet received his degree, which was sent from Madrid on 15 March of the same year. Made of cast iron with a marble base, they have a decoration in which the caduceus of Mercury is prominent, symbol of commerce and emblem of Barcelona. The Girossi newsstands project, which was never carried out, was a commission from the tradesman Enrique Girossi de Sanctis. It would have consisted of 20 newsstands , spread throughout Barcelona.
Each would have included a public lavatory, a flower stand and glass panels for advertisements as well as a clock, a calendar, a barometer and a thermometer. He even designed the Cooperative's banner, with the figure of a bee , symbol of industriousness. The following year he designed the furniture and counter for the Gibert Pharmacy, with marquetry of Arab influence.
The same year he made five drawings for a procession in honour of the poet Francesc Vicent Garcia i Torres in Vallfogona de Riucorb , where this celebrated 17th-century writer and friend of Lope de Vega was the parish priest. The church caught fire during the Tragic Week of , and now only the mosaics remain, of "opus tesselatum", probably the work of the Italian mosaicist Luigi Pellerin. In he designed an electric lighting project for Barcelona's Muralla de Mar, or seawall , which was not carried out. It consisted of eight large iron streetlamps, profusely decorated with plant motifs , friezes , shields and names of battles and Catalan admirals.
Ultimately the wine cellars, but not the lodge, were built some years later. With Martorell he also collaborated on three other projects: The church was the idea of Josep Maria Bocabella, founder of the Devotees of Saint Joseph Association, which acquired a complete block of Barcelona's Eixample district. Between and he constructed the Casa Vicens , commissioned by stockbroker Manuel Vicens i Montaner.
It was constructed with four floors, with facades on three sides and an extensive garden, including a monumental brick fountain. The walls of the house are of stone alternated with lines of tile, which imitate yellow flowers typical of this area; the house is topped with chimneys and turrets. Among the most original rooms is the smoking room, notable the ceiling, decorated with Moorish honeycomb-work, reminiscent of the Generalife in the Alhambra in Granada.
He also received a commission to build a small annex to the Palacio de Sobrellano, for the Baron of Comillas, in the Cantabrian town of the same name. In an oriental style, it has an elongated shape, on three levels and a cylindrical tower in the shape of a Persian minaret, faced completely in ceramics. The entrance is set behind four columns supporting depressed arches, with capitals decorated with birds and leaves, similar to those that can be seen at the Casa Vicens. Notable are the main lounge, with its large sash window , and the smoking room with a ceiling consisting of a false Arab-style stucco vault.
The architect Joan Martorell had built a Caribbean-style mansion, which was demolished in to make way for the Royal Palace of Pedralbes. He completed the stone wall with several entrances, the main entrance with an iron gate in the shape of a dragon, with symbology allusive to the myths of Hercules and the Garden of the Hesperides.
All three are topped by ventilators in the shape of chimneys faced with ceramics. The walls are of exposed brick in various shades of reds and yellows; in certain sections prefabricated cement blocks are also used. The altar is made of varnished mahogany , with a slab of white marble in the centre for relics. It is decorated with plants and religious motifs, such as the Greek letters alpha and omega, symbol of the beginning and end, gospel phrases and images of Saint Francis of Paola , Saint Teresa of Avila and the Holy Family and closed with a curtain of crimson embroidery.
A notable feature is the triple-height entrance hall; it is the core of the building, surrounded by the main rooms of the palace, and it is remarkable for its double dome, parabolic within and conical on the outside, a solution typical of Byzantine art. The chimneys on the roof are a remarkable feature, faced in vividly coloured ceramic tiles, as is the tall spire in the form of a lantern tower , which is the external termination of the dome within, and is also faced with ceramic tiles and topped with an iron weather vane. Neo-gothic was one of the most successful historicist styles at that time, above all as a result of the theoretical studies of Viollet-le-Duc.
In his works he eliminated the need of buttresses through the use of ruled surfaces , and abolished crenellations and excessive openwork. He designed a simple building, using bricks for the exterior and some brick elements for the interior. The building is crowned by a row of merlons which suggest a castle, a possible reference to Saint Teresa 's Interior Castle. The interior includes a corridor which is famous for the series of catenary arches that it contains.
These elegant arches are decorative and support the ceiling and the floor above. Constructed between and , in a neo-Gothic style with four cylindrical towers, it was surrounded by a moat. The stone with which it was built grey granite from the El Bierzo area is in harmony with its surroundings, particularly with the cathedral in its immediate vicinity, as well as with the natural landscape, which in late 19th-century Astorga was more visible than today. The porch has three large flared arches, built of ashlar and separated by sloping buttresses.
The structure is supported by columns with decorated capitals and by ribbed vaults on pointed arches, and topped with Mudejar-style merlons. It currently houses a museum about the Way of Saint James , which passes through Astorga . The building was used to accommodate offices and textile shops on the lower floors, as well as apartments on the upper floors. It was constructed with walls of solid limestone. It has three floors: It was completed with a porter's lodge, notable for the iron gate in the shape of a fishing net.
This influenced his choice of local slate for the construction. The building's ground-plan measures 15 x 15 meters, with the corners oriented to the four cardinal points.
Constructed in stone and brick, it is taller than it is wide, with a spire topped with the four-armed cross, the Catalan flag and the royal crown. The house has a basement, ground floor, first floor and an attic, with a gable roof. To this he added a great creative freedom and an imaginative ornamental style. His works acquired a great structural richness, with shapes and volumes devoid of rational rigidity or any classic premise.
Another notable feature of the facade is the gallery on the main floor, decorated with plant and mythological motifs. In , he won the award for the best building of the year from Barcelona City Council.
It has a ground floor and three apartments, with stuccoed walls and cast-iron balconies. It was he who recommended him to do manual work for his rheumatism. Also in , he designed two banners: It was intended to be a residential estate in the style of an English garden city. The project was unsuccessful: The main entrance to the park has a building on each side, intended as a porter's lodge and an office, and the site is surrounded by a stone and glazed-ceramic wall.
These steps lead to the Hypostyle Hall, which was to have been the residents' market, constructed with large Doric columns. Located on the way to the Holy Cave of Montserrat, it was a series of groups of sculptures that evoked the mysteries of the Virgin, who tells the rosary.
This project involved the best architects and sculptors of the era, and is a curious example of Catalan Modernism. The interior courtyard is roofed by a skylight supported by an iron structure in the shape of a double T, which rests on a series of catenary aches. The helicoidal chimneys are a notable feature of the roof, topped with conical caps, covered in clear glass in the centre and ceramics at the top, and surmounted by clear glass balls filled with sand of different colours. Also for Graner he designed a detached house in the Bonanova district of Barcelona, of which only the foundations and the main gate were built, with three openings: It has a simple structure though very original, in the shape of a pointed arch, with two semi-circular flights of stairs leading to the top two floors.
This building fell into ruin when the cement works closed, and when it was eventually restored its appearance was radically altered, the ingenious original staircase being replaced with a simpler metal one. The building was demolished in It was dark green in colour, with Barcelona's coat of arms in the upper left corner, and an image of Saint Eligius, patron of the guild, with typical tools of the trade.
The banner was burned in July It has a total of five floors, plus a loft made entirely of catenary arches, as well as two large interior courtyards, one circular and one oval. Notable features are the staircases to the roof, topped with the four-armed cross, and the chimneys, covered in ceramics and with shapes that suggest mediaeval helmets. The facade was to have been completed with a stone, metal and glass sculpture with Our lady of the Rosary accompanied by the archangels Michael and Gabriel, 4m in height.
A sketch was made by the sculptor Carles Mani, but due to the events of the Tragic Week in the project was abandoned. The project was not executed because the city council disliked it. Inside it would have had five large rooms, one dedicated to every continent. The project began in , and the factory, service buildings and housing for the workers were constructed.
He conceived it as fully integrated into nature. Inside, circular brick pillars alternate with slanted basalt columns from Castellfollit de la Roca. It was built of exposed brick, in three overlapping layers, following the traditional Catalan method. The walls and roof have an undulating shape, giving the structure a sense of lightness but also strength. They were obelisk-shaped lamps, with basalt rock bases from Castellfollit de la Roca and wrought iron arms, topped with the four-armed cross; they were decorated with vegetable themes and included the birth and death dates of Balmes.
They were demolished in due to poor maintenance. He divided it into two parts: You can remove the unavailable item s now or we'll automatically remove it at Checkout. Continue shopping Checkout Continue shopping. Chi ama i libri sceglie Kobo e inMondadori. Buy the eBook Price: Available in Russia Shop from Russia to buy this item. Or, get it for Kobo Super Points! Fourteen original photographs illustrate the text. Ratings and Reviews 0 0 star ratings 0 reviews. Overall rating No ratings yet 0. How to write a great review Do Say what you liked best and least Describe the author's style Explain the rating you gave Don't Use rude and profane language Include any personal information Mention spoilers or the book's price Recap the plot.
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