By Stiftung Bauhaus Dessau
There is an airy magic to status underneath a dome, neck craned, having a look up at a imaginative and prescient of the heavens created by way of a few long-ago determine of genius. From the Pantheon to the Hagia Sophia, the facility of the dome turns out transcendent. Photographer David Stephenson's magnificently kaleidoscopic photographs of dome interiors catch this evanescent drama, and make Visions of Heaven essentially the most spectacularly appealing books we have ever produced. touring from Italy to Spain, Turkey, England, Germany, and Russia, between different nations, and photographing church buildings, palaces, mosques, and synagogues from the second one to the early 20th century, Stephenson's paintings quantities to a veritable typology of the cupola. His photographs current advanced geometrical constructions, wealthy stucco undefined, and intricate work as they've got by no means been visible sooner than. Brilliantly calibrated exposures exhibit information and colours that might another way stay hidden in those dimly lit areas. Visions of Heaven indicates greater than a hundred and twenty photographs, together with the Roman Pantheon, the Byzantine church buildings of Turkey, the nice domes of the Renaissance, the ornamental cupolas of the Baroque and the Rococo a long time, and a nineteenth-century synagogue in Hungary.
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Additional info for Visions of Heaven: The Dome in European Architecture
Enough of what your kindness induces me to dissertate upon-let me add only that your kindness could hardly have come to me at a better time. I have been, for the last month, alone with my sister, in a delightful place, of which I have never seen the like for solitary beauty and grandeur. You can only reach it after six or seven hours' journey on mule-back; once here--and some five thousand feet above the level of the sea surrounded by mountains some five thousand feet higher still, and with Monte Rosa and its glacier ending all things to the North-why, the pressure of a friendly hand is felt the more warmly.
Although still under twenty-five, he is evidently a thorough-bred man of the world-an epicure, an amateur, a dilettante, a gallant, a critic, almost a coxcomb. You would think at first that he had travelled. So he has-but it is only between bookcovers. There are few operas that he doesn't know-from the score; few pictures, statues, or churches that he is not STANFORD WHITE familiar with-by description. But he has in reality never been out of New York. He is-prejudice, vanity, obstinacy and all-a very remarkable young man, and wields an intellectual battle-axe between his thumb and forefinger that will cleave its way in time through any Front de Breuf castle of stupidity that he may chance to fall in with.
The wine of life--the cakes and ale--was to be found in music. And in November, 1875, after a lapse of thirty years, he set about reorganizing the Richard Grant White String Quartette. Meyer H. Meyer, who had been a member of the earlier quartette in Brooklyn, joined with him. Meyer was now a retired merchant of sixty and an excellent amateur violinist 3 and is still remembered as 8 His daughter, Mrs. Jeanett~ Thurber, first intrQduced English opera at the old. A~ad~r of Musi~, STANFORD WHITE'S FATIlER the practicer who first found out that if you pin a towel around your violin you can practise without disturbing the most nervous of your neighbors.