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1 ранняя готика
Русско-английский словарь по строительству и новым строительным технологиям > ранняя готика
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2 frühgotisch
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3 Frühgotik
f ARCHIT. early Gothic (style); (Zeit) early Gothic period* * *Früh·go·tikf early Gothic period* * * -
4 frühgotisch
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5 кафедральный собор в Шартре
Универсальный русско-английский словарь > кафедральный собор в Шартре
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6 ранняя готика
Construction: early Gothic -
7 haut gothique
Dictionnaire d'ingénierie, d'architecture et de construction > haut gothique
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8 Frühgotik
Früh·go·tik fearly Gothic period -
9 Frühgotik
Deutsch-Englisch Fachwörterbuch Architektur und Bauwesen > Frühgotik
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10 ранняя английская готика
early English Gothic, primary GothicРусско-английский словарь по строительству и новым строительным технологиям > ранняя английская готика
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11 pasar de moda
to go out of fashion* * *(v.) = drop out of + vogue, go out of + fashion, go out of + favour, go out of + date, go out of + vogue, fall out of + vogue, go out of + style, pass away, obsolesce, drop out of + circulationEx. As a word drops out of vogue, the concept that it represents will, with time, gradually be described by a new term.Ex. Sawn-in cords, giving flat spines, were common in the mid seventeenth century, but then went out of fashion until they were reintroduced in about 1760.Ex. The author follows the history through to the point, in the latter part of the nineteenth century, when mirror-image monograms went out of favour and were replaced by straightforward monograms.Ex. Information in the humanities does not readily go out of date.Ex. The name 'Canaan', never very popular, went out of vogue with the collapse of the Egyptian empire.Ex. He points out that these metaphors fell out of vogue in the early 1980s.Ex. While Gothic never went out of style in Britain, the Baroque came to be associated with the classical debased by the Industrial Revolution.Ex. These tools are useable for analytical studies of how technologies emerge, mature and pass away.Ex. The entire hardware of Western industrialism has been obsolesced and 'etherealized' by the new surround of electronic information services.Ex. Many songs that were once well-known but dropped out of circulation during the mid-20th century have become well known again in recent years.* * *(v.) = drop out of + vogue, go out of + fashion, go out of + favour, go out of + date, go out of + vogue, fall out of + vogue, go out of + style, pass away, obsolesce, drop out of + circulationEx: As a word drops out of vogue, the concept that it represents will, with time, gradually be described by a new term.
Ex: Sawn-in cords, giving flat spines, were common in the mid seventeenth century, but then went out of fashion until they were reintroduced in about 1760.Ex: The author follows the history through to the point, in the latter part of the nineteenth century, when mirror-image monograms went out of favour and were replaced by straightforward monograms.Ex: Information in the humanities does not readily go out of date.Ex: The name 'Canaan', never very popular, went out of vogue with the collapse of the Egyptian empire.Ex: He points out that these metaphors fell out of vogue in the early 1980s.Ex: While Gothic never went out of style in Britain, the Baroque came to be associated with the classical debased by the Industrial Revolution.Ex: These tools are useable for analytical studies of how technologies emerge, mature and pass away.Ex: The entire hardware of Western industrialism has been obsolesced and 'etherealized' by the new surround of electronic information services.Ex: Many songs that were once well-known but dropped out of circulation during the mid-20th century have become well known again in recent years. -
12 sealbh
possession, cattle, luck, Irish sealbh, Early Irish selb, Old Irish selbad, Welsh helw, possession, ownership: *selvâ, possession, root sel, take, Early Irish selaim, I take, Greek $$Ge$$`lei$$nn, take; Gothic saljan, offer, English sell. Windisch has compared Gothic silba, English self (pronominal root sve). -
13 Architecture
Portugal maintains an important architectural legacy from a long history of contact with invaders and other visitors who brought architectural ideas from Western Europe and North Africa. Among the migrants were Phoenicians, Greeks, Romans, Germanic peoples, and Arabs, as well as visitors from France, Italy, Holland, Germany, Spain, and Great Britain.Architecture in Portugal has been influenced by the broad Western architectural styles, including Romanesque, Gothic, Renaissance, Baroque, and Neoclassicism. Two Portuguese architectural styles are unique, the Manueline architectural style and the Pombaline, named after the dictator the Marquis of Pombal. Pre-Roman-esque styles include early Megalithic structures, Roman styles, and Moorish or Arab styles, when Portugal was occupied by Muslims (711-1290). This period of Moorish castles and mosques, most but not all of which were razed, was followed by the Romanesque period (1100-ca. 1230), when many churches, monasteries, castles, and palaces were constructed.There followed the Gothic period (ca. 1200-1450), which was dominated by buildings for the Church, the monarchy, and the nobility. Related to Portugal's overseas empire, the kingdom's new role briefly as a world power, especially on the seas, and to the reign of King Manuel I, is the Manueline architectural style, described by scholars as "Atlantic Baroque" (ca. 1490-1520), a bold Portuguese version of late Gothic style. This was followed by styles of Renaissance and Mannerism (ca. 1520-1650), including the "Plain style," which was influenced by Castilian styles under King Felipe I.Following the period 1580 to 1640, when Spain ruled Portugal, there was restoration architecture (1640-1717) and then the Baroque style (1717-55). The largest and most unusual building from this era, the Mafra Palace, is said to be even larger than Spain's El Escorial. Following the Lisbon Earthquake of 1755, was Pombaline style (1755-1860), a blend of late Baroque and Neoclassicism, which began when Pombal's government oversaw the reconstruction of large sections of central Lisbon. Modern architecture followed this period, a style influenced in the 20th century by one of Europe's best architecture schools, the so-called Escola do Porto (School of Oporto). This school is the Faculdade de Arquitectura (School of Architecture), and alumni include celebrated architects Fernando Tavora; Álvaro Siza Vieira, designer of the Portuguese pavilion at Expo '98, Lisbon; and Eduardo Souto de Moura. Despite tragic losses of historic structures due to urban development, since the 1930s many Portuguese governments have sought to preserve and restore the remaining historic legacy of architecture. -
14 gotiek
1 [de bouwstijl] Gothic2 [stijl, cultuur] (the) Gothic age♦voorbeelden:1 de vroege/late/hoge gotiek • Early/Late/High Gothic -
15 aoir
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16 conn
sense, so Irish, Early Irish cond: *cos-no-, root kos, kes, as in Gaelic chì, see; Greek $$G konnéw, understand, $$G kósmos, array ("what is seen"), world. See further under chí for kes. Stokes equates cond with Gothic handngs, wise; but this is merely the English handy. It has been suggested as an ablaut form to ceann, head. Gothic hugs, sense, has also been compared; *cug-s-no- is possible. -
17 dual
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18 ionnsaich
learn, Early Irish insaigim, seek out, investigate, noun saigid, seeking out, saigim: in- and sag, root sag, seek; Latin sa!-gio, am keen, sagax, acute; Greek $$Gc$$`géomai, lead; Gothic sôkjan, seek, English seek; Indo-European sâg, sag. The Gaelic connsaich is from co-in-saigim, sagim, say, dispute; Gothic sakan, dispute, English forsake, sake. -
19 Wren, Sir Christopher
SUBJECT AREA: Architecture and building[br]b. 20 October 1632 East Knoyle, Wiltshire, Englandd. 25 February 1723 London, England[br]English architect whose background in scientific research and achievement enhanced his handling of many near-intractable architectural problems.[br]Born into a High Church and Royalist family, the young Wren early showed outstanding intellectual ability and at Oxford in 1654 was described as "that miracle of a youth". Educated at Westminster School, he went up to Oxford, where he graduated at the age of 19 and obtained his master's degree two years later. From this time onwards his interests were in science, primarily astronomy but also physics, engineering and meteorology. While still at college he developed theories about and experimentally solved some fifty varied problems. At the age of 25 Wren was appointed to the Chair of Astronomy at Gresham College in London, but he soon returned to Oxford as Savilian Professor of Astronomy there. At the same time he became one of the founder members of the Society of Experimental Philosophy at Oxford, which was awarded its Royal Charter soon after the Restoration of 1660; Wren, together with such men as Isaac Newton, Robert Hooke, John Evelyn and Robert Boyle, then found himself a member of the Royal Society.Wren's architectural career began with the classical chapel that he built, at the request of his uncle, the Bishop of Ely, for Pembroke College, Cambridge (1663). From this time onwards, until he died at the age of 91, he was fully occupied with a wide and taxing variety of architectural problems which he faced in the execution of all the great building schemes of the day. His scientific background and inventive mind stood him in good stead in solving such difficulties with an often unusual approach and concept. Nowhere was this more apparent than in his rebuilding of fifty-one churches in the City of London after the Great Fire, in the construction of the new St Paul's Cathedral and in the grand layout of the Royal Hospital at Greenwich.The first instance of Wren's approach to constructional problems was in his building of the Sheldonian Theatre in Oxford (1664–9). He based his design upon that of the Roman Theatre of Marcellus (13–11 BC), which he had studied from drawings in Serlio's book of architecture. Wren's reputation as an architect was greatly enhanced by his solution to the roofing problem here. The original theatre in Rome, like all Roman-theatres, was a circular building open to the sky; this would be unsuitable in the climate of Oxford and Wren wished to cover the English counterpart without using supporting columns, which would have obscured the view of the stage. He solved this difficulty mathematically, with the aid of his colleague Dr Wallis, the Professor of Geometry, by means of a timber-trussed roof supporting a painted ceiling which represented the open sky.The City of London's churches were rebuilt over a period of nearly fifty years; the first to be completed and reopened was St Mary-at-Hill in 1676, and the last St Michael Cornhill in 1722, when Wren was 89. They had to be rebuilt upon the original medieval sites and they illustrate, perhaps more clearly than any other examples of Wren's work, the fertility of his imagination and his ability to solve the most intractable problems of site, limitation of space and variation in style and material. None of the churches is like any other. Of the varied sites, few are level or possess right-angled corners or parallel sides of equal length, and nearly all were hedged in by other, often larger, buildings. Nowhere is his versatility and inventiveness shown more clearly than in his designs for the steeples. There was no English precedent for a classical steeple, though he did draw upon the Dutch examples of the 1630s, because the London examples had been medieval, therefore Roman Catholic and Gothic, churches. Many of Wren's steeples are, therefore, Gothic steeples in classical dress, but many were of the greatest originality and delicate beauty: for example, St Mary-le-Bow in Cheapside; the "wedding cake" St Bride in Fleet Street; and the temple diminuendo concept of Christ Church in Newgate Street.In St Paul's Cathedral Wren showed his ingenuity in adapting the incongruous Royal Warrant Design of 1675. Among his gradual and successful amendments were the intriguing upper lighting of his two-storey choir and the supporting of the lantern by a brick cone inserted between the inner and outer dome shells. The layout of the Royal Hospital at Greenwich illustrates Wren's qualities as an overall large-scale planner and designer. His terms of reference insisted upon the incorporation of the earlier existing Queen's House, erected by Inigo Jones, and of John Webb's King Charles II block. The Queen's House, in particular, created a difficult problem as its smaller size rendered it out of scale with the newer structures. Wren's solution was to make it the focal centre of a great vista between the main flanking larger buildings; this was a masterstroke.[br]Principal Honours and DistinctionsKnighted 1673. President, Royal Society 1681–3. Member of Parliament 1685–7 and 1701–2. Surveyor, Greenwich Hospital 1696. Surveyor, Westminster Abbey 1699.Surveyor-General 1669–1712.Further ReadingR.Dutton, 1951, The Age of Wren, Batsford.M.Briggs, 1953, Wren the Incomparable, Allen \& Unwin. M.Whinney, 1971, Wren, Thames \& Hudson.K.Downes, 1971, Christopher Wren, Allen Lane.G.Beard, 1982, The Work of Sir Christopher Wren, Bartholomew.DY -
20 раннеанглийская готика
1) General subject: Early English (XII-XIII вв.)Универсальный русско-английский словарь > раннеанглийская готика
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