ARCHITECTURE.The architecture is th

ARCHITECTURE.

The architecture is the expression of the same companies, in the same way that the human physiognomy is the expression to be individuals. However, it is mainly to official characters (prelates, magistrates, admirals) Facial that this comparison should be reported. Indeed, only the ideal being of the company, who directs and prohibits with authority, is expressed in actual architectural compositions. Thus the great monuments rise like dikes, between the logic of the Majesty and authority to all disorders: it is in the form of cathedrals and palaces than the Church or the State addressed and impose silence upon the multitudes. It is obvious, in fact, that the monuments inspire social wisdom and often even a real fear. The storming of the Bastille is symbolic of this state of affairs: it is difficult to explain this movement of crowd, otherwise than by the animosity of the people against the monuments that are its true masters.

Also, whenever the architectural composition occurs also in monuments, whether in the physiognomy, costume, music or painting, can we infer a taste of human or divine authority. The great compositions of some painters express the desire to compel the spirit to an official ideal. The disappearance of the academic construction in painting is, on the contrary, the route open to the expression (thereby exaltation) the most incompatible psychological processes with social stability. This is what explains in large part the strong reactions caused from over half a century by the progressive transformation of the painting, until then characterized by a kind of hidden architectural skeleton. It is obvious Moreover, that mathematical order imposed on the stone is other than the completion of an evolution of land forms, the meaning of which is given in the biological order, by the passage of the ape-like human shape form, it already with all the elements of the architecture. Men are apparently in the morphological process, that an intermediate step between the monkeys and tall buildings. The forms became more static, more and more dominant. As well, is the human order solidarity outset of the architectural order, which is a development. That if we take architecture, monumental productions are the true masters over all the Earth, grouping in their shade of servile multitudes, imposing admiration and astonishment, order and coercion, it takes somehow to humans. Any terrestrial activity currently, and probably the most brilliant in the intellectual order, tends in such a meaning, denouncing the lack of human dominance: so strange for that it may seem when it comes to an elegant creature that human beings, a path opens - indicated by the painters - to the beastly monstrosity; as if it wasn't another chance to escape from the architectural Peggy. G.B.

ผลลัพธ์ (อังกฤษ) 1:

ARCHITECTURE.The architecture is the expression of the same companies, in the same way that the human physiognomy is the expression to be individuals. However, it is mainly to official characters (prelates, magistrates, admirals) Facial that this comparison should be reported. Indeed, only the ideal being of the company, who direct and prohibits with authority, is expressed in actual architectural compositions. Thus the great monuments rise like dikes, between the logic of the Majesty and authority to all disorders: it is in the form of cathedrals and palaces than the Church or the State addressed and imposed silence upon the multitudes. It is obvious, in fact, that the monuments inspire social wisdom and often even a real fear. The storming of the Bastille is symbolic of this state of affairs: it is difficult to explain this movement of crowd, otherwise than by the animosity of the people against the monuments that are its true masters.Also, whenever the architectural composition occurs also in monuments, whether in the physiognomy, costume, music or painting, can we infer a taste of human or divine authority. The great compositions of some painters express the desire to compel the spirit to an ideal official. The disappearance of the academic construction in painting is, on the contrary, the road open to the expression (thereby exaltation) the most incompatible psychological processes with social stability. This is what explains in large part the strong reactions caused from over half a century by the progressive transformation of the painting, until then characterized by a kind of hidden architectural skeleton. It is obvious, Moreover, that mathematical order imposed on the stone is other than the completion of year evolution of land forms, the meaning of which is given in the biological order, by the passage of the ape-like human shape form, it already with all the elements of the architecture. Men are apparently in the morphological process, that an intermediate step between the monkeys and tall buildings. The forms became more static, more and more dominant. As well, is the human order solidarity outset of the architectural order, which is a development. That if we take architecture, monumental productions are the true masters over all the Earth, grouping in their shade of servile multitudes, imposing admiration and astonishment, order and coercion, it takes somehow to humans. Any terrestrial activity currently, and probably the most brilliant in the intellectual order, tend in such a meaning, denouncing the lack of human dominance: so strange for that it may seem when it comes to an elegant creature that human beings, a path opens - indicated by the painters - to the beastly monstrosity; as if it wasn't another chance to escape from the architectural Peggy. G.B.

ผลลัพธ์ (อังกฤษ) 3:

architecture.

the architecture is the expression of the same companies, in the same way that the human physiognomy is the expression to be individuals. however, it is mainly to the characters (prelates, magistrates, admirals) face that this comparison should be reported. indeed, only the perfect being of the company, who direct and prohibits with authority.is expressed in the architectural composition. thus the great buildings rise like dikes, between the logic of the relationship and authority to all disorders. it is in the form of cathedrals and palaces of the church or the state addressed and impose silence upon the masses. it is obvious, in fact, that the monument is the social wisdom and even a real fear.the storming of the bastille is symbolic of this state of affairs, it is difficult to explain the movement of people, otherwise than by the animosity of the people against the monuments that are its true masters. "also, whenever the architectural composition occurs also in buildings, whether in the physiognomy, costume, music or painting. can we infer a taste of human or divine authority.the great compositions of some painters express the desire to compel the spirit to form ideal. the disappearance of the academic construction in painting, on the contrary, the road is open to the expression, the most incompatible (increase) processes with social stability.this is what explains in large part the strong reactions caused from over half a century by the progressive transformation of the painting, and then characterized by a kind of hidden architectural skeleton. it is obvious both that mathematical order imposed on the stone is other than the completion of an evolution of land form, the meaning of which is given in the biological order.by the way of the ape like human shape and form, with all the elements of the architecture. men are apparently in the morphological process, as an intermediate step between the monkeys and tall buildings. the forms became more static, more and more dominant. as well, is the human order / outset of the architectural order, which is a development.if we take a monumental architecture, products are the true masters over all the earth, in the shade of servile masses group, admiration and astonishment) conditions, and coercion, it takes somehow to humans. any terrestrial activity currently, and probably the most brilliant in the world order, set up in such a meaning, denouncing the lack of human dominance.it may seem strange for that. when it comes to an elegant thing that human beings, a path opens - indicated by the painters to the beastly monstrosity; as if it wasn't the chance to escape from the building here. gb