Reseña del editor:
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1901 Excerpt: ...hard to obtain a sufficient depth to allow of this, and perforce the east wall is chosen. As good an architectural treatment as there is, is that of the canopied niche, the lines being similar to those of the sedilia. (See Figure LXV.) Where it is possible to carry the lines of the reredos around on either side, including the credence, bishop's and priests' sedilia, and connecting with the organ case and canopied stalls, the whole being tied together in front by the roodscreen, the effect is both rich and reserved, full of dignity and architectural quality. Where this is done, the windows come of course above the line of woodwork, the cresting of the latter reaching just to the window-sills. In the decoration of the chancel there is the widest ransje of possibilities. Carved and traceried stone with little statues in their fretted niches, richly wrought woodwork, stamped and gilded leather, tapestries, wall paintings,--if they are good,--all may be used to create a composition of the utmost richness. When to this are added the light from painted windows, the flicker of burnished brass in the shape of candlesticks and hanging lamps, and, above all, the crowning glory of the altar and reredos, an architectural composition is obtained that is unique in its potentialities. Yet the chance for solemn effects is often most recklessly thrown away. I do not need to describe the commoner sort of chancel: we all know it, with its lacquered brass and futile carving, its cheap tile-work and cheaper frescoing. For this sort of thing architects and decorators are more to blame than any others. The desire for the right thing exists, but too often only to be betrayed. As church architecture is precisely the noblest form of the art and the one least to be mastered by any sys...
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