A Chronicle of Fountains

A Chronicle of Fountains Himself a learned man, Pope Nicholas V led the Roman Catholic Church from 1397 till 1455 and was responsible for the translation of scores of ancient documents from their original Greek into Latin. In order to make Rome worthy of being the capital of the Christian world, the Pope resolved to embellish the beauty of the city. In 1453 the Pope commissioned the rebuilding of the Aqua Vergine, an ancient Roman aqueduct which had carried fresh drinking water into the city from eight miles away. A mostra, a monumental dedicatory fountain built by ancient Romans to mark the point of entry of an aqueduct, was a practice which was revived by Nicholas V. The Trevi Fountain now occupies the area previously filled with a wall fountain crafted by Leon Battista Albert, an architect employed by the Pope. Changes and extensions, included in the restored aqueduct, eventually supplied the Trevi Fountain and the well-known baroque fountains in the Piazza del Popolo and Piazza Navona with the necessary water supply.

The Outcome of the Norman Conquest on Anglo-Saxon Gardens

The Outcome of the Norman Conquest on Anglo-Saxon Gardens Anglo-Saxons experienced incredible changes to their daily lives in the latter half of the eleventh century due to the accession of the Normans. The ability of the Normans exceeded the Anglo-Saxons' in design and farming at the time of the conquest. But there was no time for home life, domesticated architecture, and decoration until the Normans had conquered the whole realm. Castles were more fundamental designs and often erected on blustery hills, where their tenants spent both time and space to exercising offense and defense, while monasteries were major stone buildings, regularly positioned in the widest, most fertile hollows. Peaceful pastimes such as gardening were out of place in these destitute citadels. Berkeley Castle, maybe the most pristine model of the early Anglo-Norman style of architecture, still exists now. The keep is said to date from the time of William the Conqueror. An enormous terrace encompasses the building, serving as an obstruction to attackers trying to dig under the castle walls. One of these terraces, a charming bowling green, is covered grass and flanked by an aged yew hedge trimmed into the figure of crude battlements.

Classic Greece: The Roots of Outdoor Statue Design

Classic Greece: The Roots of Outdoor Statue Design Though many sculptors were paid by the temples to decorate the sophisticated columns and archways with renderings of the gods, as the time period came to a close, it became more common for sculptors to depict average people as well because many of Greeks had started to think of their religion as superstitious rather than sacred. Classic Greece: Roots Outdoor Statue Design 36464046140.jpg

Classic Greece: Roots Outdoor Statue Design 36464046140.jpg

Portraiture started to be prevalent as well, and would be welcomed by the Romans when they conquered the Greeks, and on occasion affluent households would commission a representation of their progenitors to be put inside their huge familial burial tombs. The usage of sculpture and other art forms differed over the years of The Greek Classical period, a time of creative progress when the arts had more than one objective. It may be the advanced quality of Greek sculpture that captivates our eye these days; it was on a leading-edge practice of the ancient world whether it was created for religious purposes or artistic pleasure.