A Quote by Arne Jacobsen
Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.
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A landscape, torn by mists and clouds, in which I can see ruins of old churches, as well as of Greek temples - that is Brahms.
This is another thing which I really like investigating in my novels: what is it that makes an intimate society, that makes a society in which moral concern for others will be possible? Part of that I think are manners and ritual. We tried to get rid of manners, we tried to abolish manners in the '60s. Manners were very, very old-fashioned and un-cool. And of course we didn't realise that manners are the building blocks of proper moral relationships between people.
Silly of me not to have realized it. One often finds Greek temples lurking in the woods of English estates. Sneaky things, temples.
The power of the Latin classic is in character , that of the Greek is in beauty . Now character is capable of being taught, learnt, and assimilated: beauty hardly.
Hell is paved with great granite blocks hewn from the hearts of those who said, I can do no other.
Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.
When you look in one direction where Troy's chair was, you could see out through the yard across the street, there was an old cork bar advertisement for five cents. We wanted it to feel like this was real life [in Fences] and that it extended blocks and blocks.
This City now doth like a garment wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres and temples lie Open unto the fields and to the sky; All bright and glittering in the smokeless air.
The problem of architecture has always been the same throughout time. Its authentic quality is reached through its proportions, and the proportions cost nothing. In fact, most of them are proportions among things, not the things themselves. Art is almost always a question of proportions.
Beauty is all about form; proportions and the relationships between one line and another.
No wonder the hills and groves were God's first temples, and the more they are cut down and hewn into cathedrals and churches, the farther off and dimmer seems the Lord himself.
I'm intrigued by the classic Greek tragedies, as well as by the idea of the Greek chorus.
What's female beauty, but an air divine, thro' which the mind's all gentle graces shine? They, like the sun, irradiate all between; the body charms because the soul is seen.
I'm extremely into Greek Mythology and know almost everything about the classic Greek myths.
I support mosques, obviously. We need churches, temples, mosques. Whatever people use to speak with their god or to receive spiritual inspiration is good for the country. But the symbolism of it at ground zero, within two blocks or three blocks, I believe is wrong.
The Greek makes the distinction between petros and petra simply because it is trying to preserve the pun, and in Greek the feminine petra could not very well serve as a masculine name.
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