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the characteris▓tic Byzantine style.A person would s▓how great partiality to call this buildin▓g a mad-house, as many an artist has done.One m▓ust only be able to free himself for an▓ hour from the dictator of the old tast●e in order to be able to comprehend ●the delight of Ivan the Terrible ●at sight of this architectural orgy.(He● gave expression

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to this delight

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  • ings, and in the▓ nar
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by hav▓ing the

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  • much as ou●r fe
  • eling for style strugg
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eyes of the arch

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itect put out in order t●hat he might build no second mast▓erpiece like it.) And then again it must be ●confessed that the task of uniting in

ds rhythm and pr

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narrow● space thirteen chapels with thi?/p>

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駌teen towers could not well h●ave been solved in any other w▓ay than in this apparently most untrammel▓led, fantastic one.If this ▓proposition be accepted, the ▓master of

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Vasili Blazhenny can only be the● object of wonder. Now Vasi●li Blazhenny is typical of all Moscow, the● Kremlin included.It is the spirit of cur●ious variety, of rich fantasy,

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the spir▓it of the South and the East which rules ●here.The snow one feels to be almo▓st out of place, so Southern is the charact▓er of the city.The Krem

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lin, too, bef▓ore which we now stand, is a free-act wor▓k of art, a piece something like the Sa●n Marco quarter in Venice, if o▓ne thinks of the sea as removed.For the Kre●mlin mu

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st not be thought of as a pa▓lace is; it is a whole part of a ci▓ty, surrounded by a wall twenty[Pg 266] metres▓ high, two kilometres long, enc▓losing an irregular pentagon.I

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t li▓es on a rather steeply rising ●hill on the bank of the Moskva●, and commands the whole region r▓ound about.Its beauty is not to be enjoy▓ed in the interior of the man

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  • s a colorist, and but a colorist
  • , in contra▓st to our Renaissance
  • artists, to whom ●the color seems almost an in

y c●hurches, palaces, and barracks, although ther●e is enough worth se

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