Word: gothically
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While some U.S. cities spend millions rebuilding the past after it has been destroyed (as witness, Williamsburg, Va.), others heedlessly continue to destroy a rich heritage of irreplaceable architectural monuments. Case in point: the impending destruction of one of the finest Gothic Revival mansions in the U.S., designed in 1846, and maintained in near perfect condition as a period piece both inside and out until it was willed to the city of Bridgeport, Conn, last year by the late Industrialist Archer C. Wheeler. Because the mansion stands on what is now valuable downtown real estate, Bridgeport's Socialist Mayor...
...institutions (the first New York University), but preferred to build houses for people who felt, as one contemporary critic put it, that "there is something wonderfully captivating in the idea of a battlemented castle." Destruction of his Walnut Wood would leave only one other of Davis' major Gothic mansions still standing and unaltered: Lyndhurst, the marble residence of the late Jay Gould in Tarrytown, N.Y., now owned by Gould's daughter, the Duchess of Talleyrand...
...welcome back their revered altar, 6,000 devout Poles thronged the 13th century Roman Catholic church and the small square outside one day in August while a solemn Mass of thanksgiving was offered. And for good reason. Cracow's altar is not only the largest Gothic altar in Christendom, but the greatest masterpiece carved by Veit Stoss, the German sculptor who. along with his younger contemporaries Mathias Grunewald, Albrecht Dürer and Lucas Cranach. brought the art of the Middle Ages to its great and final climax...
...Communist rule. But the heel has been lifted enough, since Wladyslaw Gomulka came to power a year ago, to permit the restoration to its proper place of Poland's greatest treasure of religion and art. After 18 years' absence, the famed Cracow altar, a huge, polychrome Gothic masterpiece carved out of linden wood in the 15th century, is back in its place in the red brick Church of Our Lady...
...other foreground figures, all about 10 ft. tall, almost equal the central pair. Particularized, rather than idealized, they represent a triumphant manipulation of space, in gilded robes and meticulously formed figures, transcending the stiff, hierarchic form of the early Gothic style. The aging St. Peter reads a prayer, while another apostle offers holy water, and a third blows out a candle, symbol of life. St. John, on the dying Virgin's right, stricken with sorrow, raises his cloak. The outer figures, by their startled gaze and uplifted heads, point to the next act-the Assumption of the Virgin...