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THEATRE. (Gr. Otaouas, to see.) A place appropriated to the representation of dramatic
spectacles. THEODOLITE. An instrument used in surveying for taking angles in vertical or horizontal
planes. THEOREM. A proposition which is the subject of demonstration. THERMÆ. See Bath. THOROUGH FRAMING. The framing of doors and windows, a term almost obsolete. THOROUGH LIGHTED Room. A room having windows on opposite sides. THRESHOLD OF A DOOR. The sill of the door frame. THROAT. See GORGE and CHIMNEY. T'HROUGH or THOROUGH STONE. A bond stone; a heading stone going through the wall. Turust. The force exerted by any body or system of bodies against another. Thus the
thrust of an arch is the power of the arch stones considered as a combination of wedges
to overturn the abutments or walls from which the arch springs. TiE. (Sax. Tian, to bind.) A timber-string, chain, or iron rod connecting two bodies
together, which have a tendoncy to diverge from each other, such as tie-beams, diagonal ties, truss-posts, etc. Braces may act either as ties or straining pieces. Straining pieces are preferable to ties, for these cannot be so well secured at the joints as
straining pieces. See ANGLE BRACE. Tie Beam. The beam which connects the bottom of a pair of principal rafters, and
prevents them from thrusting out the wall. Fig. 1459 is an illustration of a late mediæval example of a species of such a roof.
Fig. 1459. St. Mary's Church, Leicester. Tie Rod. The iron rod securing the feet of the principal rafters in the manner, and in
lieu, of the tie-beam. Tierce Point. The vertex of an equilateral triangle. Arches or vaults of the third
point, which are called by the Italians di terzo acuto, are such as consist of two ares of
a circle intersecting at the top. See PointED ARCH. TIGNA. The tie beam of an ancient timber roof. Tule. (Sax. Tigel.) A thin piece or plate of baked clay or other material used for the
external covering of a roof. A thicker sort serves for paving. The flat tiles are called plain tiles, the curved ones are pan-tiles ; these latter, it made with a double curvature, are called Bridgewater tiles.
1379 such cases. Besides the Grande Sulle, there are mary interesting apartments, some whereof possess ceilings of great beauty. This fine monument is perhaps the most admirable example of the adaptation of the style to secular architecture that can be quoted.
Smaller in plan, but more beautiful and symmetrical, is the bôtel de ville of Louvain. It is the most perfect, in every respect, of this class of buildings in Europe. Nothing can surpass the richness and deli. cacy of the tracery upon it. Like that at Brussels, it consists of three stories, but has no tower. Commenced in 1448, it was not completed till 1463 by De Layens. It stands on a site of about 85 feet by 42 feet; so that it derives little advantage from its absolute magnitude, and perhaps appears less than it really is, from the great height of the roof, which is pierced by four tiers of dor. mers or lucarnes. The angles are flanked by turrets, of which some notion may be formed by reference to fig. 1 4605, and the ridge of the roof is received at each end by another turret corbelled over from the gables. The façade towards the Place extends rather more than the height, and is pierced with twenty-eight windows and two doorways, being ten openings in each story, the spaces between the windows being decorated with canopies, and groups of small figures from the Old Testament, some whereof rather licentious. This charming edifice, which in its delicate rich tracery had suffered much from time and the elements, has, at the joint expense of the town and government,
Fig. 14600. undergone a complete renovation. This has, stone by stone, been effected with great care and artistic skill by M. Goyers. The new work being executed in very soft stone, which, however, hardens with exposure to the air, it has been saturated with oil.
In form, though not in features, totally different from the hôtels de ville we have just left, is that at Ghent, never completed, but exhibiting, in what was executed of the design, a choice example of the last days of the flamboyant period. It was begun in 1481; in it are all those indications of change in the solites and curves, as well as in the Jines of the foliage and tracery, that eventually proved its downfall; and the style is now out of character with the habits of the age, from which alone a real style of architecture can ever spring. The subdivision of the building as to height is into two stories as to effect, though in
HOTEL DE VILLE;
lity there in manie; and the transoms, which abound in the apertu
eruandam si the borizontal arrangement of lines which was 60 ustace Poliet 1527-80; the other façade, 1600-20, has columns 0
bune at the poster, with the part adjoining, in the richest flamboy Parallèle, and it also forms the subject of a volume, in folio, published
The most dlebrated of town halls in Europe was that of Amsterdan
661-64, The town halls at Antwerp and at Maestricht may be also
The following are the sizes of modern French-made tracing paper,
An aniline process of photographic printing was patented a few years
flaming curreas that had prevailed for nearly half a century. The
Continued from 1549 or 1559 on the designs of Domenico Boccadoro
2e first half of the 17th century by Van Campen. The design is git
che town hall at Berlin, 1881. The Hôtel de Ville at Paris was comme French Dominique de Cortone, in what is now term of the style of the The additions which became necessary in consequence of the extende were executed in the same style
, and the building presented one
St. George's Hall, at Liverpool, with the town halls at Leeds, H:
magistrates' room, with a staircase to the first floor, to consist of
will also be necessary.
used for *
16 by 12 Carré Tellière
Paper" (black-line process).