"But perhaps the most effective and suitable employment of iron is shown in connection with glass, as has been exemplified in the temporary buildings for exhibitions, for which the Great Exhibition in London, in the year 1851, furnished the model which has so often been followed subsequently. This building was afterwards removed to Sydenham, and is now known as the Crystal Palace. In this structure the walls as well as the vaulted roof consist of glass inserted between iron girders, after the pattern of large conservatories and winter-gardens, especially of that in the Champs Élydées at Paris, which is no longer in existence. Although this building scarcely seems like an architectural construction, but appears to form a peculiar specialty, still an impression is produced, which is hitherto unparalleled by its transparent termination in all directions, and by its dimensions, which have never been before attained in enclosed spaces. The distinguishing height of the main body of the building, which is divided into several naves and galleries , and if the loftier transept, which is 174 English feet high, is too considerable to recall the conservatory, which first suggested the idea to Paxton of constructing such a building on a large scale for the Great Exhibition. The visible stability of the system of construction gives a certain feeling of security as a counterpoise to the astonishment which the enormous size creates. On the other hand it is not to be denied that artistic execution in the forms of the constructive parts is wanting, though many difficulties would perhaps have had to be overcome to attain this without the structure suffering as regards solidity. These constructive elements, moreover, are not used as leading to further æsthetic development, so that a real artistic value can only be attributed to the novel impression of the whole, which is produced by the large dimensions and transparent walls."

Crystal Palace at Sydenham

"But perhaps the most effective and suitable employment of iron is shown in connection with glass, as…

"Those palaces which like the back of the Strozzi Place are constucted of dressed blocks with a less decided projection, present a more elegant appearance."Palazzo Strozzi is a palace in Florence, Italy. The Palace was begun in 1489 by Benedetto da Maiano, for Filippo Strozzi the Elder, a rival of the Medici who had returned to the city in November 1466 and desired the most magnificent palace to assert his family's continued prominence and, perhaps more importantly a political statement of his own status. A great number of other buildings were acquired during the 70s and demolished to provide enough space for the new construction. Giuliano da Sangallo the Younger provided a wood model of the design. Filippo Strozzi died in 1491, long before the construction's completion in 1538. Duke Cosimo I de' Medici confiscated it in the same year, not returning it to the Strozzi family until thirty years later.

Strozzi Palace at Florence

"Those palaces which like the back of the Strozzi Place are constucted of dressed blocks with a less…

The Musée du Louvre or officially the Grand Louvre — in English, the Louvre Museum or Great Louvre, or simply the Louvre — is the national museum of France, the most visited museum in the world, and a historic monument. It is a central landmark of Paris, located on the Right Bank of the Seine in the 1st arrondissement (neighborhood). Nearly 35,000 objects from the 6th century BC to the 19th century are exhibited over an area of 60,600 square meters (652,300 square feet)."Du Cerceau, who flourished during the reign of Henry IV., connected the block of buildings which belong to the Louvre, and had been constructed under Catherine dei Medici, by a gallery with the Tuileries. This architect abandoned the characteristic feature of the French Renaissance, which had prevailed hitherto, namely, of giving its peculiar columnar order to each storey, and assimilated his designs to those of the late Roman Renaissance, in which a striking effect was produced at the expense of truth by continuous columns and pilasters extending over several storeys and rows of windows.Although Du Cerceau was obligated to leave France in the year 1604, the impulse which he had given in the direction of the above-mentioned manner led to its being generally adopted. The new buildings were more correct, but less picturesque than those built during the earlier period of the French Renaissance, and a certain insipidity seems to characterize the various structures erected during the reigns of Henry IV., and especially Louis XIII. As is shown [here], a combination of free-stone and brick was restored to in such a way that the former was employed for the mouldings, and for the quoins and dressings of the doors and windows, whilst brick was used for the spaces between. In the case of the windows the free-stone introduced assumed the forms of quoins. If ornamentation had been previously excessive, it now retired into the background, and was only employed in moderation; and the method of its treatment began to be distinguished from that of the former period. The forms of the details above all began to lose in purity: rustications were inappropriately introduced in the walls and columns, and the roofs were made high and steep, which gave the rest of the building a heavy and squat appearance, whilst the numerous turret-shaped chimneys, which were necessitated by these high roofs, formed a peculiar feature in the construction."

Paris, Royal Palace Façade

The Musée du Louvre or officially the Grand Louvre — in English, the Louvre Museum or Great…