DOCSLIB.ORG

Soane & Schinkel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Soane & Schinkel 4/4/16 Lecture 4: Historicism Variations on Neoclassicism: Soane & Schinkel Stuart and Revett, Antiquities of Athens *Newgate Prison, London, 1768-80 *George Dance II, Newgate Prison, London, 1768-80 *Dance, Newgate Prison, London, 1768-80 John Soane, John Soane Saxlingham 1753-1837 Rectory, Norfolk, 1784 *John Soane, Bank of England, London, 1788-1823 1 4/4/16 *Soane, Bank of England, London, 1788-1823, *Soane, Bank of England, London, 1788-1823 exterior *Soane, Bank of England, London, 1788-1823, exterior *Soane, Bank of England, London, stock office, 1792 *Bank of England, London, 1788-1823 *Soane, Bank of England, London, 1788-1823, courtyards *Soane, Bank of England, London, stock office, 1791-93 *Soane, Bank of England, rotunda, 1896 2 4/4/16 *Bank of England, 4% office, 1818-23 *Soane, Bank of England, London, 1788-1823; --rendered as ruin *Soane, Bank of England, London, consols office, 1798-1800 *Bank of England, 5% office, 1818-23 *John Soane John Soane house, London, 1792-1824 *Soane John Soane house, *Soane London, John Soane house, plan in 1796 London, plan in 1824 *John Soane house, London, No. 13 Lincoln’s Inn Fields, 1792-1824, breakfast room *John Soane house, No. 12 Lincoln’s Inn Fields, breakfast parlour, London, 1792-1798, *John Soane house, No. 13 Lincoln’s Inn FieldsLondon, 1792-1824, library 3 4/4/16 *John Soane house, London, basement plan, 1824 *John Soane house, *John Soane London, John Soane house, 1792-1824, London, basement 1792-1824 *John Soane house, London, 1792-1824, section *John Soane house, London, 1792-1824 4 4/4/16 Friedrich Gilly, Monument to Frederick the Great project, Berlin, 1797 Gilly, Monument to Frederick the Great project, Berlin, 1797 F. G i l l y, “pillared hall” sketches Karl Friedrich (von) “Morning,” 1813 Karl Friedrich Schinkel, Neue Wache (new guardhouse), Berlin, 1816 Schinkel (1781-1841) 5 4/4/16 Schinkel, Neue Wache (new guardhouse), Berlin, 1816 *Karl Friedrich Schinkel, Schauspielhaus (State Theater), Berlin, 1818-21 Schinkel, Neue Wache (new guardhouse), Berlin, 1816 *Schinkel, Schauspielhaus (State Theater), Berlin, 1818-21 *Schinkel, Schauspielhaus (State Theater), Berlin, 1818-21 L: French Church, Cayart, 1701-05, R: German Church, Grünberg, 1701-08 *Schinkel, Schauspielhaus (State Theater), Berlin, 1818-21 *Karl Friedrich Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Schauspielhaus (State Theater), Berlin, 1818-21 *Schinkel, Schauspielhaus (State Theater), Berlin, 1818-21 6 4/4/16 *Schinkel, Altes Museum Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 Boullée, Museum project *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 7 4/4/16 *Schinkel, *Schinkel, Altes Museum, Altes Museum, Berlin, 1823-28 Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Schinkel, Friedrichswerder Church Schinkel, Engraving of Schauspielhaus stage curtain, 1821, Berlin Berlin, 1824-31 8 4/4/16 *Schinkel, Altes Museum, *Schinkel, Berlin, 1823-28 Altes Museum, Berlin, 1823-28 *Schinkel, Altes Museum, Berlin, 1823-28 *Karl Friedrich Schinkel, Bauakademie, Berlin, 1823-28 *Karl Friedrich Schinkel, Bauakademie, Berlin, 1823-28 *Schinkel, Bauakademie, Berlin, 1823-28 *Schinkel, Bauakademie, Berlin, 1823-28 *Schinkel, Bauakademie (reconstruction), Berlin, 1823-28 9 4/4/16 *Schinkel, Bauakademie (reconstruction), Berlin, 1823-28 10 .
Load more

Recommended publications
  • An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson
    An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson A Thesis submitted by: Andre Weiss B. A. 1998 Supervisor: Dr. Gavin Stamp Submitted in fulfilment of the requirements for the Master of Architecture Mackintosh School of Architecture, The University of Glasgow September 1999 ProQuest N um ber: 13833922 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833922 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Contents List of Illustrations ...................................................................................................... 3 Introduction .................................................................................................................9 1. The Previous Claims of an InfluentialRelationship ............................................18 2. An Exploration of the Individual Backgrounds of Thomson and Schinkel .............................................................................................................38
    [Show full text]
  • Exploring the Altes Museum the Altes Museum Or Old Museum Was
    1 Sara Marcus 12-11-18 From Royalty to Bourgeoisie: Exploring the Altes Museum The Altes Museum or Old Museum was constructed in Berlin between 1824-30 by Karl Friedrich Schinkel (1781-1841). Originally known as the “Königliches Museum,” it was commissioned by King Friedrich Wilhelm III of Prussia for the purpose of being the first public art museum in Prussia as well as the first royal museum. As the relationship in the 19th century changed between art, the observer, and who should be a part of that experience, the Altes Museum was erected to embody the idea of Berlin as a center of learning and culture, and to elevate its citizens in the presence of art. The Berlin Museum emerged from a small group of the ruling class and it was first officially demanded and proclaimed by the Art Academy under Friedrich Wilhelm II. (Das Berliner Museum entsteht aus einer kleinen Gruppe der herrschenden Schicht. Öffntlich wurde es zuerst gefordrt und verkundet… in der Kunstakademie unter Friedrich Wilhelm II.)1 After the Wars of Liberation, his son, King Friedrich Wilhelm III, continued to advocate for the foundation of a public art museum to display the collection of artifacts that Prussia had amassed over the years. During the reign of Napoleon, Prussian art was forcefully taken to be displayed in Paris, which alerted the Prussian people that a permanent home to show off their national heritage was necessary.2 While ideas for a museum were already in the air, it is safe to say that the main reason why construction started when it did was in response to Napoleon’s looting.
    [Show full text]
  • Unesco Welterbe Museumsinsel Berlin
    to the list of UNESCO World Heritage. World UNESCO of list the to pm, closed Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues pm 8 to Thurs pm, 6 – am 10 Sun – Mon Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues added was Berlin Museumsinsel 1999 In century. 19th the to Entrance: Monbijoubrücke Entrance: Kolonnadenhof) (via Bodestraße Entrance: James-Simon-Galerie) or Kolonnadenhof (via Lustgarten Am Entrance: world, ancient the through history, early and Age Stone the Entrance: Bodestraße Bodestraße Entrance: collections. The encyclopaedic spectrum of works spans from from spans works of spectrum encyclopaedic The collections. art unique Berlin’s zu Museen Staatliche the housing Museum (Ethnological Museum) with European artworks. European with Museum) (Ethnological Museum Schadow are on view in the sculpture hall. hall. sculpture the in view on are Schadow is the mysterious “Berlin Golden Hat” from the Bronze Age. Bronze the from Hat” Golden “Berlin mysterious the is architecture museum of years 100 represent buildings Its Museum” juxtaposes masterpieces from the Ethnologisches Ethnologisches the from masterpieces juxtaposes Museum” Rauch, Berthel Thorvaldsen, Antonio Canova and Rudolph Rudolph and Canova Antonio Thorvaldsen, Berthel Rauch, from the Stone Age to the Middle Ages. One of the highlights highlights the of One Ages. Middle the to Age Stone the from level. upper the on display on is Period Imperial Roman the and important and most beautiful museum ensembles in the world. world. the in ensembles museum beautiful most and important the exhibition “Beyond Compare.
    [Show full text]
  • Blog Metadesign 2008 „Berlin Is Better“
    Blog Metadesign 2008 „Berlin is better“ Torstrasse 166 Fantasies are dreams in a state of awakeness: Phantasien sind Träume im Wachzustand (Franz Schmidberger, german publicist) — this is the Motto of an artistic project in the Torstrasse 166. A deserted building in Berlin‐Mitte was transformed by 12 artists to an experience space (Erlebnisraum), which touches all our senses... Unusual, surprising and thrilling, the installation tangles our perception. Don´t miss it! The art event will last till 12. October 2008. http://www.torstrasse166.de/ modern and beautiful? After the reunification, many new buildings were constructed in Berlin and quite a lot of them provoke a controversial discussion whether modern architecture enriches or rather destroys our cityscape. In particular the shopping mall „Alexa“ close to the Alexanderplatz, which was constructed in 2007, is not well received by everyone. The architects and owners of the complex claim that it follows the classical Art Deco Style and is constructed with much care and attention to beautiful details. The critics can’t follow this rationale and call the Alexa a nightmare in pig pink („Alptraum in Schweinchenrosa“) or a subterranean bunker, which was pressed by a tectonic plate movement to earth's surface and painted in pink („durch eine Erdverschiebung nach oben gedrückter Bunker, der Rosa angesprüht wurde“). http://www.alexacentre.com/mainsite/common/default.aspx http://www.hauptstadtblog.de/article/2389/haesslich‐wie‐die‐nacht However several modern buildings have been constructed in Berlin, which don’t polarize options as much – at least concerning their appearance. At the best they give Berlin its identity and the Berliners are proud and happy to see them.
    [Show full text]
  • German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's the Hall of Stars
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2012-04-17 German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars Allison Slingting Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Slingting, Allison, "German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars" (2012). Theses and Dissertations. 3170. https://scholarsarchive.byu.edu/etd/3170 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. German Nationalism and the Allegorical Female in Karl Friedrich Schinkel’s The Hall of Stars Allison Sligting Mays A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair Robert B. McFarland Martha Moffitt Peacock Department of Visual Arts Brigham Young University August 2012 Copyright © 2012 Allison Sligting Mays All Rights Reserved ii ABSTRACT German Nationalism and the Allegorical Female in Karl Friedrich Schinkel’s The Hall of Stars Allison Sligting Mays Department of Visual Arts, BYU Master of Arts In this thesis I consider Karl Friedrich Schinkel’s The Hall of Stars in the Palace of the Queen of the Night (1813), a set design of Die Zauberflöte (The Magic Flute), in relation to female audiences during a time of Germanic nationalism.
    [Show full text]
  • Staatliche Museen Zu Berlin September 24–29, 2017 September, 2017
    Staatliche Museen zu Berlin September 24–29, 2017 September, 2017 Dear PREP Participants Welcome back to PREP and Willkommen in Berlin! It is wonderful to have you all here. We hope the coming week will be as interesting and insightful as the week we spent in New York in February. Over the coming days, we aim to introduce you to the key re- sources Berlin has to offer to researchers studying art losses in the Nazi-Era and also to other colleagues here in Berlin who are involved in provenance research in a variety of ways. We would also like to make you familiar with some of the institutions that are part of the Staatliche Museen zu Berlin and give you an idea of the work they are doing with regard to provenance research. Most of all, however, we would like to provide the setting in which you can continue the conversations you began in New York and carry on building the network that is PREP. We have asked you to contribute to quite a few of the events – thank you all for your many ideas and suggestions! We have tried to build PREP around the participants and your expertise and input are crucial to the success of the program. This applies not only to the coming week, but also to the future develop- ment of the PREP-Network. There are two ways in which we hope you will contribute to the long term success of PREP. One of these is that we hope you will all keep in touch after you leave Berlin and continue supporting each other in the impor- tant work you do.
    [Show full text]
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE: Deborah Ziska, April 30, 2001 Press and Public Information Officer MEDIA CONTACT: Lisa Knapp, publicist (202) 842-6804 /-/<[email protected]/ "SPIRIT OF AN AGE" PRESENTS MAJOR 19TH-CENTURY GERMAN PAINTINGS SURVEY FROM ROMANTICISM TO EXPRESSIONISM OPENS JUNE 10 AT THE NATIONAL GALLERY OF ART Washington, D.C.-One of the most significant presentations, in terms of range and quality, of 19th-century German painting ever to be shown in the United States will be on view at the National Gallery of Art, East Building, June 10 through September 3, 2001. Spirit of an Age: Nineteenth-Century Paintings from the Nationalgalerie, Berlin provides a survey of 19th-century German painting, and a history of Germany itself, through 75 of the finest works by 35 artists from the collection of the Alte Nationalgalerie (Old National Gallery), Berlin. The museum, which opened in 1876 to house the Prussian king's collection of paintings and sculpture, is currently closed for renovations as part of a larger reorganization of all Berlin's museums. In December 2001, when the museum reopens, it will display for the first time since 1939 the complete collection of work for which it was built. ("aspai David I-nednch mm ill//if ll'uulm. 182: The exhibition is made possible by the Anna-Maria and Stephen Kellen Foundation. "This enlightening exhibition offers American audiences the unique opportunity to study the works of important German painters who are rarely represented in North American collections," said Earl A. Powell III, director, National Gallery of Art, Washington.
    [Show full text]
  • On the Social History of Steam-Powered Gardens in Berlin and Potsdam
    M. Norton Wise ON THE SOCIAL HISTORY OF STEAM-POWERED GARDENS IN BERLIN AND POTSDAM Abstract When thinking about the historic landscape gardens of the Berlin-Brandenburg region we tend to focus automatically on the royal gardens that Peter Joseph Lenné originally includ- ed in his beautification plan for the Potsdam area that are now a UNESCO World Heritage Site. There is good reason for this focus. The complex of Sanssouci, Charlottenhof, Neuer Garten, Babelsberg, Glienicke, and Pfaueninsel constitutes an extraordinarily beautiful panorama. But from a broader perspective the unique character of these gardens can be seen to have informed the garden landscape of all of Berlin in a series of social transforma- tions that occurred during the course of industrialisation in the nineteenth century. For this purpose it is useful to focus on the role of steam power. By no means, however, did the significance of steam power (or the lack of it) end with its utilitarian function, for it in- formed the aesthetic character of landscape gardens, too. And this character changed with the historical transformations that associated different sorts of gardens with people in dif- ferent social strata. I will schematise three such »classes« of people and gardens. Wenn wir an die historischen Landschaftsgärten in der Region Berlin-Brandenburg den- ken, fallen uns automatisch die von Peter Joseph Lenné in seinen »Verschönerungsplan für die Insel Potsdam« aufgenommenen königlichen Gärten ein, die heute zum UNESCO- Weltkulturerbe gehören. Dafür gibt es gute Gründe. Der aus Sanssouci, Charlottenhof, Neuer Garten, Babelsberg, Glienicke und Pfaueninsel bestehende Komplex ist ein Pano- rama von außergewöhnlicher Schönheit.
    [Show full text]
  • Das Kronprinzen-Palais
    DAS KRONPRINZEN-PALAIS KAISER UND KÖNIGE 1793 Kronprinz Friedrich Wilhelm, späterer König Friedrich 1663/64 Wilhelm III., bezieht das Palais, das er bis zu seinem Tod Am Platz vor dem Zeughaus wird für den Kammersekretär 1840 mit seiner Frau, der schönen Prinzessin Luise von Martiz ein nobles Privathaus erbaut, das erste „stattliche Mecklenburg-Strelitz, und seinen 8 Kindern bewohnt. Gebäude“ auf dem Linden-Boulevard. 1701 Im Zuge königlicher Prachtentfaltung werden die Linden, die seit 1573 als Reit- und Jagdweg vom Berliner Stadtschloß zum kurfürstlichen Tiergarten führen, weiter ausgebaut. 1706 – 1732 Das Palais dient als Dienstwohnung für den Gouverneur von Berlin. 1732 König Friedrich Wilhelm I. lässt das Gebäude durch Philipp 1793 Residenz König Friedrich Wilhelm III.und der Königin Luise von Mecklenburg-Strelitz Gerlach zu einem prächtigen Barockpalais mit Auffahrts- rampe und Mittelrisalit umbauen, als Geschenk für seinen 1795 Sohn, den späteren König Friedrich den Großen, der es als Friedrich Wilhelm (später Friedrich Wilhelm IV.) wird geboren Stadtwohnung für sich und seine Frau Elisabeth Christine und am 28. Oktober im Kronprinzenpalais getauft. Nach benutzt. Unter der Bezeichnung „Kronprinzenpalais“ dient es dem Tod seines Großvaters Friedrich Wilhelm II. besteigt in der Folge als Stadtresidenz der preußischen Kronprinzen. sein Vater 1797 den preußischen Thron; der zweijährige Friedrich Wilhelm ist Kronprinz von Preußen. 1795 – 97 Dem Bildhauer Johann Gottfried Schadow wird ein Arbeitszimmer im Seitenflügel des Kron- prinzenpalais zugewiesen, um Prinzessin Luise und deren jüngere Schwester Frie- derike in einem Marmorstandbild zu por- trätieren. Er darf aus deren Garderobe die seinen Absichten entsprechenden Unter den Linden um 1780 mit Kronprinzenpalais (links) und Zeughaus (rechts) Kleider auswählen, und hat das Glück, daß die antikisierende Mode der weiten, hoch gegürteten Gewänder ihm die Verbindung von Anmut, Würde und sinnli- chem Reiz erlaubt.
    [Show full text]
  • Schinkel's Neue Wache and the Politics of German Memory
    166 ACSA EUROPEANCONFERENCE LISBON HISTORYTTHEORYiCRlTlClSM 1995 Renovation and Representation : Schinkel's Neue Wache and the Politics of German Memory WALLIS MILLER University of Kentucky USA Since the beginning of the 18th century, the instability of the at three points after WWII: in the early years of the German PrussianIGerman state has affected the shape of Berlin. Democratic Republic, at the height of the Cold War, and after Constant shifts in the boundaries of the empire as well as in reunification in 1993. Consequently, its architecture has its ideology have forced countless architectural redefinitions always borne traces of history consciously transformed by of the center of its capital. The decisions to preserve, the ideologies of the present. renovate, or replace Berlin's monuments have thus always Given that the building is a memorial, it is no surprise that been caught between considerations of their ideological it is the locus of a confrontation of history and ideology, or, impact and their effect on the body of historic docurnenta- more precisely, a confrontation of history and memory and tion. Schinkel's Neue Wache grew out of this tension. It was of the past and the present. The mutual dependency within originally designed and subsequently renovated at signifi- each of these pairs is revealed by the fact that each member cant points of change in German history: it was designed is often defined in terms of the other. In his study of History after the defeat of Napoleon and renovated after WWI, and Memory, the historian Jacques LeGoff describes memory modified during the Nazi period, and substantially changed as "the raw material of history," while "history nourishes Fig.
    [Show full text]
  • Advisory Body Evaluation (ICOMOS)
    ICOMOS INTERNATIONAL COUNCIL ON MONUMENTS AND SITES CONSEIL INTERNATIONAL DES MONUMENTS ET DES SITES CONSEJO INTERNACIONAL DE MONUMENTOS Y SITIOS MDIOlYHAPOnHbIti CO BET ITO BOITPOCAM ITAM5ITHIiKOB Ii llOCTOITPIiMEqATEJIbHbIX MECT WORLD HERITAGE LIST A) IDENTIFICATION Nomination : Chateaux and Parks of Potsdam-Sanssouci Location : District of Potsdam State party : German Democratic Republic Date: 13 October, 1989 B) ICOMOS RECOMMENDATION That this cultural property be included on the World Heritage List on the basis of Criteria I, II and IV. C) JUSTIFICATION Ten kilometers south-west of Berlin in an attractive post-Ice Age landscape where eroded hills and morainic deposits stopped the River Havel's westward course, forming a series of lakes, Potsdam, mentioned first in the 10th century, acquired some importance only under the Great Elector of Brandenburg, Frederick William (1620-1688). In 1661 he established a residence there where, in 1685, he signed the Edict of Potsdam, whose political importance needs no comment. Potsdam housed a small garrison from 1640 on. The site's military function was strengthened by the young Prussian monarchy, especially once Frederick William I ascended to the throne in 1713. To populate the town, the "Sergeant King", the veritable architect of Prussian might, called upon immigration. At his death in 1740, Potsdam totaled 11,708 inhabitants living in 1,154 buildings that were the result of two successive urbanization programs. Under Frederick II the Great (1712-1786), Potsdam changed radically. The new king -his love of literature and the arts brought him into conflict with his father and his relationship with French and English philosophers gave him a reputation as a follower of the "Enlightenment"- wished to establish next to the garrison town and settlement colony of the "Sergeant King", a "Prussian Versailles", which was to be his main residence.
    [Show full text]
  • Berlin Museum Island Masterplan World Heritage
    BERLIN MUSEUM ISLAND MASTERPLAN WORLD HERITAGE INSCRIPTION Caroline DEPEYRE Mathilde SCHAAL 18/05/2017 Contents : Introduction 3 I. QUICK HISTORY OF THE PROGRAM 4 II. PROGRAM 7 1. Complete Renovation and Modernization 9 2. Welcome and Guidance for Visitors 10 3. Creation of Connections 11 a. The Archaeological Promenade : b. Ancient Architectures Tour 4. Relocation of Museum-Related Internal Functions 13 5. Creation of Outside Spaces 14 a. Colonnade Courtyard b. Pergamonmuseum Spree side c. The Pergamonmuseum’s court of Honor d. New countryard e. Small curiosities and illuminated places III. UNESCO & BERLIN MUSEUM ISLAND 19 1. Who’s UNESCO ? 20 2. Relation between UNESCO and museums : 21 3. How Berlin Museum Island has been included to Unesco’s World Heritage. 22 4. Why did UNESCO choose Berlin Museum Island ? 22 a. The outstanding univeral valure b. Integrity and Autenticity c. Requirements for protection and Managment IV. OPENING AND CONCLUSION 26 Bibliographie 30 Liste of figures 31 Berlin Museum Island, World Heritage Inscritipon, Masterplan - Museology coursework 2 Mathilde Schaal, Caroline Depeyre - 18/05/2017 Introduction For foreigners, the Museum Island is a basis in the touristic tour of Berlin. It is situated ideally in the center of Berlin, in the axes between the Brandenburger Tor and Alexanderplatz, two main touristic monument of the city. Even during the construction of the new buildings, the island was full everydays of tourists and curious looking for all tresures exposed there. The Museum Island also tells the story of the power, the culure and the curiosity of Germany. At first, it brings together tresures coming from all over te world, antiquities and rare objects.
    [Show full text]