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Even Traditional Membering:
Michelangelo's freedom in handling of classical architecture prompted •romini to disregard the accepted proportions I even traditional membering the traditional membering of the orders, ile the baroque love of movement led him to n San Carlo alle Quattro Fontane, Rome >38-1667), in the shape of an oval extended I broken by deep niches at either end, with llower ones to the sides. Its fagade alternates :cave and convex bays. Borromini's star-ped plan for Sant' Ivo alia Sapienza, Rome, even traditional membering more complex and dynamic. Bernini ise a similar elliptical plan for Sant' Andrea Quirinale, Rome, as he did also for the jnnades of St. Peter's (1656-1663).In contrast to those who sought to rival the painter with Camera and lens, there were hundreds who used photog¬raphy quite simply and directly as a means of recording the world about them. The ability of the medium to render seemingly infinite detail, to record more than the photographer saw at the time of exposure, and to multi¬ply these images in almost limitless number, made avail¬able to the public a wealth of pictorial records exceeding everything known before. Photographers the world over were recording history in the making, the look of faraway and often hitherto unexplored places and the people living there, the familiar "sights" worth seeing and re¬membering by travelers, and man's most recent archi¬tectural and engineering accomplishments.
See Also Traditional Usages:
PURITANISM, pu'ri-tan-iz'm. The doc¬trines termed Puritan jrose- in England during the second half of the 16th century as a reform movement in the Anglican Church. Persons des¬ignated as "puritans" aspired to simplify or "purify" traditional usages, because they believed that many of the forms of faith and worship es¬tablished by law had no warrant in Scripture. Although Puritanism as a recognizable agitation is first discernable in the 1560's, it was in fact an extension of changes instituted by the "Ref¬ormation Parliament" 30 years before, which substituted the reigning monarch for the pope as head of the English church, dissolved the monasteries, and curtailed the power of the bishops.Nature and Interpretation of an Orches¬tral Score.—The musical amateur faces two technical difficulties when attempting to read a full orchestral score: the use of various clefs and the presence of "transposing" instruments. The viola, for example, is not written for on either of the commonest clefs ($, the G clef, and 9: , the F clef), but makes use of the old C clef (Ifi), appearing on the third line of the staff to indicate that the note on this line is c'1; it is then called the alto clef. When the C clef is used on the fourth line (as for high notes on the cello and bassoon), it indicates that the note on this line is c'; it is then called the tenor clef. These traditional usages have persisted in the face of apparently sensible attempts to have all music written on the G and F clefs. Similarly, except for the trombone, most wind instruments not themselves pitched in the key of C are scored
On The Other Hand See Eliminated Traditional Chorus:
Hardy's works include tragedies, tragi¬comedies, pastorals, and mythological plays. He eliminated traditional chorus the traditional chorus from his plays, shortened the monologues, did not hesitate to present violence and death on stage, and in gen¬eral attempted to keep his plays moving at a fast pace in order to retain the interest of his audience. Rejecting the unities of time and space, Hardy often presented several settings at once. Hardy is considered by some to have been the creator and developer of the tragicomedy in France. The recipient of heavy criticism in his own time and by later critics, he is generally agreed to have been a rather poor if prolific-writer, prone to archaic expressions.In the early period of Greek drama, tie principal element of the production was the masked chorus, the size of which appears to have varied considerably. In The Suppliants of Aes¬chylus it numbers 50; but in most of Aeschylus' plays, it seems to have numbered only 12, and Sophocles is said to have increased this number to 15. The size of the chorus apparently dimin¬ished in the 5th century, perhaps because its function was lyrical rather than dramatic, per¬haps because it was too expensive to maintain. Its role is difficult to define. It can hardly be considered the ideal spectator.
