Tang Zhangwei was greatly relieved to know that Lisa Zhukou had died, and he began to feel that his whole body had become relaxed, while Tang Zhaozong let out a beast-like roar in his palace. Miscellaneous ≧ ≧ insects

Tang Zhaozong said to Empress He: "My days seem to be full of flowers on the surface, but I always feel very painful, because in my eyes, as long as Tang Zhangwei still holds power, then I will definitely not be happy." ”

Empress He said: "Whether Tang Zhangwei holds power or not, what does it have to do with whether you are happy or not?" You are unhappy, it is completely your own heart is unbalanced, as the king of a big country, you should be open-minded, not a rat belly, as a powerful character. You should have your own values, and you should be able to export your values. The reason why you are distressed now is that you have always believed only in the power of power and not in other people. ”

Tang Zhaozong said: "Why are you so strict with me, you have never spoken to me in such a tone. ”

Empress He said: "The reason why I say this is because if I don't say it again, I won't have a chance." ”

Tang Zhaozong said: "Why are you so pessimistic? ”

After Alan left, Sunday in the room was quiet. Alfred and the village boys play football on the grass across the river. Martha, who misses Jack, plays a game of family wine, makes soup with picked vegetables, and dresses ragdolls. Tom designed his cathedral.

He had hinted to Philip once or twice that he would have to think about what kind of cathedral he was going to build, but Philip did not pay attention, or preferred to ignore his hints, because he had too many things on his head. But Tom seldom cares about anything else, especially on Sundays.

He liked to sit in the door of the living room and look over the green space at the ruins of the cathedral. He sometimes sketches on a stone slab, but more designs are in his head. He knows that most people have a hard time imagining real houses and complex spaces, but he always makes them concrete easily.

By disposing of the ruins, he earned Philip's trust and gratitude; But Philip still saw him as a working builder. He had to convince Philip that he could afford to design and build a cathedral.

About two months after Allen left, one Sunday, he felt he could start designing.

He made a mat out of tender twigs and reeds, about three feet long and two feet wide, and framed it with a protruding border like a tray out of neat strips of wood. Then he burned some lime and mixed it with a small amount of soft plaster, and smoothed the mat. When the mortar began to harden, he drew lines on it with a needle. He drew straight lines with an iron ruler, right angles with triangles, and arcs with compasses.

He was to draw three drawings: a section that explained the structure of the church; a three-dimensional perspective illustrating its wonderful proportions; A floor plan that represents the room setup. He started with a cut-through drawing.

He imagined the cathedral like a loaf of bread, and then he cut off the crust of the bread at the west end, and when he looked inside, he began to paint.

It's pretty simple. He painted a high flat-topped archway, which is a nave that looks past from one end, with a flat-topped ceiling, like the old church. Tom liked to build a curved stone vault, but he knew that Philip couldn't afford it.

On the top of the nave, he painted a triangular roof. The width of the building depends on the span of the roof, so it depends on how long the wood can be found. Wooden beams longer than thirty-five feet are hard to come by – and prohibitively expensive. (Good timber is very valuable, and a good tree is likely to be cut down and sold by its owner before it grows that tall.) Tom's basilica nave was about thirty-two feet wide, or twice as long as Tom's irons.

The nave he painted was so high that it was hard to believe. But a cathedral has to be an eye-catching structure, with an awe-inspiring scale that you have to look up to the sky to see from above. One of the reasons people come to cathedrals is that they are the largest buildings in the world, and a person who has never been to a cathedral may never see a house bigger than the hut he lives in.

Unfortunately, Tom's painting of the church is about to collapse. The weight of the wood and lead on the roof was too great for the walls to withstand, and as a result, they collapsed outward. The four walls must be supported.

For this purpose, Tom painted two more domed arches, halfway up to the nave, on either side of the nave. This is the way. The top of the corridor is a curved stone roof. Since the corridor is low and narrow, the stone vault does not cost much. Each walkway should have a sloping monopitch roof.

The aisles on both sides are connected to the nave by stone vaults to provide support, but it is not high enough. Tom also had to add some support at intervals in the roof space of the side walkway, higher than the vaulted ceiling and lower than the monopitch roof. He drew one in which a stone arch rose from the top of the corridor wall and stepped into the wall of the nave. Where the buttresses landed on the aisle wall, Tom further strengthened the buttresses with a large buttress protruding from the side of the church. He added a corner tower to the top of the buttress to increase support and make it more aesthetically pleasing.

The construction of a frighteningly tall church could not have been done without the reinforcement of corridors, buttresses and buttresses; But it was difficult to explain it to a monk, and Tom had already sketched it all out.

He also drew the foundation, deep into the ground under the wall. The layman is always amazed at the depth of the foundation.

It was a simple drawing, too simple to be of little use to the builder, but it was quite nice to show it to Vice President Philip. Tom wanted him to understand what he was proposing, to see the outline of the building, and to get excited about it. Relying on the few lines scraped on the drywall in front of you, it is difficult to imagine a large, solid church. Philip needs all the help Tom can give him.

The walls he painted looked solid, but they weren't there yet. Tom then began to draw the inner side of the nave wall, which was divided into three sections, the lower half of which could hardly be called a wall, but a row of columns, the top of which was joined by a semicircular arch, which was called an arcade. Through the various arches with arcades, you can see the domed windows of the corridors. These windows will be connected to the arches so that light can flow into the nave from the outside without obstruction. The middle pillars will be connected to the buttresses of the exterior walls.

On each of the arcades are three small arches side by side, forming the parapet. There is no light passing through here, as there is a monopitched roof on the side walkway.

Above the paraicade are high side windows, so called because of the window sandwiched in the middle, which illuminates the upper part of the nave.

When the old church of Wangqiao was built, the builders relied on thick wall skin to reinforce it

(End of chapter)