Sentence examples for monumental lines from inspiring English sources

You can spend hours gazing at its incredible Art Deco and Liberty ornament, monumental lines and luscious marble.

But if you don't want to wait in the potentially monumental lines at the polls next week, today's your last chance to get some early voting done.

It uncovered thick city walls of stone and mud brick and monumental gates lined with sculpture and inscriptions.

Skopje Old Town and Skopje Fort MIX OF NEW AND OLD -- New monumental buildings line the roaring Vardar River crossed by the historic Stone Bridge which links modern shopping malls to the bustling Old Town.

The Wuhan-Guangzhou line, which opened in 2009, is being extended northward 1,100 km (660 miles) to Beijing, with the goal of completing a monumental high-speed line of more than 2,000 km (1,200 miles) between Guangzhou and the capital.

Whether it's the jazzy climax of "Turangalîla," the monumental descending bass line at the end of "La Nativité du Seigneur," or the awesome shimmering of woodwind, brass, gongs, and cowbells that closes "Et Exspecto," the music has the happy effect of flattening its listeners against the wall.

27 ArThets Invaded a Hamptons Barn, And This Is wryt Happened.

The broad street, Karl-Marx-Allee, which her apartment overlooks, was a kind of East Berlin Champs-Élysées lined with monumental eight-story buildings done in a muscular style of Stalinist architecture known as Socialist Realism.

Our ultimate goal, therefore, was the composite but inseparable work of art, the great building, in which the old dividing-line between monumental and decorative elements would have disappeared for ever.

In the 1870s and '80s it was lined with monumental public buildings in a variety of styles thought historically appropriate for their functions: the Danish architect Theophilus Hansen's neo-Greek Parliament House, Gottfried Semper's and Karl von Hasenauer's neo-Baroque Burgtheater, and Friedrich von Schmidt's neo-Gothic Town Hall.

This ideal of the fusion between good proportions and "auxiliary brightness" was expressed by Walter Gropius in The New Architecture and the Bauhaus when he wrote in 1935: Our ultimate goal, therefore, was the composite but inseparable work of art, the great building, in which the old dividing-line between monumental and decorative elements would have disappeared for ever.