Professional Documents
Culture Documents
BY
CHRIST'S
CAMBRIDGE
COLLEGE,
ROYAL
WITH
M.A.
WATERHOUSE,
LESLIE
OF
INSTITUTE
FIFTY-NINE
ASSOCIATE
ARCHITECTS
BRITISH
ILLUSTRATIONS
MK
-
DATE, MAY 3
AND
HODDER
PUBLISHERS
7990
STOUGHTON
LONDON
OF
THE
London
Viney,
Printed
by
Hazellt
Watson
"
Ld.,
a,nd
Aylesbury*
PREFATORY
IN
volume
small
the
upon
those
list
history,
wish
to
it
for
only
is
the
subject
with
fully
more
branches
particular
far
For
the
pursue
this
touch
Paul's.
dealing
with
or
to
story,
St.
to
books
of
its
in
who
in
possible
Pyramids
of
further,
the
points
the
Architecture
been
has
salient
guidance
of
course
it
from
cry
is
the
tracing
NOTE
of
it,
appended.
acknowledgments
My
who
Hart,
for
Morrish
G.
has
his
for
his
to
several
prepared
friendly
due
are
assistance
photographs
of
and
of
Mr.
the
to
H.
A.
tions,
illustra-
H.
Mr.
Canterbury
Cathedral.
P.
9,
STAPLE
INN,
HOLBORN,
W.C.
L.
W.
CONTENTS
CHAPTER
PAGE
EGYPTIAN
ARCHITECTURE
CHAPTER
GREEK
II
ARCHITECTURE
AND
34
....
III
CHAPTER
ETRUSCAN
....
ROMAN
ARCHITECTURE
.
CHAPTER
EARLY
CHRISTIAN
IV
ARCHITECTURE
.
CHAPTER
MOHAMMEDAN
57
84
ARCHITECTURE
.
IOI
CONTENTS
CHAPTER
VI
PAGE
Io8
ARCHITECTURE
ROMANESQUE
1.
ITALY
2.
FRANCE
3.
GERMANY
4.
SPAIN
5.
ENGLAND
"
"
"
"
-123
VII
GREAT
3.
ITALY
4.
GERMANY
BRITAIN
SPAIN,
ETC.
FRANCE
3.
ENGLAND
"
164
.165
.165
.183
"
CHAPTER
ARCHITECTURE
"
2.
63
VIII
ARCHITECTURE
ITALY
14"
.156
1.
J34
CHAPTER
RENAISSANCE
.127
"
2.
.122
"
"
5. BELGIUM,
MODERN
I2O
FRANCE
...
ARCHITECTURE
1.
Il6
"
CHAPTER
GOTHIC
I09
"
"
"
.187
IX
2O1
LIST
Norman
ILLUSTRATIONS
OF
Staircase,
Frontispiece
Canterbury
...
...
...
PAGE
FIG,
Section
I.
2.
"
Corbelling
Tomb
3.
Pyramid
...
...
...
...
...
...
13
Chamber
King's
over
"
"
Great
the
through
"
14
Beni-Hasan
at
17
"
'
4.
"
"
6.
"
"
7-
,,
Tomb
through
at
"
Plan
of
from
Capital
"
Section
...
31
...
...
...
...
...
...
the
...
of
Treasury
...
...
Atreus
...
"
Plan
of
Small
12.
Plan
of
the
"
Greek
Temple
...
The
Doric
14.
The
Parthenon
"
...
...
Order
"
Doric
Restored
Capital,
Colour
showing
Decoration
...
16.
"
Ionic
Order
...
Ionic
17-
"
Capital
18.
Corinthian
from
the
Erechtheum
...
Plan
of
Cloaca
20.
...
Capital
"
19."
...
...
...
"
Greek
Maxima
..
Plan
of
"
Roman
Maison
23.
Carree,
"
"
Arch
of
52
...
...
65
...
22.
...
Capital
"
50
58
...
Composite
47
56
"
21."
44
54
...
Theatre
,,
"
41
42
,,
24
...
...
15.
37
39
Parthenon
,,
13."
33
36
Mycenae
through
"
II.
...
28
"
,,
...
...
10.
"
...
...
Persepolis...
Gate,
"
,,
...
Column
Assyrian
Lion
9.
,,
"
...
...
8."
"
...
Columns
Egyptian
19
26
Ramessium
,,
"
Beni-Hasan
...
5.
,,
Section
"
...
...
...
...
...
...
...
...
...
...
...
66
Temple
...
Nimes
"Ji
...
Constantine
...
75
OF
LIST
ILLUSTRATIONS
PAGE
FIG. 25.
Roman
"
Entablature
...
26.
Plan
"
...
Plan
of Basilica
28."
Plan
of the
29."
Plan
"
of S. Paul's
30.
"
"
Development
31.
"
32.
"
,,
,,
33.
"
34-
"
35-
,,
36.
27.
"
...
...
Plan
"
of Pansa
Outside
82
Walls
the
of Basilica
87
91
dosseret, Ravenna
...
and
...
Leaning
of Notre
Dame
Pisa
Tower,
94
du
112
...
Port
...
Section
"
77
96
Cathedral
"
76
80
Diagram
Notre
through
Dame
...
du
...
Port
117
118
...
Church
Plan
,,
37.
38.
39-
"
40.
,,
41.
,,
42.
43-
.,,
44.
45-
"
"
of the
of the
Window,
of Sainte
Apostles
Earl's
121
...
...
...
...
...
...
...
...
Barton
Chapelle
Contrasted
Romanesque
"
Apostles, Cologne
of Church
Saxon
Plan
"
...
with
Gothic
...
Plan
"
of Amiens
Cathedral
...
Part
"
of
Arcade, Canterbury
Choir, Canterbury
"
"
Plan
of
Salisbury
Durham
"
46.
47-
...
...
Geometrical
Tracery
...
...
...
...
49-
Ball-flower
"
50.
"
51.
"
"
52-
"
"
of
Doges'
Renaissance
Cancellaria
53-
"
"
54.
"
55." Tower,
S^.
,,
57-
"
$",
...
...
...
...
...
...
...
...
...
...
...
...
...
...
Palace
...
...
...
...
...
...
...
...
Azay-le-Rideau
Section
Steeple
"
"
American
of S.
131
136
144
145
146
148
150
151
155
177
179
185
Hall...
...
through
130
174
...
"
124
162
Palace
WTollaton
122
155
Capital
Spinelli Palace
,,
...
Ornament
...
Fa"ade
...
Window
"
...
Cathedral
48.
"
...
...
Cathedral
Perpendicular
"
...
...
Cathedral
...
"
,,
...
...
Capital with
"
.,
...
Ulpia
House
"
,,
...
cf Pantheon
,,
,,
...
Dome,
...
...
S. Paul's
...
...
Mary-le-Bow
...
...
...
Sky-scraper...
...
...
...
190
197
199
206
ARCHITECTURE
EGYPTIAN
A
to
of
himself
for
constructing
a
and
write
of
his
which,
buildings,
a
of
story
reflection
his
prompt
him
and
to
began
to
form
of
the
been
have
times,
and
as
therefore,
days,
in
earliest
in
began
man
time
character
the
the
field
of
It
of
with
of
mode
his
life.
Unfortunately,
in
and
life
from
of
the
prehistoric
writing,
coeval
he
Before
story
dwelling,
or
elements,
the
the
shelter,
and
shelter
architecture.
reading
would
food
himself
from
protection
perpetrate
of
with
require
as
is
instinct
earliest
provide
time
architecture
for
Man's
of
period
himself,
man
man.
to
great
as
cover
would
Architecture
of
Story
COMPLETE
civilisation,
of
efforts
architecture
was
became
our
earlier
until
mighty
man,
appeared.
dis-
entirely
have
not
ancestors
in
builder,
the
course
and
not
THE
10
that
STORY
only, but
builder
him
life to
future
he
monuments
of
able
was
tell the
to
Thus
ages.
materials
in
that
nature,
behind
ARCHITECTURE
OF
it
perishab
im-
an
leave
to
story of his
about
comes
that
it
is
of which
of
temples
records
have
we
ancient
Egypt
the
were
"
race
had
construction
which
work,
nation
of
the
not
which
of
art
have
builders
later
tombs
the
"
never
surpassed.
The
of
waters
architecture.
cradle
builders
art
while
pyramids, have
thousand
inhabitants
the
of
architecture,so
ever
stream
piles of
wonder
of
the
"
these
all
early
who
the
of them,
unchallenged
these
for
five
works
of the
mysterious
valley begins the history
our
knowledge of it can
Nile
far
this
of
the
With
head-waters
ancient
most
remained
undertakings.
of
the
the
as
years
of
colossal
the
"
the
are
banks
the
still command
them
se-2
On
of the
Nile
the
as
go.
other
No
Egypt
the
to
bears
country
such
testimony
as
of architecture.
nations
monuments
in
to
stone
from
There
of
the
is
or
marble"
pages
a
"
record
of
their greatness"
and
they have
history.
voicefulness
temples along
the
banks
"
in
of
Not
so
these
the
no
literature
disappeared
the Egyptians.
old
Nile
tombs
which
and
gives
STORY
THE
realityand
built
li
Hence
men
who
interest
which
the
history of
the
unique
the
life to
them.
ARCHITECTURE
OF
These
Egypt.
so
long been
walls, that have
temples, these
of
washed
humanity,"
by the passing waves
present a reliable record of the social and religious
wise
otherwould
life of their builders,whose
life-story
have
been
totallylost in obscurity. Egypt
attaches
of
architecture
the
to
"
the
claims
attention
architecture,
of
students
of
by
of
reason
architecture
must
remain,
ever
to
some
extent,
have
become
adopting
any
obsolete
; the
Greeks,
and
modified
feature, so
moreover,
in
improved
Greece,
became, in reality,their own.
the
not
true
Egypt, was
parent of European
of the
architecture; yet the colossal monuments
Nile
valley had weathered
thirty centuries before
it that
it
Grecian
In
architecture
almost
structures
beliefs.
are
Such
had
all countries
the
was
find
of the
outcome
the
we
case
in
that
nation's
Egypt
the
chief
religious
from
the
of
Nothing reveals the character
the nation
so
clearlyas its religion; nothing has
a
more
permeating influence upon its architecture.
The
Egyptians were
essentiallya religiouspeople,
with
a
lengthy catalogue of deities ; they
very
earliest
times.
THE
12
STORY
themselves
spoke
addition
in
their
of
their
to
many
paid religiousregard
and
of
many
sacred
the
death
at
ARCHITECTURE
Of
to
"
thousand
gods," and,
principal deities,they
animals.
Cats, dogs,
animals
common
bodies
their
held
were
embalmed,
were
tombs.
When
speciallyconstructed
sacred
a
bull, or Apis, died, the funeral would
be on
elaborate
an
scale, costing the equivalent
remains
of ^20,000
of our
The
were
money.
embalmed,
placed in a solid granite sarcophagus
and
or
weighing fiftytons
deposited in
more,
of the long gallerieshewn
of the solid
out
one
and
interred
in
rock.
It
of
be
will
the
architectural
of
amount
importance
of the
in
country
soul
was
the
bodies
its
the
was
for
end
its
of
to
made
of
three
time
the
While
death.
Egyptians
the
bad
migrations into
animals, the good soul,
the companion
of Osiris
round
unclean
was
by
architecture
of
thousand
it returned
years.
At
the
earth, re-entered
to
former
human
when
soul
find
The
process
which
of
of
this
upon
belief held
life after
sentenced
reward,
period
the
its influence
regarding man's
as
readily seen,
nation's religionwas
natural
embalming,
might be relied
three
of
thousand
body during
of
outcome
that
and
upon
years,
period.
this
the
to
and
belief
erection
last out
to
was
the
of tombs
the
span
safeguard the
STORY
THE
The
ARCHITECTURE
OF
colossal, and
most
13
almost
oldest,
the
of
the
are
mysterious
sepulchral monuments
of
with
the inhabitants
structures
which, among
the
of
name
Europe,
Egypt has always been
associated
the Pyramids.
The
largest,and the
of
best known,
these
the
three
at
Ghizeh,
are
near
Cairo, built respectivelyby Cheops (orSuphis),
The
and
Chephren,
Mycerinus.
pyramid of
these
"
FIG.
I.
Section
"
Cheops, generallyknown
is the most
important
was
who
to
labour
was
to
pyramid
extent
all the
of
has
area
"
the
Pyramid.
Great
three.
Pyramid,"
builder
Its
this
course
square
of about
Great
the
temples
for years at
in
due
serve
covering an
the
as
closed
the
through
and
forced
which
giganticstructure,
as
base, 755
of St. Peter's at
his
B.C.),
subjects
his
tomb.
feet
thirteen
acres,
Rome.
The
The
in
length,
or
twice
four
sides
THE
of
STORY
the
OF
form
ARCHITECTURE
of
equilateraltriangles,
sloping
towards
and
meeting at the top, at a height of
the level of the platform. Limestone
481 feet above
was
chiefly used in its construction, upon
of solid rock, but over
this was
exterior
a base
an
facing of polished granite,every vestige of which
has
internal passages
now
disappeared. The
are
still lined
with
highly polished granite slabs,
fitted together with astonishingaccuracy.
were
The
entrance
was
at
the
47
feet
_......
marked
point
above
was
the
been
taken
from
being entered.
entrance
to
rock
natural
2.
Corbelling over
King's Chamber,
is not
apparent
leads
c,
situated
Queen's Chamber,"
for the
The
name.
up
almost
this is
Below
structure.
"
at
chambers
the
ground.
chamber
corridor,
of
centre
called
room,
and
the
royal burial-
the
there
the
possiblyit was
blind.
third
though
this
to
in
below
the
of
of
in
cut
feet
object
the
slopes down
B,
120
tomb
From
passage
The
as
the
prevent
surface
intended
turning off
chamber, D,
to
chamber,
solid
FIG.
about
A,
is
no
the
the
authority
corridors
are
the
interestingconstructionally,for they show
methods
adopted by these early engineers for
openings in order to resist a superbridgingover
incumbent
weight.
feet
high,
masonry
with
which
The
central
corridor
is
28
of
by courses
ceiling formed
another
successively
overhang one
a
OF
STORY
THE
the
until
at
they meet
King's Chamber,"
ARCHITECTURE
the
In
top.
15
of the
case
royal sarcophagus
displayed
ingenuity was
deposited,marvellous
was
in making the roof strong enough to prevent the
Five
from
crushing through.
weight overhead
in the
slabs were
see
stone
fixed,as we
enormous
each
of
chamber
between
with a small
illustration,
surmounted
them
were
by a rudimentary
; these
lintels tilted in such a
arch, formed by two massive
the centre
of the opening.
to meet
over
as
way
carried out in
this colossal enterprisewas
How
excellent subject
to be
all its details continues
an
limestone
for speculation. The
quarries, which
situated at
were
provided the bulk of the stone,
Ghizeh
miles from
of fifty
El Massarah, a distance
;
been
have
not
red
the
quarried
granite could
"
nearer
Nile,
than
in which
Assouan,
miles
500
the
upon
away.
The
the
banks
blocks
of
of
the
stone
the stream
readily floated down
upon
it is probable that they were
rafts ; thence
slowly
of rollers, being
moved
into
position by means
gradually raised to the required height along an
for
constructed
embankment
inclined
plane or
could
be
this purpose.
It is stated
that
100,000
men
were
upon
the
Great
16
THE
Similar
STORY
structure.
show
that
feet
755
extreme
Such
in the
Petrie's
Professor
the
the
lengths of
settingout
measurements
varied
sides
from
inches
to
77
755 feet 9*4 inches, the
difference being 1*7 inches only !
work
vast, unremunerative
been
have
ARCHITECTURE
observed
was
accuracy
of the
OF
by
undertaken
utterly regardless of
At this period there
that the burden
were
of the
only
tyrant who
was
task
fell upon
the
shoulders
"
"
of the
the
selfish
could
scattered
words
of
Let
Since
four
winds
Byron's doggerel :
"
not
The
the
to
not
of
pinch
In
heaven.
the
give
monument
of
or
you
remains
dust
me
of
hopes,
Che-ops.
life which
intention
home
have
"
as
been
of
the
occupant
being to make
possiblein his
invaluable
in
had
him
tomb.
led, the
feel
as
These
evident
much
"at
paintings
THE
tion
of
OF
STORY
tombs
the
methods
forms
will
be
structive
con-
from
later, this
seen
methods
influence
they
the
can
true
the
that
seen
of
struction
con-
later
upon
lay claim
of
sense
interest
attaching to
of Egypt is mainly historical,
in
wooden
of
17
of architecture.
It
for
be
will
As
remarkable
the
evidently borrowed
were
originals.
imitation, in stone,
limestone, but
was
wooden
had
ARCHITECTURE
little architectural
to
the
The
word.
merit,
object which
FIG.
the
builders
not
end
all
the
was
had
later
"
Tomb
in view
Beni-Hasan.
at
to
was
make
their
sciences, rather
of
3.
than
by
as
sacrificed.
were
them
a
as
fine
one
art.
of the
In
the
ments,
monu-
to
this
tecture
Archiexact
tombs
THE
OF
STORY
ARCHITECTURE
first
construction.
The
columns
are
of
form
seldom
in
"
"
"
Beni-Hasan
columns
of
of the
be the prototypes
to
appear
It is strange
the Greek
Doric
order.
THE
ARCHITECTURE
OF
STORY
in the hands
endowed
of the
with
it became
in
Greek
afterwards
such
the
masters, it was
most
that
feature
existence.
ceilingof
The
cut
of
out
into
of
evident
ceiling.
the
Of
the
that
circle,
of
vaulted,
or
Arched
finds
in
els
lint-
imitation
arched,
an
tombs, although
spaces,
form
of
the
segments
Beni-Hasan
solid
by
three
in
curved
in
the
is divided
rock,
the
struction
con-
place
great buildings FlG.
4._Section through
Egyptians ; but
at Beni-Hasan.
these
no
builders
old
familiar
tomb
with
the
were
and
the
still earlier
king's tomb
discovered
of
the
true
barrel-vaulted
passage
in
third
this
year
the
date of
Petrie.
Between
the
great
nineteenth
"
Theban
period
dynasties
little progress
the
"
an
appears
Beni-Hasan
of
the
interval
to
have
tombs
eighteenth
and
and
of five centuries
been
made
in
THE
20
STORY
OF
ARCHITECTURE
architecture.
"
memorials
permanent
behind
; but
them
with
the
"
"
Shepherd
kings began an era
of
activity lasting for four
great architectural
the period assigned to
hundred
down
to
years,
from
the exodus
of the Jews (i.e.
1700 to 1300 B.C).
This
the
the
was
great temple-building age,
"Theban
the culmination
period,"which witnessed
of
and
artistic greatness, and
Egyptian power
the
noblest
of
produced the greater number
ever,
Constructively, howbuildings in the country.
the
there
from
was
a
falling-off
precision
earlier periods.
work
careful
of the
and
The
was
hastilyand clumsily wrought, angles
masonry
were
inaccurately set out, and columns
irregularly
bears marks
spaced ; in many
respects the work
detract considerably
of carelessness
and haste which
In spite of technical
from
its merit.
defects,
noble
however, the buildings of this period were
which
still remain
chief
the
works
glory of
Egyptian architecture.
of the
expulsion
The
cause
far to seek.
kings, and
the
Nile
But
when
of
Before
during
valley had
Aahmes
architectural
this
the
their
period of
the
rule, the
not
ascended
been
the
revival
"
is
not
"
Shepherd
inhabitants
of
fighting nation.
throne
of Upper
the
task
B.C.),he set himself
Egypt (dr. 1700
of the invaders, and, after
of ridding the country
into
Palestine, completely routed
pursuing them
thousands
them.
As a result of this victory,many
STORY
THE
OF
ARCHITECTURE
21
by the king on
brought back
These
his return
to
advantages, and
Egypt.
the
the
various
successes
over
Syrians, whetted
appetites of the Egyptians for further conquests,
became
nation
and
of cona
querors.
they henceforth
Thothmes
III. (dr. 1600
Under
B.C.)
advanced
their
by leaps
sphere of influence
Each
and bounds.
new
expeditions,
year witnessed
which
brought into the country not only enormous
but
numbers
of
vast
quantities of treasure,
for the
object of the king was
prisoners of war
slaves
of
were
"
"
"
to
importation
the
upon
forced
him
in
of
architecture
other
first rank
hundred-gated Thebes
practicallythe capital of
Nile, vied
its temples
down
are
to
to
the
quarry
north,
farther
us
fact
for
but
its
By
their
to
erect
which
placed
of
the
Homer
country.
in
the
remains
which
was
Memphis,
delta
the
to
nearer
"
the
"
the
of
magnificence
which
have
of
come
that
the
"
Thebes
with
effect
Egyptian builders.
Thebes
period was
of
"
situated
enabled
structures
The
wholesale
country.
was
vast
This
immediate
an
the
Thothmes
and
the
kill.
to
captives had
of
labour
temples
than
rather
capture
the
supply
site
of
has
been
materials
to
used
Cairo
as
and
towns.
Thebes, however, was
adjoining modern
more
fortunately situated : no
great city has
sprung
up in its neighbourhood, and its buildings
suffered only from
have
the
of
wasting hand
merciful
than
that of man.
time, more
Theban
The
of the
great building monarchs
Thothmes
period were
III.,Amenhotep III.,Seti I.,
and
Rameses
II., each
of
whom
endeavoured
to
STORY
THE
22
the
surpass
"
fforts of
it will
be
The
most
the
was
long,
another
Luxor,
of
of
Karnak
by
the
Karnak,
at
of the
The
and
included
river
III.
the
"
the
buildings
1,200
several
farther
miles
two
names,
with
Theban
all the
some
era.
grouped
Amenhotep
"
this
palace-temple.
v?."t
opposite bank
temple
of
were
Their
connection
structures
which
at
predecessor with
the last."
imposing of
great temple
around
his
appear
seen,
greatest temple
ARCHITECTURE
than
temple, nobler
new
ones
OF
.feet
smaller
south,
was
the
on
groups
the sepulchral
second
Ramessium,
only
built
to
that
entirely
great Rameses.
The
Thothmes
of
the
was
principal work
rebuilding of a portion of the great temple at
Karnak.
Isolated
examples of this master-builder's
In front of the
familiar to Europeans.
work
are
the
he
to
temple at Karnak
grand entrance
of these, which
erected
two
now
obelisks; one
in
before the church
stands
of S. John Lateran
is the largest and
most
ment
splendid monuRome,
of its kind
He
extant.
built, or added
Denderah,
Heliopolis, Abydos,
to, temples at
other
places both in Egypt
Memphis, and many
and
been
in Nubia.
An
obelisk
of
this
monarch
has
at
"
and
has
been
erected
in
Amenhotep continued
erected
at
Karnak, and
which, however, hardly a
New
York.
the
suffered
from
ARCHITECTURE
OF
STORY
THE
inundations
the
of
the
23
Nile
but
an
of an
architect
of the king, and
enduring memorial
survives
in
the
two
bearing the same
name,
feet high, of which
mutilated
one
colossi,fifty-six
has been
known, since the days of the Greeks, as
Memnon."
"vocal
the
By far the
greatest and
buildingsof
the
of Ammon
at
this
period
was
was
Like
Karnak.
cathedrals, this
most
the
many
work
of
impressive of all
the grand temple
of
our
mediaeval
successive
kings
columns, covered
generations; its walls and
furnish almost
with inscriptions,
a
complete history
of the Theban
kings.
The
begun by Usertesen
I., the
temple was
B.C.).
great king of the twelfth dynasty (dr. 2400
interval of several centuries,Thothmes
I.
After an
continued
the work, adding a courtyard surrounded
of Osirid pillars. Thothmes
III.
by a colonnade
constructed
a
hall, 143 feet
magnificent columnar
before
which
had
never
by 53 feet dimensions
been approached in a building of this form.
He
and
"
also
of
set
to
work
to
restore
the
ancient
sanctuary
the
old
lines
"
THE
44
ARCHITECTURE
OF
STORY
"
its
idea of
can
an
Fergusson,
convey
beauty,and no artist has yet been able to reproduce
writes
its form
it
so
to
as
who
those
to
convey
have
not
seen
idea of its
of its central
grandeur. The mass
the
piers, illumined
by a flood of light from
clerestory,and the smaller pillarsof the wings
so
gradually fading into obscurity,are
arranged
and
lightedas to convey an idea of infinite space ;
the same
time the beauty and
of
massiveness
at
the
the
forms, and
brilliancyof their coloured
this as
the
to
decorations, all combine
stamp
architectural
works, but such a
greatest of man's
it would
be
as
one
impossible to reproduce,
an
in
except
such
stylein which,
This
and
climate
for
to
as
added
the
He
south
there
are
distinct
with
compared
ancient
of
used,
built up
we
find
of
at
of
this
at
drums.
of
the
of
on
construction
deterioration
an
of
the
as
more
earlier
date,
have
granite would
period soft sandstone
Thus, in
strength of the columns, it was
them
excessively massive, and
in
Pharaoh
work
the
red
entirely built
his death, it
II., better
columns
fifty-four
evidences
much
columns
the
methods
the
Egyptians. Where,
monolithic
been
In
side.
Upon
Rameses
Bible-readers
Oppression.
the
I.
individual
created."
was
almost
was
it
which,
hall
wonderful
in that
and
order
to
necessary
by this
insure
to
the
make
they lost
of grace than they gained in dignity.
more
It would
been impossible for the Egyptian
have
such
monarchs
to
erect
stupendous structures
but
for the
fact that they were
able, through
to
their victorious
bring into the country
wars,
STORY
THE
ARCHITECTURE
OF
25
lives were
captives,whose
spent
these
In a
labour
in forced
public works.
upon
series of interestingtomb
drawings, referring to
find
the
building of this temple at Karnak, we
which
the prisoners were
depicted the tasks upon
are
busy kneading
continuously occupied. Some
bricks in wooden
moulds,
clay ; others either make
bake ; others
in rows
to
or
spread them
carry
the
on
building operations. By the side are
tion
explanations of the drawings ; part of the inscripthe captiveswho
We
is worth
see
quoting :
carried
as
were
prisoners in very
great
away
skilful
numbers
the building with
at
; they work
show
themselves
in sight :
fingers. Their overseers
these
with
word
attend
strictness,obeying the
of the great skilful lord of the works
they are
;
rewarded
of good dishes ;
with wine and all kinds
full of
they perform their service with a mind
III.
love for the king ; they build for Thothmes
him
rewarded
it be
to
a
holy of holies.
May
of many
The
endless
through a number
years !
the
the
labourers
at
to
overseer
speaks thus
stick is in
hand
not
building: The
; be
my
idle.'
Such
a
picture enables us to realise the
under
conditions
which
these
colossal
buildings
into existence
the slave populacame
laboriously
tion
toilingunceasingly at the point of the goad,
while
the task-masters,by their exacting seventy,
earned
for themselves
share
of the good things
a
vast
numbers
of
"
"
"
of
this life.
After
the
change
great
or
period
came
number
over
of
coincidence,
of
the
the
their
the
Exodus
land
the
slaves, and,
era
of
as
result
temple-building
26
THE
STORY
ARCHITECTURE
OF
with
practically ended
the
reign of
the
great
Rameses.
Karnak
At
the
chief
in
object
of
each
monarch
and
magnificence,
the
his predecessors, without
regard
But
in the
to
Ramessium
congruity of plan.
at
Thebes, a temple wholly built by the great
the plan of a typical temple of
Rameses, we
see
the
formed
period. The
by two
fagade was
massive
which
between
pyramidal towers
(pylons),
the
this
entrance
was
cases
doorway ; in many
facade was
situated obliquely with regard to the
to
was
surpass,
buildings of
extent
-""""
...TTTT-irp-T----
P.
i
FIG. 5.
"
temple building.
a
Plan
of Ramessium,
The
to
access
doorway gave
great fore-court, flanked by colonnades, which
in
turn
led
first,but
to
more
an
inner
richly
court,
decorated
smaller
with
than
the
statuary.
the
sky.
the Hypostyle Hall
Beyond these
the chief feature in the
larger temples. In the
of loftycolumns
of this,two
centre
rows
supported
of
the higher portion of the roof, the remainder
the
being occupied by ranges of smaller
space
columns.
The
central
portion of the roof was
higher than that at the sides,an arrangement which
allowed
through perforated
light to be admitted
connected
stone
panels, fixed in the wall which
Both
courts
were
to
open
reach
we
"
STORY
THE
the
portion
upper
OF
of
ARCHITECTURE
the
roof
27
with
the
lower,
in
of Gothic
clerestorywindows
this
architecture.
hall
several
were
Beyond
been
have
smaller chambers, which
set
to
appear
by the king or the priests.
apart for use
The
columns
were
coloured, and
brilliantly
their capitals were
varied
suit the
to
positions
in which
they were
placed, with due regard to
the
the
of
light; those
well-lighted
lofty and
central pillarswere
bell-shaped,but the columns
the side had
at
bud-shaped capitals wide at the
the top
base and
which
a form
tapering towards
allowed
the decoration, lighted from
above, to be
to
seen
advantage.
After the Exodus
ensued
a long period of
decay
and
thousand
a
inactivity
lastingfor almost
years,
until the old gloriesof Egypt were,
to some
extent,
revived
their rule and,
Under
by the Ptolemies.
the land enjoyed again a
later,under the Romans,
of great prosperity. Temples
erected
season
were
in size and
vied
which
of
splendour with those
the great Theban
is more
Of
these, none
age.
beautiful
than
the
temple of Isis at Philag,the
is a striking illustration
of the
plan of which
and
of
disregard of accuracy
regularity which
characterised
buildings of the Egyptians.
many
the
of
manner
the
"
"
As
of
evidence
builders,
structures
Roman
or
of
in the
the
it
conservatism
of this old
nation
that
the
interestingto note
of this period bear no
of Greek
trace
or
influence,either in the architectural details
is
decorations
that, until
their true
which
covered
in
the
walls
so
assigned
historywas
them
to
interpretation of the
through the
of the Ptolemaic
hieroglyphic inscriptions,
some
place
28
THE
STORY
buildingswere
ARCHITECTURE
OF
considered
be
to
anterior
great accuracy
but
Greeks
the
those
and
their
out
Philae
at
to
the
works
Egyptians
to their own
evidentlyworked
methods, for there
are
hardly two parallelwalls, or a right angle, in
the building. Imposing temples of this period are
found
also
the
most
We
at
Denderah
FIG.
the
was
Egyptians
the
column.
buildingswas
add
to
the
priestsmade
extent
one
it
was
6.
and
at
Edfou
"
the
latter
Egyptian Columns.
"
of
the
Its
important
most
constant
within
use
probably encouraged, as
prevailing air of mystery
it their business
to
necessitated
by
the
tending
which
foster.
the
features
To
to
the
some
constructive
slabs which
employed, for the great stone
formed
the roof required strong support at frequent
intervals.
The
the
column
thus graduallybecame
chief medium
for obtainingdecorative
effect.
used ; they were
invariably
Many varieties were
system
OF
STORY
THE
ARCHITECTURE
29
in
six diameters
rarely exceeded
massive, and
the
shaft tapered towards
top, and
height. The
was
usually either circular or clustered ; sometimes
In many
it was
examples
fluted,as at Beni-Hasan.
the base,
in diameter
reduced
at
the column
was
the greatest strength was
the point where
required ;
this,and the use, above the capital,of an abacus of
tended
than
the shaft itself,
dimensions
smaller
to
bulky appearance,
making it
give it an overgrown,
of strength.
through excess
look, as it were, weak
The
chief forms of capitalsin use
were
: (a) the bellshaped capital (centralcolumns, Karnak), which
graceful forms, and to which, as
produced many
shall see
we
later,the early Corinthian
capitalsof,
bore a strikingresemblance;
the Greeks
(b) the
lotus bud, representing a cluster of
the clustered
of the
lotus
buds
flower, (with this
unopened
the
was
used) ; and ("r)
capitala clustered column
derived
of these forms
were
palm capital. Most
from
plant-life.In Egypt, at the present day,
bundles
of reed plasteredwith mud
frequently
may
small bundles,
be seen
columns
in use
as
; several
each
together and form
tightlybound, are banded
a shaft sufficiently
rigid to support heavy weights.
This
was
copied, probably
primitive arrangement
is undoubtedly
first in wood, and later in stone, and
lotus
banded
and
the
origin of the clustered
column.
the
For
than
In
and
and
and
form,
the
dim
interior of
was
the
for
upon
the columnar
relied
lightof
were
covered
decorative
effect.
halls,mouldings
been seen
to advantage,
essential.
with
The
walls
profusion of
THE
30
STORY
OF
ARCHITECTURE
had
sandstone
used
building, a smooth
obtained
by the use
imperfections-of the
in
Next
established
A
of
of
stucco,
stone
along the
erection
the
the
colour
with
was
which
civilisation
the
of
the
of
kingdom
great
banks
of
filled up.
were
the
the
the
for
surface
antiquityto
that
valley was
in
Nile
which
the
was
Euphrates
"
ssyria.
the
Unlike
monumental
Assyrian remains
fragmentary state, for
the
the
is left of
kingdom.
have
the
save
palaces of
Excavations
which
at
Nineveh
the
the
British
Museum.
Egypt,
only in a
survived
little
enormous
of
structures
foundations
this
have
mighty
once
been
carried
at
Khorsabad,
capital,and
almost
have
revealed
complete plans of the royal
of remarkable
dwellings, showing that they were
and
of the great
extent
magnificence. Portions
be seen
gateway of the palace of Khorsabad
may
on
in
The
immense
scale
of
to
of
the
extensive
materials, the
harder
durabilityof
can
be
structural
the
sun-dried
of
use
the
Nile
determined
remains,
applied
ornamental
bricks
the
architecture
forms
So
the
far
bas-reliefs and
the
"
had
lieu
lacked
structures
valley temples.
from
in
"
apart
as
the
from
comparatively
principlesof
the
by
the
31
stood
under-
Egyptians,
arch
has
gateway, discovered
arched
fine
the
That
ARCHITECTURE
OF
STORY
THE
been
by
proved
M.
Place
of arched
drains
Khorsabad, and by remains
and
of brick vaulting. On
existing bas-reliefs are
found
buildings,from
representations of domed
at
which
not
was
used
The
to
feature
did
"
the
On
the
column,
with
^ented,
which
iprototype
it is
improbable
of
form
not
reveal
in
of
roof
it
that
"
sculptures a
small
volutes,
The
of
trace
no
interior
its
of
form
is
claim
to
may
of the
the column
order.
Ionic
this
Egyptian temples
an
important place
occupy
of the
Assyrians ;
the
the bas-reliefs,
exception of
existing remains
use.
that
extent.
any
architecture
the
with
though
prominent
column
in
assumed
unknown,
was
the
be
it may
reprebe
the
walls
Greek
of
the
height of
FJG
about
slabs, on
10
feet, with alabaster
Assyrian
low
in
which
relief, Column,
were
represented,
and
battle and
logical
mythohunting scenes
subjects. Many of these slabs are to be
of Europe.
found
in the chief museums
palaces
With
became
lined,
were
the
to
the
Persians
masters
style of architecture
was
developed
which
attained
and
Xerxes.
Darius
magnificence under
had
the Persians
Before
their period of conquest
little
of
been
life, with
simple in their mode
architecture
later monarchs,
of their own.
Under
great
very
different in character
from
the
great conqueror
THE
32
STORY
OF
ARCHITECTURE
The
The
Courts
where
Lion
and
Jamshyd
the
great
Hall
of
Lizard
gloried
And
The
civilisation
Xerxes
"
and
break
at
keep
drank
Wild
the
:"
his
deep
Ass
sleep.
Persepolis
was
of the most
extensive
and
posing
imundoubtedly one
buildings of ancient times, having an area
of the
of 350 by 300 feet,or almost
twice the area
Karnak.
Its roof
at
was
great Hypostyle Hall
supported by lofty columns, no less than 64 feet
in diameter, fluted, and
in height,4 feet 6 inches
of
slightlytapering. Many of the capitalswere
remarkable
design, in the shape of a double
bulls
bracket, formed
by the forepart of two
the
back.
to
Frequently between
placed back
bracket and
the column, as in the illustration,
a
bell-shaped
to
a
weak
and
of
vertical
the
volutes
set
in
be
may
carved
small
But
scale,
colossal
although
adjoining
the
on
the
east
the
the
with
kingdom
came
into
had
little
one
of
empire
vast
the
Indus
and
Egypt
almost
every
which
its
hosts
8.
FIG.
influence
styles, or
Far
result
and
had
the
been
not
Greeks
who
Breasted,
Did
upon
different
the
ing
succeed-
upon
that
might have
invading
of
Capital
Europe.
been
hordes
from
Persepolis.
the
overflowed
by
successfully resisted
Europe,
brave
those
"
beat
Barbarians,
deed,
Marathon
of
halls.
absorbed
west,
of
copy
Thrace
to
necks
represented,
the
have
to
tomb
foot
wooden
The
appear
the
is
unlike
capitals
of
out
which
in
roof
rock-cut
the
bundle
between
space
mountain
these
the
this,
not
are
horizontally.
curious
in
seen
the
hollow
of
consisting
Ionic
of
above
and,
"
similar
very
"
scrolls
Greek
These
terraces,
of
the
the
of. Darius,
on
These
supported
bulls.
the
of
scrolls.
which
rested
forms
feature
of
33
introduced
clumsy
vertically instead
beams
ARCHITECTURE
capital was
the
Egyptian
of
one
OF
STORY
THE
and
!
saved
stemmed
the
Persia
world,
for
rolling
the
day
on
was
THE
34
STORY
ARCHITECTURE
OF
II
GREEK
civilisation of the
THE
of that
ahead
centuries
had
art
ARCHITECTURE
"
Dark
of
Europe
its zenith
reached
"
Continent
;
was
and,
the
among
many
long after
inhabitants
find
valley, we
Europe still in the
that the
we
mean
prehistoric stage by which
not
people had
yet acquired the art of writing
their history in the form of permanent
architecture.
earliest traces
of European
civilisation
and
The
Nile
the
of
"
"
"
architecture
in
Crete
his
other
the
Of
nothing
Trojan
before
we
civilisation,
all,as Horace
have
lived
Agamemnon
ah
their
all
no
are
bard
lost
of
age
and
architect.
left
their
breath
old,
;
praises told,
nameless
in
of
death.
lacked, however,
more
times
in
But
The
not
brave
men
lived before
who
enduring architecture
history unlike that of
no
Egyptians is a sealed
of Agamemnon's
"
the
(dr. 1180
B.C.).
times, and who
know
absolutely
tells us, passed
war
these
first drew
Agamemnon
them, and
than
Atreus, Agamemnon,
Ere
discoveries
recent
"
men
And
the
; of
lived
the
further
no
of the
this great
: they have
Brave
"
Troy
who
oblivion
They
back
heroes
men
built up
into
of
except
we
date
"
and
Homer
if
"
"
book
to
period
us.
few
still exist,and
behind
the
old
ments
monu-
supply
THE
STORY
which
only reliable information
history of that time ; but our
the
the
them
must
remain
ever
bravely of
writings of
sang
the
scanty.
deeds
the
the
old
his
very
Pericles ; and
that
confess
the
we
day
it is
is
have
knowledge of
indeed,
Homer,
poets
"The
but
men,
in
impossible
to
age of Homer,"
with
darkness,
Not
of
more
that
so
when
coming
learnt
of
possess
we
these
Ruskin
35
of
fiction.
ARCHITECTURE
OF
of
shall
we
Greece
out
crumbled
the
had
to have
not
appear
the architecture
of the
These
called
who
direct
influence
upon
Hellenic, period.
later,or
tions,
consist
chiefly of fortificaearly structures
of a
tombs, and
walls, the work
people
probably Phoenicians,
Pelasgi (i.e.sailors),
the
were
dominant
period assigned to
and who
preceded,
the
any
race
the
and
in
Greece
at
the
(1180
B.C.),
Trojan war
were
totallydistinct from,
Greeks.
found
are
important of these remains
at
at
Tiryns, the mythical city of Perseus, and
of
Homer,
Mycenae, the
capital,according to
Remains
of walls
Atreus
and
are
Agamemnon.
The
found
most
in
many
other
Cyclopean
of
masonry,
construction
was
giants,
and
tradition
as
parts
of
the
country
"
ascribed
its
origin
to
the
STORY
THE
36
OF
ARCHITECTURE
chief
feature
of the work
is the
Cyclopes. The
blocks of stone, irregularly
employment of enormous
shaped, or coursed, and fitted together without
At
mortar.
Tiryns the acropolis,is surrounded
by a wall of this character ; a similar wall at
Mycenae contains the great Gate of Lions, probably
ancient
the most
example extant of Greek sculpture.
This
monolithic
piers and
gateway consists of two
lintel
massive
such
the
that
way
wall
lintel
the
with
in
sculptured
lions
two
column
which
towards
the
__
Lion
9."
of
Gate, Mycenze.
blocks
massive
builders
the
in
with
over
use
method
supporting
the
top
base.
is
chambers
subterranean
two
kind
of stone
from
seen
as
adopted
with
in
another.
one
laid without
The
mortar.
differs
in
The
Lion
stones
in
"
the
built in the
a
as
old
in
interior,the
from
arched,
the
domical, construction
in
senting
repre-
been
have
to
unacquainted with
appear
of the arch, for although the roof is domical
form,
laid
group
earliest
larger chamber
roofed
its
being filled
tapers from
communication
The
from
in
existingstructure
architectural
Greece
possessing
merit, and of regular form, is the socalled Treasury of Atreus at Mycenae.
This
is in realitya tomb, consisting
The
FIG.
in
over
relieved
was
thus formed
weight,the triangularspace
"
corbelled
"
was
the
walls
most
of
radiating form
series of horizontal
Gate
the
of
and
true
or
material
other
point.
ings
open-
acropolis are
true
arch, but
"
structural
courses,
so
not
are
that each
THE
overhangs the
graduallynarrowed
course
thus
the
at
meet
roofs
the
over
of
blocks
lintel
top
used
inner
in
the
feet
16
is
the
to
Immense
; the
structure
single block
deep, weighing not less
is
doorway
The
tons.
similar
Pyramids.
the
space
projectingcourses
arrangement
are
long and
27 feet
than
120
37
it ; the
until the
in
galleries
the
below
one
an
"
stone
over
ARCHITECTURE
OF
STORY
architectural
chief
feature
of
the
entrance
doorway, flanked
building was
by columns
entirelycovered with elaborate zig-zag
ornamentation,
showing a fairlydeveloped style,
of Egyptian and
Asiatic
influences.
with
traces
the
These
and
form
break
construction.
civilisation
velopment
de-
ture
architec-
absolute
an
Greece
later
Greek
of true
by
in
the
from
separated
are
works
earlier
in
Hellenic
developed, not by
the Pelasgi,but by the Greeks, or
succeeded
Hellenes, who
them,
and
it was
the
which
art
they
evolved
"
the
"
of
was
the
"
classical
Greece,
parent
of
all
the
io.
Section
through
Treasury of
the
Atreus.
ture
architec-
it is called
as
FIG.
"
which
has
been
in
succeeding centuries.
no
doubt,
Suggestions were,
Egypt and from Asia, but in the
of Greece
creation.
was
the
to
appears
have
The
gathered
been
order
For
after
at
two
the
Corinth
centuries
defeat
is
"
of
the
an
tecture
archi-
original
it flourished
the
of
than
date
the
of
Doric
650 B.C.
this, art progressed until,
its
Persians, it reached
not
after
earlier
the
main
from
38
THE
STORY
culmination
at
OF
Athens
(460-400 B.C.)
ensued, followed
by
age
revival
under
Alexander
death
(323 B.C.),by
A
a
ARCHITECTURE
"
which
from
it
recovered.
never
The
which
buildings,throughout
the
ancient
the
Greeks
these
periods, upon
their genius,
lavished
differed from the temples
almost
all points save
temples. These
of the old
Egyptians in
the frequent use
of
the
column
the
one
as
dominant
feature of the design. But the Egyptians
built their temples with
view
to
a
impress the
the
richness, and
worshipper by the mystery,
the grandeur of the interior : for this reason,
and
for constructive
the columns
were
placed
purposes,
inside
the
the
the building. With
Greeks, on
other hand, the temples \yere
comparatively small ;
of
the
built as
memorials
not
vast
they were
of despotic monarchs,
were
nor
they
greatness
of
of crowds
required for the accommodation
the
roofs
had
massive
not
worshippers. The
solidityof the Egyptian structures, and few supports
the
were
buildings
moreover,
necessary;
were
designed for external effect. In the Greek
were
temples, therefore, the principal columns
ranged on the outside.
As
a
rule, the building occupied a conspicuous
position,that it might be visible from all points
The
form
be
Greeks'
and
admired
of
by all.
not
worship was
congregational: it consisted chiefly
were
"
in prayers
offered
point within
whose
image was
any
up outside
view of the
enshrined
the
sanctuary,
temple,
"
in
it.
to
To
"
the
from
deity
provide
THE
for this
shelter
of the
In
image
Thus
was,
in
smaller
the
chief
purpose
simple.
invariably
formed
walls
in which
naos,
39
fact,the
plan was
buildings,four
temple.
the
ARCHITECTURE
OF
STORY
an
placed the
was
the
which
material
the construction
in
except
of
marble
roofs
posit
de-
votive
the
were
to
offerings.
frequently marble,
Stone,
was
in
in
throughout,
roofs, which
the
wood
used
covered
with
have
and
with
the
method
all
them
FIG.
perishable
disappeared,
tiles. The
has
been
u."
Plan
Greek
of
Small
Temple,
regarding
for the lighting
Greeks
exception the great
adopted by the
of the temples ; for with
one
the
walls
of all known
temple at Agrigentum
windowless.
The
buildings of this kind were
question of the lighting of the Greek
temple has
given rise to much
speculation,the most
able
acceptadmitted
theory being that the light was
of
windows
the
over
through a row
high up
"
"
internal
colonnades.
Reference
order"
Story
has
of Greek
we
shall
"
Doric
to the
already been made
architecture,and throughout this
refer to the
to
constantly have
THE
40
"
classical
words
STORY
OF
orders."
The
ARCHITECTURE
requires
term
few
of
explanation.
the casual
To
observer, Greek
temples would
all bear a strikingresemblance
another ;
to
one
the designs there existed
three
yet among
quite
distinct styles. Each
marked
style was
by the
of its peculiar form
of column,
use
panying
and, accomseries
of
a
this, was
mouldings and
proportions, found
only in conjunction with that
the Greeks
the
column.
three orders
Among
called the Doric, the Ionic,and the Corinthian.
were
The
Doric
order, the earliest of the three, was
marked
by simplicity,
strength,severity; the Ionic
more
was
gracefuland ornate
; and the Corinthian,
"
the
last
make
and
exuberant
to
in
its appearance,
detail.
The
"
still
more
rich
order
Corinthian
characteristic
features
of
the
order
; the
columns
and
Later
massive.
monolithic, stumpy,
examples show marked
improvement in proportion
so-called
and
In the Theseum,
or
workmanship.
(465 B.C.),for
temple of Theseus, at Athens
and
the
slender
more
example, the shafts are
are
mouldings
more
refined.
But
it
was
not
until
the
architecture
Greece
of
Athenians
vent
the
been
gave
invaders
had
of the
national
Under
a
the
of
group
Acropolis
wise
the
Doric
that
wars
noblest
the
the
developed, when
their enthusiasm, after
to
defeated, by the rebuilding
was
rule
of
tecture
archiactivityensued, when
culminated, and the unrivalled
the
on
buildings sprang
up
national
Athens.
Foremost
of
temple
FIG.
12.
(445-431 B.C.)
Pericles
of
Greece
at
41
monuments.
glorious period
in
ARCHITECTURE
Persian
the
of
time
OF
STORY
THE
"
the
Plan
these
among
was
of the
Parthenon.
(Gr. parthenos, a
virgin),a building which, for beauty of design
and for delicacyof workmanship, must
be regarded
the nearest
as
approach to perfection of all works
erected
ever
by man.Parthenon
The
reveals
all the
to
us
leading
features
of a fully developed Doric
temple. The
plan, as we see, was
simple and regular,consisting
the
of
world-renowned
cells
two
"
Parthenon
the
treasury behind
it.
peristyle,or series
formed
a
portico at
an
inner
row
chamber
sacred
Round
of
each
of
these
columns,
end
and
was
small
ranged
eight of which
each
tained
portico con-
six columns.
The
whole
OF
STORY
THE
42
ARCHITECTURE
"
raised
stylobate,"or
pavement, three steps in height.
this plan, let us
consider
In conjunction with
Doric
constitute
the features which
a design of the
stood
structure
order.
The
shows,
has
upon
column
no
but
or
with
subtle
convex
curve,
swelling, called
the
"entasis."
shaft
are
flutes,or
the
Around
channels, twenty, or
sixteen, in number,
them.
sharp edge between
shallow
shaft
the
is
times
some-
with
mounting
Sur-
plain,
of
square
capital, made
up
abacus,"
slab, or
which
the
rests,
sturdy
"
with
the
Doric
The
weignt
by
fr"m
the
carried
tne
face
called
the
from
out
receive
to
abacus.
The
of the column
until
up
fillets
of
band
shaft
the
on
grooves
are
checked
spreading
of
top
tne
13.
Order,
circular cushion
echinus,"
"
FIG.
superstructure
upon
they
just below
are
the
capital.
The
upper
portion of
columns,
consists, first
architrave,"
the
is
of
called
a
design, supported by
the
the
horizontal
entablature.
marble
beam
This
or
upon
which
the
architrave
ARCHITECTURE
OF
STORY
THE
almost
was
should
its surface
of
ornamentation
43
detract
lest
from
the architrave
strength. Above
which, in the Doric
order, was
divided
into square
metopes," separpanels, or
ated
projectingblocks,called "triglyphs
by slightly
of which
the
face
cut
are
(three channels), on
from the sketch,a
As will be seen
vertical grooves.
each column, and
between
over
one
triglyphoccurs
In many
the metopes
each pair of columns.
cases
filled in with
The
were
sculpture in relief.
remaining portion of the entablature, above the
cornice."
frieze,is the
the leading features
of the
We
see, then, that
the
column
and
its entablature, the
order
are
the plain archilatter consisting of three
trave,
parts
and
the
frieze,with its metopes
triglyphs,
of
its appearance
the
frieze,
runs
"
"
"
"
and
cornice.
the
will be
noticed
On
series
having a
resembling wooden
of
the
the
the
ends
of
cornice
underside
of
marble
number
each
At
the
of
of the
slabs
small
(mutules),
projections
pins, or nail-heads.
the building the upper
made
are
to
members
the
follow
cornice
lines
of
in the centre
at
they meet
the top, while
the lower
portion is carried along
the
The
frieze.
horizontally above
triangular
thus
formed
is called
the
pediment; and,
space
the most
as
prominent part of the design,contained
the finest of the sculpture with which
the temples
were
frequently adorned.
sloping
The
to
main
have
beam
until
details
been
in
the
roof
of
derived
timber.
which
would
the
from
The
Doric
early
order
forms
architrave
be
found
appear
of construction
represents
in
similar
OF
STORY
THE
44
ARCHITECTURE
effect ;
doubt
that
sloping
mutules
ends
studded
column
the
of
nails.
with
the
"
to
reason
reminiscences
are
rafters
of
little
seems
feature, however
other
The
the
there
"
does
have
we
prototype ; as
suggest a wooden
of
before
noticed, it is probable that the tombs
Beni-Hasan, or the temples of the Nile valley,
not
FIG.
furnished
evolved
the
The
14."
rough
this, the
Parthenon
models
Restored.
from
which
the Greeks
dignifiedfeature
most
of
their
architecture.
We
noblest
have
mentioned
of
example
Careful
measurements
revealed
the
"
Parthenon
of
temple
of
existence
in its construction
the
of
with
this
number
view
to
the
Doric
building
of
the
as
order.
have
refinements
the correction
of
which
help us to appreciate the
opticalillusions
which
the Greeks
extraordinarythought and care
of
best known
bestowed
their designs. The
on
is the
these refinements
entasis,"or swellingof
"
"
THE
OF
STORY
ARCHITECTURE
45
bounding lines
of the shaft, which
straight,are in reality
appear
the straightline
from
outwards
curved
convex
the extent
to
only of three-quarters of an inch
in
feet.
This
than
a,
height of more
31
noticeable
the eye, but is just
to
is not
curve
the tendency which
exists
sufficient to counteract
in a straight-sidedcolumn
look
hollow
in the
to
the
of
outlines
the
The
columns.
"
"
middle.
of the architrave
Again, the underside
appears
be perfectlystraight. Now
to
a
long, horizontal
is perfectly straight,tends
look
to
line, which
as
or
though it
droops in the centre.
sags
horizontal
lines of
To
for this, the
compensate
the
entablature
all slightly curved
are
upwards
the centre, deviating from
towards
a
straightline
"
"
the
to
the
steps
of
curved
are
in
subtle
Another
vertical
about
of
extent
lines,to
similar
of
lines
way.
applied to the
tendency
apparent
is
correction
counteract
The
inches.
the
the
at
spread outwards
top.
The
columns
set
not
are
truly vertical,but are
with
that
an
inclination, so
they all converge
The
not
the
slightlytowards
slope could
top.
be detected
considered
by the eye ; but it was
that, by affectingthe beholder insensibly,it helped
of
to
give the building the appearance
repose
that
and
of solidity. So slight is the inclination
columns
of the temple deviate
at
opposite ends
building to
the
from
the
inches
meet
ground
The
at
vertical
;
a
that
so
point
to
the
extent
their
axes,
more
than
of
if
a
not
more
produced,
mile
above
than
would
the
Parthenon
is built of
Pentelic
marble
from
THE
46
the
STORY
OF
ARCHITECTURE
neighbouring quarries.
laid
were
without
mortar,
probably ground
joints were
only
marble
All the
and
blocks
worked
were
"
"
induced
was
to
consent
to
removal
the
thus
were
pieces of sculpture, which
destruction, and eventually found
in
national
our
executed
with
battle of
of
the
these, as
which
of
in
the
saved
from
resting-place
well
Pheidias
"
the
colossal
the
as
vigour
and
Centaurs
of
metopes
remarkable
filled the
work
whole
museum.
bas-reliefs
The
of
the
frieze
"
represented the
Lapithae ; many
of
groups
pediments, were
himself.
Among
statuary
doubtless
the
the
pediment
reclining.
of Theseus
sculpturesis a noble statue
eminent
most
of our
I should
say," said one
when
givingevidence before a Committee
sculptors,
"
of
the
In
the
of
House
Theseus
connection
was
Commons,
the
with
that
the
thing in
remark, let us
finest
this
"
the
back
of
world."
remember
STORY
THE
the
that
statue
examined
the
back
wall
of
closelyby
the
the
In
Each
days
wrought
minute
in
find
any
spectator
This
one.
surpassing
cellence
ex-
care
part,
unseen
"
that
all the
work
to
was
as
ously
religi-
as
finished
greatest
Parthenon
invisible
carefully and
in
the
the
with
and
the
spectator
which
the
towards
Art
of
elder
Builders
the
Moreover,
the
thoroughness which marked
Greeks
Truly"
at their best period.
of the
was
by
seen
not
the
and
which
it could
that
from
away
illustrate
to
position some
turned
was
not, therefore, be
we
so
4?
spectator.
any
statue
serves
for
eye,
building and
the
example
for
the
above
of
it could
work
executed
was
feet
60
or
50
be
ARCHITECTURE
OF
as
that
immediately
was
sight!
Colour
was
an
of
the
decoration
essential
Doric
design.
The
at
the
non,
part
temple
FIG.
Parthe-
time
Capital, show-
15. -Doric
ing
Colour
Decoration,
of
dazzling
the
entire
white
marble, for the
building, on
the internal walls,was
exterior as well as on
richly
its
The
with
decorated
colour.
frieze, with
blue
brilliant with
and
triglyphs,was
metopes
and
was
red, the glare of the walls and columns
the
toned
down
to
a
pale yellow tint, and
with frets,
decorated
mouldings and capitalswere
Pericles, did
egg
and
not
dart, and
present
other
ornaments
front
of
in dark
colours,
THE
48
STORY
so
richness
of
OF
ARCHITECTURE
design presented an
than
gaiety rather
and
appearance
of
simple
dignity.
if
had
man
have
would
Time
been
dealt
gently with
merciful.
more
the
Parthenon,
Until
the
teenth
seven-
it suffered
chiefly from
neglect;
but in 1687 a terrible calamity overtook
it,while
the city was
being besieged by the Venetians.
in possession of the
time
Athens
that
at
was
the Acropolis into a citadel,
Turks, who converted
and stored the greater portion of their ammunition
in the
Parthenon.
a
During the bombardment
Venetian
shell, fallinginto the temple, exploded
the
a
gunpowder and wrecked
great part of the
commander
followed
building. The Venetian
up
his work
in
of
destruction
a
by breaking up,
effort to
careless
it, a large portion of
remove
century
the
statuary from
made
then
were
to
rain and
front.
west
the
restore
the
protect it from
to
the
damaging
attempts
structure,
of
effects
work
the
weather, and
Few
of
to
or
exposure
decay
went
speedily.
on
Goodly
Soon
buildings
fall to
ruin
the
unprotected parts
the
wet,
and
the
largely used
were
marble
caused
the
century
iron
in
to
later, as
left
without
roof
soon
began
from
suffer
to
and
dowels, which
cramps
and
the construction, rusted
crack
and
fall to
we
have
seen,
pieces.
Lord
Elgin
of
This
ever
Lord
many
of
action
the
end
Elgin's
THE
the
of
most
cannon-shot
and
of
was
in
statue
reality a
of Athene,
the
work
was
also
of
Theseum
and
at
Selinus
in
the
temple of
Apollo Epicurius
in
Ionic
date
in Asia
the
similar
in
sixth
the
use
of
be
of
her
of
all
of
"
Greek
the
of the
probably
"
three
had
its
which
tombs
remains
at
orders
origin
found
are
Persepolis,
very
order
tombs
in
Lycia
may
be
seen
which
show
are
Arcadia.
second
"
and
to
important
most
curious
restorations
of
Greece
are
B.C.,
which
Museum
colossal
features
possess
the Ionic
characterise
century
Some
British
stone
the
the
temples
in
architectural
those
Greece.
accurate
the
"
temple
Acropolis
Agrigentum in Sicily,
Graecia
(South Italy),
of
that
Olympia, and
Bassse
Rock-cut
the
to
at
importance
Minor.
there, and
of
order
and
and
Magna
at
added
was
hand.
preserved
Zeus
of this
The
for
spot below
sheltered
Paestum
at
The
his
best
the
"
temples, in a
the temples
of
scars
artist.
from
genius
Pheidias.
Doric
many
different
parts of
the
these
Among
colonies.
the
this
their
of
in
and
architects
shrine
feet
40
the
were
stately
probably
Remains
found
Callicrates
building,and to
the great sculptor
wonderful
marks
the
on
Ictinus
that
bears
Parthenon
the
49
Acropolis has
by the Greeks
that
ARCHITECTURE
been
has
action
OF
STORY
the
earliest works
"
in
in
been
accustomed
had
to
people who
wood, especiallyboat-building. The
THE
50
tombs
beams,
STORY
planks,and
FIG.
reproduced in
us
it is easy
timber
ARCHITECTURE
OF
of
boat
the
even
16.
"
Ionic
the stone.
to
With
understand
construction have
turned
keel
upside down,
being laboriously
Order.
evidence
such
how
reminiscences
survived
in
the
before
of
designs
THE
of
ARCHITECTURE
OF
STORY
early builders
those
these
inspirationfrom
order
Ionic
The
Greece
of
51
their
drew
who
sources.
consists
of
column
in the
same
entablature, made
up
Doric, but differing in the details
and
way
as
the
and
in
the
slender
general proportions. The shaft is more
is
diameters
and
in height
from
eight to ten
forms
surmounted
by a peculiar capital which
the
most
strikingfeature of the style. It will
is small, and
that the
that the abacus
be noticed
"
"
"
cushion
side
in
which
upon
feature like
"Ionic
the
The
scroll,which
does
column
like
those
from
each
the
Upon
of
the
other
or
Doric
by
triglyphs,but is either
uninterrupted design
an
characteristic
course,
feature
row
which
probably
construction
the
cornice
which
the
took
Doric
The
of
facias ;
like
the
was
the
the
has
with
relief.
is the
or
is
frieze
enriched
in
cornice
"
dentil
tooth-like
Doric
"
jections
pro-
triglyphs are
reminiscences
of
of
primitive forms
in wood.
The
of
crowning member
with
was
frequently enriched
carving,
the place of the colour
decoration
of
"
"
order.
Ionic
not
upon
shaft
architrave
or
carved
blocks
narrow
of
The
plain
in the
the
flutes,rather deeper
order, and
separated
as
stands
surface
fillet.
three
is known
shaft, but
Doric
twenty-four grooves,
than
each
on
not
the
base.
moulded
are
terminates
volute."
pavement,
a
it rests
four-sided
the
front
elaborate,
more
the
Doric
feature
differed
in
from
it
that
the
STORY
THE
52
and
side,
the
at
sided
capital was
therefore, to treat
on
the
two
exterior
OF
angle
very
the
ARCHITECTURE
of
colonnade
noticeable.
corner
faces, the
the
It
usual,
was
volutes
capitalwith
scrolls at
two-
the
outer
angle of 45",
in the illustration (p. 50).
shown
in the manner
of
remains
More
buildings of the
numerous
Minor
than
Ionic
order exist in Asia
elsewhere;
notable
but the finest and
most
example of the
the
Acropolis at
on
style is the Erechtheum,
This
Athens.
building
much
shows
variety of
angle meeting
one
another
at
an
of
detail
the
order,
the
Erechtheum.
an
in
the
temple
designs
of
the
This
Capital from
"
feature
considerable
"
irregularity
ly.-lonic
and
fined
re-
unusual
Greeks
FIG.
most
the
is
difference
rendered
the
due
uneven
plan.
partly to
of
of
levels,
necessary
by
site; but
it
"
suckle,
ancient
the
use
as
the other
among
Museum.
the British
seen
in
church
Christian
seventeenth
century
at
was
in
alterations
last
built
for
Athens
vestibule
the
which
to
opening
between
up
the
the
at
in
was
century,
been
had
of
temple
Elgin
in
was
wars
which
wall
the
it
powder magazine,
be obtained
only through an
could
access
of
the
the
of
of
treasures
chiefly responsible
Lord
day. When
the
beginning
being used as
present
but
are
condition
mutilated
the
53
The
in
be
may
Greece
ARCHITECTURE
OF
STORY
THE
the
columns.
of Nike
erected
about
first
The
now
on
cella
"
"
"
"
with
466
front
This
B.C.
portico
consists
of
four
of
square
The
columns.
in a
be
of
fair state
to
now
building appears
been
time, however, it had
preservation; at one
completely pulled down, and its details built into
a
Turkish
fortress
or
powder
magazine,
of
some
the
It was
sculptures being fixed upside down.
rebuilt about sixtyyears ago from the old materials.
tures
Perhaps the most
magnificent of all the strucerected
the Ionic
ever
was
by the Greeks
Diana
the great
to
temple at -Ephesus, dedicated
of
the
This
almost
Ephesians."
building was
totallydestroyed, possibly by an earthquake, so
"
that
the
very
site of
discovered
by
in
The
1871.
an
it
unknown
was
until
Museum
of one
of
sculptured drum
referred
to
by Pliny, from
the
whom
"
it
was
Wood,
the
possesses
celatce"
columna.
we
know
that
THE
54
there
STORY
OF
ARCHITECTURE
thirty-sixof these
sculptured columns,
of them
that one
artist
and
was
by a renowned
named
beauty of the work
Scopas. The
seems
to
justifythe high opinion of the Greeks, who
the great temple of Ephesus among
included
the
were
of the
wonders
seven
the
Although
Doric
world.
and
Ionic
orders
quite
features,
were
distinct in their
they
respectiveproportions and
in the
occasionally combined
same
building,as in the Propylaea,the noble gateway
were
which
the
to
access
gave
In
Acropolisat Athens.
the
of
temple
Apollo
in
Epicurius at Bassse
Arcadia,
designed
by
of the
Ictinus, one
of
the
the
exterior
Doric, but
on
each
8."
Ionic
Corinthian
Parthenon,
columns
side
were
of
row
capitals
piers
the
of
treated
was
FIG.
tects
archi-
and
terior
inwith
tails.
de-
Capital.
The
third
importance
order
in pure
"
the
Greek
Corinthian
"
architecture
was
of
little
it appears
the Roman
have
been
the
competitions ;
choral
in the
is shown
Corinthian
The
ARCHITECTURE
OF
STORY
THE
55
this
capitalfrom
ment
monu-
illustration.
the
capital was
great creation
Probably
period of Greek architecture.
taken
from
the first suggestions of the form
were
the temples of the
Egyptians, for there exists a
between
of the bellsome
striking resemblance
shaped capitalsof Egypt and the earliest Greek
order; but to the
examples of the Corinthian
the introduction
of the angle
Greek
artists is due
of the
later
volutes
and
combine
to
work
of
acanthus
the
of
make
the
decoration
capital such
which
exquisite
an
art.
of
was
an
era
Although the Alexandrian
age
great magnificence, it was, in reality,a decadent
concerned
after the
period so far as art was
; and
death
of Alexander
never
(323 B.C.) architecture
be remembered
recovered
It must
its lost ground.
that
Greek
true
after
baneful
architecture
the
influence
country
of
ceased
had
under
come
Rome
conquering
diately
imme-
almost
"
the
i.e. about
Among
beginning of the second
century B.C.
the
vast
period
undertakings of this Roman
at
the temple of the Olympian
Zeus
Athens,
was
a
order,
magnificent building of the Corinthian
not
completed until
begun about
B.C., but
170
the
3oo
years
later.
When
Sulla
entered
his army,
he carried off several of the
other portions of this temple to Rome,
probably
Corinthian
Before
of
some
served
the
Romans
as
Athens
with
capitalsand
where
they
models
of
the
order.
be made
must
leaving Greece, mention
remains
exist, other
buildingsof which
56
STORY
THE
than
temples.
theatres
for
OF
The
largest structures
were
representations,which
dramatic
built frequently in
ARCHITECTURE
excavation
an
of
the
the
were
sloping
in the form
shown.
In the centre
hillside,
was
an
altar to Dionysus, the space around
the orchestra
being occupied by the chorus ; the actors
small
a
appeared on
stage, while the audience
marble
circular
or
occupied stone
seats, ranged in semiIn
the
tiers.
of
theatre
Dionysus at
Athens
accommodation
was
provided for about
"
"
spectators.
30,000
The
built few
Greeks
tombs.
celebrated
wonders
19."
Plan
of
Theatre.
B.C.).
splendid
with
the
British
Some
the
horses which
be
may
the
Ionic
of
Greeks
in
seen
was
rated
style,richlydecoof
the
the
"Mausoleum
colossal
pyramidal
room"
of
Museum.
the
memorial
used
(steles)
stones
beautifullycarved,
were
by
(dr. 350
tomb
surmounted
the
whose
erected
was
This
"
name
to
Artemesia
sculpture. Portions
chariot and
roof
in
structure
it
seven
its
Mausolus,
memory
his wife
Greek
in
world
received
from
FIG.
of the
the
of
which
leum
mauso-
Halicarnassus
another
"
most
the
was
at
Caria
The
portant
im-
Greek
acquainted with
our
knowledge
the
goes,
builders
the
to
it
them
is
are
arch.
though
Al-
undoubtedly
were
arch, they
never
of
and
by
appear,
so
have
made
far
as
any
STORY
THE
of
use
practical
the
it.
ARCHITECTURE
OF
"
proverb ;
Hindoo
arch
An
and
57
sleeps,"says
Greeks, perhaps
never
the
the
would
detract from
rightly,felt that its use
which
to
simplicityand the feeling of repose
to
give expression in their
they endeavoured
designs.
of
architecture
Our knowledge of the domestic
almost
is derived
Greece
entirelyfrom descriptions
of importwriters,for no remains
ance
by contemporary
have
survived.
architecture
The
and
art
of
much
of Greek
influence, and
Pompeii savoured
described
house
the Pompeian
on
p. 82 probably
in many
of the
resembled
particularsthe houses
of the earlier period.
Greeks
Ill
AND
ETRUSCAN
ROMAN
ARCHITECTURE
it is
dealing with the early days of Rome
fiction and
difficult to distinguish between
truth,
between
no
legend and
history. There
was,
in the early
nature
doubt, a good deal of human
led
them
after the city had
inhabitants, which
the
gained for itself such a position as to secure
feel that
to
respect of all neighbouring nations
the
from
fashioned
been
have
not
they could
IN
"
"
same
the
stuff
as
were
other
"
We
men.
mixed
early traditions
a
things divine," and
gave
be
eternal city. Whatever
human
divine
the
true
thus
find
that
things
origin to
with
story of
the
the
STORY
THE
58
foundation
the
date
Etruscans
in
state
of
OF
ARCHITECTURE
certain
it appears
Rome,
that
at
Etruscans
appear
origin, who
skill, and
been
have
to
were
possessed
had
FIG.
20.
certain
"
which
considerable
influence
upon
great constructive
of
of
amount
artistic
Maxima.
Cloaca
enabled
perception,
of Asiatic
race
them
to
exercise
Rome.
In
virtuallyan
was
The
in
Etruscan
Italy consist
Etruscan
monuments
chieflyof
city.
which
walls
and
still remain
tombs.
Of
find
examples at Volterra,
city walls we
is
Perugia, Cortona, and elsewhere : the masonry
in
cases
some
polygonal, in others, laid in
the
THE
horizontal
being
virue
of
ARCHITECTURE
the
size.
enormous
arch
"
59
is of the character
"Cyclopean,"
as
an
of
form
these
and
courses,
to"
referred
OF
STORY
was
used
A
for
previously
blocks
separate
new
feature
the
gateways
"
in
walls.
This
new
constructional
principle
"
arch
the
"
of
One
by the Etruscans.
fully understood
is the
Cloaca
the earliest examples of its use
executed
Maxima,
a
during the reign
great work
of the Tarquins (about 600
B.C.)for the purpose
lower
of draining the
parts of the city. It is
arch
of large stones
with
roofed
in three
over
an
did the builders
concentric
rings; and so skilfully
their work
that in many
construct
places the arch
was
still intact.
remains
Etruscan
tombs,
found
rock-cut
kinds,
of
two
in
great numbers
and
throughout
Central
contained, as a rule, one
Italy. These
chamber
only, in the form of an ordinary room
;
been
have
for it appears
the
to
object of the
structural,are
constructors
comfortable
were
covered
to
as
make
the
dead
tenant
feel
as
frequentlywas
the solid rock, and
of utensils of
number
with
a
in everyday life.
use
than
The
tombs
have
proved more
permanent
have
the
the
latter
of
temples, for all traces
about
information
disappeared. We
gather our
them
the
works
of
Vitruvius, a
chiefly from
not
prolific, but
altogether reliable, writer of
the
first century
In
his
A.D.
description he
tells us
that
of
two
the
kinds,
temples were
circular and rectangular,the rectangular buildings
60
THE
having
worship
the
cells
three
three
of
ARCHITECTURE
OF
STORY
being
and
deities.
So
devoted
far
as
to
the
records
our
the temple
important of these was
Jupiter Capitolinus,on the Capitol, begun by
destroyed by fire in
Tarquinius Superbus, and
go,
of
80
most
It
B.C.
of
statues
the
adorned
was
terra-cotta,
made
Etruscans
which
vases,
for
known
in
novel
the
which
terra-cotta
celebrated, are
were
well
of these
day ; on
many
represented, a proof that the
were
under
come
noticed
have
feature
in
of
that
the
and
intelligent
influence
the
the
works
have
(trabs,
covered, and
most
of
the
art
of
use
the
important
and
Etruscans
was
of the
great nations
two
"
trabeated
the
scientific
preceding chapters
were
The
use.
of
Greeks.
architecture
"
clay,
present
myths
designers had
We
great
and
ornaments
many
baked
or
they
the
Greek
of the
with
treated
arch.
of
was
whom
The
the
essentially
beam
lintel.
or
supported, by a flat horizontal
about
Roman
In
to
are
we
architecture, which
method
of
construction
consider, a new
was
employed ; for the principle of the arch, adopted
the
the art
revolutionised
from
Etruscans, soon
received
this new
Romans
of
building. The
feature, and learnt their early lessons in building,
but
Etruria
their architecture
from
developed
;
into contact
little until
came
conquering Rome
the treasures
and
with
masterpieces of Greece.
The
for
taste
the
manifested
itself in Rome
about
B.C.
200
province
of
architecture
Greece
Macedonia,
in the time
had
and
of
Greece
of the
first
Scipios,
become
practicallya
the victoryof Paulus
Macedonians,
the
over
the
under
when
168
B.C.,
At
some
and
in
of Rome.
influence
61
ARCHITECTURE
OF
STORY
THE
the
brought her
later period,
the Achaean
to
Rome
for
settled
Mummius
the Consul
help, and in response
and
the question by landing in Greece
taking possession
of Corinth
(146 B.C.). After carryingoff all
the art treasures, and
stipulating in his ignorance
lost by the
their value
that
if any
to
were
as
be replaced by others of equal
carriers they should
this time
value, he set fire to the city. From
became
the
Greece
happy hunting-ground for
works
artistic treasures
of art : the
were
freely
their
pillaged, and
importation naturally had
immense
influence
the buildings which
were
upon
architects
also were
springingup in Rome
; Greek
stances
circumintroduced
these
under
into
Italy, and
"
"
there
of Grecian
We
was
architecture
modified
that
evolved
soon
"
known
as
Roman."
architecture
form
was
not
speaking, it
the fusing of
be said to have
resulted from
may
the stylesof the Greeks
and the Etruscans.
Upon
the architecture
of the Greeks
was
grafted the new
constructional
at
once
principle,the arch, which
enlarged its scope ; but the refined, intellectual
work
of the
of place in a city
Greeks
out
was
an
such
no
and
as
time
as
Rome
for
was
the
Broadly
destined
to
be.
"
cultivation
of
the
arts
little sympathy
for
their
gentler
Rome
had
of peace,
influences.
the
Conquest, wealth, and consequent
were
power,
objects of her ambition ; for these she sacrificed
attained
she
a
everything, and by their means
pinnacle of greatness that no nation had reached
THE
62
before
or
STORY
ARCHITECTURE
OF
has since.
Her
arts
have
all the
impress
characterised
by the same
marks
everythingshe did."
such
That
an
authority as Fergusson can
apply
the term
vulgar grandeur to the architecture of
is sufficient evidence
Rome
that,despite the fact
the other, there
that one
from
derived
was
was,
between
the two, a great gulf fixed.
Before
dealing with the forms which architecture
in the hands
of the Romans,
assumed
must
we
words
about
the
one
special feature
say a few
method
of construction
which
had
an
important
bearing upon the architecture of Rome, and which
was
radicallydifferent from that employed by the
are
"
"
"
"
Greeks.
The
Romans,
as
it
was
came
into
vogue,
possible to employ
vast
of
means
unskilled
in the erection
extent, and
with
of building; it became
possible,
to
by
labour
of every
class
this,to build,
cheaply and
only on a vast scale,but at once
speedily. This material was concrete.
is an
artificial conglomerate made
Concrete
by
mixing together lime or cement, sand, water, and
The
lime, in its moist
gravel or small stones.
not
state, absorbs
into carbonate
into
contact
carbonic
of
with
acid from
the
air and
turns
sand
and
stones,
sets
and
THE
forms
solid
the
of
far
mass
as
hard
as
without
it is safe
concrete,
been
the
impossiblefor
63
any
to
ings
build-
the
In
stone.
material
this
Romans
extensively than
more
have
ARCHITECTURE
OF
STORY
employed
other; indeed,
was
it would
that
say
constructors
have
to
takings
gigantic underthe present day, remain
to
which, down
eternal city."
of the
the wonder
concrete
The
Roman
was
exceptionallystrong ;
of its chief ingredientswas
a volcanic
product
one
it has always
called pozzolana (from Pozzuoli, where
broken
been
largely obtained), which, when
up
natural
and
a
incorporated with the lime, made
hardness.
of extraordinary strength and
cement
carried
out
successfully the
so
"
the
From
first century
onwards,
B.C.
this
glomerate
con-
struction
extensively employed in the conRome.
of almost
every building of ancient
used
Brickwork
was
merely as a facing
or
masonry
boast of Augustus
The
for the concrete
mass.
brick
that he found
Rome
recorded
by Suetonius
be interpreted
therefore
not
and left it marble
must
his auspices the citywitnessed
too
literally.Under
marble
was
a
period of great splendour and
other
of the temples and
extensivelyused : many
built solidly
of the Augustan
'structures
age were
works
of the finest marble
; but the majority of the
of this and
the later periods were
nothing more
of
behind
than
concrete
veneer
a
piles, hidden
was
"
"
marble
or
The
who
all
were
brickwork.
sees
among
sides, finds
never
examination
the
ruins
ancient
Rome,
walls, apparently of fine brick-work, on
visitor
used
it difficult
to
of
realise
constructionally.
discloses
the
fact
that
that
Yet
even
bricks
careful
the
64
THE
thinnest
walls
filled in
with
is
posing
STORY
OF
ARCHITECTURE
The
concrete.
brick
bricks
and
great domed
of
glaringexample
with
merely cased
were
theon
Pan-
concrete
mass
wall
20
We
see,
structure.
feet thick.
then, that
the Romans
constructive
the
differed in most
of
methods
essential
points from
of the
the
those
Greek's
In
Greeks.
building
it was
supposed to
every part did the work which
there
was
do, and which it appeared to do ; never
formed
any attempt at deception. Beauty is truth
part of his artistic creed, and he had a horror of
"
"
deceit
in
any
form.
The
Roman,
on
the
other
it may
hand, openly revelled in it. Of the Roman
lutely
be said that, as regards his architecture,he absocould
tell the truth
not
splendide menhe
dax"
was
But, like
gloriouslyuntruthful.
evil-doers,he prospered, and, by his new
many
methods, was able to build quicklyand on a grand
scale.
for a cheap
He
went
in," says Ruskin,
and
of doing that whose
was
difficulty
easy way
of
its chief honour," and
enabled, by means
was
his inventive
genius, to greatlyenlarge the scope
"
"
''
"
of the
to
architecture
him
from
the
which
Greeks.
been
had
In
his
handed
hands
down
the
art
not
confined
to
the
THE
of
OF
STORY
ARCHITECTURE
65
the
Out
of
Etruscan
orders
the
three
models
were
of
Greece
evolved
and
five
the
Roman
:"
FIG.
1.
orders
The
from
and
stood
and
without
21.
Tuscan,
Composite
"
rudimentary
the Etruscans.
upon
Capital.
base
; the
The
Doric
column
entablature
form
rowed
bor-
was
sturdy
was
simple
triglyphs.
The
retained the triglyphs.This
2.
Doric, which
column
also had a base, and was
frequently made
smooth, without
flutings.
Ionic, very similar to the Greek
order,
3. The
but
smaller
having a less rich
capital, with
volutes.
66
THE
The
4.
STORY
beautiful
5. The
feature
Composite,
in which
the
with
acanthus
We
that
saw
FIG.
the
not
them
The
temple
of
this
poor
Ionic
portion
proveme
im-
attempt
at
volutes
were
of
Corinthian
the
"
of
story of architecture
22.
the
and
the
of
Plan
"
an
bined
com-
the
Ionic
This
temples.
Roman
"
have
few
been
remains
shows
the
order, the
well
plan
of
so-called
(correctly,of Fors
is some
uncertainty regarding the
building,but it probably belongs to
As
Professor
this and
the
not
the
time
supplied
exist.
now
Virilis
B.C.
was
Temple.
temple buildingwas
Romans
though in
city must
very
her
in Greece
the
their architecture.
entirelyby
illustration
Fortuna
There
lower
in Rome
case
Augustus
with
the
the
of
the
capital.
told almost
was
ARCHITECTURE
Romans,
most
OF
early
temple
Fortuna).
an
date
the
of
early
Middle-
in other
cases,
approximately
be
may
of
the
ARCHITECTURE
OF
STORY
THE
materials
by
ascertained
used
in
67
tion
examina-
an
construction.
the
used
by the
early period the only stone
which
stone
Romans
"tufa," a soft volcanic
was
brorve
with
tools.
be easily dressed, even
could
volcanic
harder
somewhat
A
"peperino,"
stone,
into
then
and, at a later period,
came
use,
durable, and harder
was
more
travertine,"which
before
Travertine
work.
to
was
sparingly used
the first century
In the temple of Fortuna
B.C.
of
Virilis
the
columns
the
the
portico and
the
cell walls
"engaged" columns
ranged round
the
In
"
travertine ;
of
are
the
remainder
the
of
work
is
built in tufa.
a
temple stood upon
loftypodium, or base,
that a flightof steps in front was
so
required to
ceK
the higher floor level.
The
to
give access
is short and wide, and
is divided
by piers which
The
help to carry the roof.
portico is inordinately
see
deep, and, ranging with its side columns, we
series of
columns
i.e. half-columns
a
engaged
applied to the face of the wall as purely decorative
features.
From
the
earliest
period of Roman
not
buildingthe column
so
was
important a feature
The
"
"
"
their architecture
in
and,
the arch
as
lose
to
its
little more
the
to
The
were
were
the
and
as
it
vault
into
came
structural
details
of
Greeks
use,
it
decorative
accessory,
part of the
design.
the
thoroughly Greek
probably executed
temple
in
began
gradually became
significance,and
than
the
with
was
of
their
tacked
Fortuna
on
Virilis
character,
and
artists ; while
by Greek
deep portico are elements
influence.
68
THE
Greek
details
the
"
at
STORY
OF
ARCHITECTURE
Tivoli.
In
surrounded
were
each
by
of these
the
circular
cell
was
"
for
most
reason
striking
are
to
the
be
mentioned
three
noble
later.
The
Corinthian
of the
STORY
THE
69
ARCHITECTURE
OF
Most
and
the
even
in Rome.
buildingsof
temples appear
Rome
utilitarian,
were
been
have
to
useful
temple
worship. The
example, served as an
for
office for checking weights and
measures,
bronze
weights exist with the inscription
many
Castor-.'1'' showing that they had been
"ex ad\
amined
exand verified in the temple.
than
of
other
for purposes
and
of Castor
Pollux, for
been
It has
in
the
used
by
How
comes
construction, and
of
art
mentioned
them
of
were
the
that
most
the
materials
enduring
kind.
colossal
the
excelled
and
numerous
before
those
scant
wished
had
in
these
efforts
at
self-
treated
existingbuildingswere
When
Nero, for example,
respect.
aggrandisement
with
and
him,
the
to
carry out an
prepared for the
extensive
scheme
which
he
and
Nero,"
wonderful
the
most
palace, the
lavish
and
"
Golden
costly
House
structure
of
that
STORY
THE
70
ARCHITECTURE
OF
Vespasian, in
struction
turn, wishing to please the people by the conof extensive
baths and his huge amphitheatre,
had
Rome
his
few
seen.
concluded
the Colosseum,
Nero's
great palace
later
years
the
was
site of
that the
eligiblefor
most
his
the greater
came
delay, down
House, in order to provide
portion of the Golden
for the new
a space
buildings.
the
Secondly, as Christianityspread in Rome,
temples representing the old Pagan religion
in many
not
were
only neglected, but were,
being reused in
instances, destroyed,the materials
of new
the construction
buildings. This state of
marble
The
affairs lasted for centuries.
temple
and
of Castor
example, was,
Pollux, to take an
during this period, almost carried away piecemeal.
for
column
Michael
Angelo used a portionof one
the equestrian
which
set
the pedestal upon
was
Aurelius ; another
of Marcus
statue
portion was
into the marble statue of Jonah in the church
made
The
del Popolo.
of S. Maria
great Basilica Julia,
another
in the Forum,
Augustan building, was
used as a marble
Ages ; the
quarry in the Middle
Without
purpose.
"
"
structure
building purposes,
and
into
lime
on
excavations,
the
remainder
the
spot.
the
In
lime-kilns
three
carried
was
was
burnt
of
course
were
found
hand
in
for
away
some
in
this
building.
Vandalism
civilisation.
century
have
has
"
often
'i he
done
gone
of
excavators
harm
more
to
the
the
with
hand
sixteenth
antiquities,"
of
than all the barbarians
says Signer Lanciani,
Charles V. visited Rome
the Middle
Ages." When
"
in
to
honour
him
as
the
THE
OF
STORY
ARCHITECTURE
71
of
FIG.
23.
"
Maison
Carree, Nimes.
and
of Italy, to the Maison
indeed
out
Rome,
This
Carree, at Nimes, in France.
temple differs
in the arrangement
the
of its parts, from
very little,
have
we
Virilis, to which
temple of Fortuna
In each
the edifice rests
case
previouslyreferred.
raised podium, requiring a flightof steps
a
upon
in the front for access
The
to the floor.
portico is
deep in proportion to its width, and the walls of
the
cell are
decorated
with
engaged columns,
which
range
with
of the
portico.
STORY
THE
72
the
After
into
pour
ARCHITECTURE
OF
in the
method
increased, for the Romans'
was,
words of Pliny, to take everywhere whatever
they
thought worth
taking," and the buildings of the
the natural
of the increasing
outcome
period were
times.
licence and prodigalityof the
A
typical
the
Flavian
building was
amphitheatre, better
known, from its vast proportions,as the Colosseum,
"
For
Greeks'
the
of
form
of
Flavian
emperors,
amusement
dramatic
"
cared
little; but they
representation the Romans
and
were
passionately fond of gladiatorialshows
"
Wherever
contests.
"
in
traces
be
Britain,in Gaul,
Rome
settlement
in the
or
of these
found
are
expected,
them
Roman
mother
the
"
would
As
giganticof
most
all.
Colosseum
The
6 10
ellipse,
In
high.
the
wide,
and
180
feet
communicating
with
the
which
the
the
was
to
in
arena
spectators, who
the
was
sun's
rays
with
faced
stone, and
concrete,
planned to allow the whole audience
formed
continuous
the
exterior
arcades
by
built almost
of
On
vast
held
spectacles were
seats, rising in tiers, gave
80,000
partiallyprotected from
structure
awning. The
arena.
of
and
of
rows
accommodation
form
feet
centre,
dens,
this,
the
long, 510
gladiatorialcontests
around
built in
was
feet
beasts'
wild
the
country
amphitheatres.
claimed
existed
the
was
a
three
were
huge
entirely
skilfully
a
clear view
lower
of semi-circular
of
stories
arched
In
front
of
the
openings, eighty in number.
piers which separatedthe openingswere
engaged
STORY
THE
accessories
The
third.
It
century.
round
the
which
the
The
served
the
support
series
which
upon
it one
of
the
but, apart
world;
it had
the
lowest
Corinthian
an
Corinthian
third
the
the
masts,
fixed
of
corbels,
from
stretched.
was
scale
renders
by
rebuilt, in
or
building in
great awning
vast
built
divided
to
tive
decora-
as
manner,
story, consisting of
wall
added,
pilasters,was
of
fourth
unbroken
almost
73
Tuscan
order
in
; the
in the second, and
the
ARCHITECTURE
columns, used,
in
OF
the
ruins
imposing
most
from
is
Colosseum
its
little architectural
skilful
struction,
con-
merit.
The
the multitude's
loud-roared
As
until
the
of
of
the
people
named
Colosseum.
cruelty,
fell
the
moral
in
was
the
Huge
In order
the
monk
victim
contests
was
buildingdevoted
by
to
was
feeling
the
self-sacrifice
His
story is the
rushed
the
to
effect
as
in
better
the
Telemachus.
feature
redeeming
one
when
403,
aroused
A.D.
year
monk
his
slaughtered by
was
man
applause
fellow-man,
rage
such
the
on
to
of
the
that
the
arena,
spectators;
human
and
but
slaughter
discontinued.
was
the
to
Colosseum,
Roman
"
there
sports
another
was
"
"
the
Circus
THE
74
STORY
OF
ARCHITECTURE
no
"
less
which
than
far
250,000
added
by
spectators.
Additional
the
whom
Trajan, under
splendour was
vast
wholly covered, inside and out,
buildingwas
with brilliant mosaics,
with white marble, relieved
It must
Oriental marble
columns, and statuary.
from
its crowd
Middleton,
then," says Professor
of works of art, its immense
size,and the splendour
of its materials, have
been, on the whole, the
In the
most
magnificent building in the world."
"
"
fourth
times
century
that
it covered
of the
an
Colosseum,
area
and
more
than
accommodated
four
"
STORY
THE
OF
degraded, contains
some
ARCHITECTURE
excellent
75
sculptures and
details.
is
FIG.
colossal
earlier
and
date,
forum
works
of
manner
of
"
of
statues
ruthless
the
24.
Arch
Dacian
for
of
Constantine.
captives,are
of much
taken
from
the arch
they were
Trajan another illustration of the
in which
the emperors
destroyed
their predecessors. At
later date
a
"
76
of* the
one
off for
where
Lateran,
of black
fine columns
carried
was
ARCHITECTURE
OF
STORY
THE
it
in
use
church
the
in the
above
the
give
them
been
it has
this
specialcase,
afford
support
examples
of
ness
arched
an
the
architrave
column
is too
apparent.
Greek
orders
Erta-
blaturc.
seemed
was
not
so
insert
the
column
of
system
arch
as
the
to
them
of
low
were
the
understand
to
the
that
column
the
ture,
its entabla-
without
it became
the
custom
between
piece of entablature
square
vault
and
the arch
an
or
illogical
by the
"
of
Under
the
Flavian
first century,
errors.
place of the
supporting member
;
was
construction, which
builders of the
Renaissance, and
in the work
of the present day.
piece
strange
not
complete
that
to
construction, the
some
took
FIG
Roman
sence
pre-
Roman
appeared
They
for the
excuse
fell into
Romans
that
capital. In
the great statues
they
adapting the
In
the
; but in many
work the useless-
of
the
out
each
columns
the
of
an
over
break
to
necessary
entablature
and
cornice
to
"
main
columns
to
John
as
attic]^which
frequentlyadded
"
architecture.
the
of S.
stands.
now
story (calledthe
upper
of Constantine
arch
was
The
marble
Numidian
revived
is
towards
emperors,
in Rome
art
was
of
to
evidence
in
the
at
colossal
please
end
very
extent
the
taste
STORY
THE
catch
frieze.
The
almost
of
diameter
votes
of
great
dome
77
the
Under
populace.
a
Hadrian, however
was
(A.D. 117-138), there
in Rome
of taste, not
only, but
great revival
in the provinces,and
especiallyat Athens, where
rebuilt part of the city, and
the
pleted
comemperor
the
great temple of Jupiter Olympius,
begun 300 years before.
time
To
Hadrian's
belongs the great circular
the
noblest
of
of
all buildings
Pantheon, one
earlier
of ancient
the site of an
Rome, built upon
by Agrippa; the
rectangular temple erected
the
materials
portico was, indeed, rebuilt from
of the older
temple, and has
its
Agrippa's inscriptionupon
and
the
ARCHITECTURE
OF
as
apparently much
composed of a
and
vaster
of
mass
affords
like
the
blocks
nation
problem
masonry,
which
master-builders
concrete
dome
the
concrete
mass,
which
and
Plan
built
exerting
was
to
of
Pantheon,
however,
becomes
of
lateral
separate
thrusts
the
"
minds
was
of
of years later. In a
such as the Pantheon,
exercise
no
lateral
consolidated
the
upon
which
should
dome
of
up
exercise
hundreds
vaults
rests
26.
pIG
construction
but
"
many
structure,
the
of that
The
magnitude
of
crete,
con-
of builders
Romans.
such
of
to
is
"
striking
"
walls
like
thrust ;
into
rigid
solid
lid.
be thoroughly grasped
point
why
by the student, for it enables him to understand
the
in constructing their huge vaulted
Romans,
This
is
THE
78
STORY
able
roofs, were
to
necessary
to
the
OF
dispense with
builders
their massive
carry
ARCHITECTURE
of
buttress
the
later
days
simple
vaultingupon
"
so
"
and
to
walls.
admitted
the
in
to
Pantheon
Light was
an
of a circular opening,
impressive manner
by means
feet in diameter, at
the
30
top of the dome.
There
is," says Fergusson,
a
grandeur and a
simplicityin the proportions of this great temple
"
"
it still one
that render
sublime
one
in
most
very finest and
interiors in the world.
It possesses,
over,
moreother
element
of architectural sublimity
having
in
up
which
the
single window,
building. I
this
possess
Buddhist
cut
of the
know
and
of
that
no
the
feature,except
basilicas
of
placed high
other temples
That
India.
great rockgreat
one
heaven
is by far the noblest
opening upon
conception for lightinga buildingto be found in
Europe."
eye
The
interior
of
divided
into
bronze
statuary, and
the
dome
is
"
coffered
"
"
i.e.
originallygilt.
deep panels,which were
The
exterior is less imposing, though, in its best
the
lower
days, when
portion of the walls was
encased in marble, the pediment and attic filled with
the
roof
covered
with
bronze
the
luxurious
most
simply as
other, to
The
by
the
and
others
the
after
one
emperors,
and favour
built
were
of the
people.
Agrippa, Nero, Vespasian,
have
appeared
almost
entirely dis-
of
"
79
clubs,
modern
the vote
baths
earlier
Trajan,
of
bribes
secure
ARCHITECTURE
OF
STORY
THE
"
remain
only, of the later emperors,
tion
a
sufficiently
perfect condition to allow a restorawith any degree of certainty.
to be made
The
baths of Caracalla
(A.D.211) covered a site
; two
in
little less
form
now
Rome,
the
quarter of
carried
the
at
of
of
the
mass
in the
much,
Pope
quantitiesof
construction
baths
The
hands
the
off vast
suffered
and
square,
in
of ruins
mile
extensive
most
though they
century,
in
than
the
sixteenth
Paul
III., who
material
Farnese
for 'use
Palace.
"
"
have
We
type
of
made
building
no
in
mention
Rome,
considerable
very
of succeeding
architecture
to
exert
great commercial
of
the
yet
which
of
was
influence
ages.
the
and
centre,
another
destined
the
upon
Rome
was
public business
judicial,
occupied the
and
city,commercial
attention
of the people far more
This
business
religious affairs.
in
large, lofty buildings called
than
was
did
their
transacted
basilicas,which
served
the
well
halls of justice as
of
purpose
commercial
A
as
exchanges.
special interest
attaches to them
from
the fact that they served
models
for the first places of worship built by
as
the early Christians
of Rome,
that they thus
and
8o
THE
became
the
OF
STORY
ARCHITECTURE
be
to
the
of
exceedingly useful
ancient
of the
fate of
the
referred
ot
of these
made
that
so
few
exist.
Rome
great Basilica
already been
construction
was
use
found
were
purpose,
basilicas of pagan
old
the
halls
this
buildings for
remains
has
for
churches, extensive
new
The
basilican
old
the
remains
to ; the
of
the
I
SSEBEHI-JBttJ
BE)
B..S
ffl B
is
'
BaE
SB
FIG.
27.
"
Plan
of
as
Basilica
Ulpia.
column.
In
the
of
plan
this
with
lower
recess,
which, upon
roofs.
180
nave,
At
great
wide, consisting
feet
apse, called
raised dais, were
or
have
building we
flanked
end
one
the
the
double
by
is
circular
semi-
tribune, round
seats
for
the
central
the
seat, at a
magistrates, or assessors,
higher level than the others, being set apart for the
the business.
chief magistratewho
presided over
THE
STORY
roof
of
ARCHITECTURE
OF
basilica
the
Si
usually of wood,
with
the
nave
portion considerably higher than
the aisles,so as
the introduction
that over
to allow
above
and
windows
of
the
a
clerestory wall
In
columns.
the Ulpian basilica the
was
nave
and
probably open
only the side aisles roofed.
The
It
until
not
was
vaulted
the
construction
been
begun by Maxentius
now
called
this
the
to
led from
the
main
the
Via
an
was
of
three
by
The
concrete
for
the
basilicas
old
Christian
Of
there
when
are
exception
Palatine
of
remains
the
extending
"
which
gave
each
doorway
of
the
will
of
be
building in
made
to
the
we
are
in
private houses
few
front
side entrance
methods
reference
architecture
the
an
Roman
Further
concrete.
In
existingaisle,spanned
the
vaults, affords
excellent
opportunity
one
present day
had
forum,
accommodation
visitor of the
studying
while
Opposite
the
massive
porch
"
Sacra.
magisterialbench.
or
building
the
entrance,
for
apse
Roman
Constantine.
narthex,
width
whole
access
was
the
near
basilica of
basilicas.
the
to
that
building which
the
completed
hall
Constantine
applied
was
emperor
the
of
time
This
of
was
or
in
so-called
homes
Rome
house
of
Romans
the
itself,with
the
Livia
the
of
on
excellent
domestic
architecture
are
found
in
the
of
towns
destroyed
Pompeii and Herculaneum, which were
by the eruption of Vesuvius in
or, rather, buried
"
"
A.D.
79.
In
of
the
the
rooms
House
of
82
THE
STORY
OF
ARCHITECTURE
shops, and
as
were
"
the
collected
end
used
of
of the
Three
rain-water.
court,
the
the
and
tablinum
for
these
apartments
privateportion of
28."
FIG.
the
Plan
of
By
led
passage
house.
to
Here,
the
at
rooms
alee, were
the
the
side
more
find, is
we
of
House
the
Pansa.
before
in the centre
as
larger court, uncovered
the peristylium the roof of which
was
supported,
of columns
in the houses
of the wealthy, by rows
of the finest marble.
Leading off this
(peristyles)
is the dining-room {triclinium)^
most
a
important
"
"
room
in
the
sometimes
vary
the
and
the
rooms
the
had
two
or
aspect according
state
of
his
the
old
three,
so
of
house
to
digestion.
grouped round
bakery, kitchen, and
were
establishment.
the
The
offices
who
he
could
that
time
the
Roman,
of
the
other
year
family
peristyle,while
completed the
THE
STORY
The
walls
of
marble
slabs
or
decoration,"
have
been
OF
interior
the
with
fantastic
it is
as
made
ARCHITECTURE
decorated
were
with
"
paintings, Pompeian
called,from
familiar
83
with
the
that
fact
it from
the
we
well-
probably
of the period.
the Romans
among
In this decorative
scheme
the
wall-spaces were
of
divided
into darkly coloured
panels by means
attenuated
of the
painted columns
; in the centre
panels graceful and highly finished human
figures
duced.
introarchitectural
and
or
perspective views were
Frequently the plinth, or lower portion
the
of
colour,
wall, was
painted a very dark
almost
black ; above
this, a deep red or brown
was
used, occasionallyblue or yellow. The figure
of decoration
and
the general system
treatment
origin: it is probable though
suggest a Greek
be always speculative that the
the theory must
houses
of
the
at
as
Romans,
preserved to us
in all general features
Pompeii, were
very similar
of the Greeks
of the earlier period. Mr.
to those
Petrie's
remarkable
recent
discovery in Egypt,
the Pompeian
back
however, enables us to trace
remote
cavations
date, for his explan to a still more
built for the
of the villageof Kahun,
preserved walls
in general use
of
Pompeii, though
it was
"
"
and
overseers
the
workmen
of
the
Illahun
plans of a number
houses
a
arranged upon
plan strikingly
similar to those
of Pompeii.
have
We
now
completed the short story of the
two
and
Roman
comprising
great styles Greek
Pyramid,
of large
have
disclosed
the
"
"
what
is known
histories of the
strangely
"
the
"
as
classical
architecture."
The
two
are
"
"4
THE
STORY
OF
ARCHITECTURE
of
the
the
portioned work
Greeks, and
vast,
magnificent, daring undertakings of the Romans.
"The
the arts
Greek," says Ruskin, "rules
over
will for ever; because
to this day, and
he sought
for
first for passion, or
not
for
beauty, not
invention, but for Rightness." For this quality
in their architecture
nor
the
their national
was
Romans
cared
life,which
reflected, overburdened
While
under
they were
rap
their architecture
with
the
not
the
of
sense
influence
it.
Greece,
before
vice
love
and
the
of
luxury had
fully
art progressed.
But
possessed the people, Roman
wealth
and
her people
as
poured into Rome,
lived dissolutelyupon
the spoilsof the conquered
and
nations, her architecture became
more
more
debased, and its story differed little from that of
Rome
herself
of
"
First
that
"
"
at
fails,
last.
IV
EARLV
DURING
CHRISTIAN
the
ARCHITECTURE
first three
centuries
of
the
Christian
credited
disreligion,though despised and
been
had
slowly gaining ground, in the
face of enormous
difficulties.
have
Rome, as we
the worst
kind of licence
to
was
given over
seen,
and
old
debauchery. The
religionwas
pagan
entirelyplayed out ; the majority of the people
wise
otheror
thought nothing about
religion,pagan
era
the
new
; while
of those
who
took
the
trouble
to
think
had
all,few
at
ARCHITECTURE
OF
STORY
THE
in
faith
any
85
old
the
creeds.
The
whether
undertakings of the emperors,
not
sacred
secular,were
prompted by piety or
or
the people
by the spiritof reverence
; and
among
viewed
the
intellectual
the more
thoughtful and
with appreprevailinglicentiousness and prodigality
hension,
monumental
"
On
And
and
that
disgust
were
great upheaval.
the
On
world
pagan
loathing fell,
secret
minds
men's
for
hard
that
the
hand,
other
doctrines
Christian
the
be
it must
remembered
not
were
such
as
be
in
secret
it
developed
the
; hence
memorials
and
earliest
forms
of
which
art
sepulchral, consisting
symbols of the faith found
were
of
the
in the
Catacombs.
architecture
than
it taken
had
the
apparent,
demand
until it
was
Constantine
Emperor
sooner
little direct
religion had
The
its
strength
upon
by the
officially
recognised
in the
328; but no
year
positionas a State religion
the
movement
became
all sides
a
on
sprang
up
places of Christian worship. The old
and
for
of
influence
there
86
THE
STORY
ARCHITECTURE
OF
and
basilicas,
the
interior
The
the
found
of
Rome
with
the
at
first Christian
these
the
the
genius
time, it thus
wanting.
were
basilica suited
and
worship,
new
inventive
churches
they
of
arrangements
requirements
builders
what
were
that
built in direct
were
in
scarce
about
came
as
the
tion
imita-
assembly. As we
shall see
in succeeding chapters,this model, once
There
never
was
adopted, was
no
"departed from.
lack of materials,for the city was
filled with buildings
of
houses
of
all kinds
which
upon
been
great
lavished, and
which
of
extravagance
were
now
had
beginning
fall into
and
disrepute and neglect. Columns
marble
rich capitals,
ments
linings,architraves and ornawere
appropriated wholesale, and applied
while
and
Rome
to new
suffered,
pagan
purposes,
to
Christian
basilicas sprang
up
in all directions
with
astonishingrapidity.
Christian building
At the present day there is no
in Rome
The
dating from the time of Constantine.
church
built in his reign,
of S. John Lateran
was
but
of its early work
ail trace
has
disappeared
under
the changes of later centuries.
Perhaps the
most
beautiful
time
was
that
of all the
of
S.
Paul
Christian
Outside
basilicas of the
the
Walls, built
in 386.
by Theodosius
Unfortunately, a great
portion was
destroyed by fire in 1821, but it was
rebuilt with much
"the
of its former
splendour,
noblest interior in Europe, and nobly and faithfully
seldom
restored," it is called by Ruskin, who
sang
The
the praises of the restorer.
sketch
plan of
how
ing
this basilica shows
closelythe Christian build"
follows
In
front
the
of
the church
was
prototype.
arcaded
an
porch,
THE
STORY
narthex^ which
or
usually
form
built
an
in
to
so
as
square,
This
courtyard, or
a
churches
S. Clemente
of
in
semi-circular
wall
in
apse,
^^^
and
modated
the
in
bishop
chief
before
officers.
the
of which
altar.
As
became
the
order
to
central
FlG"
a
"
low
the
increase
transepts
ambos,"
in
the
church.
allowed
the
aisles,sat
for
no
or
the
others
Probationers
"
accommodation,
ing
by slightlywiden-
choir
The
and
service
other
or
of
the
nave,
been
within
worshippers
in the
this
side
had
admitted
were
formed
required
for their use
a
portion
enclosed
altar,was
by
a
railing; pulpits, or
faithful who
and
Paul's
S.
Walls,
the
each
arranged on
remaining portion of
were
In
reserve.
screen
of
sometimes
were
space, and
in front of the
marble
^^""T^|
29._pian
nave,
of
portion
-"MM*MMM^^
Outside
considerable
of the
the
'**i|
I.XJH-1"
the
of
|tj
basilica of S. Paul
in the
basilica
the
-?rj(
ritual
rate,
elabo-
rudimentary
others
S.
|!"I!I!!II!!!I
the
was
more
in
as
and
fT
t
space
in
apse,
front
"
Rome
seen
" "[!""""""""""""
raised
the
still be
T"*^""""
accom-
clergy officiated
The
the
the
opposite
entrance,
the
gradually
came
city be-
in Milan.
and
and
area,
disappear as space in
valuable.
Examples
may
Ambrogio
the
buildings was
to
more
The
of
considerable
87
earlier
courtyard.
open
tended
the
the
form
the
in
atrium, occupied
in
ARCHITECTURE
OF
atrium.
or
tised,
bapthe
were
88
THE
We
STORY
OF
ARCHITECTURE
borrowed
and
aisles
the
treatment
for
Christian
"
cathedral
of the
cruciform
plan
demand
for
transepts
were
between
the
bay
character
in
is
of
is wider, and
from
those
To
accommodation,
formed
by
and
apse
the
the
later cathedrals.
extra
of
early basilicas,
too,
the transept and the resulting
In
nave.
foreshadowed
see
we
at
the westernmost
where
remainder
"
be traced in many
may
Westminster
Abbey and
narthex
piers different
its
basilica
pagan
plans, as
Durham,
the
most
of the
influence
from
the
end
of
the
rudimentary
extension
an
meet
the
of the space
nave:
this
from
all other
and
kept free from columns
that
the officiating
obstructions, in order
clergy
of
might not be hampered in the administration
was
the
ritual.
The
the
this
of
of
the
whose
use
accommodation
higher
officers
for
limited
it
was
number
of
reserved, it
was
retained
in
importance,and
its
the
ritual
grew
more
exclusive
THE
ARCHITECTURE
OF
STORY
89
enlarge the
The
ened
apse was, therefore,gradually lengthspace.
the
with
accordance
in
requirements for
until
it developed at
increased
accommodation,
elaborate,it became
and
last into
the
have
We
choir
At
given
regards both
that
noted
was
a
useful
the
break
building ;
the
mediaeval
required
to
support
fuller
and
plan
its
utilitarian
more
sideration
con-
architectural
effect,
and
the
interior.
It
transeptalprojections formed
line of
in the long, monotonous
in England
especially,
moreover,
tower
the
"
of
the
great
dominant
design
"
and
nave
abutment
the
early
the
cathedral
intersection
the
their
to
exterior
the
great central
our
of
the
feature
This
walls,
cross
transepts
weight.
from
springing
the
led
of
order
in
to
the
development
structural
then,
appears,
combination
it
only
later period, however,
was
as
transepts, in the
the
existence, served
stage of their
purpose.
that
seen
church.
mediaeval
the
of
to
necessary
of
afterwards
was
to
accidental
invested
have
first arisen
from
though
ing,
symbolical mean-
circumstances,
with
STORY
THE
90
basilica
OF
ARCHITECTURE
churches
represented in modern
by the reading-desk and the pulpit, situated on
the
are
almost
cathedral
Christian
resembled
basilicas
the
bishop occupied
the
their prototypes,
seat
in
the
centre
as
of
which
apse,
In
apse.
had
few
is stiltadhered
where
the
of
the
apse,
in
front, under
Pope's
and
later churches
the
of
to,
as
high
the
in the
is situated
throne
the
this ment
arrangein S. Peter's at Rome,
altar
centre
of
middle
occupies a position
the
great
dome.
western
side
of the
Great
to
the
cathedrals
choir.
reverence
remains
was
of
the
to
whom
the
church
usually
baptisteryand font
dedicated, whose
circular
or
a
polygonal building adjoined the
basilica.
At a later period the shrine was
placed
the
In due
the altar,in the apse.
under
course
saints
led to
the
belief in
efficacy of various
the erection of secondary altars ; and, the apse
was
"
"
ARCHITECTURE
OF
STORY
THE
width
either
were
FIG.
exterior
simplest
manner
architectural
depended
rather
than
inside
were
with
30.
Development
"
the
of
an
apse,
of
arrange-
Basilica.
special feature
the
French
of
accessories
in the
treated
was
at
attempt
the
for
interior
its
beauty,
The
walls
architectural
form.
upon
rich with veined
marbles, and brilliant
"
the
decoration, for
early basilicas are
centuries.
"
basilica
possible, with no
embellishment, while
upon
mosaic
its arch
central
main
of
of
extended
apse
architecture.
cathedral
The
of
the
the
became
which
ment
main
the
as
side
either
on
the
round
ranged
"
into
developed
full
but
recess,
first
At
added
were
apses
central
the
accommodation.
its
for
recesses
the
The
most
the
still undimmed
apse
all
of
permanent
golden mosaics
and
as
wall
it
was
these
"
after
the
triumphalarch,
of
forms
the
space
lapse
over
called
"
ARCHITECTURE
OF
STORY
THE
92
in these
were
marbles
Inlaid
used
were
opus Alexandrinum
be
may
seen
of Westminster
are
found
an
in
our
"
own
Abbey.
odd
mixture
the
for
floor, in
of mosaic
sort
fine
childish
specimen
known
of
which
in the
country
In
of
many
of columns
presbytery
the buildings
and capitals,
:
buildingsof pagan Rome
plain and fluted shafts are placed side by side,
Ionic columns
contrasting with Corinthian, as in
with Doric ; small
S. John Lateran, Corinthian
capitals upon
large columns, shafts of different
lengths raised upon bases of unequal heights,and
collected
so
on
from
the older
for, in Ruskin's
basilica
words,
"
the
architect
of
and
gathered his columns
he could find them, as an
ant
picks
a heterogeneous collection,
sometimes,
up sticks
built up with little intelligentskill,guilty of little
of history !
architectural style,but brimful
Restoration
in later days has
destroyed much
of the interest,historical and
otherwise, of these
early basilicas. Sta. Maria Maggiore, though to
restored in the Renaissance
extent
period,
some
the panelled ceilingwas
when
added, still retains
the
best
its original aspect, and
affords
almost
basilica in Rome.
example of an old- Christian
It is a three-aisled
building in the form of a long
rectangle,with the usual apse, and with a narthex
extending along the whole of the front. The nave
of Ionic columns,
is flanked
by five colonnades
all the columns
being, in this case, of one design.
Above
the columns
the clerestory wall is carried
Romanesque
capitalswhere
a
"
"
THE
and
ARCHITECTURE
architrave, not
an
upon
in
as
OF
STORY
S.
Outside
Paul's
of
most
the
series
upon
the
93
Walls,
basilicas.
other
arches,
of
S.
Clemente,
S.
Clemente,
During
of
Ravenna,
only to
the
principal
for
(A.D.525)
at
two
and
plan
the
from
in
city
second
was
three
last century
to
building; but of the
S.
type of especial
Apollinare
Nuovo
(A.D.549),
what
was
formerly the port,
miles
from
the city.
these
in
churches
basilicas ; but
Roman
of
cathedral
the
of the basilican
in
of
of
ancient
"
S.
distance
coast,
preserved
Apollinare
latter situated
The
of
modern
been
have
the
destroyed
churches,
interest
the
these"
was
way
other
Adriatic
the
of
"
make
centuries
old
finest
Ravenna
sixth
and
the
on
erection
the
to
the
fifth
Classe
is similar
as
Ravenna
to
that
differed
in
basilicas of
Rome
new
to
Rome.
The
features
of
classical
inventive
powers
of the
architects.
THE
94
STORY
feature
OF
ARCHITECTURE
of
form
in
common
Byzantium.
with
use
Ravenna
the
architects
of
this
period carried on
extensive
trade
with
an
was
Byzantium, and
subjugated by the Byzantine Emperor Justinian in
at
Thus
537.
Oriental
details
can
for.
"
entire
which
reference
to
made"
plan
the
from
this
1.
stantine
dosseret,Ravenna.
The
basilican
basilican
now
upon
been
To
type.
of
name
tine
Byzan-
given, since
the
which
founded
church
of
form
must
essentially different
originated from
Eastern
capital
-Capital
with
buildings
constructed
stylethe
has
readilyaccounted
Ravenna
be
FIG.
be
of
presence
in the
ings
build-
addition
to
But, in
details,there are found
these
in
the
at
new
Con-
tium.
Byzan-
adopted
was
it
in
all parts
of
interior.
More
for, instead
of
characterised
the
at
as
wall
S.
BYZANTINE
the
Miniato
as
barn- like
treatment
built for
marble
of
decorations
in
at
Florence, or
Pisa, Lucca, and
ARCHITECTURE.
"
which
find somewhat
we
early basilicas,
exterior
arcades,
be
slightmodifications of the
made
externally,
changes were
'
elaborate
to
but
with
centuries
many
continued
Italy,and
We
veneer,
picturesque
Pistoja.
must
now
return
taking place
while
that
city
Christians
in Rome.
were
and
scarce,
become
95
development
new
the
first basilicas
their
in
the
notice
to
ARCHITECTURE
OF
STORY
THE
which
was
erecting
Intelligentbuilders
architectural
styles
were
the
corrupted a result to which
ments
monuprevailing practice of destroying ancient
and
to
new
transferring their materials
had
buildings for reuse
largely contributed.
was
era
was
But, while Rome
languishing,a new
for ancient
beginning to dawn
Byzantium, to which
Constantine
transferred
the seat
of the empire in
him
the fourth century.
Under
the new
capital
situated
the highway of commerce
between
upon
East
and
West
rapidly in importance.
grew
Architecture
kept pace with the other developments,
had
"
"
"
but it
carried
was
out
under
new
conditions.
of the fundamental
principlesof construction,
well as
the art of decoration
and
as
by mosaics
Rome
marble, were
adopted from
; moreover
view
the
of
Constantine, with
lowering the
importance of the old capital as a rival,carried
off from
the principal Roman
buildings numbers
of columns, capitals,and such
other architectural
could
be reused
in his Byzantine
ornaments
as
of his architects,as well
undertakings ; but many
the majority of the artisans he employed, were
as
of Greek
Asia
Minor
and
descent, hailing from
the East.
Byzantium, too, by its trade was
brought
Some
into
direct
East,
for
so
that
brilliance
manifested
The
nations
sprang
up
rich decoration
and
itself in
in
other
there
divergence
observable
with
contact
the
the
from
church
of
the
Oriental
an
which
at
far
taste
once
architecture.
the
Roman
plan.
styleis readily
The
simple, rec-
96
THE
OF
STORY
ARCHITECTURE
almost
unknown
tangular,three-aisled basilica was
in Byzantium, where
its place was
taken
by a
square, vaulted building. In approaching a typical
Byzantine church, such as that of Hagia Sophia
at
Constantinople,or S. Mark's, Venice, the spectator's
broken
is
the
attracted
by
sky-line
eye
formed
by a series of roof-domes, so different from
old basilica roof.
the uninterrupted line of the
the distinguishingfeature
The
dome, in fact, was
its constant
of Byzantine architecture ; and
use,
the spaces, had
of roofing over
for the
purpose
much
..._.,.,
do
to
with
the
radical
change of plan
the long rectangle
from
the
to
square,
of
form
building.
Byzantine dome
cross
The
carried
was
Greek-
or
four
upon
arches
FIG.
32."
Diagram.
enclosinga square,
in the diagram,
shown
as
tween
bethe triangularspaces
circular
the
and
upon
seen
the arches
-which
that
being
the
each
dome
course
filled in with
"
pendentives,"
It
really rests.
of
dome
masonry
will
be
forming the
of its
pendentives is kept in position by reason
(shown by the dotted
convexity,so that the dome
at
the
lines) rests securely upon
course,
upper
the
level
the
four
of
the
crown
of
the
arches
"
i.e. upon
pendentives.
The
most
magnificent example of the Byzantine
style is the great church at Constantinople, built
of
during the reign of Justinian by Anthemius
Tralles and
Isidorus of Miletus, A.D.
532-538, and
THE
OF
STORY
ARCHITECTURE
97
which
to
in turn
semicircular
cover
Both
apses.
the
lighted by rings of
windows, for upon
roof-openings the whole
interior largely depends for light. The
weight
the
of the roof
is almost
entirely carried upon
divide the
massive
aisles into three
piers which
that
the
whole
the
of
vast
bays; so
nave,
than
feet in
200
measuring more
length and
feet in breadth, is unobstructed
TOO
by columns
or
piers of any kind.
Though differingessentially
from
basilicas of Rome,
the long, wooden-roofed
the plan of H. Sophia bears a strikingresemblance
half-domes
and
that of the
to
The
vast
the
apses
these
are
basilica of Constantine
unobstructed
dome
dome,
upon
vault ; the numerous
with
the
arcades
nave,
in the
roofed
Forum.
over
with
arches
to
confuse
the
eye
thus
and
architecture.
The
many
influences
which
were
at
work
on
9'8.
THE
OF
STORY
ARCHITECTURE
in
that
seen
Apollinare in Classe
the
Roman
type
details of
Oriental
of
basilicas
the
of
some
"
S.
and
e.g.
Apollinare Nuovo
clothed
with
building was
"
But
character.
churches
other
differed
The
baptisteryof
radicallyfrom these.
S. John, the survivingportion of a basilica of the
fifth century,
shows
a
simple octagonal plan.
complicated, is the
Octagonal also, but more
of S. Vitale, where
the central
exquisite church
dome
is carried
each
eight piers, between
upon
of which
is
these
carried
is
walls.
semi-circular
niche
or
aisle bounded
'an
; around
apse
by octagonal
The
of the exteriors
treatment
interiors
of
the
; but
churches
of
construction
unbroken
which
disturbed
were
mouldings
"
effect
smooth
very
surfaces
of
the
Byzantine style
passed
beauty hardly surThe
age.
vaulted
adopted produced
of
wall
and
ceiling,
little by projections or
which
expanses
richness
the
of
interest and
an
gives them
by buildings of any
system
the
was
upon
which
tive
decora-
of
mosaics.
gained by means
become
Figure-sculpture and
painting had
almost
lost arts at this time, and
the
drawings
of the
mosaic-workers
were
rudely simple ; but
the
their
was
materials
with
which
the
artists
atoned
symbolical glass-pictures
for
worked
much
THE
that
marvellous
lines
the
of
The
architecture.
brilliance.
of
the
walls
of
and
riching
en-
pavements
the
to
carving also
undersides
The
surfaces.
rich
much
was
which
"
lower
marble
elaborate
and
."" There
to
incrustingthe
precious marbles,
contributed
splendour
imparted
the simple
custom
of opus Alexandrinum^
effect of
and
of
"
floors with
the
design,
splendour
and
originatedin Rome
the piers with
and
99
the
in
lacking
beauty
was
ARCHITECTURE
OF
STORY
of
general
marble
the
and
arches
the
them, were
spandrils,or triangularspaces between
covered
with
delicately incised
patterns ; the
were
exquisitelycarved in
capitalsof the columns
leafcrisp low relief,with symbolical emblems,
basket-work
incised
with
decoration, etc., and
Sometimes
patterns.
features
of
the
the illustration
to
Above
the
on
we
familiar
in
reminiscence
of
architecture
the
Like
the
of
Sophia
class.
the
form
Rome
similar
was
at
impost-block, or
Ravenna
"
very
Romans.
in
the
unrivalled
west,
of
of
Greece,
influence
the
noticed
of the
remains
other
and
p. 94.
Parthenon
Further
general
capital was
dosseret,which
feature
the
volutes
architecture
classical
suggested,but
were
the
the
the
great
by
most
midst
of
church
any
the
tecture
archi-
of
Hagia
building of its
beautiful
result
of
of
Byzantium is the church
S. Mark
The
at Venice.
originalchurch, which
stood where
S. Mark's
now
stands, was
destroyed
by fire. In 977 the new
buildingwas
begun, and
was
probably carried out mainly by builders from
the
Byzantium, for, with
exception of minor
THE
ioo
STORY
OF
ARCHITECTURE
familiar,from
"
"
"
'
rich
with
interwoven
tracery, rooted
leaves of acanthus
herbage, and drifting
and
mystical signs, all beginning and
the
Cross
knots
of
and
vine,
ending in
above
"
"
which
the
blazingin
The
breasts
of
their breadth
the
of
Greek
horses
are
seen
golden strength."
had
little influence
THE
the
upon
Greece
STORY
ARCHITECTURE
OF
architecture
of
101
Western
Europe.
In
the
into
Russia
hands
of
the
Turks
revived,
was
building
it
of
considerable
forms
of the
it
that
so
mosques,
exert
and
tecture
(1453),the old archiwas
applied to the
influence
destined
was
the
upon
to
building
Moslems.
MOHAMMEDAN
have
ARCHITECTURE
that
sixth
seen
century
which
whole
of
rapidly
countries
the
Christian
infected
the
with
an
of
his
death
influence
he
that
era
"
every
the new
sudden
within
movement
East, sweeping
irresistible
upon
of
was
over
at
tide, and
phase of art.
faith,lived
the growth
century
after
his
THE
102
STORY
ARCHITECTURE
OF
Christian
differingwidely from the contemporary
architecture,and
differingalso in each of the
various
countries
in which
it prevailed.
The
the banner-bearers
of the
Arabs, who were
nomad
and
warlike race, but
a
new
Prophet, were
not
they were
great builders; they possessed, in
of their own
before the
fact, but littlearchitecture
As might be expected
period of their conquests.
then, the earliest Mohammedan
places of worship,
or
as
they are called,were
insignificant,
mosques,
place
of simple form.
Even
and
at
Mecca, the birthof the
Prophet, the only temple of the
sacred
Arabs
the
Kaabah
was
nothing more
than a square
of little architectural importtower
ance.
"
"
book
The
precepts, contained
and
of
religiousduties
instructions
no
the
for
ing
regard to the buildof worship. The
of places of assembly or
faithful had
their stated times
for prayer
when,
Mecca,
they went
turning their faces towards
through the prescribed forms; but for these
followers
ceremonies
be
any
Mohammed
of
it
with
not
was
assembling
his prayers
offer up
the
were
mosques
necessary
that
together:
each
his
upon
own
there
should
man
could
Nor
housetop.
"
of
of
the
all
Mohammedans.
At
first,then, there
was
little
building in
nection
con-
the
new
as
of
in
THE
majority of
the
When
without
workmen"
architecture
the
employ
to
fact which
,103
adapted from
began to erect
an
obliged
were
ARCHITECTURE
old
cases,
Arabs
the
being
OF
STORY
of
differences
new
mosques,
their
of
native
accounts
buildings*
they
own,
an"
architects
for
the
able
consider-
in
the
different
styles found
countries.
The
of
important
most
the
early works
werg
.
the mosques
at
Aksah
(A.D.690)
buildings generally
El
cloisters
towards
the
form
roofs
also at
Mecca
several
Here
the
arcades
the
series
spring from
the building nearest
deep ; in the centre
the
of
of
of
the
outer
high,
plan
Touloun,
the
the
on
and
this
ninth
arches
side
arcades
wall
side
deeper
of
On
the
earlier
the
pointed
columns.
Mecca
On
Ibn
end
of
arcaded
On
of
and
story
one
of columns.
rows
magnificent mosque
Cairo, built towards
century.
of
courtyard.
square
the cloister was
much
the
was
is
took
large
contained
at
Cairo
flat timber
with
enclosing
(A.D. 642)
Jerusalem. These
of Amrow
are
this
of
five
side
date
minarets
which
the
or
added
were
call
slender
"
to
prayer
throughout the
Mohammedans
made
was
from
towers
to
the
The
roofs
of wooden
of
the
earlier
construction,
mosques
but towards
were
the
I04
THE
end
of the
and
the
tenth
ARCHITECTURE
OF
century
vaulted
roofs
of
features
the
tombs
became
soon
Saracenic
in the mosques
century, and
Sultan
Hassan
all at
Cairo,
(1355), and
we
find
not
one
the
most
in
the
of Barkouk
of
only
of
Kait
this
the
ful,
beauti-
architecture.
Caliphs, built
the
of
of
introduced
vaultingwas
as
characteristic,
they were
most
the
STORY
In
eleventh
(1149), of
Bey (1463),
form
of
roof,
whole
of
the
interior.
The
dome"
after
the
carried
was
on
pendentives,
Byzantine fashion
with
which
honeycomb
richly decorated
were
This
ornament.
stantly
concorbellingwas
honeycomb
in their roofs, for it
used
by the Arabs
the
of
effective method
proved an
fillingup
the
awkward
corners
practice of
resultingfrom
The
carryingoctagonal walls upon a square base.
"
whole
of
the. mosque
interior
was
treated
with
ARCHITECTURE
OF
STORY
THE
105
natural
the
of
characteristic
the
inscriptions from
the
Koran
embellishment.
effective
marks
cases
many
were
architecture
the
In
introduced,
letteringforming a very
An
interestingfeature,
Arabic
ornamental
which
their work.
of
Arabs
the
of
the
to
delicate
the
day, was
tracery which
and
the
wallfrequently filled the windows
openings with complicated geometric designs.
addition
the
In
semi-circular
to
arch, three
in Mohammedan
other forms
found
are
buildings
for the arcades
and
door-openings. In Syria and
the pointed arch, similar
that
to
Egypt occurs
used
architects of Western
by the Gothic
Europe.
present
In
India
the
and
curves
in Persia
the
near
the
is
arch.
form,
The
frequentlymet
in Spain.
most
Moors
Mention
of
third
the
of the
found
are
sometimes
with
Moors
called
horse-shoe
the
continent.
has
recalls the
farther
west
of
and
the
arch,
works
fact that
Arabic
in
keel
is
of the
some
ture
architecour
own
the
destined
The
at
first
With
the
amongst
splendid examples
most
form
common
bent
slightly-upwards,
apex
like the keel
outline
of a
an
most
to
rival that
of
the
East.
the mosque
important building was
Cordova, begun in 786 by the Caliph Abd-er-
106
STORY
THE
This
Rahman.
OF
ARCHITECTURE
consisted
of
arcaded
an
hall in the
form
of
which
"
rebuilt
was
in
the
tenth
is
century,
sidered
con-
"
beautiful
the most
by Fergusson to be
architecture
in
and elaborate specimen of Moorish
Spain, and of the best age." Unfortunately but
in its original
little of the great mosque
remains
state.
Fate
has
Granada
at
been
known
travellers in
of
great work
Alhamar,
was
after
completed
century.
kinder
in
to
the
as
the
great citadel
Alhambra
"
palace
the
Mecca
Those
have
not
been
able
to
visit
opportunity of
studying the wealth of its design in the magnificent
ing
illustrations and drawings of Owen
Jones : interestreproductions of parts of the building,by this
be seen
the Crystal Palace.
at
artist,may
Alhambra
the
The
are
Alhambra
Hispano-Moresque
afforded
is
art
"
the
considered
a
distinction
the
due
of
gem
as
much
preservation as to the
Two
delicate
large courts
beauty of its work.
the greater portion of the ground-plan :
occupy
to
its
excellent
state
of
ARCHITECTURE
OF
STORY
THE
celebrated
107
of
more
takes
it
which
whole
The
name.
with
covered
is
interior
its
delicate
of
the
ornamentation
the
harmonious
exquisite beauty, to which
richness
and
charm.
colouring adds wonderful
ing
The
Alcazar
(castle)at Seville,an earlier buildthe Alhambra,
than
was
more
probably even
much
magnificent, but it has become
dilapidated,
has been destroyed by alterations.
and its character
Of
greater interest, in the present day, is the
in the same
Giralda
city,a building in the form
of
of
a
massive
grand
the
in
minarets
the
constructed
prayer.
Mohammedan
in
with
connection
and
been
Moors
Giralda
for
Spain
their
architecture
by
whence
they
eleventh
which
the
obtained
had
driven
were
out
leaving behind
strongly influenced the
Christian
builders
who
capture
of
Spain
The
1492.
in
end
the
at
in
call to
the Christians
also
century,
very
the
in
footing
have
to
flourished
tecture,
archi-
not
of
in
built
never
mosque
purpose
on
builders
appears
the
minaret
them
Sicily,
of
the
buildings
architecture
of
in
the
Constantinople by
the
succeeded
them
island.
the
Upon
Turks
into
church
in
the
of
1453,
hands
the
of
Christian
the
Hagia Sophia,
at
Byzantine builders,was
churches
there
The
Mohammedans.
the
once
masterpiece
converted
fell
of
the
into
io8
THE
and, strange
mosque,
for the
new
the
in
STORY
architecture
OF
ARCHITECTURE
to
say, served
which
sprang
the
as
up
to
model
the
meet
minated,
style culreligiousrequirements. This new
just a century later,in the Suleimaniyeh,
built bv Soliman
the Magnificent
great mosque
J553-
VI
ARCHITECTURE
ROMANESQUE
WE
must
Christians
The
by
hark
now
transference
of
continued
demand
their basilicas.
upon
the
early
seat
of
government
to
for
of
the
to
the
buildingfor
Italy,where
to
left at work
were
Constantine
decay
back
accommodation
on
the
part of
its
called
builders
to
were
adherents, and
upon
provide it, first in this town, then in the other.
the fifth to the
from
Throughout the Dark Ages
"
tenth
century
"
considerable
amount
of
building
produced
was
done, but very little architecture
cities in
worthy of the name,
except in those
and Venice, it was
developed
which, as at Ravenna
under
Byzantine auspices. Meanwhile, however,
the Church
was
strengthening her authority and
style of
broadening her influences, and a new
fications
architecture
slowly developed, with natural modiarising out of climatic and other local
conditions
and
throughout
gradually spread
Western
new
architecture, based
Europe. This
and
of the early
the traditions of Rome
upon
was
"
"
THE
OF
STORY
builders
Christian
of
ARCHITECTURE
that
109
city,received
the
name
of
Romanesque.
Rome's
influence
was
impressed
Although
the
well
as
Byzantine style of architecture
upon
that which
here
call Romanesque,
we
as
upon
it is desirable
to
keep one
style quite distinct
the
from
other.
The
marked
showed
two
ences
differ-
from
of the
and
Eastern
the
That
Churches.
Western
Church,
so-called
has never
departed from the Byzantine
the
has
influence
of
models, and
Byzantium
thus
spread throughout Greece, Asia Minor, and
Russia.
the other
Church
On
hand, the Western
has
spirati
for her earliest inRome
to
always looked
and has drawn
the mother-city for
upon
her architecture, though different countries
have,
characteristic
their
own
naturally, developed
of
the
Church
Eastern
the
"
Orthodox
"
features.
To
deal
period,
the
was
which
tenth
were
may
century,
almost
churches
in
first with
said
architecture
"
such
entirelyecclesiastical.
the
where
Rome,
models, and
natural
outcome
basilicas
were
ended
have
to
to
all sides
formative
as
it
with
was
"
The
basilican
of the
situation
hand
classic
to
serve
temples,
with their choice
and marble
columns
wall-linings,
available
for the Christian
were
despoiler. But
from
Rome
conditions
other
prevailed:
away
materials
were
necessarily simpler, and
greater
was
originality
requiredon the part of the architects,
as
where
on
THE
no
in
order
STORY
OF
invest
their
ARCHITECTURE
construction.
about
that in Italy
then, it came
three distinct styles of Romanesque
architecture
were
developed : the Basilican,or Early Christian
have
continued
to
which, as we
prevail
seen,
the
in
Rome
and
the Tuscan,
Lombard,
or
due
In
course,
""
"
Pisan.
Lombard
The
flourished
north
of
Italy,from
the
on
the
Milan
These
east.
denotes,
Lombardy
name
cities of
the
chiefly in
Plain, in the
to
Bologna
the
style, as
the west
on
two
their
cities,and
Pavia, all
and
others.
church
of
Piacenza,
old
The
twelfth
The
century, shows
fagade
fine breadth
by
and
the
was
of
divided
the
the
interior
in
other
Zeno
cathedral
Verona,
at
Zeno
of the
characteristic features.
many
series of arcades
arches, or
slopes of
S.
S.
by
gable. Long,
the
front
corbels
arcaded
into
three
nave-and-aisle
respects
the
carved
slender
parts, thus
division
basilican
columns
slender
pilasters
suggesting
of the
form
under
basilica ;
was
lost
roof
vaulted
the
was
wholly
externally, for
concealed
by a simple low-pitched gable. A roseof
the centre
window
occupied the space under
this a
beneath
the gable, and
projectingporch
The
columns
of the portico
the doorway.
marked
OF
STORY
THE
the
features
all who
to
the
the
crouching
have
visited
and
entrance,
of
treatment
severe
in
lions
the
Elaborate, grotesque
Lombardy.
of
of
backs
rested upon
ARCHITECTURE
atoned
the
familiar
"
cities
old
carving
somewhat
portion
upper
riched
en-
for
of
the
and
always solemn
facades were
their slender
and
columns
dignified, and, with
the crisp
lightlyprojecting arcades, relied upon
for vigorous effects
Italian sunlight for relief and
shade ; ^elsethey were
inclined
to
of light and
gloominess and severity. Tennyson, visitingthese
dull sky, noted
how
cities under
a
The
front.
"
Stern
and
sad
(so
the
rare
smiles
with
connection
In
of
the
churches, as at
S. Zeno, Verona, and
cathedral
at
Piacenza,
found
was
a
bell-tower,
campanile or
square
simple in form and always well-proportioned.
churches
Internally the plan of the Lombard
resembled
such
the old basilicas,with
tions
modificaof
as
were
required by the introduction
the
massive
width
of
piers
for
a
the
vaulted
the
crypt
choir, the
few
roofs
and
nave
the
many
the
and
the
of
e.g. the
reduction
substitution
of
graceful columns.
shrine
floor
steps above
the
of
rows
"
the
were
choir
found
in
sturdy
times
Some-
beneath
being
raised
THE
112
STORY
OF
ARCHITECTURE
"
FIG.
instead
33."
of
divisions.
covered
with
Cathedral
and
the
piers
for
The
fagades
lavish
Leaning
Tower,
interior
Pisa.
nave-and-aisle
almost
were
arrangement
of
entirely
wall- arcades
in the
Pisan
seen
galleries,as
buildings;
into
divided
or
they were
panels of dark and
The
white marbles, as at S. Miniato in Florence.
arcading was
highly decorative, the tendency to
instances
become
monotonous
being in most
of the
averted
by skilful and varied treatment
and
different
tiers.
exception,
for
The
the
tower
constant
at
Pisa
forms
repetition of
an
bands
THE
STORY
OF
ARCHITECTURE
113
the base
arcades, all of equal height, from
to the summit, destroysthe interest of the building
architectural
an
as
design, and almost
justifies
Ruskin's
Mr.
"the
one
description of it as
in Italy."
thoroughly ugly tower
much
influenced
was
Tuscan-Romanesque
by
of
the
of
building and
Byzantine methods
a
decoration, for Pisa was
port maintaining an
extensive trade with Byzantium.
This fact probably
for the use
of the marble
accounts
panelling,which
became
characteristic
of Florentine
architecture,
and
influenced
that of the later Gothic
period.
and Pistoja,
Lucca
neighboursof Florence, have
good examples of the Pisan style; and in man/
erected
which
were
to
parts of Italy churches
the generic term
be applied,in
Romanesque
may
of
which
of
the
were
blended
the
methods
and
and
traditions
the
Tuscan
builders.
which
Sicilythe rule of the Mohammedans,
began A.D. 827, and lasted through two centuries,
left its impress upon
the
island's
architecture,
that we
find Arabic
influences
so
mingled with
those
of Byzantium
and of Italy. The
beautiful
cathedral
of Monreale, near
Palermo
(A.D.1175),
is built upon
the plan of a Roman
basilica,and
reveals
of
the
different
a
picturesque mixture
columns
have
styles. The
nave
finely carved
with
capitalsof the distinctive Byzantine form
the dosseret supporting pointed arches.
A
dado
of white
marble
lines the lower
portion of the
which
walls, above
they are
richly incrusted
with
mosaics
representing Biblical stories. The
timber roof is somewhat
elaborate, and is richly
In
OF
H4
THE
STORY
treated
with
colour
the
of
decoration, after
came
more
art, thanks
the
fine
the
period
Building
the
of
on
the
fear
the
of
conscience
was
dread
contribute
to
seek
refuge
found
these
world
led
; the
institutions
alone,
moreover,
belief in the theory
in
the
year
for
one,
an
uneasy
the monasteries,
fore,
century, there-
many
to
liberally
in them
of
any
was,
temporary
event
was
which
peace
and
unrest.
turmoil
scale
extensive
an
in
church
prevailed a
external
this check
but
1000
to
the
Western
little vitality,
for
by a very wide-spread
impending end of the
checked
or
by
unaffected
Moors.
in
or
The
some
walls
its monastic
within
was
impossible.
the
; lawlessness
architecture
in
was
of
society
chaos
of
state
Spain
centre
flourishing
incursion
institution,showed
an
as
arts
the
to
this
Throughout
in a
Europe was
rife, and
progress
Christian
the
influence.
Roman
become
manner
little progress
in Europe,
countries
of the eastern
which
Italyand
directlyunder
of
of
centuries
ten
made
architecture
outside
the
interiors.
Mohammedan
ARCHITECTURE
new
wealthy
and
before.
been
A
never
they had
architecture
great activityensued, and
considerable
make
began to
progress
as
powerful
period of
at
once
in
all
directions.
buildings
new
ecclesiastical,and
were
looked
of
the
all
Almost
to
Rome
technical
Rome
occasions
was
as
help
a
taught
their
and
centre
importance
builders
naturally
and
their
inspiration. But,
to
source
many,
the
and
new
country,
devices
which
and
methods
far-off
new
the
of
THE
soon
made
OF
STORY
the
ARCHITECTURE
115
Romanesque
term
title, for
this
under
prehensive
com-
very
be
may
"
Gothic
head
"
round-arched
conveniently classed all the
of Europe
which
prevailed throughout the west
introduction
before
the
of the true
Gothic, and
Norman
which
in the
in England culminated
buildings of the eleventh and twelfth centuries.
architecture
of each
The
country, governed by
marked
and
local conditions
traditions, was
by
showed
the
distinctive features, but
at
its own
time
a
same
general similarityof style. Almost
constructed
with
all the buildings were
the same
a
object, and it became
question of solving the
"
"
the
problem,
problem in different ways
namely, of combining the vaulted roof construction
with the basilican plan. The
heavy barrel-vault
massive
walls and
of the roof demanded
piers,and
the
of the semicircular
arch
use
required piers
The
at frequent intervals.
or
very sturdy columns
ponderous,
resultingstylewas of necessitysomewhat
that relief was
so
sought in rich carving and in a
of recessed
the architects
multiplicity
spaces ; and
did
not
successfullygrapple with the difficulty
same
"
"
"
"
of ribbed
arch,
"
in the twelfth
vaulting,which,
revolutionised
the
thirteenth
and
with
the
pointed
of
conditions
builders
the
a
happy
gave
solution
of
What
their problem.
and
complete
called
more
"
Gothic
than
the
"
architecture
struction,
con-
and
is
is in
realitynothing
of the progressive
natural
a
one, just
logicaloutcome
century.
The
"
name
Gothic
"
is
an
un-
ii6
THE
STORY
OF
ARCHITECTURE
are
apt to regard it as a
one, for readers
terrupt
foreign and distinct style,breaking in upon, and inthe continuityof, the architecture
of the
fortunate
It is
period.
architects
in
round
the
arch
that
constructive
Romanesque
difficulties with
able
appreciate what
the Gothic
principlesdid for their architecture,
and
the extent
to which
they enlarged its scope.
France.
In the Romanesque
To
turn
to
now
buildingsof this country may be traced the results
influences.
of
various
southern
of
the
Many
marked
churches
Byzantine features, the
possess
of
outcome
carried
very
between
on
we
are
to
considerable
the
ports
which
trade
the
on
was
south
coast,
of S. Front
In the church
Venice, and the east.
at
Perigueux (A.D. 1047) the plan strikingly
resembles
that of S. Mark's, Venice
interior
: the
is
roofed
but
they are
having
of
with
over
constructed
stone, with
of
the
of
none
Venetian
of
roofs
interior of the
The
in
in
church.
the
same
similar
manner,
externallyin stone,
wooden
false
S. Mark's.
cathedral
domes
the
as
instead
domes
the
buildingis
of
finished
Cahors
is
date, undoubtedly
domed
copied
In other
Byzantium.
parts of
influenced
the designs were
the country
by the
as
buildings, such
examples of classic Roman
In
those found
at
Nimes, Aries, Avignon, etc.
Dame
the churches
of Notre
at
Avignon and
find Corinthian
S. Trophime
at Aries
we
capitals,
enrichments, and other features borrowed
pilasters,
directlyfrom the classic models.
excellent examples of
some
Auvergne contains
churches, built of the lava of this
Romanesque
from
church
in
THE
church
excellent
an
Lava
is used
Notre
of
and
in
ARCHITECTURE
OF
volcanic
well-known
the
STORY
district.
Dame
du
117
Let
consider
us
Port
Clermont,
the
style.
at
typical example of
the construction, and
some
effect
colours.
is
built round
FIG.
the
34.
"
chevet, which
French
cathedral
main
Plan
apse,
of
Notre
became
plans.
form
what
Dame
du
an
Such
essential
a
covered
and
a
an
series
apses,
is called
Port.
feature
group
end
of
of
in
small
the
a
lofty
chapels, ranged round
cathedral, produces a singularlyinterestingand
dignifiedinterior effect. The feature was introduced
builders, and probably origiby the Romanesque
nated
in the Auvergne district,
it is found
where
churches
in the Romanesque
at
Issoire, Le Puy,
The
Gothic
architects
Clermont, and elsewhere.
that
it figures in
the
the
retained
chevet, so
of the great French
of
cathedrals
plans of most
that period.
u8
THE
The
STORY
chief
Romanesque
the
method
old
Romans,
that
roofs
the
without
a
and
the
strains
domes
in
solid
of
Notre
concrete,
Section
Dame
du
is counteracted
the
such
great
barrel
du
the
made
Port,
vault
would
nave
the
it rests.
of
section
the
over
tend
walls
This
of half-barrel vaults
use
at
section
thrust
push apart
Port.
by the
glance
Dame
Here
the
through
illustration
buttressing adopted.
which
aisles.
so
of
the
their
up
outline
an
which
Notre
trouble
the
walls
securely upon
lateral thrust,just as a lid rests
upon
stone
vaulting exerted a lateral thrust,
which
be
required to
counteracted
of
by means
tresses.
heavy abutments, or butshows
35."
The
naves.
The
FIG.
barrel-
massive
escaped the
by building
saw,
was
rested
mass
any
But
box.
and
the
which
contend
to
covered
we
as
had
for
support
which
roofs
vaulted
builders
of
side-thrusts
of
with
difficulty
constructional
the
vaulted
ARCHITECTURE
OF
will show
to
upon
thrust
over
that
it
impossible to light
of clerestory
the upper
windows; the
part by means
vault was
therefore
brilliant
nave
dependent upon
weather
it from
of gloom.
In
state
to relieve
a
some
examples, as at Autun
(A.D.1150) clerestory
windows
vault
were
introduced, the nave
being
raised
above
sufficientlyhigh for the purpose
the
an
roofs
methods
arrangement
of
were
the
not
side
aisles ; but
equal to
the
constructive
STORY
THE
all
the
cases
ARCHITECTURE
OF
vaults
gave
Towards
reconstructed.
119
way
and
required
the
end
of
the
to
be
twelfth
century
of
use
century.
We
take
cannot
France
works
great Norman
connected
the
with
the
the
Romanesque
the
touching upon
dukes
so
intimately
without
buildings of
of
of
leave
"
architecture
of
our
own
island.
best-known
the abbey
'example among
churches
of Normandy,
and
of the noblest
one
the
Abbaye-auxbuildings of the time, was
S. Etienne, at Caen, begun in 1066
or
Hommes,
of
better known
to
us
by William
Normandy
William
in
commemoration
the
as
Conqueror
of his victory at
church
is lofty
Hastings. The
in its proportions,with
aisles,and
transept.
nave,
Its east
end was
originallyin the form of a simple
superseded by the chevet\
apse, but this has been
the west
front is finelyproportioned and
is flanked
between
which
the
rests.
by two
nave
towers,
The
later
the
towers
crown
are
spires which
additions.
The
and
aisles are
nave
vaulted, and
a
by a series of flying
clerestoryis obtained
buttresses.
The
system of vaulting is of interest
as
illustratingthe stage which
preceded the
introduction
of the
the
sequent
conpointed arch, and
The
"
"
solution
which
were
period.
of
the
constructive
difficulties
constantlybafflingthe builders
of
this
THE
120
Another
many
OF
or
church
S.
of
cathedral
and
of
in
other
Caen
Michel
S.
later
times, and,
churches
in
"
followed
that
there
of
was
North
Romanesque
somewhat
Italy, as
constant
Abbaye(1083). The
has
undergone
is the
note
Trinite, at
Mont
alterations
ARCHITECTURE
church
Norman
aux-Dames,
fine
STORY
has
like
Normandy
lost
architecture
many
and
much
in
of
many
Ger-
communication
between
of
for
the
did
not
make
great progress
in
any
the
parts of
Rhenish
other
than
Germany
Saxony and
provinces ; in the districts of the Rhine, however,
be
architecture
said
have
to
Romanesque
may
fully than in any other country
developed more
in Europe.
The
exterior of the Rhenish
churches
characterised
was
by picturesque grouping of
of arcaded
cesses
reoctagonal turrets, the introduction
the lower
decorate
to
portions of the wallof open
arcaded
thq
galleriesunder
space, and
gable-ends
(1160-1200)
The
treatment.
FIG.
the
is
36.
"
arrangement
three
apses
of
121
the
and
apses
Apostles at Cologne
this
of
successful
example
of
Church
The
turrets.
cornices
the
and
ARCHITECTURE
OF
STORY
THE
view
Church
of
opening
the
in
the
of the
the
off
the
illustration
shows
Apostles, Cologne.
eastern
central
portion
space
of
with
the
productive of dignifiedand
noble
effect both
externally and internally. The
a
tri-apsidalend and
plan of the building shows
flanked
broad
either side by aisles
on
a
nave,
choir
"
an
arrangement
THE
122
STORY
of
ARCHITECTURE
OF
The
transepts
the
at
are
west
with
a
crossing is covered
Byzantine
carried on
dome
has been
pendentives ; the nave
in Capitolio
vaulted
later period. S. Maria
at
a
and
S. Martin
(1150), both in Cologne, show
similar characteristic features,and
make, with the
of the Apostles, one
Church
of the most
ing
interestof churches
which
the
Romanesque
groups
period produced. Other good German
examples
of Mayence
the cathedrals
are
(tenthand eleventh
Worms
centuries), Spires, and
(both of the
eleventh
century),each of
the
end, and
which
has
SPAIN.
37.-Plan of Church
of the Apostles.
FIG.
Romanesque
is to
be
under
of
in 1062
of the
successes
that
1492
the
by
the
built appear
the
of
French
The
is
and
good example,
chevet.
departure
erection
of
cathedral
was
of
the
a"
In
made
dome
nave
S.
the way
; but it
capture
series
until
not
was
entirelydestroyed
was
churches
were
as
the lines
on
Auvergne.
lago
at
nave
Compostella (1080)
and
transepts, choir
instances, however,
most
from
French
by
tradition
on
pendentives
and
transepts,
Salamanca
for
constructed
of
with
Spain,
period
The.
Moors.
Such
been
churches
of
this
the
rule
have
church
throughout
Christians
Granada.
to
in
paved
Moorish
fall of
found
of
the dominion
of Toledo
work
a
was
Comparatively
"
little
for
nave
twelfth century.
the
of
vaulted
over
as
the
in
the
ing
cross-
the
century). It
(twelfth
old
is
THE
strange that
to
period
this
the
only
"
the
Earl's
at
to
of
occurrence
is
probably
of
swept
the
Possibly, too,
led
construction
vogue
appears
later stone
the
to
among
have
to
work.
so
to
the
at
fact
that,
ruder
make
earlier
present
with
Saxons,
the
for
way
Timber
the
The
primitive
wood
use
ing
exist-
Saxons.
of
influenced
Their
best
the
decay.
the
little church
the
the
of
tower
rapidly over
generous
to
the
the
destroyed
style which
The
remains
Normans,
the
buildingswere
in
due
are
"
skill.
of
Saxon
remains
early builders
period" were
perhaps
work
the
of
by
"
advent
new
the
these
little technical
are
Prior
erected
were
primitive Romanesque
examples
time
that
prove
little about
conquest.
Celts, but
Bradford-on-Avon
rare
Norman
churches
the
with
endowed
the
Britain
Great
of
themselves
numerous
and
Saxons
sufficient
of
before
and
them.
to
troubled
have
to
appear
architecture
Moorish
Mohammedans
inhabitants
The
"
by
the
heartilyhated
everything that belonged
ENGLAND.
of the
on
for
Christians
churches
Romanesque
abounded
accounted
be
may
123
of influence
traces
which
architecture
this
details of the
no
show
Spain
of
ARCHITECTURE
OF
STORY
country.
in
details
the
much
was
and
the
its
of
use
their
triangular-headed window
"
window
mullions
baluster
turned
openings and
are
certainlysuggestive of timber construction.
the Norman,
the
Before
the landing of William
influence of the Normans
was
beginning to make
itself felt, for" England's insular
withstandi
position notit was
impossible that the country
"
"
I24
THE
STORY
OF
should
be
unaffected
by
such
seaboard.
The
the
art
within
strides
gigantic
ARCHITECTURE
Norman
barons
ecclesiastics
and
of
the
its
of
miles
(1066), and
conquest
of
making
was
few
subsequent occupation
the
which
by the
country
effected
Normandy,
speedily transformed
invaders
the
enabled
1i
were
estab-
to
themselves
securely
more
the
upon
lands
from
plundered
the conquered
Saxons.
Many
churches
FIG.
38.
Earl's Barton.
Window,
Saxon
founded
by
Norman
himself,
while
vied
one
with
another
had
been
all
that
the
Channel.
The
in their efforts
seen
Romanesque,
the
his
or
"
to
use
in
lasted
"
Norman
England,
i.e. from
Richard
the
I. in
operations
were
for
until
1189.
Between
carried
on
surpass
side of
familiar
which
than
little more
conquest
to
more
architecture
"
the
the
followers
other
the
on
period, during
imported by the invaders
term
were
the
prevailed
a
century
accession
of
building
throughout England
these
dates
STORY
THE
with
of
almost
our
in
incredible
great cathedrals
of Norman
but
work,
activity.
do
in
part of the
every
ARCHITECTURE
OF
Not
in many
remains
only
find extensive
we
number
vast
125
of churches
the
that
details
and
fragments
country
complete
Norman
structure
once
occupied the site, from
has
of the originalwork
v/hich almost
every trace
disappeared. It has been computed that no less
found, pointing
are
than
after
churches
7,000
the conquest.
The
Romanesque,
England
is marked
to
fact
built within
were
"
or
by
Norman,"
cathedral
similar
features
century
to
of
those
buildings of
Romanesque
Its general appearance
is sturdy,
Normandy.
with
solid walls, cushion-shaped capitals,
which
characterise
Massive
On
the
arches, broad
ponderous
and
columns,
round
short
and
low.
the
its Continental
with
Compared
prototype,
cathedral, such as that of Durham
typicalNorman
or
Peterborough, is longer in proportion to its
in the
width, the length being especiallymarked
choir.
takes
the
end
A
east
place of
square
the
the apse
chevet of French
or
cathedrals, and
more
important. A great central
transepts are
and
the crossing of the nave
over
tower, carried
of the English plan.
transepts, is also characteristic
Internally there was
generally the intention
to
suggested by the massive piers and columns
"
"
vault
over
the
roofs, however,
aisles
and
the
nave.
through
lack
of
considerations, were
low-pitched roofs
funds
or
other
Flat,
completed.
wooden
ceilings were
seldom
and
vaulted
The
126
THE
STORY
OF
ARCHITECTURE
these
substituted; and
as
supported, the builders were
clerestorywindows, and to
light and
easily
able to insert large
secure
lightand lofty
effect at little cost.
The
wooden
roofs, however,
liable to
were
injury from
fire,and, in many
burned
instances, were
or
destroyed, so that in
several
cathedrals,as at Gloucester, Durham, and
Exeter, they were
replaced at a later date by stone
vaulting.
The
Norman
details of our
churches, with few
exceptions,are extremely simple. The
piers were
often perfectlyplain and
round, as at Gloucester ;
sometimes
clustered, as at Peterborough ; or, as
clustered
round
and
used
at Durham,
piers were
were
alternately. Doorways
simple in outline,
with
little of
the
added
circular-headed, and
ornamentation
which
appeared in the gables of
the later Gothic
entrances
capitals
; richly carved
decorated
the clustered columns
of the opening,
and
the
archa
profusion of carving covered
The
little variety;
mouldings.
design showed
the zig-zag ornamentation, easilyshaped with the
occurred
with
endless
repetition, varied
axe,
birds'-beak
well-knoWn
occasionally by the
observer
casual
moulding, familiar to the most
of Norman
Window
treated
work.
openings were
sometimes
more
simply than doorways, but were
enriched
with
the
zig-zag,as at Iffley Church,
The
Oxford.
near
cushion-shaped
capitals,
of
the
Greek
suggestive of the sturdy echinus
Doric
column, were
usuallyleft quite plain,though
the Norman
took pleasure in carving quaint
mason
were
"
"
devices
the
or
the caps,
upon
of the external corbel
grotesque faces
projectingstones
or
upon
courses,
STORY
THE
ARCHITECTURE
OF
127
the
Portions
been
have
list
of
of
many
rebuilt
includes
at
old Norman
the
later
date.
structures
The
following
of
the
principal monuments
Less
period in England.
important, though not
less interesting,are
the examples found
among
the parish churches
throughout the country :
the
"
"
Cathedral
Canterbury
Carlisle
Crypt.
Cathedral
Nave.
.
Cathedral
Ely
Nave.
.
Winchester
Cathedral
Transepts.
Waltham
Choir.
Abbey
Durham
Cathedral
Galilee
Porch, Nave,
Chapter-house.
Peterborough
Rochester
Cathedral
Nave.
.
Cathedral
Norwich
Nave.
.
Cathedral
Hereford
Nave.
Cathedral
Nave.
.
Christ
and
Oxford
Church,
Nave
and
Transepts.
Gloucester
Nave.
....
Tower
of London
White
.
S. Al ban's
Church
Chapel.
Abbey.
of S. Bartholomew
the
Great,
London.
VII
GOTHIC
THE
as
art
ARCHITECTURE
architects
Romanesque
have
we
01
seen,
had
building by
century, and
had
made
the
mastered
on
Continent,
the
great progress
middle
most
of
of
the
the
in
the
twelfth
problems
128
THE
OF
STORY
ARCHITECTURE
which
"
at
roof
wooden
the
while
old
"
fire of
been
Romans,
lids "of
covered
their
pressure
upon
to
too
When
the
vaults
for
the
buildings exerted
vast
the
walls, but
to
force
as
we
say
the
make
reduce
It
the
walls
walls
was
that
difficulties
principle which
a
of
revolution
ribbed
structural
as
or
support,
heavy
vault
tended
builders
brought
in the
to
find
efforts to
the
lateral
only
to
but
also
to
solution
hit
spaces.
to
a
upon
nothing
building the
"
thrust,
not
vaulted
about
of
art
place
of the
width
to
carry
of concrete,
necessary,
and
strong,
was
massive
the
span,
in their
it
enormous
walls
exerted
"
lateral
difficult
the
of
apart
that
so
"
the
more
form
to
Romans
no
their
massive
took
.masonry
still
were
arched
the
which
with
concrete
led
building;
this, the barrel-vaulting,
in the
buildings of the
ponderous. True, the
used
was
solid
The
treatment.
substantial
many
alternative
had
which
roof
unsatisfactory,and
was
by
destruction
of
method
successful
less
these
new
than
principle
the
vaulting, which, in fact, formed
known
basis of the styleof architecture
"Gothic."
The
Gothic
term
Gothic
architecture
is
as
is
unfortunate
the
natural
as
it is
outcome
inapt.
of
to
seems
suggest
though the term
of the art,
break
in the progressive character
a
has
doubtless
and
proved a stumbling-blockto
to
regard the
students, by leading them
many
Romanesque,
THE
applied
term
Goth
upon
regarded
the
as
anything
name
to
the
has
129
possibly opposed
was
seventeenth
of the
enthusiasts
but
"Gothic"
another.
ARCHITECTURE
from, and
distinct
styles as
one
OF
STORY
merely
contemptuous
style by the classical
century, who looked
a
typical barbarian,
non-classical
stuck,
to,
as
as
bad
and
who
barbarous
have
names
;
a
habit
were
of
introduced
between
the
; and
as
the
wall
"
"
"
THE
130
of concentration
ARCHITECTURE
OF
STORY
of strains
and
of balanced
thrusts
"
the
FIG.
roofed
as
height
massive
to
of
the
the
plan
exterior
walls, which
support
series
such
Chapelle.
groined
of
The
columns.
by
is taken
in
see
we
Sainte
ot
slender
from
columns
the
Plan
with
over
springing
39."
"
buttresses
and
walls.
would
"
carried
Now
have
superstructure
thrust
very
up the
note
been
vaults
of
sturdy,
entire
that the
necessary
in
Romanesque
lengths between
have
ARCHITECTURE
OF
STORY
THE
the
between
spaces
required for constructive
wall
buttresses
are
and
purposes,
no
longer
can
fore
there-
be
as
when
But
introduced
side
fresh
external
are
walls.
are
the
at
the
of
the thrusts
take
nave,
difficulty
tresses
but-
The
arises.
cannot
now
be
vertically
carrie^d
for
down,
they
would
block
aisles
with
up the
their
To
of their
permit
being ranged
along
the
mass.
,.
face
/-
of
external
T
the
walls,a new
is brought
bridges over
at
once
the
'
TIG.
-i
aisle-
40.
"
Romanesque
Gothic,
with
Contrasted
feature
into
the
necessary
the
nave.
"
counter-thrust
to
the
roof-
piers and
the
walls
them
over
are
now
relieved, by the
of the more
serious part of their burden,
buttresses,
and
have
of
to
perform only the simple task
are
carrying the vertical weight, the builders
enabled
make
them
to
not
only lofty,but slighter
and
more
graceful.
vaulting
of
As
the
nave
THE
132
The
STORY
characteristic
feature
its
necessary
design in some
French
many
ot
its
and
ornate
and
eye
with
and
than
repose
true
Gothic
The
building. True,
the
exterior
hampered
respects, but
its decorative
did
cathedrals
it has
decorative
other
endow
the
upon.
that in
appearance
than
reason
in
delight
to
the
"
"
Grecian
gluts
ah
! this
as
me
Euclid
other, this
its
with
"
perfectness,
self-contained
that
never
still to
sibilitie
pos-
feature, placed
Still
While
seized
it become
ornamental
Unanswerable
But
Gothic
presence
being a purely
position for no
the
of
became
soon
speedilyrecognised and
were
So
ARCHITECTURE
OF
buttress
his
the
ends,
climb,
builder
to
duce
intro-
of the chief
design as one
elements
of effect, the pointed arch
the
solved
of bridging over
at
difficulty
varying widths
any
The
Gothic
could
architect
thus
required height.
give play to his fancy and
imagination, little
troubled
fettered
by problems of construction, and unof precedent.
by considerations
Gothic
The
cathedral
has been
styled "a roof
of stone
with
walls
of glass,"and
not
inaptly;
for the walls, no
longer requiredto be of massive
little
construction
the weight, became
to
carry
than
either of masonry
of glass,
more
or
screens,
the buttresses, to
fillingin the spacer, between
and
to
give effect to the
keep out the weather
height
into
enabled
THE
ARCHITECTURE
OF
STORY
did
as
of
the
were
size,
with
richly
painted
its
made
once
the
and
introduction
the
was
architecture
influence
felt upon
increased
in
the
at
could
spaces
filled
beautiful
glass. So
the
period that it
coloured
glass
these
windows
traceried
great
of
133
the
walls,
windows
far
as
as
"
illuminated.
Far more
important,"
possible,were
introduction
of
the
remarks
Fergusson, "than
of painted
the
invention
the pointed arch
was
is really the
important formative
glass, which
much
architecture ; so
principle of Gothic
so,
the
be more
would
that there
name
meaning in
if it were
called the
painted-glassstyle instead
bear in
We
of the pointed-arch style.
must
'
mind
that
windows
middle
after the
the
and
that
the
changes
architecture
the
of
nature
areas
a
which
number
churches
all
twelfth
be
age
and
extensive
development
The
to
century
filled,with
erected
filled,
were
painted glass,
in
principal and guiding motive
into
subsequently introduced
possible space
display."
The
in
of the
intended
were
or
all
of
of
use
another
the
best
the
of
glass
soon
"
glass required
smaller
spaces.
the
be
led
the
greatest
localities
feature
it filled should
of
obtain
to
was
all
for
to
its
great
window
that
tracery.
the window
divided
Thus,
up
into
although
feature
Gothic
of
perhaps no
design appears
than the elaborate tracery
more
purely ornamental
of the windows, it has, like almost
all decorative
raison
d'etre^ forming, in
parts, a constructional
frame.
of the Gothic
fact, part of the skeleton
The
attention given by designersto tracery led it,
THE
134
STORY
OF
ARCHITECTURE
FRANCE.
Gothic
"
in
architecture
France,
the
into three
be divided
birth, may
periods,of which the approximate dates are :
(dr. 1160-1270).
Early Period
Period
Middle
(dr. 1270-1370).
Florid or Flamboyant Period
(dr. 1370-1550).
of
country
The
its
half
second
period
of
twelfth
century
extraordinary activitywith
builders.
cathedral
of the
The
Church
at
French
the
this
was
time
was
its
of
popular institution. Many
cathedrals, built by the careful but unscientific
the
builders,were
collapsing under
Romanesque
in
were
weights of their ponderous vaults, and
a
strong
and
urgent need
of
renovation.
In
other
parts
new
were
"
"
of
the
arrangement
of
parts, and
of
the
detail
with
circular
division
exterior
by
in
into
series
and
allowing
vaulting.
pinnacled flying
with
roof, covered
structure, protecting
for the
lofty stone
inside
space
the
on
of
the
tiles, completed
or
marked
was
steep wooden
135
plate-tracery. The
our
bays
uniform
buttresses.
ARCHITECTURE
as
light,
interior
lead
OF
STORY
THE
of the
(1163-1214), one
a
earliest,shows
perfectly symmetrical plan with
semi-circular
east
end, richly sculptured triple
in the chief gables,
western
portals,rose-windows
Notre
and
Dame
of
most
Paris
at
characteristic
the
cathedral
French
in date
Later
of the
than
features
thirteenth
Notre
Dame
the
graceful
rated
richly deco-
was
of
sixteenth
century,
in
contrasts
the
Pride
Each
the
Who
loved
To
their
their
In
all
with
classes
of
the
the
manner
its southern
"
of
France,
mechanic
guild.
thought gold well spent
piety
"
glorious setting of
lastingmemorial
which
some
city, and
beautiful
her
filled with
are
a
make
bright gift of
in
instructive
an
the
century.
Chartres'(
230), the
1194-1
northern
spire of which, added
cathedral
of
interest
displayed
in
stained
and
the
glass,
enthusiasm
building
of
temple.
the
beautiful
cathedral
found
its
of
Amiens
(1220-
highest expression :
to
Chartres, in sublimity to
Beauvais, in decorative splendour to Rheims, and
in loveliness
of figure-sculpture
It
to
Bourges.
has nothing like the artful pointing and
moulding
STORY
THE
136
of the arcades
of
OF
Salisbury" nothing
of
And
Durham.
ARCHITECTURE
yet, in
outshone
or
ways,
of Amiens
deserves
these,
by
M.
Viollet
Due
le
of the
might
more
than
all, and
dral
overpowered, the cathethe name
given to it
the
'
"
Parthenon
of Gothic
Architecture.'"1
As
the
Amiens
type
of
French
is contrasted
(p. 147).
Almost
showed
invariablythe
French
semicircular
apsidal arrangement
Plan
FIG. 41."
end.
the east
end,
square
and
general
in
plan
of
Cathedral.
of Amiens
Laon
At
so
or
cathedral
Poitiers
we
England;
but
find
the
in
the
of
Cathedral.
Amiens
The
with
Paris
transepts
us
hot
were
Ruskin,
"
The
fully developed
so
Bible
Notre
and
ones.
of
Amiens."
Dame
The
as
at
main
this
over
ARCHITECTURE
usually contained
(west) front
and
OF
STORY
THE
frieze
ran
of
137
triple portal,
niches
filled with
ately
superb porches, with elaborriched
archways, ensculptured, deeply recessed
dedicated
with
shapes of saints and
of
French
specially characteristic
kings," are
design, and form the richest feature of the exterior.
In
examples they project a considerable
many
royal
The
statues.
"
of the
wall
roofed
in front
with
found
at
"
Clocher
de
Choeur
four
Gothic
The
are
massive
finest of
which
main
and
distance
puts
de
before
grandest
us
features
cathedrals
of
the
to
popular
be
found
"
idea
among
of
the
the
France.
in course
of erection
Chartres, all of which were
In
in the early half of the thirteenth
century.
did
of France
respect of length the cathedrals
differ greatly from
the English examples, for
not
the
by
longest (Amiens, 520 feet) is exceeded
the cathedrals
and
Winchester
at
Ely ; but they
and
and
in width
especially
surpassed ours
area,
in boldness
and
loftiness of the vaulting.
monastic
To
the first period belong several
the
others
picturesque Mont
buildings,
amongst
or
STORY
THE
138
OF
ARCHITECTURE
been
S.
re-built later.
Period
buildingsof the Second
noteworthy is the unfinished cathedral of
Of
the
the
foundation
The
the
of
portion
slenderest
carried
of
Gothic
the
this
In
century.
"
French
all
until
out
of
design
cathedrals
half
second
design
the
Beauvais.
from
dates
most
of
thirteenth
the
builders
the
not
was
"
carried
limit
the
of
daring,
and
in a few years the slender supports collapsed,
the
and
entirely
building required to be almost
As it now
reconstructed.
stands, the height from
the pavement
the top of the vaulting is not
to
less
principles to
than
160
extreme
Similar
feet!
of
cathedrals
Few
completed,
English type,
Period
Middle
the
long delays,
after
except
the
of
at
measurements
Ouen
S.
were
for
the
Rouen,
have a fine example,
built between
we
1320-1350,
later date.
with
of a
additions
Limoges (1272)
is still
extensive
scale, but
an
was
begun on
year,
incomplete ; Toulouse, begun in the same
sixteenth
not
was
century;
completed until the
had
enthusiasm
waned.
inconsiderable
additions
many
designs which have
and
interest.
Rouen,
are
Profusion
of tracery
Period.
The
features
of
curves
Such
made
were
was
carried
building
of
amount
at
there
Yet
is still unfinished.
Narbonne
and
In
the
to
no
on,
earlier
their beauty
greatly enhanced
at
great rose- windows, as
of this period.
rich
detail
marked
work
the
is
and
florid elaboration
Third,
seen
in
or
Flamboyant,
the
church
of
at
which
added
was
the
at
each
of
older
the
to
beginning of
these examples
the
may
windows
of
cathedral
sixteenth
date
same
florid
as
cathedral
the
of
architecture
the
fantastic
In
the
striking
gables over
stone, suggestive
glass. Notable
front
sixteenth
work
Rouen
of
are
examples of the flamboyant work
of Troyes and of Rheims, the church
de Ville
at
Dieppe, and the Hotel
the
of
facade
century.
be noticed
network
open
without
an
are
rich
tracery ; the
of elaborate
development
the porches
139
Rouen
S. Maclou
ARCHITECTURE
OF
STORY
THE
the
of
at
facades
S. Jacques
Rouen, of
(1500).
century
The
minated
cul-
the
sepulchral
all dignity of
almost
church
of Brou, in which
composition is frittered away in a dazzlingprofusion
of lace-like carving,marvellous
masterpieces of the
in
craftsmen's
such
art
Flemish
German
but
decadent
as
"
carvers,
Lombard
masons,
smiths
form
gilders,
Spain
from
"
of architecture.
confined
to
not
spiritin France was
ecclesiastical buildings,but pervaded every branch
of secular
architecture.
domestic
and
a
Many
French
as
Troyes, Provins, or
Bourges,
town,
house
retains fine specimens of the later Gothic
:
witness
the
of Jacques Cceur
picturesque house
at Bourges (1443). Tne
more
important buildings
in shop-fronts and
of stone
were
designs
; but
smaller
scale the half-timbered
on
a
fagade, with
its overhanging, steep-pitched gables and
fully
moulded
beams
and brackets, was
more
frequently
With
later
domestic
seen.
buildings details
become
less distinctly
Gothic, but the high gables
The
Gothic
140
THE
STORY
and
steep
roofs
survived,and,
the designs of
the
sixteenth
GREAT
as
the
and
OF
and
other
shall
we
French
see,
Gothic
traditions
stronglyinfluenced
Renaissance
builders
of
later centuries.
BRITAIN."
Britain
ARCHITECTURE
Gothic
architecture
in
Great
is
into three
usually divided
periods
Early English, Decorated, and Perpendicular the
duration
of which
coincided
fairly
accuratelywith
the thirteenth,fourteenth, and
fifteenth centuries
shall,therefore,not be greatly
respectively. We
at fault in regarding Early English Gothic
the
as
typicalstyle of the thirteenth century, Decorated
of the fourteenth,and Perpendicular of the fifteenth
and
later centuries.
Needless
to say, the
periods
another
to
the
some
overlapped one
extent, and
style did not
suddenly change with the advent
"
"
of
each
new
century.
The
of
course
architecture
Early
:"
English, or
Thirteenth
Century. Long,
lancet-headed
windows;
angle-buttresses
narrow,
set
squarely; deeply undercut
mouldings to the
arches ; slender,detached
columns
doors
and
to
windows
capitals,with crisp, bulbous
; circular
foliage; clustered piers; little ornament,
except
the dog-tooth.
ness
Decorated, or Fourteenth
Century. Greater richof detail ; buttresses
enriched
with
crockets,
niches, etc., and often set obliquelyat the angles ;
windows
and
wider
more
important, and divided
by mullions, the upper
part filled in with
metrical
geoor
(later)elaborate
flowing tracery ;
"
"
STORY
THE
shallower
mouldings
foliage in
the
bosses
ARCHITECTURE
and
capitals
oak
of
forms
OF
leaves,
less
; carved
numerous
crisp, with
finely carved
less
etc.
141
natural
figures
ornament.
ball-flower
Perpendicular,or FifteenthCentury and Later.
with numerous
mullions, and with
Larger windows
vertical tracery carried
through to the top of the
transomes
by horizontal
arch, often intersected
;
all wall surfaces
almost
panelled, in imitation of
the window
treatment
; doorways frequentlyfinished
and
"
with
label
square
mouldings ;
period, flattened
centres
with
the
at
timber
; open
the
over
struck
apex, and
roofs of elaborate
figuresof angels ;
carved
There
England
to
thirteenth
that
the
had
been
island
grand
in
structures
immediate
in
France
We
But
wants.
ments
battle-
with
make
had
that
the
Gothic
felt,the
into
new
for
new
work
in
the
seen
Conquest
covered
the
buildings as
at
as
have
Norman
sufficient
were
its presence
gradually introduced
to
France.
elaborate
era
cathedral-building
with
the early part of
with
unrivalled
compare
century
a
tion,
construc-
more
parapets
four
ornament.
Gothic
no
was
from
were
time.
These
the
people's
tide began
features
which
were
was
in
witnessed
the
in
cathedrals
France.
of
Thus
England
it
are
comes
less
about
that
homogeneous
THE
142
than
those
STORY
of
OF
French
our
ARCHITECTURE
neighbours, for,with
one
of
exceptions, they represent a mixture
which J
styles,and are in realityNorman
structures
have been remodelled
and enlarged by the Gothicl
or
two
builders.
This
fact
tended
istic
emphasise a characterpeculiarityof the English cathedral
planits remarkable
length in proportion to its breadth.
The
builders, probably for conAnglo-Norman
structive
showed
a
preference for narrow
reasons,
it would
have
been
naves
as
impossible to
; and
widen the naves
without pullingdown
the buildings,
the
additions
all in the
subsequent Gothic
were
direction of emphasising the
length rather than
the width, so that in several of our
English plans
find the proportions of length to breadth
we
as
At
great as 7 to i.
Salisbury,an entirelyGothic
are
building,the dimensions
78 feet
450 feet and
The
6 to
i.
respectively almost
long, narrow
of the English cathedrals
naves
are
ill-adaptedfor
a
service, or for enabling a congregation to see
what was
t^iVingplace at the altar ; but there were
in
compensations, for,as Fergusson points out,
pictorial effect they surpass
everything erected
the
with
on
Continent, unless
greatly increased
dimensions
of height or
width.
fore,
Whether, thereit were
hit
upon by accident or design, its
beauty was
immediately appreciated, and formed
the
governing principle in the design of all the]
It was
a
English cathedrals.
discovery which has
added
effect which
the sublimity of
to
more
to
"
"
characterises
of
most
principleintroduced
The
earliest
traces
cathedrals
our
during
of
the
than
Middle
Gothic
in
any
other
Ages."
England
are
THE
found
OF
STORY
buildings which
Norman
in
during the
of erection
ARCHITECTURE
middle
143
in
were
of the twelfth
course
century.
Malmesbury
Abbey (1130) and at Kirkstall Abbey (1160),and
almost
equally early examples of ribbed vaulting
found
Furness
at
Cathedral,
Abbey, Worcester
are
doubt imported
and elsewhere.
The
ideas were
no
from
France, but they developed in a different
and probably owed
much
of their development
manner,
It is to Canterbury,
to
English architects.
look for the first application
however, that we must
of Gothic
a
on
complete and extensive scale.
Canterbury at this early date had already seen
much
cathedral had been rebuilt in
history. The
the
tenth
by Odo, but the archbishop
century
the
Lanfranc,
Norman,
appointed by William
of
the
old
destroyed the whole
building, and
rebuilt it on
in 1070.
a largerscale
But, like the
arches
Pointed
old
Roman
had
were
emperors,
introduced
the
at
abbot-builders
of
those
predecessors'work,
and within twenty years it was
again pulled down,
rebuilt by Ernulph.
and
His
Conrad,
successor,
built it on
extensive
a
more
scale, including in
his design the "glorious choir
the
of Conrad,"
finest work
that
executed
had
in England
been
date
at that
When
this choir was
again
(mo).
the
monks
destroyed by fire in 1174
missioned
comWilliam
of
a
Frenchman,
Sens, to
The
of restoration.
new
superintend the work
choir, designed by him, affords the earliest example
of the Gothic
in an
important
style carried out
in
English building and
a
complete manner.
days
"
Four
years
William
"
after
of Sens
the work
was
killed
had
by
been
fall from
hand,
scaffold,
in
put
a
THE
144
STORY
and
his
who
carried
place
The
(1175-1184)
cathedral
the east
of
by an English architect,
his predecessor'sdesign with little
new
choir, thus
completed,
bears
resemblance
some
of
and
plan
ARCHITECTURE
taken
was
out
variation.
OF
Sens, and
details, with
end, and a
is
an
the
to
in its
French
distinctly
apsidal arrangement
stone
vaulted
roof.
difference
The
between
and
of
Gothic
and
1175
Norman
the
of
is very
"
new
"
the
and
mo
marked,
be
may
studied
at
the
abuts
against
the
The
old.
illustration
shows
the
plain,
cushion
shaped
Norman
capital
this
at
point,
o n
supporting
-
FIG.
of
Part
42.
Arcade,
Canterbury.
its
arch
with
sturdy round
the
Gothic
the
other
roughly axed
zig-zag, on
with
work
its chiselled
mouldings and carved
the
side
one
the
ornament.
The
had
great progress
between
made
Gervase,
which
these
progress
dates
is
building
emphasised by
of
art
writer,who
contemporary
of the
the
of
the
work.
was
"
The
an
witness
eye-
pillars
THE
STORY
OF
ARCHITECTURE
145
alike in
were
work," he says,
form ; but in the old capitalsthe work was
plain,
in the new
the
ones
exquisitein sculpture. There
arches and everythingelse was
plain,or sculptured
new
"
10
with
an
axe
and
ARCHITECTURE
OF
STORY
THE
146
not
with
chisel
but
here, almost
throughout
FIG.
44.
Plan
"
of
Salisbury Cathedral.
In
1185 Hugh of Burgundy
generally adopted.
set
was
appointed Bishop of Lincoln, and at once
of which
end
his cathedral, the east
to work
on
Gothic
he rebuilt in pure
St. Hugh's choir
style.
"
"
But
parts of the
various
in
country
the
Norman
conjunction with
the
beginning of the
pointed arch, until the
which
mencement
thirteenth
period the comcentury, from
in England may
of Gothic
of the sway
round
be
arch
said
Within
cathedrals
to
continued
in
use,
in
date.
the
were
early years
enlarged
of
in
the
the
century
many
style, and the
OF
STORY
THE
ARCHITECTURE
147
the
as
others, such works
west
porch of Ely, the presbytery of
choir
of
the
Rochester, Fountains
Winchester,
of the
choir
the
Church,
Temple
Abbey, and
this
of
for the
But
London.
typical church
look
date
to
Salisbury (1220-1258), an
we
was
foundation, which
designed and
entirelynew
built throughout in the Early English, or thirteenth
century, style. A comparison of this with the plan
cathedral
of the same
date
of a typicalFrench
Amiens
(1220-1275) (p.135) bringsinto relief the
the English and the
points of divergence between
period gave
magnificent
us, among
"
"
French
models
"
SALISBURY
AMIENS
Proportion
of
breadth, about
Semicircular
east
length
3
to
end
to
I.
with
of
Proportion
breadth,
about
length
6 to
to
I.
Square-.east end.
chevet.
transepts, with
Double
projection.
porch small,
West
deep
almost
mean.
Low
buttresses
Circular
west
front,and
elaborate
Lancet
with
headed
little
windows
tracery.
tracery.
The
tower,
f4"
THE
the
high-pitched roof
that
structure
rendered
was
of
OF
STORY
the
futile
appears
at
45.
"
of the
reason
The
to
while
the
north
high, which
cathedral, do not
The
loftyFrench
and
would
height
dominating
central
south
add
to
feature
immense
spire
of
the
mass
Amiens
Cathedral.
Durham
insignificant,
yet in
that of Salisbury,the
equal
feet
by
building.
such
gave
attempt
any
FIG.
ARCHITECTURE
height
it is
loftiest of
towers,
more
our
almost
spires;
than
200
dignity to an English
rise above
the ridge of the roof.
designed
cathedral, in fact,was
THE
to
of
be
STORY
the
from
seen
French
OF
inside,as
and
Gothic,
particular, admitted
cathedral, except
for
be
the
of
thought
ARCHITECTURE
of
"
Ruskin,
Amiens
The
its
149
designs are
outside
sculpture,
side
"
ambitious, but
less
them
and
there
there
eulogy
cathedral
side of
wrong
which
find how
the threads
you
go
the inside or right-side
pattern." In
as
in his
of
in
French
is
always to
the stuff,in
that produce
England our
is
"
no
wrong
is
as
something
the
essentially English about
mighty pile of
with
its three
Durham,
dominating towers, as
there
is about
Wells
with its charm
and
quiet
dignity,or Salisbury and its close of
to
"
Red
brick
With
We
must
further
and
dormers
not
ashlar
and
overlook
explain
long
with
one
and
oriels
low,
lit.
fact,however, which
the
emphatic differences
between
the French
and
the English Gothic
teriors.
exThe
French
building was
essentiallya
cathedral
of
the
church, the seat
bishop, who
munity
represented the active religiouslife of the comhelps
it
was
to
desirable
church, should
be
that
his
seat, his
dral
cathe-
THE
150
cathedrals
STORY
of
in
England,
always retained
have
ARCHITECTURE
OF
the
their
of
many
impress
features,
these
of
earlier
days.
(1245-1271),whose
abbey of Westminster
quiet surroundings
originally
The
to
bustle
the
London
of
have
given place
now
life,presents
French
curious
and
blending
of
the
with
its
p s id
French.
height
of
feet
of
vaulting
and
"
also
46.
thirteenth
richness
brought
of
in
were
the
the
about
increased
of
in
and
gradual change
architecture.
treatment
of
century
Geometrical
"
French
suggestive
fluence
in-
the close
Towards
FIG.
the
development
the
flying
buttress,are
of
is
unusual
the
consequent
the
and
chapels,
The
100
"
chevet
the
This
was
window
size and
divided
tation
ornamen-
in the
most
marked
openings,
into
racter
cha-
which
separate
in the upper
lightsby mullions, formed
part into
These
geometrical tracery.
geometrical designs
or
soon
curvature,
place to lines of double
gave
flowing tracery, which the English architects treated
with great skill,and
istic
which
became
the characterfeature
of the
Decorated
style during the
fourteenth
century, culminating magnificentlyin
such
works
the
and
west
window
east
in har.d
Hand
the
the
as
ARCHITECTURE
OF
STORY
THE
Carlisle
Cathedral.
the
openings we
development in
the
glass-staining. In
majorityof thegreat
windows
of
England were
with
richly
filled
oured
glass,
but
of
stained
the
the
did
"
decorative
the
century
.JL
1-
glass
rous
idolat-
for the
the
taste
Puritans,
with
met
quarter
their
para'
the
from
graph
no
at
hands.
"Petition
of
Weamen
the
dlesex," FIG.
Mid-
of
in
which
fifteenth
of
roughly.
tho-
too
too
"
and
art
their
The
of
the
seventeenth
only
was
increasingimportance of
siderable
find, as in France, con-
iconoclasts
century
work
Minster
of
window
church
York
window
of
with
15*
bore
47.
"
Perpendicular Window.
1641,
signatures,helps to explain
the extraordinary disappearance of most
of the
"We
glass from
our
desire,"
English churches.
it says,
whose
that
prophane glasse windows
idolaters
superstitious paint makes
may
many
be humbled
and
dashed
in pieces against the
that they are
conscious
tels us
ground ; fcr our
12,000
"
diabolicall
and
the
father
of
Darknesse
was
the
being
them,
damnable
pride."
The
change from
of
inventor
ARCHITECTURE
OF
STORY
THE
152
the
Patron
chief
to
forms
of
gracefulwindow
to the stiff rectangular lines of the
the Decorated
almost
like a reaction.
Perpendicularperiod seems
at the end
builders
Gothic
the
of the fourteenth
the desire
century
emphasise in every
possible way the vertical lines of the design, so
ing
the dominatthat the
perpendicular line became
with
seized
were
to
"
"
feature
inside
of every
detail.
and
was
out,
rectangular panels,and
occupied the whole space
The
divided
the
as
whole
into
wall
series
of
windows
enormous
the
face,
sur-
ends,
between
the buttresses,
well as the wall spaces
as
of glazed panels.
series
treated
a
as
they were
The
exterior of King
Henry VII. 's Chapel at
elaborate
Westminster
Abbey is an
example of
at
east
and
west
'
Simultaneously with
this was
developed the beautiful,and essentially
of vaulting known
as
fan-tracery,
English, form
in the
familiar
to
us
ceilings of King Henry
VII. 's Chapel, Westminster
; S. George's Chapel,
and
the
chapel of King's College,
Windsor;
Cambridge,
this
of
method
treatment.
"
That
The
chapter-house,
adjunct
to
feature
peculiar
Norman
times
Bristol
many
this
of
to
was
which
branching
cells,
thousand
where
as
loth
roof
music
to
forms
dwells
die.
graceful
cathedrals, is another
In
English architecture.
rectangular in form, as at
our
this date
the
ARCHITECTURE
OF
STORY
THE
153
circular
or
"
Ut
Rosa
Sic
detail, but
in
is
to
of
which
be
are
of
our
found
record
scattered
is beautiful
dome,
the
monopolise
not
architects,
in
in wood.
executed
complete
most
form
Domorum.
building did
Cathedral
attention
ista
Domus
ceiling,in the
The
florum,
flos
as
it did
in
France.
of Gothic
progress
beautiful
parish churches
of the
over
and
the
fifteenth
centuries
abound
All
of
the
with
typicalEnglish Church
with
side aisles and
a clerestory,
plan has a nave
chancel
with
east
end, west
a
long, narrow
square
The
south
most
important
doorway.
tower, and
churches, as those of Boston, Grantham, Coventry,
in dimensions,
rivalled the cathedrals
etc., almost
with
and
frequentlyhad a south door enriched
the
finest
examples.
The
STORY
THE
154
vaulted
OF
ARCHITECTURE
with
porch,
other
libraryor
rooms
it.
over
Except
or
in
find
isolated
in the
found
open
these
ceilingswere
not
of them
we
remarkable
great elaboration.
with
often
porches,
By
skilful
means
outward
reduced
carried
by
in
Instead
parish churches.
timber
roofs, treated with
ingenuity, and
of
small
scale, as
instances, vaulted
on
difficulties.
structural
The
brackets
and
trusses
and
of
famous
most
Westminster
of
Hall,
all
London
is
the
great
roof
(1397),covering
these
that
would
found
eyes
old
period necessary
the historyand
to
of
In
the
walls
been
by
history,
be
may
have
who
lost,
those
it ; nor
is more
than a slightacquaint*
each
features
of
characteristic
the
:,ee
with
a.nce
the
upon
Much
churches.
have
otherwise
written
to
parish
work.
mouldings
Mouldings
and
decorated
with
of
which
enable
to
student
to
read
ornaments
the
any
took
the
are
thirteenth
ornament
the
place
of
very
century
other
of
the
great value.
were
than
axed
seldom
dogtooth,
zig-zag
the
ARCHITECTURE
OF
STORY
THE
'55
bold, undercut
mouldings
gave strong effects of lightand shade, and required
little enrichment
carved
foliage was
crisp,
; the
bulbous, treated conventionally,
of
the
The
Normans.
and
wards,
boldly outappearing -to
curved
grow
out
The
the
of
period
the
of
face.
sur-
mouldings
Decorated
less
were
and
dom
sel-
were
undercut
fined,
de-
the
istic,
naturalfoliage was
representingoak
and
vine
leaves, Or FIG. 48." Early English Capital,
the
sea-weed, and
In
ball-flower supplanted the dog-tooth ornament.
the
Tudor-rose, portcullis,
Perpendicular work
and
fleur de-lys appear
ornaments
as
richly
upon
panelled wall surfaces; mouldings
wide and shallow, and of secondary
were
and
Norfolk
In
importance.
Suffolk
the
panels on the exterior
wall surfaces
werefrequently filled
in with
with
flint work.
elaborate
Wooden
tracery
screens
shut
off
the
FIG.
49.
Ball-flower
chancel.
In
is the
strikingcontrast
almost
entire
to
later
absence
times
of
ornament.
nicipal
mu-
56
THE
OF
STORY
ARCHITECTURE
guilds could
municipalities nor
assert
pendent
inde-
an
existence.
In
addition
the
followingare
styles:
buildings mentioned
the
to
good examples
of
the
above,
respective
"
EARLY
Cathedral
Worcester
Fountains
York
ENGLISH
Choir.
Abbey.
Cathedral
Ely
Cathedral
St.
Saviour's
Transepts.
Choir.
....
Southwark
Church,
Peterborough Cathedral
Glasgow Cathedral.
Boxgrove Priory, Sussex.
West
Front.
Lady
Chapel
DECORATED
Ely
Cathedral
and
Lantern.
York
Nave.
Cathedral
Merton
College Chapel,
Abbey
Tintern
Oxford.
Choir
East
Ripon Cathedral
and
septs.
Tran-
End.
Cathedral.
Lichfield
PERPENDICULAR
Gloucester
Choir
Cathedral
and
West
Front.
Chapel, Warwick.
Beauchamp
Bath
Abbey.
Manchester
Cathedral.
Winchester
Cathedral
Magdalen
ITALY.
are
not
In
the
to
"
West
Front.
College, Oxford.
^Yhich
architecture,from causes
took
seek, never
deep root in Italy
utterly unsuited
place, the style was
Gothic
far to
first
of the country.
The
Italian
STORY
THE
ARCHITECTURE
OF
157
the
from
cool
resort
a
as
regarded his church
windows
the small
eternal glare of the sun
; and
its gratefulgloom, were
of the basilica,with
more
of the
walls of glass
the
his liking than
to
his neighbours. Again,
style in vogue
amongst
the
time
of the
Roman
from
empire, classical
been
tradition
had
strong throughout the
very
The
country, and had permeated its architecture.
familiar
Italian
with, and
was
justly proud of,
"
"
the
classical
architecture
forms
of
the
which
upon
had been modelled.
Rome,
Europe
of Western
The
Gothic
of his ancestors,
builders
did
Italian
relied
was
not
never
grafted
Italian
upon
Gothic
of Roman
the
and
Francis
of
rare
frescoes
marbles.
itself of the
was
was
that
influence
its introduction
It owed
or
to
brought them
civilisation.
the outer
Many of
built by
were
largest churches
monks,
the
monks"
rich and
divested
never
with
earliest
him.
was
into contact
these
with
traditions.
mendicant
with
introduced, therefore, it
foreign or imported style,which
the older
forms, with the result
Gothic
as
with
decorated
were
surfaces, which
mosaics, or veneered
received
favour
struction
conprinciples of Gothic
appeal to him, for the mediaeval
constructive
a
designer. He
wall
effect upon
large unbroken
for interior
When
find
should
scientific
the
Moreover,
the
whose
Dominicans
Assisi,the
founder
travels
Franciscans.
or
of
the
S.
Franciscans,
158
died
in
body
1226,
was
Although
shows
of
the
church
well
as
S.
strong
Francesco
Italian
which
enshrined
remarkable
most
designed by
of
church
the
Gothic,
ARCHITECTURE
OF
and
one
Italian
of
STORY
-THE
as
one
at
influence
the
earliest.
architect, the
(1228-1253)
Assisi
in
examples
of
German
his
its
composition.
to
Internallythe architecture is quite subordinate
the decorative
for which
the wall spaces
paintings,
with which
were
intended, and
they have been
filled.
lower
The
church
church
the
is built in two
stories
in the
the
vaulting over
high altar is
enrfched
with frescoes by Giotto ; so small,however,
the light,
the window-openings, and so dim
that
are
it is not possibleto fullyappreciate the detail of the
paintings,unless it be for an hour or two on the
brightestdays.
S.
Francesco
contains
the
shrine
of
S. Francis.
His
in
Rome.
most
successful
completed.
In
is little,with
the
never
there
OF
STORY
THE
ARCHITECTURE
designs
exception of the details,
the earlier Romanesque
distinguishthem from
and
Siena
buildings. At
arch
is freely used, while
effect is gained by the
use
Orvieto
a
the
round
striking
interior
alternate
bands
of
marbles.
white
and
these
of
some
to
black
159
The
fagade in each
is a rich composition of coloured
case
marbles,
three
with
gables, and a deeply recessed
triple
mosaics.
porch, enriched, at Orvieto, with gorgeous
of
The
of the
love
Italians
for
colour
decoration
in
filled with
The
cathedral
fifteenth
Here
but
thinking
whole
the
the
dome
everything
architect
made
added
was
is
on
the
by
1294
until the
by
colossal
mistake
of
that
with
which,
in
would
have
bays, is
when
century,
Brunelleschi.
scale ;
of
Florence, begun in
not
Cambio, was
completed
del
Arnolfo
alabaster.
invest
the
largeness of parts would
dignityand grandeur. The vast nave,
French
design of similar importance,
been
subdivided
into
ten
or
twelve
here
direct
contrast
to
is the
remarkable
in the
multiplicityof
of
its detail.
the
cathedral
The
Duomo
at
at
Florence
Milan, bewildering
160
THE
perfect
forest
and
STORY
of
OF
ARCHITECTURE
pinnacles, decorated
with
rich
intricate tracery,"
A
of
mount
marble,
hundred
spires!
belt of
famous
The
influence.
Certosa,
Pavia, begun
at
Carthusian
in
monastery,
or
built entirely
1396, was
vaulting is
Gothic, but in other respects the external design,
with its picturesquely
grouped turrets, round arches,
is thoroughly Romanesque
arcaded
and
galleries,
brick
of
and
marble
The
in character.
the
Here
terra-cotta.
is
facade
Renaissance
addition.
Italians, as
The
decorators
rather
found
natural
art
such
works
as
we
have
were
seen,
great
and
Gothic
constructors,
expression in small decorative
than
porches and
The
porch
tombs,
or
in
secular
Maria
Maggiore
is a
characteristic specimen of this
jit Bergamo
work
fascinatingin its clothing of Gothic detail,
to rely
as
yet built up in so unscientific a manner
for securityupon
a
system of iron ties and clamps.
monuments.
of
S.
"
And
here
it may
be mentioned
that the
use
of iron
THE
tie-rods, which
true
builders
the
principlesof
the
were
in
universal
Italy,
did not
appreciate the
counter-thrust,which
thrust
and
of
Gothic
essence
161
ARCHITECTURE
almost
was
that
indicates
OF
STORY
construction.
No
genius hampered
in their more
them
important designs, so that
decorative
look
to
must
works, such as the
we
of the Scaligersat Verona, for the purest
tombs
expressionof Gothic feeling. Giotto's campanile,
at
Florence, is another
adjoining the cathedral
Gothic.
of Italian
decorative
beautiful example
wall surfaces
The
smooth
are
entirelyfaced with
cately
of it delimarbles, much
panelling of coloured
sculptured in low relief,and the windows
are
unsurpassed for their exquisite detail and
doubt
grace
this lack
; but
constructive
of
there
is
in the
backbone
Gothic
no
design.
the
in
Italy is
their
reflected
in
municipal buildings. Cities,
were
constantly
forming independent principalities,
with one
at war
another, or with themselves, and
the town-hall of necessitypartook of the character
of a fortress.
sacrificed to security,
Elegance was
the lofty
few features
and
were
introduced, save
of which
the frowning cornice, each
and
tower
fulfilled a
In
Venice
definite purpose.
alone,
therefore
and
all-powerful,
peaceful,the architect
able
to
was
give full play to his fancy, and
art
Gothic
rivalled
unproduced examples of domestic
in any
Carrying on
country in Europe.
extensive trade with Byzantium and with many
an
Eastern
developed a unique style
ports, Venice
in vhich
of the Byzantine grace and richness
much
The
wert
civic
blended
life of
with
the
great
Gothic
towns
62
and
THE
which
remarkable
church
""_"_
of
STORY
found
OF
ARCHITECTURE
its
I".'
:;.:_'.'_'
-r~rm
beautiful
that
group
city
the
architectural
of
adorns
Europe,
world."
story
its
of
arcades
and
is familiar,
illustrations
photographs,
readers
the
sign,
de-
double
arches,
from
and
or
The
with
traceried
any
of
in
all parts
and
has
world,
added
from
the
Ruskin,
to
whom
"a
ceived
re-
fame
loving
to
of
pen
it
of
presented
re-
model
of
all
perfection." "The
front
of
the
Doges'
Palace," he writes, "is
the
purest
chaste
model
and
most
that I
can
FIG.
Fa"ade
of
50.
Doges' Palace.
but
the
wall
surface
is
blocks
of pale rose, the
chequered with marble
chequers being in no wise harmonised, or fitted to
the
forms
of the windows
looking as if the
; but
surface
been
had
the
dows
wincompleted first,and
be impossible,
of it.
It would
cut
out
...
STORY
THE
believe,
invent
to
ARCHITECTURE
OF
of all that is in
163
magnificent arrangement
dignifiedand
building most
more
fair."
most
choice
Many
found
and
the
than
Pisani
GERMANY.
banks
the
along
beautiful
examples
"
the
fine
For
many
two
none
Ca
ornate
Gothic
Its
France.
seen
in
d'Oro,
ment
develop-
the
of the
Magdeburg
or
the
earlier centuries.
"
is
more
architecture
it
years after its introduction
the Romanesque
stem,
upon
grafted
styleswhich
are
Palaces.
Germany
directlyfrom
was
irregular,and
exceptions, produced
churches
Romanesque
Canal,
and
Foscari
borrowed
was
the
refined
and
In
of
Gothic
Venetian
of
was
a
Cathedral
merely
fusion
of
(begun
the
massive
lines of the
TO), constructed
on
clothed
with
the
twelfth-century churches, and
details.
little later, in
A
more
graceful Gothic
the
church
of S. Elizabeth
at
Marburg (1250),
find an
we
essentially German
type of building,
1 2
the
"
hall-church," in which
the
clerestory of the
164
until
suspended
ARCHITECTURE
OF
STORY
THE
the
middle
of
the
nineteenth
pleted,
comaisle,and transepts were
in
from
the originaldesigns,in 1848, and
was
complete in all respects, with
1863 the church
the exception of the great Western
spires,500 feet
The
in 1880.
added
style is
high, which were
uniform
throughout, but the later details lack the
Cologne is
vigour of thirteenth-centuryGothic.
the largestof all Gothic
cathedrals, with the single
The
century.
nave,
exception of Seville.
Fine
examples of fifteenth-centuryGothic
found
the
among
are
town-halls.
German
In
SPAIN, ETC.
Belgium the most
BELGIUM,
the cathedral
of the period was
important church
ing
at Antwerp
plan, show(1360),with a remarkable
"
aisles
three
upon
each
side
of the
nave,
and
Flemish
are
of 160
Other
treatment.
found
all of which
at
cathedrals
of
the
influence
of
France.
interest
Louvain,
It
was
windows.
165
ARCHITECTURE
OF
STORY
THE
part of
generally forms
lofty tower
the
design.
In Spain the earliest Gothic
of Burgos (1220)
cathedrals
both
which
cathedral
internal
at
Bourges.
buttresses
take
and
influence
the
show
churches
At
Barcelona
the
thrust
of
built upon
the site of
similar dimensions, a fact
the
Toledo
(1227),
of
the
French
and
Gerona
of the
Seville
they do at Albi in France.
(1401-1520), the largestof all mediaeval
was
were
vaults,
as
Cathedral
churches,
Moorish
mosque
explains the
which
the
country.
VIII
RENAISSANCE
IN
the
classical
Roman
the
any
to
one.
ARCHITECTURE
preceding chapter
tradition
"
derived
we
from
have
the
seen
days
Italy to
that
of the
allow
too
empire was
strong in
be received there with
to
principlesof Gothic
ceased
The
Italian never
degree of favour.
look upon
the style as a foreign, or
imported
The very name
with which
it,
they branded
"
66
"
STORY
THE
Gothic,"which
intended
was
their
from
Gothic
the
realise
When
so
the
modified
by
its characteristic
of
As
example, the
an
noted, in which
colossal bays, each
The
designer did
four
60
feet.
classical
these
that
"
the
was
into
almost
originalmeaning,
barbarous
style
was
that many
Florence
at
divided
of
span
it
used,
was
quite disappeared.
was
"
architecture.
national
architect
great cathedral
lost its
now
distinguishthe
to
style
features
nave
has
own
Italian
ARCHITECTURE
OF
of
ideas
with
not
spaciousness
applied to
fatal when
largeness of parts were
Gothic
designs.
Arnolfo
del Cambio, the architect of the
Yet
of the
cathedral
of Florence, was
one
greatest
Italian architect
No
builders of the Middle
Ages.
has
enjoyed the proud privilegeof stamping his
individualitymore
stronglyon his native city
own
and
"
hill of
her
When
Arnolfo.
than
the
Samminiato,
physiognomy
in
take
we
stand
our
Florence
great
at
feet
our
to
measure
the
upon
this
owes
man.
tall tower
Palazzo
of the
"
"
upon
died
could
octagon,
an
before
143
the
feet
dome,
constructed, and
be
information
1
as
to
Symonds,
the
"The
in
diameter
had
he
as
he
method
Renaissance
had
in
he
designed it,
left behind
he
; but
him
intended
Italy."
no
to
THE
167
ARCHITECTURE
OF
STORY
Nothing further
adopt for covering the octagon.
done
until,in 1417, as the result of a public
was
competition, the task of constructing the dome
intrusted
to
a
was
competitor named
young
is
Brunelleschi.
Now, the story of Brunelleschi
the story of the origin and growth of Renaissance
architecture in Italy.
The
Renaissance, or revival of classical forms
and
the result of a great
in art
literature,was
intellectual
which
movement
manifested
itself in
contributed
which
became
in
the
Italy,of
styles
inherited
and
details
of
the
of
the
builders
unsuitable
These
Renaissance
as
we
was
reaction.
style of architecture,
endeavouring to introduce
have
unpopular, and
seen,
brilliant Italian
the
to
which
Gothic
were
Italy,was,
from
monuments,
might be
studied; the
tradition ; perhaps, too, the
Middle
Ages, against which
this, the
to
which
into
classical
freedom
Added
Latin
old
classical
asceticism
the
and
Many
the fashion,
revival :
reading and studying
authors
; the existence,
"
general, of
Greek
the ancient
the
to
thence
conditions
gave
climate.
Brunelleschi
his
tunity.
opporthe age of twenty-two
he had unsuccessfully
competed with Ghiberti for the great bronze
At
doors
after
way
the
of
this, with
Rome,
to
giving
all
endeavour
classical
his
friend
where
his
spare
of
the
architecture
to
left
Baptistery. Having
grasp
style.
On
he
time
Donatello, he
worked
to
old
Roman
the
true
his
return
Florence
made
his
goldsmith,
the
study of the
empire, in an
principles of the
as
to
Florence
his
168
THE
mind
the
STORY
full of
was
Duomo,
for
been
for
unfinished.
than
more
of
difference
of
manner
no
It was
not, as
apses.
the
that
council
was
in
great
held
course
still
was
best
the
to
as
and
octagon
have
we
in
authority there
opinion
covering the
completing
years,
those
Amongst
much
was
tha
ARCHITECTURE
great scheme
erection
of
OF
the
in
Florence
which
the
definitely settled this great question, when
some
competitors submitted
extraordinaryschemes.
that the dome
should
One
advised
be supported
by a central pillar; another
suggestion, which
seemed
find favour, was
that the
to
over
space
which
the
dome
G""ere.dwith
to
be
after
to
with
mixed
the
dome
the
confident
of
the
without
would
confidence
might
it !
"
sake
the
site for
in
people
be
willing
Brunelleschi
who
only architect
to
of
the
construct
felt
dome
the work
internal supports, and
little
him ; but
intrusted
to
so
the
had
"
be
quite unfitted
for the
unsuccessful
Vasari
successful
ruse
that
rival
successful
of
they
the
nothing of architectural
his colleague. Ghiberti
was
made
task, and Brunelleschi
knew
to
partner.
his
him
in
authorities
construction"
"One
the
were
of
use
appointed Ghiberti
bronze
doors, who
many
find
able
being
accordingly
was
the
the
Coins
that
"
be
should
of earth.
complete
been
have
to
built
earth, so
soil from
they
money
appears
the
was
the
remove
mound
huge
be
to
was
attempts
amusingly
to
get rid
describes
of
his
his
last,
morning,"
he
Brunelleschi],instead
stayed in bed, and
calling for
"
hot
fomentations,
pretended
When
the
waited
to
OF
STORY
THE
have
to
workmen
know
pain in his
of
this, while
severe
heard
what
169
ARCHITECTURE
they
they
do that day,
next
thing ?
arranged all
to
were
side.
they asked
the
Ghiberti, what was
answered
that it was
He
Filippo who
wait for him.
do
But
that, and that they must
his mind
know
?
not
Yes,'
they asked.
you
said
Ghiberti, 'but I will do nothing without
him.'
And
this he said to cover
himself; for not
never
Filippo'smodel, and
having seen
having
'
'
asked
of him
(for fear
obliged to
the
and
how
of
workmen
they were
reply ; let
Commissioners
conduct
to
This
inactive.
remain
'
the
meant
the
appearing ignorant),he
Commissioners
what
he
'
last betook
at
who
provided
to
'
do.
him
then
was
lasted
now
days,
two
themselves
the
to
the
materials,asking
have
Ghiberti,'was
You
exert
work
himself
little.' The
Filippo, and
in his illness,told him
with him
having condoled
of the harm
which
his absence
was
causing to the
Ghiberti
there ? he asked
work.
Is not
ately.
passionFie
Why does not he do something ?
does
wish
I
do anything without
to
not
you.'
could
do
well without
him,' said Filippo.
very
hint
The
not
taken, however, for Ghiberti
was
his salary,without
continued
draw
to
doing any
work, although his removal
was
promised.
Filippo then tried another
expedient. He
presented himself before the Commissioners, and
went
to
see
'
'
'
'
'
"
addressed
has
them
as
follows
'The
sickness
which
taken
passed,' he said,
might have
if
life,and stopped this work : therefore
away
my
it ever
happened that I got ill again, or Ghiberti
whom
be better that
God
preserve! it would
"
'
now
"
THE
170
one
STORY
other
the
or
I have
therefore
divided
have
divide
the
stimulated
concluded
that,as
which
the
This
things
was
settled
the
chain, but
at
last removed
of the
the
knows,
done
to
thus
be
may
the
"
heavens
Ghiberti.
could
make
from
There
bridges
He
and
the
the
works.
work
that, in
so
in
the
struction
con-
frequently
was
the
Florentines
took
nothing of it,
experienced
were
dome,
delayed in progress,
old writer,the vain
"
being
us,
Republic.
be
to
well
as
"
difficulties
Great
be
must
masons
arrangement
in hand
the
to
excellencies
your
he
work
own
is to
will take
much
useful
the
Let
how
show
and
cupola.
his
the
to
which
and
continue
difficult
two
upon
should
salary,it would
of
labour, that each
honourable
are
ARCHITECTURE
OF
words
of
considered
an
that
death.
While
the
carried
out
which
dome
several
and
of
the
churches
each
of
of
the
of
which
nave
Brunelleschi
in
influence
turned
their
the
the
of
Pazzi
earliest
his
S.
Lorenzo
small
dome
and
transepts.
and
over
All
temporaries,
con-
the
in
the
most
Chapel (1420)
pleted
building com-
style. Other
has
his
thoughts
Renaissance
are
Florence,
with
style. One
new
delightfulexamples is
of S. Croce, perhaps
in the
hand
works
smaller
considerable
had
direction
in
was
well-known
S.
the
Spirito,
crossing
the details
are
architecture
who
171
which
careful
familiar.
him
great
Florence
young
was
ARCHITECTURE
models, with
Roman
second
The
OF
STORY
THE
exponent
Alberti
was
while
man
of
Renaissance
(1404-1473),
Brunelleschi's
dome
in
with
accordance
he
his
own
ideas.
Alberti
was
church
we
volutes
nave
for
see
was
the
earliest
connecting
the
instance
of the
use
higher walls of
with those of the aisles,
feature which
a
of
the
was
THE
172
STORY
OF
ARCHITECTURE
constantly imitated
ment
by later designers. The treatthe
church
of the most
one
facade was
the
problems which
early Renaissance
of
difficult
architects had
attempt
no
was
to
solve,and
made
was
new
to
for
one,
in many
of thexhurches
solve it. The
problem
the
architects
could
get
no
the
ruins of the baths, theatres, or
help from
it necessary
invent
their
to
temples, but found
with
clothe
them
classical
to
own
fagades and
The
details.
result was
for
lack of sincerity,
a
the external
casing had no structural connection
with the buildingwhich
it was
designed to mask
The
churches
Francesco
this
of
the
remodelled, and
classical
of
was
by
important works
worthy of careful study as
methods
the
instance
the
of
Gothic
Renaissance.
church
dressed
and
detail
S.
and
Mantua
at
are
latter is
The
illustration
In
S. Andrea
Rimini
at
Alberti.
an
of
up
was
with
entirely
profusion
Alberti's
ornament.
complet
in-
the
work, while very beautiful,exposes
methods
:
falsityof principles of the Renaissance
the builders
regard
disthere was
to
a
tendency among
"that
only law, that Use be suggester of
home
this fact is borne
Beauty," and at Rimini
the visitor. The
pilasters,architraves, and
upon
other
classical
Alberti
which
with
features
has
upon
the
the
interior
walls.
Architecture
time
at
are
at
Florence
de'
Medici,
more
than
this
period
under
the
nobleman
regal
wealth.
was
having
patronage
of
vast
Under
of
great
Cosmo
influence
and
Brunelleschi's
THE
lead
imbued
those
the
there
with
ARCHITECTURE
OF
STORY
soon
up
sprang
the
same
magnificent
173
band
whose
spirit,
monuments
of
of
architects
genius
the
created
Renaissance
these
palaces. Chief
among
the Riccardi
are
(1430) by Michelozzo, the Strozzi
(1489-1553) by Cronaca, and the Palazzi Antinori,
latter
from
Pandolfini, the
a
Guadagni, and
all characterised
are
design by Raphael. These
by solidity and
strength, for they required to
be fortresses
well as
as
palaces : the walls were
in large blocks, heavily
of masonry,
rusticated."
In this rustic work, as it is inaptly named, a deep
the joints,from
which
the face
channelling marks
of the rough stonework
projectsboldly. In some
"
Florentine
"
cases
the
faQade, but
rustication
extends
over
the
whole
to the lower
generally confined
This
treatment
gives a pleasing variation
story.
of light and
time
shade, suggesting at the same
of sturdiness
which
is in harmony with the
a note
Florence.
spiritand temper of mediaeval
In
the Palazzo
is a good
Strozzi, which
type
of the Florentine
palace, the rustication is treated
the whole
simply, but covers
facade. A serious
in the design of many
defect
of these
buildings
is apparent
here
the
uniform
height of the
stories,as indicated
by the string-coursesat the
level of
the window-sills.
This, together with
the somewhat
monotonous
repetition of uniform
detract
the
from
to
windows, tends
grandeur of
the design. To
the defect is redeemed
extent
some
by the great, finely proportioned cornice, which
the building,and makes
crowns
every other feature
subordinate
and of secondary importance.
These
reflect
windows
heavy walls and narrow
it
was
"
174
THE
STORy
the
disturbed
The
torch-rests
and
the
OF
civic
of
gloomy
ARCHITECTURE
life
of
this
wrought metal,
all
entrances,
republic.
great
dim
the
courts,
their
tell
own
the habits
of caution
trace
we
history; in them
the
Florentine
which, of necessity, characterised
leaders.
And
be
as
designs they must
studied,
and their merits
weighed, amidst their own
sunny
in
and
connection
with
the
history
surroundings,
which
they helped to make ; for it is impossible
from
to judge them
their
reproductions
of West-
in the form
clubs
end
in sunless
Seen
London.
Florence,
these
buildings are
great
of
pages
which
he who
read.
may
is indeed
history,
passes
Fitness
of true
architecture,
than
51."
these
Renaissance
represent the
to
embodiment
of
the
and
buildings
few
Capital.
of
one
the elements
FIG.
in
Can
1a y
greater claim
fit expression and
the
spirit of
the
times
which
produced them.
In
Florence
fifteenth
of
the
many
century
craftsmen
on,
under
the
goldsmith,
craftsmen
decorative
one
were
"
of
trained
in
rooms
roof,
and
the
the
the
architects
in
the
which
arts
of
of
the
workshops
were
the
carried
painter,
sculptor. By these
details were
the
new
developed in
accessories, such as altars,pulpits,and
ARCHITECTURE
OF
STORY
THE
175
is most
the work
of which
many
the
refined ; indeed, in many
cases,
much
works
architectural
are
artistically
in
monuments,
delicate and
subordinate
the
than
"
of
execution
detail.
every
Milan
first of
the
was
took
architecture
new
first
time,
root
into
come
we
the
cities
;
and
architect,Bramante,
in
the
eventually culminated
great
in
Peter's
of
we
his
of
were
have
the
in
not
was
the
whose
third
work
design
Rome,
1444,
of
already in existence.
a
great Raphael, he was
town
but
be mentioned
may
church
of S. Maria
of
Urbino.
His
chief
Like
native
works
buildings in Milan
considerable
portion of the
the little
delle Grazie, and
among
a
when
buildings which
were
the
small
until
born
Florentine
great
noticed
nephew,
the
the
Rome.
Bramante
many
the
here, for
with
contact
great Renaissance
S.
which
in
his
STORY
THE
176
ARCHITECTURE
OF
profusion of marble
richly and
ornament,
delicately wrought, like the ivory carving of a
casket, but quite inappropriatefor its position.
Renaissance
The
half
fact, been
In
later
century
the
in
Milan
about
was
Florence, having,
by
there
Florentine
still later
style was
Venetians
The
than
introduced
Venice
in
movement
in
in
artists.
appearing.
this
well satisfied
period were
with
their architecture, and
well they might be,
for,as we; have seen, the Gothic
style,tinged and
enriched
by Byzantine influences,had produced
buildings of exquisite beauty and design. The
security and prosperity of the city rendered such
fortress-like
architecture
the
cities hated
two
not
surprising,then,
to
borrow
neighbour.
reluctantly;
Gothic
the
there
was
and
the
Florentines
the
her
at
another
one
that
forms
She
forms,
Venice
adopted
as
small
in the
The
of
Florence
state
of
war
Venetians, and
cordially. It is
should
architecture
of
first in
that
as
; moreover,
unnecessary
between
at
be
from
slow
her
the
style somewhat
details,grafted upon
Porta
dellg,flart^ of
design ol
tms
gateway
arches.
dei
of S. Maria
delightfullittle church
^iracoli^one of the earliest examples 6F~the new
styleTweseethe influence of Byzantine tradition.
the
This
influence
is suggested, externally,in
cupola and the semi-circular roof and pediment,
In
the
THE
all of
the
which
would
neighbouring
incrusted
are
The
OF
STORY
with
fagades
seem
S.
an
the
of
Zaccaria, show
from
the
Under
and
as
of
would
same
"
to
Mark's.
be
177
borrowed
from
Inside, the
of
S.
walls
marbles
inlay of coloured
school
FIG. 52.
S.
ARCHITECTURE
Mark,
and
of
Spinelli Palace.
features
manifestly borrowed
source.
the
THE
178
Florentine
STORY
model
OF
ARCHITECTURE
in the Renaissance
palaces,which
chieflyfound
"
similar
features.
the
first half
the
this
the
sixteenth
century
so
great
an
movement
given to the Renaissance
its culmination
in
this short period witnessed
contributed
which
city. The causes
chieflyto
impetus
that
of
was
result
were
the
of the
succession
strong and
ambitious
Brunelleschi
Bramante
appears
had
not
been
to
to
have
Florence.
been
an
especially
STORY
THE
OF
ARCHITECTURE
179
FIG.
53.
"
Courtyard,
Cancellaria
Palace.
laria,has a
treated, with
between
the
shows
borrowed
from
the
Florentine
architects, which
became
details of Roman
have
buildings,
builders.
many
other
strange history.
l8o
THE
They
STORY
ARCHITECTURE
OF
monolithic
originallyformed
of Pompey
the first
part of the great theatre
theatre of Rome, built about 55 B.C.
stone
During
the Middle
Ages this building suffered the usual
used as a quarry for stone
and marble,
fate,and was
are
shafts,and
"
from
which
the
basilican
church
of
S.
Lorenzo
almost
entirelybuilt. Bramante
pulled down
the greater portion of the
basilica,in order to
build
the great Cancellaria
palace for Cardinal
Riario,using,amongst other materials,fiftyof the
was
old
columns
Bramante's
for
his two-storied
culminated
work
arcade.
later
in
the
great
great task
of
Greek
in
to
cover
with
1506.
cross
"
the
His
cross
with
an
"
THE
OF
STORY
181
ARCHITECTURE
interruptionfor eighteen
reverted, in the essentials, to the
progressedwithout
work
He
years.
with
with
such
exception of
the
left behind
He
east
him
the
were
dome
model
covering.
of all the
completed
Vignola, Giacomo
of the
and
complete
parts, which
unfinished
the end
front
Fontana,
under
before
century.
variation
the
; but
architect
to
in the
seventeenth
Pope
Paul
V.,
century
set
Maderna
himself
the
task
added
two
bays to the
improving upon it. He
into
thus transforming the plan from a Greek
nave,"
and
Latin
destroying the proportions,
a
cross,
the existingtasteless facade,which
and he erected
from
completely shuts off the view of the dome
the front. The
splendid colonnade, which encircles
added
later by Bernini
the piazza,was
(1629-1667).
S. Peter's,thus
completed after an interval of
The
in existence.
1 60
years, is the largestchurch
feet
600
central
vast
aisle,nave, and choir, almost
into only six bays ; the nave
in length,are
divided
itself has four bays only. Over
the crossingof the
transepts haffgsthe great dome, 140 feet in diameter,
risingto a height of 400 feet. With so few parts,
in a building of such colossal dimensions, it follows
of
"
that
all the
parts
must
themselves
be
on
vast
to
an
82
THE
estimate
parts,
STORY
ARCHITECTURE
size ; there is no
multiplicityof
Gothic
the eye,
design, to confuse
of
the
in
as
OF
lies a
apparent size. Herein
Rome
serious defect in the design.
disappoints
much
me
\ S. Peter's,perhaps, in especial,"writes
be
Clough, and this impression of S. Peter's must
for the colossal scale
shared by almost every visitor,
of the interior,
in the absence
of smaller
details,is
the observer.
lost upon
Externally,the fagade is
ruined by the clumsy work of Maderna;
but from a
distant point of view the mighty dome, dwarfing all
other buildings,and
air,
seemingly suspended in midis an
be forgotten.
never
impression that can
and
increase
so
the
"
"There's
will,that
dome
and
mist
And
it is
when
kind
of
follows
to
it.
rest
Go
where
and
Again
the
out
perhaps only in
is enabled
in
you.
blot
may
one
miracle
again,storm
that
"
remains."
this
the
contrast
great
us
story of the
down
to
the
seventeenth
middle
Vignola
of
the
sixteenth
century
classical
the
upon
angelo.
Michel-
of
old
Rome.
Many
treatise
had
orders
inventive
and
simple
work
in
of the
great
led
to
classical
buildingsby
angelo,
Vignola, Michelwere
studiously
"
"
detail,unlike
earlier
by
notable
In
phases.
details of
the
Renaissance
influence
more
carries
During
century.
in progress,
150 years that the work was
architecture
passed through various
the
fully
can
S. Peter's
building of
with
mass
the
The
you
the
period.
free
The
and
desire
STORy
THE
and
for
simple
of
treatment,
two
it is
as
has
it
left his
order,
first to
familiar
made
was
bracing
em-
subject,which
greatlyinfluenced
the
wrote
impress
order
the
not
in this direction.
architecture
our
but
method
new
Palladian
was
upon
in England, and
read
to
the
"
Palladio
he
183
colossal
one
stories
treatment,
which
widely
was
of
use
three
or
this
book
the
ARCHITECTURE
effect led
grand
called.
introduce
by
OF
Italian
No
tect
archi-
stronglyupon English
architecture
Palladio.
as
Possibly his influence was,
in part, due tolHe
fact that he taught, better than
of obtaining good effect
else, the method
any one
a design
cheaply and simply, that he could make
rich without
and
grand without great dimensions
much
expense," by the somewhat
unworthy use
his
coated
with
which
he
of plaster or
stucco
buildings.
so
"
"
FRANCE.
While
"
busily reviving
their
and
vigorous
full of
the
Renaissance
But
at
the
of
these
their
old
national
of
the
and
had
fifteenth
for
no
century,
became
fired with
splendid residences,
train
France
several
Italian
long
in
was
time
it.
upon
when
the
effect
French
the
s
vitality
j
were
architecture
style in
Gothic
movement
end
the
with
monarch
Italian
country, the
own
wars
the
architects
the
ambition
into
tact
con-
Italy, the
to
imitate
in
brought back
architects, whom
they
and
national
Gothic
traditions
were
very
strong,
84
THE
STORY
OF
ARCHITECTURE
details could
long time only the minor
be introduced, while the general plan and
position
comof the designs continued
to be unaffected.
There
ensued, then, a long period of transition,
classical details were
when
Gothic
grafted upon
at the chateau
designs, in the way we find them
Here
the portion which
built for
of Blois.
was
curious
Louis
a
XII., about
blending
1500, shows
of the styles: the general impression is of a Gothic
influences are distinctly
seen
building,but the new
in the stronglyemphasised
in the mouldings and
lines.
It was
horizontal
until the reign of
not
the new
architecture
became
Francis
I., when
fashionable,that .the classical forms began to assert
dominate
themselves
and
the design.
The
to
Transitional
work
this period, the
beautiful
of
Frangois Premier," as it is called,is full of charm,
the Renaissance
of Italy in three
differingfrom
characteristic
features,as the result of the influence
in France.
tradition
of Gothic
These
special
features
are
(i) a picturesquenessof composition
of outline ; (2)the steep-pitched roof, with the
and
natural development of dormers
and high chimneys;
and
(3) lack of symmetry and of formality of plan.
best examples of the FranQois Premier
The
style
the
the
are
palaces built by the king himself
north
wing of the chateau of Blois (1525) with
its famous
external
staircase,the great palace of
At
Fontainebleau, and the chateau of Chambord.
Chambord
(1526) we find greater formalityof plan
than
usual
was
during the earlier period, and an
elaborate roof
almost
overweighting the design
with
multitude
and
tall chimneys,
of dormers
a
and
for
"
"
"
"
crowned
in the
centre
with
fantastic lantern.
STORY
THE
185
ARCHITECTURE
OF
Azay-le-Rideau,and elsewhere
dotted
throughout the district of Touraine, the
to
of the nobility bear witness
delightfulchateaux
Chenonceaux,
At
the
memorable
times
banks
of the
the
on
In
Loire.
these
find
the
characteristics
same
and
roofs
steep
""
of
most
we
his court
held
Francis
when
elaborate
dormers,
angle tourelles, and
emphatic horizontal
string-courses and
The
cornices.
est
great-
was
undertaking of
reign, however,
the
rebuilding
of
the
the
Paris, which
in
in
Louvre
about
hand
put
was
1545,
the
shortly before
Serlio,
had
Francis.
of
death
an
consulted
been
the
about
but
Italian,
designs,
work
the
FIG.
was
entrusted
to
Azay-le-Rideau.
Lescot,
under
whom
sides
of a vast
palace comprising two
erected.
The
work
courtyard was
progressed
time
the
to
throughout various
reigns down
Louis
XIV.
of
not
was
actually
(1660), and
half
the
"
architect, Pierre
French
54.
"
"
finished
when
until the
Napoleon
middle
of the nineteenth
III, added
the
north
century,
and
south
86
STORY
THE
fa"ades. Thus
of
extensive
completed,
all European
excellent
an
record
of
The
Renaissance.
Corinthian
with
ARCHITECTURE
OF
the
palaces, and
the
design
order
is the most
Louvre
supplies
of
progress
has two
main
French
stories,
pilasters below
of
and
these
is a low attic story.
composite above ; over
Some
of the sculptured work, by Jean Goujon, is
thian
especiallygood. The well-known
imposing Corincolonnade
of
the
Hotel
the
In
the
early period
court
the
was
from
1550
an
de
Catherine
(1564),
several
first time
in
French
bands
the
pilastersand
Delorme
introduced
for
carved
the
The
introduction
across
broken
with
story crowned
speciallycharacteristic
Renaissance.
intervals
at
the
of these"
; two
walls,and
the
attic
were
Philibert
architecture
of rustication
the
by
Medici
features
the
"became
the
of
in
of
the
of
work
the
feet
600
designs
fire.
for
Ville
de
front,almost
east
ments
pedi-
statuary
of
later
French
of
the
broken
in
imitation,perhaps, of Michelangelo's
in
Medici
work
the
chapel at Florence, was
probably due to Catherine's suggestion. Be that
the idea found
with the French,
it may,
favour
as
and
has remained
the feature
popular with them
the present day.
to
pediments,
Towards
architecture
the
the
had
Transitional
end
lost
of
the
much
sixteenth
of
the
century
the
of
earlycharm
of the buildings
STORY
THE
of
the
and
Louvre
187
ARCHITECTURE
OF
the
of
date
Tuileries
from
this
"
"
central
great
London.
of
The
wood
stone,
these
noticed
often
is
"
dome
like
loftyexternal
covered
with
built
designs
that
that
on
of the
there
stateliness
cupola
lead
smaller
later
of
the
S.
Paul's
is constructed
true
dome,
of
In
all
inside.
scale
in
it will
Renaissance
be
is greater formality,symmetry,
of
design, but a lack of the
of the
earlier period.
One
picturesque charm
special feature of the Gothic
style,however, was
always retained in the French
buildings the steepin
the
and
seventeenth
pitched roofs ; and
Mansard
roof
eighteenth centuries the massive
formed
a very
prominent feature in the design.
"
"
"
ENGLAND.
Gothic
have
architecture, we
seen,
had run
its course
uninterruptedly in England for
fluence
centuries, little disturbed
by foreign inmany
the
Tudor
Gothic
of
True, the
sixteenth
somewhat
a
degenerate form,
century was
it was
but
fine buildings,and
producing many
the domestic
mansions
of the style such
as
we
find at Haddon
Hall, in Derbyshire (about 15^0)
"
"
"
"
88
OF
STORY
THE
well suited
ARCHITECTURE
the
hospitablerequirements
of the time.
It was
natural, therefore,that there
should
have
intervened, as in France, a long and
interestingperiod of transition before the newly
imported classical details could displace the older
"were
Gothic
forms.
This
with
to
Transitional
period
commenced
practically
the
(1558), when
reign of Elizabeth
attention
court
classical
to
began to give much
studies,and to introduce
numerous
foreign artists
and craftsmen.
At this time, and especially
during
the early part of the century, there were
enormous
numbers
of foreignersin England
French, Dutch,
others ; in fact, the presence
of so
Italians,and
aliens led to a good deal of unpleasantness
many
the
"
and
to
even
then
riots.
The
native
workmen
plained
com-
as
"
and
country,
to
be
done
thus
by
lessened
the
the
native
of
amount
craftsmen.
In
since
of
this
work
this
minor
way, in the first instance,foreign ideas and
into the
classical details began to find their way
medium
came
of such
more
into
accessories.
vogue,
books
As
classical culture
upon
Renaissance
architecture
and
art
into
English,and
the
influences
and
the
Soon
these
while
the
under
The
forms
the
the
sway
noble
"
familiar
Gothic
classical
and
entrance
underwent
details
builders
the
mansion
appear,
dis-
began to
doorways.
the design,
a
gradual
more
movement.
new
Elizabeth's
of
Tudor-chimnied
to
and
more
came
these
orders
incorporated in
and
Italian
Under
tended
features
surfaces
of
from
freely read.
were
became
as
translated
were
clothing of
wall
adorn
change,
189
ARCHITECTURE
OF
STORY
THE
pile of
time, the
mellow
work"
brick-
period. In
of these
buildingsit is interesting
the classical details gradually crept in,
how
to note
first
while
at
the general Gothic
dispositionwas
Haddon
Hall
unaffected.
At
(1540) the Tudor
tions
element
predominates, passing, in the later addiand
alterations,into the earliest Elizabethan.
the characteristically
Here
see
English feature,
we
the great square
bay window, divided into smaller
and
of mullions
transomes.
lights by a number
is seen,
influence
of the Perpendicular Gothic
The
Hall, where the design is almost
too, in Hardwicke
windows, so that
overpowered bv the enormous
the rhyme.
belongs
examining one
be
to
this
Transitional
Hardwicke
Hall,
More
than
glass
wall,
The
true.
pierced parapet,
literally
which
the building,is a feature of frequent
crowns
find it pierced into
in
occurrence
:
places we
the form
the piercing takes
patterns ; sometimes
the design
Hardwicke
At
of a sentence
motto.
or
of
shows
the initials,
E.S., of Elizabeth, Countess
seems
to
190
STORY
THE
FIG.
Shrewsbury,
Hall, Notts
ARCHITECTURE
OF
55." Tower,
who
built
the
(1590),has
an
"
of
Wollaton
in
Wollaton
Hall.
mansion.
Wollaton
earlyexample,
in
the
"
a feature
ornament,
Renaissance.
The angle
strap
the
illustration shows
also
THE
the
free
in vogue
details.
Inside
use
of
the
STORY
of the
OF
three
clothing the
Elizabethan
ARCHITECTURE
191
the
orders, and
wall
surfaces
mansions
with
the
method
classical
prominent
staircase of oak
broad, massive
the
great hall,
or, less frequently,of stone, and
timber
panelled or hung with tapestry, with open
minstrels'
roof, bay windows, and
gallery. In
often found
a
on
largermansions
great gallerywas
the first floor,extending, in some
cases, the whole
House,
length of the building, as at Montacute
and
the gallery is 20 feet wide
near
Yeovil, where
less than
feet in length.
no
170
mansions
of the period are
Few
more
interesting
than
Burghley House, in Lincolnshire, built for
the celebrated
Lord
the building
Burghley. On
there are
several dates, ranging from
to 1587,
1577
that it probably took about
ten
so
years, between
been
these
Letters
which
have
dates, to build.
Lord
found
the
building, from
referring to
throw
workmen,
Burghley to the builders and
the manner
in which
some
light upon
building
carried
in those
on
operations were
days. The
workmen
tions,
direct to the employer for instrucwrote
and
the
details of
all the
design were
referred, not to the architect,but to the employer
himself.
The
latter would
settle many
questions
without
of the
outside
assistance, but for some
obtain sketches
more
important features he would
or
suggestionsfrom different architects in London,
that the ideas of several
architects
so
might thus
be embodied
in the same
building. In Burghley
House
of
the greater part of the design is the work
John Thorpe, an architect who was at the time head
features
were
the
STORY
THE
192
ARCHITECTURE
OF
to have
profession. The employer appears
been personallyresponsiblefor much
of the detail :
he would
of his information
naturallyglean most
from
books, and, in this instance, was
thoroughly
imbued
with
the
are
orders," which
imposed
super-
of
his
"
in
carried
which
to
Italian
the
in the
excess
shaped
are
like
The
manner.
of
treatment
columns,
the
craze
chimneys,
bases
with
is
and
entablatures.
small
carry
of the
designs a good deal of the
many
builders
the
introduced
:
was
personal element
caps,
In
and
by restrictions,and, if a
a
designer had what he considered
happy idea, he
that we
free to embody
it in his design, so
was
occasionallyfind quite childish freaks perpetrated.
and
In an interestingcollection of sketches
notes
London,
by John Thorpe, in the Soane Museum,
were
hampered
not
orders, and
some
plans and drawings of a house which Thorpe
The
plan of the building
designed for himself.
is in
form
of the designer's initials,J.T.,
the
the two
portions of the building being connected
Beneath
the plan he had written :
by a corridor.
there
are
of
the
letters,J and T,
Joined together as you
see,
Is meant
for a dwelling-house
for
careful
some
These
studies
two
Although in
the plans were
of
some
the
more
me.
classical
designs
the
symmetrical, in other cases
Montacute
House,
arrangement was quite fanciful.
with
its vast
gallery,already referred to, showed
in those
uncommon
days, in the shape
a plan not
of
E
letter
the
perhaps a courtier's graceful
But the courtiers
compliment to Queen Elizabeth.
"
OF
STORY
THE
ARCHITECTURE
193
the
was
plan, that comfort
with Bacon,
sacrificed to appearance,
not
believing,
live in, not
made
look
to
that houses
to
were
were
excellently
on," and the interior arrangements
designed to cope with the lavish hospitalitywhich
prevailed in the "spacious days" of Elizabeth.
Very suggestive of the open house are the legends
found
carved
the ornament
often
amongst
; thus,
took
whatever
care,
"
front
the
over
yours,
run
"
friends
my
the
words
:
gate,
; while
"
come
none
at
entrance
"
Montacute
round
the
this
Through
too
early, none
And
garden porch
wide
opening
return
too
late."
other
Among
be
and
in
famous
mentioned
Knole
Elizabethan
in
Longleat
House
in Kent
Wiltshire,
the
may
Penshurst
latter remodelled
at
the
the
reign
"
Exhibition
Paris
the
During
of
"
mansions
reign
of 1900.
of James I.
"
(1603-1625),
"
the
used
were
Jacobean
period, classical forms
more
freely than ever ; or perhaps we should
say,
details were
forms
of classical origin, for the
so
be barely recogand
caricatured
distorted
to
as
nisable.
Audley End
by
(1603-1616), erected
the
Earl
of Suffolk, in Essex, one
of the most
mansions
of the period, is said to have
notable
been designed from
model
a
brought from Italy at
in
modified
of ^"500 ; but the style was
cost
a
so
Cosmo's
transmission
find Prince
that, in 1669, we
Italian
the
an
design, and
criticising
secretary
of his
failing to recognise in it the architecture
native
land.
The
architecture
of the
palace,"
"
"
"
"
"
THE
194
STORY
OF
ARCHITECTURE
he
not
regular,but inclined to Gothic,
says, "is
with
mixed
little of the Doric
Ionic."
and
a
If,
Italian
failed
to
then, a contemporary
recognise
been
the styleof the period, though it had
duced
introfrom
his own
country, it is small wonder
that we
find difficulty
in tracing and
accounting
for all the
features.
forms
and
Certainly this
Elizabethan
is one
of the
Jacobean work
curious and puzzlingtransitional stylesknown
most
in history. Buildings of the same
date
show
an
and
extraordinarydiversityin both the amount
the
In
character
some
with
of
and
of
the
cases
the
Gothic
uncertainty
be
the
in
classical features
designs
are.
introduced.
mediaeval
buildings
good deal
as
their
should
Evelyn, when
visiting
it in his diary as
"a
mixed
Audley End, noted
fabric betwixt
ancient
and
modern, and, without
of the stateliest in the kingdom
comparison, one
;
and Samuel
Pepys was
puzzled by the architecture,
but admired
of the ceilingsand
the stateliness
the form
of the whole, and drank
admirable
most
a
drink, a health to the King."
put
place.
"
"
It
end
and
man
but
was
in
natural
reaction,and
of
dignified use
a
under
this
that
a
to
return
the
classical
the
influence
whose
confusion
the
should
correct
more
orders.
The
disorder
gave
first great
styled our
Renaissance
architect,was
Inigo Jones.
Inigo Jones (1572-1652) had studied in Italy,
especially at Vicenza, the birthplace of Palladio,
way,
and
where
master's
he
who
came
work.
to
may
under
be
the
influence
Returning
introduce
the
to
of
that
England,
monumental
he
great
deavoured
en-
style of
at
Chiswick,
a
on
he
works,
duced,
repro-
His
arrived
have
villa
smaller
Vicenza.
at
195
Devonshire's
first
his
of
one
of
Duke
the
in
Palladio, and
ARCHITECTURE
OF
STORY
THE
he
when
the
received
commission
for
palace at Whitehall
The
I.
Charles
designs for this great building,
the noble composition of the Banqueting Hall
and
sufficient to place
the only portion erected
are
of the
the foremost
masters
Inigo Jones amongst
of this facade, with
The
Renaissance.
treatment
with pilasters
stories ornamented
rusticated
its two
and
engaged columns, is suggestive of Palladio,
noticed, frequently superimposed his
who, as we
stories under
one
orders, instead of grouping two
Palladian
order in the so-called
style.
in his opportunities than
fortunate
More
Jones
Sir
his great successor,
Christopher Wren,
was
the central
history,
figure in English Renaissance
the
left his impress so
who
unmistakably upon
to
design
immense
an
"
"
'
\Vren
was
made
the
London
new
sprang
One
of
cleared
in 1666
earliest
his
the
field
works
completed
after the fire was
Temple Bar, erected in 1670, and
later (in 1878), in which
centuries
removed
two
had
excellent
we
an
example of his style,and of
his judicious use
In
connection
of
ornament.
for
with
his ecclesiastical
work
it must
that
Wren
upon
to
was
hurriedly, and
called
at
very
designs were
hampered
and
invariablyby lack
small
be remembered
build
cost.
large churches
His
church
by various considerations,
of funds, but he succeeded,
THE
196
almost
in
STORY
without
simple
Before
and
the
ARCHITECTURE
OF
old Gothic
cathedral
destroyed by fire,Wren,
to survey
it,had given an
he
stated
that
the
who
S. Paul
been
had
adverse
columns
of
instructed
report, in which
giving way
were
was
under
the
He
made
various
weight of the heavy roof.
recommendations, but the debate upon his report
"dragged out, in the usual way, for many
months,
and
until
the question
nothing was
really done
was
finallysettled by the great fire and the total
"destruction of the building. In a strikingpassage
in Evelyn's diary, dated
six
August 27th, 1666"
the
fire broke
he states
that
out
days before
and
several
he, with Wren
experts, surveyed the
that day, and
concluded
that
structure
a
new
"and
had
we
building was
a
mind,"
necessary;
he says,
noble
it with
to build
a
cupola, a form
not
in England, but of wonderful
as
yet known
grace." Some
passed, however, before the
years
"
"
committee
be
could
restored
whether
settle
their
on
old
lines,
be
design should
until 1675 that the
entirely new
was
not
in
hand.
with
As
plan
the
was
S.
Peter's
Greek
authorities
from
the
would
we
"but the
.a
as
screen
this
see
unto
two
upper
with
detracts
with
not
ecclesiastical
extended
design
cross,
to
form, and
is
sham,
nothing behind
from
the
it.
for
architectural
but
ingly
accordexterior
the
put
departure
was
it
it
original
Corinthian
the
it
and
arms
this
In
cross.
stories of
story
equal
an
was
WTren's
four
agree
Latin
cathedral
new
should
whether
or
erected
Rome,
at
ruins
the
order,
is
merely
deceit
merit
such
of
ARCHITECTURE
OF
STORY
THE
197
dignity which
be lacking to the
otherwise
would
composition.
the
The
west
dome, resting upon
front, and
surrounded
by a fine peristyle,
lofty drum,
a
successful
the
most
features, leading most
are
"The
critics to endorse
Fergusson's encomium.
"he
exterior of S. Paul's,
says, "surpasses in beauty
class
of design all the other examples of the same
have
which
out
whether
and,
distance
or
least,
at
and
grandest
in
churches
from
seen
it is,
near,
carried
been
yet
adds
it
design, though
the
of
one
ternally
ex-
the
beautiful
most
S. Paul's
Europe."
the
and
century
half
FIG.
and
while twenty
building,
a
dozen
in its
in
popes
had
hand
a
architects
Section
Dome,
shows
the
S.
Paul's, the
dome
is built
cupola
wide
S. Paul's.
is carried
of
at
the
hemisphere,
top.
with
dome,
The
on
outside, is constructed
covered
scale,in woodwork
built up
between
lantern.
Thus
these
the
"
as
dome,"
we
much
with
two,
opening
an
which,
The
inner
up.
in the
almost
brickwork
in
up
by
method
illustration
form
through
construction.
The
in
56.
carries
which
it from
see
the
feet
the
imposing
more
lead ;
20
brick cone,
heavy
forms
so
stone
con-
THE
198
spicuous
the
true
OF
ARCHITECTURE
is, in reality,merely
feature
masonry
inner
the
are
STORY
domes
the
"
structural
the
cupola, and
central
sham
portions
"
which
cone,
is invisible.
construction, and,
As
this feature
domes
at
in
S.
either
seen
doubtless
Italian
Had
been
he
built
certainlythe
interior
of
S.
Paul's
exterior,but
the
It does
he
expense,
cheaper of the
internal
effect
excessive
of
was
their
hand, he
these
earlier
influenced
was
and
his
by
method
was
two.
is
hardly
impressive
so
fault
of
the
in
the
never
he
free
upon
this is the
disappoint
the
of
is not
method
given
of
the
but
domes,
the
with
with
had
Wren
Italian
familiar
considerations
; there
treatment.
these
architecture,
as
compare
Rome
at
probably have
principles; but
would
as
cannot
and
of
of
construction.
The
Paul's
Florence
honesty
same
indeed,
dome
style.
S. Peter's
does
The
it.
is marred
not
by
the
and of the
lengths of the nave
choir.
is hardly conAt
first,on
scious
entering, one
of the dome
; after approaching it,the great
length of the choir detracts from its grandeur.
In
relative
Wren's
making the
disposal. In
features
have
were
been
London
numerous
most
use
of
of
the
churches
he showed
simple materials
limited
designs the
many
the steeples,which
funds
introduce
at
in
his
successful
most
he
and
may
claim
to
English
Renaissance
architecture.
notable
A
example is
the beautiful and
finely proportioned steeple of
Bow
Church, Cheapside. But the steeple belongs
the
first
to
to
Gothic
truly to
more
ARCHITECTURE
OF
STORY
THE
where
chitecture,
ar-
it forms
appropriate crowning
an
of
feature
whole
the
sign.
de-
emphatic
The
which
horizontal
lines
mark
classical
all
positions
com-
render
the
steeple,with
its diminishingstories piled
Renaissance
one
upon
of
The
what
some-
anomaly.
an
Sheldonian
Theatre
the
southern
Oxford,
at
the other,
rt i o n
of
Greenwich
evident
more
these
buildingsas
his
London
of
expect
in
should
the
and
than
in
much
too
any
be
man
to
that
successful
designs of half
churches,
hundred
built
such
churches.
be
It would
he
in
at
from
It would
the
same
limited
seem
monopolised
that
the
all
time,
funds.
Wren
work
FIG.
Steeple
Mary-le-Bow.
57.
"
of
S.
THE
zoo
the
of
latter
during this
building of
pupil,who
Wren's
Hawksmoor
of
Mary Woolnoth
;
S. Mary-le-Strand
S.
of
The
of
century,
for
us
gave
the
S.
and
the
Vanbrugh was
nation's
the
gift to the
designed in the ponderous
of Sir
greatest work
mansion
seventeenth
churches
London
the
Gibbs.
and
brugh,
ARCHITECTURE
active
very
into
come
names
of
half
any
his hands.
from
OF
STORY
Blenheim
"
John
Marlborough
symmetrical stylewhich the architect affected,and
which
is seen
again in Castle Howard, Yorkshire.
in England during the greater part
Architecture
of the eighteenth century was, to a large extent, a
architects
The
of
matter
were
names.greatly
of Palladio, whose
under
the influence
drawings
been
had
greatly in vogue.
published and were
there
his lead
in
Under
a
was
tendency, even
domestic
buildings, to sacrifice everything to
Duke
of
"
on,
not
houses
lived
in."
dictum
Bacon's
stateliness.
and
symmetry
were
With
"
now
all
built
was
to
be
this,however,
tecture
comparatively little noteworthy archiproduced. The work of the century, taken
little originality
or
a
as
whole, shows
high artistic
that
merit ; nothing more
be said of it than
can
it was
a
respectable sort of architecture,hovering
between
dignity and dulness.
there
was
Among,
Sir
William
the
later
Chambers
building
of
architects
of
the
designed the
the time, Somerset
century,
most
portant
im-
House,
remodelled
he
which
ARCHITECTURE
OF
STORY
THE
201
designs of Inigo
refined
style which
from
in the
treated
Jones, and
left
marked
everything that
through its wide
greater work
successive
generations of students
his
hands.
influence
"
over
book,
Of this period
Civil Architecture."
Treatise
on
a
alss are
the Mansion
House, London, by George
of England, by Sir John
Dance, senior ; the Bank
Hall
in
Keddlestone
Soane
Derbyshire, by
;
his
was
"
"
Adam
Robert
their
"
to
name
the
of
one
the
"
elegant
which
decoration
brothers
four
Adam
they
who
gave
of interior
"
style
introduced,
"
and
Dance, a vigorous
Newgate Prison, by the younger
and
appropriate design,shortlyto be replaced by
the
Assize
new
Courts.
IX
ARCHITECTURE
MODERN
already been
of the eighteenth
said regarding the architecture
An
interestingdevelopment took place
century.
in the American
the English
colonies, into which
THERE
is little to
settlers
introduced
and
other
continent
of
to
to
the
what
has
classical
forms
architects.
Renaissance
of
In
almost
early buildings were
wood, and the details were
gradually
suit the new
requirements.
In
have
in
add
the
the
comparison
been
with
made
all branches
during
the
during
of
this
enormous
science, the
period
is
progress
hardly
new
entirely
modified
strides
nineteenth
the
Wren
which
century
tecture
of archi-
worth
con-
THE
202
STORY
OF
ARCHITECTURE
of Europe
Throughout the continent
comparatively few notable buildings have been
In France, as
produced during the past century.
and the Tuileries were
have noted, the Louvre
we
built
was
completed, and the new
Opera House
has
in Paris
(1863-1875). Austria
produced,
several
fine public halls and
theatres,the
among
the House
of Parliament
great Opera House, and
Theatre, all
(1843) in Vienna, and the Dresden
classical lines.
less on
German
or
designed more
the
in
architecture
early part of the century
Schinkel
received
an
impetus under
(d. 1841),
who
at
Berlin, with its
designed the Museum
the Court
columns, and
great portico of Ionic
the Greek
forms
Theatre, also in Berlin, in which
are
admirably adapted to the requirements. Other
well-known
buildingsare the Propylaea at Munich,
sideration.
the
and
Walhalla
Parthenon,
by
at
Ratisbon
copy
of
(1784-1864).
Klenze
von
"
the
"In
revival
in
general," writes Hamlin, "the Greek
Germany
presents the aspect of a strong striving
the part of a limited number
of
after beauty, on
artists of great talent, misled
by the idea that
the forms
be galvanised
of a dead civilisation could
into
new
life in
the
service
of
modern
needs.
The
to
failure."
In
England
successive
"
was
the
revivals.
Greek, Gothic,
"day ; but
past century
it is
Each
and
only
of the
Renaissance
within
been
has
three
"
of
one
great styks
has
had
comparatively
its
recent
THE
ARCHITECTURE
OF
STORY
203
has been
that any
definite progress
years
of a distinct national
towards
the formation
of
architecture.
the
interest
and
Revett
aroused
by
details.
the
upon
importation of
Lord
Elgin, led
and
style
century
publicationsof
the
Doric
the
of
early part
Stuart
of
monuments
the
the
sculptures by
Greek
the
others
and
and
Greece,
In
made
to
Ionic
Parthenon
a
for
craze
orders
were
design, without
regard to propriety,provided only they were
any
and
detail
of strictly
correct
proportions. Every
church
its classical portico,every
house
had
was
used
connection
in
slavish
church
with
from
copy
of S. Pancras,
every
Greek
London,
model.
the
the
In
architect
produced
re-
of the Erechtheum
Caryatid Porch
at Athens, and
copied his steeplefrom the Temple
of the Winds.
Greek
The
revived
stylefound its
highest expression in S. George's Hall, Liverpool,
the
by Elmes and Cockerell ; and so closely were
in this building that,
classical
details adhered
to
in
architect
failed
in
the
Fergusson's words,
the
"
his
endeavours
George's
Hall
if you
are
feature
any
able
which
to
detect
would
in
S.
lead
"
been
you
the
to
had
revival
of the
for the
preparing the way
ture.
architecalmost
neglected and
forgotten Gothic
The
on
publication of Britton's great work
The
caused
Cathedral
Antiquities of England
was
people to reflect that, after all, Gothic
many
the great national
more
style, and, as such, was
suited to the English requirements than the Greek
book
Rickman's
temple forms could possibly be.
"
"
the
move"
styles followed, and
soon
gained strength.
progress,
the
upon
ARCHITECTURE
OF
STORY
THE
204
Gothic
in
ment, once
lack great
did not
leaders
writers
"
well
as
It
as
Gothic
the
produced
them
many
Houses
the
became
an
notable
of
established
buildings;
Parliament
But
while
the Gothic
movement
chief
It
among
Westminster,
the
1839, m
at
Barry in
begun by Sir Charles
Perpendicular style,and the New
London, by Street.
fact.
Law
was
at
in
Courts
its
height,
become
extinct.
by no means
neously
simultaThe
two
out
styles were
being worked
that was
in a way
quite unprecedented.
At
culminating
Liverpool the classical style was
the same
in S. George's Hall, begun in. almost
the inception of the Gothic
year (1840) that saw
school
the Greek
Houses
architect
of
had
Parliament
of the
Gothic
in
London
the
; moreover,
at the
buildingwas
classical
designs as
same
the
such
busy with
Small
Club.
Treasury buildings and the Reform
Battle
wonder, then, that there resulted a great
of the Styles,"which
was
waged fiercelybetween
the opposing parties. It was
especiallybitter over
Offices
the great competition for the Government
in 1857, the
result
of which, to quote the late
was
quite typical of the
J. M. Brydon's words,
Won
by a classical
ding-dong of party warfare.
of a
in favour
annulled
was
design, the decision
Gothic
building,to be reversed again in its turn,
and
in classic
by a Gothic
finally carried out
architect
against his will."
time
"
"
The
last part
of the
century
has
witnessed
in
ARCHITECTURE
OF
STORY
THE
205
to
England and, indeed, through Europe, a return
in a large number
the Renaissance
principles,seen
classical
forms
the
are
of
designs in which
skilful
with
often
with
treated
freedom, and
methods
of
and
materials
new
adaptabilityto new
The
construction.
closing years of the nineteenth
foreshadowed
century
extensive
the
the
iron
of
use
exercise
is to
works
architectural
upon
Commercial
of design.
future
which
influence
vast
and
the
in
all
upon
forms
"
"
world
masonry
floors
with
constructed
was
hold
to
inner
the
up
walls
enormous
of
framework
of
substantial
and
a
partitions. It was
there
seemed
of construction, and
worthy method
of changing it. But
need
one
no
day a daring
the
world
idea, astonished
by
builder, with an
reversingthis order of construction, and building
hold
framework
inner
to
an
strong enough
up
and
of masonry.
instantlysuccessful, so that
outside
the
of
tall
and
of
veneer.'"
outcome
of
day,
is
the
bridge standing
running up and down
the
List ten
almost
every
shows
one
structures
years,
"
The
has
the
the
Park
become
Row
all this,
requirements
"sky-scraper"
within
greatest
ing
engineer-
result of
end, with
on
was
construction
utilitarian
the
great American
of
to-day the
American
steel
invention
architecture, but
not
stone
the
the
'
building is
with
The
walls
it
a
cars
passenger
"
"
which,
familiar
city.
of
"a
"
these
The
within
feature
in
illustration
extraordinary
Buildings in
New
York
jiimiilllltf
sin III! ll M
FIG.
58." American
Sky-scraper.
in
OF
STORY
THE
construction.
of
course
ARCHITECTURE
207
in
Comprised
the
"
stories
numerous
950
of
people
4,000
of
structure,
rapidity
with
completed
accordance
century.
The
and
when
v/ith
the
the
work
building
is
methods
of
the
us
this
upon
the
construction
than
population
gives
illustrates
such
which
photograph
less
no
are
accommodate
weeks'
twelve
only
gigantic
to
building
this
designed
rooms,
result
of
carried
the
wonderful
be
may
out
twentieth-
in
SELECTED
LIST
OF
BOOKS
Architecture.
of
Fergusson
History
Hamlin
Text-book
the
of
History
of
Architecture.
History
Fletcher
Architecture
of
Student,
the
for
and
Craftsman,
Amateur.
Architecture
Statham
fo
General
Readers.
Ancient
Lanciani
Rome
Modern
Roger
"
Smith
Slater
Classic
the
in
Light
of
Discovery.
and
Early
Christian
Architecture.
Roger
Smith
Renaissance
Parker
to
Gothic
Architecture.
Seven
Anderson
"
of
Architecture
Makers
Symonds
The
Study
of
Architecture.
of the
Renaissance
of Florence.
Renaissance
Arts
Short
in
History
Early
English
Phythian
Art
in
Fine
Renaissance
in
England.
ture
Architec-
England.
Cathedrals
the
the
of
Renaissance
in
Bond
of
Italy.
Architecture
208
the
Italy.
Oliphant
Gotch
tecture.
Archi-
Venice.
Lamps
..
in
Blomfield
Gothic
Introduction
Slo?ies
Ruskin
M
and
...
British
Illustrated.
Isles.
of
INDEX
ALBERTJ, 171.
Alhambra, 1 06.
Amiens
Cathedral, 135, 147.
of
Arch
Constantino, 75.
Arches, early examples of,
19, 31.
Arnolfodel
56, 5"
Cambio,
159,
66.
Cathedral, 143,
Canterbury
145-
Chartres
the
Church
of
Apostles,
Assyrian remains, 30.
Cologne, 121.
Audley End, Essex, 193, 194.
of, Circus Maximus, 74Azay-le-Rideau, chateau
Cleopatra's needle, 22.
I85.
Maxima, 58.
Cologne Cathedral, 163.
Colosseum, 72.
Cloaca
Hall,Whitehall,
BANQUETING
195-
Basilicas,80, 86.
Colour
of Caracalla, 79.
Beauvais
Cathedral, 138.
Concrete
Baths
Beni-Hasan,
Blenheim
tombs
Palace, 200.
of, 184.
decoration,^9, 47.
in
Roman
ings,
build-
62.
Corinthian
Cyclopean
masonry,
35, 59.
Blois, chateau
Palace, 162.
Byzantine, 96.
Bow
Doric
Burghley House,
Dosseret,94.
191.
Byzantine architecture, 94
of St.
Duomo
Paul's, 197.
order, 1 8, 40, 42.
at
Florence, 159,
1 66.
CANCELLARIA
Palace, 179.
Durham
209
Cathedral, 149.
INDEX
210
EARL'S
work
Saxon
BARTON,
LEANING
tower
of
Lighting
at
Greek
Pisa,-112.
temples,
builders, 85.
39Louvre, 185.
Egyptian columns, 28, 29.
inscriptions,25.
MAISON
Carree, Nimes, 71.
Elgin marbles, 46, 203.
Mansard
Elizabethan
mansions, 189,
roof, 187.
Mausoleum
at Halicarnassus,
191, 193.
56.
English cathedral plan, 142.
Michelangelo, 180-186.
Ephesus, temple at, 53.
Mihrab, or prayer -niche,103.
Erechtheum,
52.
Milan
Etruscan
Cathedral, 160.
tombs, 59Mohammed,
101.
Evelyn's diary, 194, 196.
Mosaics, use of, 88-91.
Mosque at Cordova, 105.
FAN-TRACERY, 152.
Fire of London, 196.
Mouldings, Gothic, 154.
Flying buttress, 131, 132.
Mycenae, Lion Gate at, 36.
Franciscan
monks
as
ers,
buildNEWGATE
157.
Prison, 201.
work, examples
Norman
GIOTTO'S
tower, 161.
127.
features
Notre
OPERA
Opus
H
Ionic
Dame
of, 125.
Port, 117.
du
Orders
of
Roman
ture,
architec-
65.
PALLADIO,
183, 195.'
Pantheon,
77.
churches
Parish
in
England,
153-
23INIGO
of,
JONES, 194.
order, 49, 65.
Persepolis,ruins
JOHN THORPE,
191,
192.
at, 32.
Petrie's discoveries in Egypt,
19,
8.3-
Pompeian decoration,
83f
82.
houses,
Pyramids, 13.
INDEX
26.
RAMESSIUM,
Ravenna, churches
House, 201,
Spinelli Palace, 178.
Strozzi
Palace, 173.
Somerset
at, 93.
Ribbed
Roman
Rusticated
masonry,
73, 186.
TEMPLE
S. FRANCESCO
Bar, 195.
Theatres, Greek, 56.
Rimini, 172.
George's Hall, Liverpool, Thebes, 21.
Theseum, 40.
203, 204.
S. Mark's, Venice, 99, 177.
Tiryns, walls at, 35.
S. Martin's-in-the-Fields,
2OO.
Tracery, development of, 133,
S. Mary-le-Strand, 200.
150.
S. Pancras, London,
Transepts,
origin of, 88.
203.
S. Paul's
Cathedral, 196-198. Triumphal arches, 74.
at
S.
S.
Paul's-outside-the-Walls,
'
86.
S.
VOCAL
Peter's,
13,
180,
Wingless
Saxon
Wollaton
Sculpture,
Greek, 46.
Seville Cathedral, 165.
by Hasell,
Watson
150,
153-
1 10.
Sainte
Printed
Abbey,
WESTMINSTER
Zeno, Verona,
23.
182,
197.
S.
Memnon,
of
"Sf
53-
Wren,
Hall, 190.
Sir
XERXES,
Hall
Viney, Ld.,
London
of, 32.
and
Aylcsbury.