[Fletcher] history of architecture

A HISTORY OF ARCHITECTURE
ON
THE COMPARATIVE METHOD.

" The spirit of antiquity, enshrined
In sumptuous buildings, vocal in sweet song,
In picture speaking with heroic tongue,
And with devout solemnities entwined
Strikes to the seat of grace within the mind :
Hence forms that glide with swan-like ease along,
Hence motions, even amid the vulgar throng,
To an harmonious decency confined,
As if the streets were consecrated ground,
The city one vast temple, dedicate
To mutual respect in thought and deed."
WORDSWORTH,

STYLES <? AGE OF GREEK* BYZANTINE, ROMANESQUE , GOTO 1C * RENAISSANCE REVIVALS &
V
GOTHICS 15
- 15 CENTf _J* /-
'
GOTHICS I3-I5CCNT"
THE TREE OF ARCHITECTURE,
Showing the main growth or evolution of the various styles.
The Tree must be taken as suggestive only, for minor influences cannot be
indicated in a diagram of this kind.

A
HISTORY OF ARCHITECTURE
ON THE COMPARATIVE METHOD '
FOR THE STUDENT, CRAFTSMAN, AND AMATEUR
BY
PROFESSOR BANISTER FLETCHER, F.R.I.B.A.
(Formerly Professor of Architecture in King's College, London)
AND
BANISTER F. FLETCHER, F.R.I.B.A., Architect
(University Extension Lecturer on Architecture ; Formerly Lecturer on Architecture,
King's College, London ; R.I.B.A. '
Godwin '
Bursar, 1893,
'
Tite' Prize Medallist,
1895, Essay Medallist, 1896, Architectural Association Medallist for Design,
1888, Lecturer at the Architectural Association ; Hon. Corr.
Member of the American Institute of Architects ;
Author of
" Andrea Palladia, his Life and Works," etc.]
FIFTH EDITION, REVISED AND ENLARGED
BY
BANISTER F. FLETCHER
WITH ABOUT TWO THOUSAND ILLUSTRATIONS
LONDON
B. T. BATSFORD, 94, HIGH HOLBORN
MCMV.

BRADBURY, AGNEW, & CO. L1X, PRINTERS,
LONDON AND TONBRIDGE.

PREFACE TO THE FIFTH EDITION.
IN the Preface to the Fourth Edition I explained the many
important additions which had been made since the original
publication of this book in 1896, and I desire to point out that in
the present Edition the nature of the revision has been on an even
more extensive scale, amounting to the rewriting of the greater
portion of the work. While much new matter has been intro-
duced, the importance of a thorough revision of that already
existing has not been overlooked, the utmost care having been
taken to verify all important statements and dates, and to amplify
such descriptions where this appeared desirable. These remarks
as to the text, apply equally to the illustrations, which have been
increased by the addition of some 700, bringing their total up to
about 2,000. Many of the subjects shown in the previous
editions have been re-drawn and corrected in the light of the
most recent discoveries.
The sale of four large editions in the space of a few years
affords strong evidence that the book has been of service not only
to the strictly professional student and those connected with design
in its application to the minor arts and crafts, but also to that
larger body of amateurs to whom Architectural History is year
by year becoming a matter of lively interest. It is gratifying to
know that it has been adopted as a text-book in Art Schools
and in the leading Colleges and Technical Institutions of Great
Britain, the United States of America, and Australia, for it is upon
these centres we must depend for the formation of a cultivated
taste, and the future growth of interest in the Arts.
Many causes have combined in helping towards the proper
appreciation and enthusiasm for architecture and the arts of
design, among which the greatly increased facilities for travel,
the conducted educational tours now so popular, and the general
interest in photography are undoubtedly important factors.
The History of Architecture has, however, until recent years

viii PREFACE TO THE FIFTH EDITION.
been a sealed book to many who have wandered amongst the
most beautiful creations of the building art without being able to
understand their meaning or appreciate their quality a Grecian
temple, a Roman amphitheatre, or a Gothic cathedral recalling to
them none of the evidences which render each a reflection of its
own period in history, and which give to each ancient building
a special attraction, besides adding greatty to the interest and
enjoyment of its examination.
Architecture has been described very truly as the printing press
of all ages, and it appears probable that in these days of enlighten-
ment the study of Architectural History will soon take its proper
place as part of a liberal education. It is surely remarkable that
it should for so long have been neglected, for is it not the art with
which everyone is brought into daily contact, which shelters us
from the elements and gives us "
Home," which enshrines and
illuminates the most sacred of our thoughts, which is the outcome
of conditions intimately bound up with the history of the human
race, and, finally, is it not the mother of all other arts, since
from it
sprang sculpture, painting, and the decorative crafts
of the succeeding ages ?
The time spent in the study of the architecture of the past will,
therefore, never be regretted, for every ruin tells of the history
of other days, and enables the character and conditions of men
of past periods to be conjured up, thus opening wide to all
students and lovers of old buildings the enjoyment of contem-
plating forms which will then have for them a meaning and a
charm.
I am indebted to my brother, Mr. H. Phillips Fletcher,
F.R.I.B.A., for helpful criticism in this edition, and to my pub-
lisher for his care in the revision of the bibliography and in the
general production of the book.
It should, perhaps, be mentioned that, owing to the death of
Professor Banister Fletcher, the revision of the fourth and of the
present edition has been carried out by me.
BANISTER F. FLETCHER.
29, NEW BRIDGE STREET,
LUDGATE CIRCUS, E.G.
New Year's Day, 1905.

PREFACE TO THE FIRST EDITION.
THE Authors' aim in writing this book has been, not only to give
in clear and brief form the characteristic features of the archi-
tecture of each people and country, but also to consider those
influences which have contributed to the formation of each
special style.
They are of opinion that in published works upon the subject,
Architecture has often been too much isolated from its surround-
ings, and that the main points of the physical geography, social
progress, and historical development of each country require to
be understood by those who would study and comprehend its
particular style.
In order to bring out the effects of these influences, and also
the qualities of the styles themselves, a comparative and analytical
method has been adopted, so that by the contrast of qualities the
differences may be more easily grasped. For instance, the special
character of Gothic architecture becomes manifest when put in
comparison with the Classic and Renaissance styles ; and, further-
more, the shades of difference in the local or national phases of
each, can also be equally drawn out by a similar comparative
treatment.
The styles themselves are then analysed and the parts con-
trasted ;
the analysis being carried out on the basis of the essential
parts which every building possesses. As this system pervades
the whole book, either the influences, character, examples, or
comparative features of each style, can be contrasted with those
in any other style. This then is the scheme of the book, which
has been divided into five sections in each period, as follows :
i. INFLUENCES.
i.
Geographical,
ii.
Geological,
iii. Climate.

X PREFACE TO THE FIRST EDITION.
1. INFLUENCES continued.
iv. Religion.
v. Social and Political,
vi. Historical.
2. ARCHITECTURAL CHARACTER.
3. EXAMPLES OF BUILDINGS.
4. COMPARATIVE.
A. Plan, or general distribution of the building.
B. Walls, their construction and treatment.
C. Openings, their character and shape.
D. Roofs, their treatment and development.
E. Columns, their position, structure, and decoration.
F. Mouldings, their form and decoration.
G. Ornament, as applied in general to any building.
5. REFERENCE BOOKS.
SECTION i is divided into the six leading influences that may be
expected to shape the architecture of any country or people,
the first three being structural, the next two the civilizing
forces, and the last containing those external historical events
which may alter or vary the foregoing.
SECTION 2 describes the character of the architecture, that is, its
special quality, and the general effect produced by the buildings
as a whole.
SECTION 3 contains the examples, i.e. the chief buildings in each
style, briefly named and described, being the corpus, which the
preceding influences affect and from which the subsequent
comparative analysis is deduced.
SECTION 4 is this comparative analysis, in which every style of
architecture is regarded as the solution of certain fundamental
problems, i.e. each building must have all or most of the parts
A to G, and consequently there is both interest and instruction
to be gained in learning and comparing how each style has
solved these points of the problem.
SECTION 5 gives authorities and more especially directs the reader
who wishes to pursue the study of any style in further detail.
In treating of the buildings themselves under Section 3 the
authors have endeavoured to avoid long descriptions, which are

PREFACE TO THE FIRST EDITION. XI
necessarily technical and intolerably dry, and difficult to follow,
even by those who have had the technical training, and have
either the building or complete drawings of it before them. They
have therefore provided the largest possible number of illustrations,
and have confined the text to brief, but it is hoped vivid, notes of
the special qualities and characteristics of the building referred to.
It is hoped that the book will appeal not only to students who
require an outline of architectural history as part of their artistic
and professional education, but also to the increasing number of
art workers who are interested in architecture in its relation to
those accessory arts in which they are engaged. Lastly ; it is
believed that a work in which architecture is treated as a result
and record of civilization, will prove attractive to that increasing
public which interests itself in artistic development.
29, NEW BRIDGE STREET,
LUDGATE CIRCUS, E.G.
New Year's Day, 1896.

Xi/i
CONTENTS.
PAGE
List of Illustrations xv li
Prehistoric Architecture .......... i
PART I. THE HISTORICAL STYLES.
General Introduction ........... 4
Egyptian Architecture .......... 9
Western Asiatic Architecture ..... .... 32
Greek Architecture ........... 45
Roman Architecture . . . . . . . . . . 1 1 1
Early Christian Architecture . . . . . . . .
.176
Byzantine Architecture .......... 192
Romanesque Architecture in Europe (General Introduction) . .
.217
Italian Romanesque .......... 228
French Romanesque .......... 246
German Romanesque .......... 258
Gothic Architecture in Europe (General Introduction) .... 267
English Architecture . . . . . . . . .
.278
Anglo-Saxon .....>...... 3.2 7
Norman ......... .... 328
Early English Gothic . . . .-' V . . . .
.
335
Decorated Gothic .... . . . . . .
.341
Perpendicular Gothic . . .. .... . . .
349
Tudor / . 356
Scottish Architecture ." 359
Irish Architecture . . .
'
. . . ... . . .
3
French Gothic Architecture . . . .. ". . - 362
Belgian and Dutch Gothic . .
. . . 385
German Gothic 393
Italian Gothic . ; . .
44
Spanish Gothic . .
'
424
Renaissance Architecture (General Introduction) ... . .
'
.
437
Italian Renaissance Architecture . . . ... ^446
The Florentine School "446
The Roman School 456
The Venetian School . .' . .
. . .
-475
Vicenza and Verona ........ 4^8

XIV CONTENTS.
Italian Renaissance Architecture continued. PAGE
s Milan and Genoa .......... 495
i-
The Rococo Style 496
U French Renaissance Architecture . . , . . . . .
497
V German Renaissance . . . . . . . . .
5^7
Belgian and Dutch Renaissance . . . . . . . .
.527
Spanish Renaissance ....../..... 533
English Renaissance Architecture .. f...... 545
The Elizabethan Style . . .
. . . .
551
The Jacobean Style . . .
561
The Anglo-Classic (Seventeenth Century) Style .
567
The Queen Anne (Eighteenth Century) Style/ .
. . .
578
The Nineteenth Century Style (1800-1851) . . . '. . .
589
,, ,, 1851 to present time .
593
British Colonial Architecture . . . . . . . .
597
Architecture in the United States . .
598
PART II. THE NON-HISTORICAL STYLES.
General Introduction ........... 603
Indian Architecture . . . . . . . . . . ,
605
1. The Buddhist Style 612
2. The Jaina Style . . . . . . . . . ,
614
3. The Hindu Style 618
(a) Northern Hindu ...... . 618
(b) Chalukyan . . . . . . .
.
A . .
623
(c) Dravidian . . . 628
Chinese and Japanese Architecture ..... /"A . ,
634
Ancient American Architecture . . . . . ,
... .652
Saracenic Architecture . . . . . . ,
. ,
653
Arabian .......... ,
657
Syrian ............ 659
Egyptian 659
Spanish 663
Persian
667
Turkish 669
Indian .
.671
Glossary of Architectural Terms . . . . . . .
.687
Index 697

LIST OF ILLUSTRATIONS. XV11
GREEK ARCHITECTURE.
No. Name,
14. Map of Greece.
^5. Pelasgic System of Construction.
Treasury of Athens, section ... A
,,
'
,, plan B
Portion of shaft of column . . . c
Capital of a column D
The Gate of Lions, Mycenae E
Acropolis at Tiryns, plan F
16. Greek Examples I.
Greek Construction
Portico of Parthenon, half elevation . A
,, ,, half transverse
section . . B
,, ,, part plan . . c
S. W. angle of Parthenon as restored .
D, E, F
Restoration of a Doric entablature . .
G, H, j
S.W. angle of Parthenon as at present .
K, L
17. Plan of the Acropolis at Athens
18. Greek Examples II.
Comparative plans of various forms of
Temples.
19. Greek Examples III.
The Doric Order-
Temple of Ceres at Paestum ... A
Temple of Neptune (the Great Temple)
at Paestum ..... B
Temple of Aphaia on the Island of
^Egina ...... c
Temple of Theseus (The Theseion),
Athens D
The Parthenon (Temple of Athena),
Athens ...... K
Temple of Apollo, at Delos . . ." F
20. Greek Examples IV.
Temple of Aphaia (Jupiter Panhellenius)
at JEgina,
,, ,, ,, west pediment
,, ,, east elevation
,, ,, ,, transverse section
,, ., ,, longitudinal sec-
tion ^y.^
,, ,, , plan . .
"
I
,, ,, ,, view of upper
Acroterion
ridgeAcroterion
tile.
View of lower
Acroterion
Antefixse .
Authorities.
Gailhabaud.
f Perrot and
{ Chipiez.
I Gailhabaud.
^Cockerell.
Penrose.
f Perrot and
( Chipiez.
Penrose.
f Penrose and
I others.
Stuart and
Revett,
Cockerell.
>C.R. Cockerell.
F.A.

XV111 LIST OF ILLUSTRATIONS.
No. Name.
21. Greek Examples V.
The so-called Theseion, or Temple of
Hephaestos
, ,
east elevation ?
'
.
,, ,, transverse section .
,, ., half south elevation, half
longitudinal section of
ambulatory . ./
plan . .
(.
,, ,, plan of existing Lacunaria
,, ,, Metopes, north and
south sides
., ,, setting out of flutes
, , , ,
section of entablature
, , , ,
frieze of west cella wall .
,, ,, plan of cornice looking
up|
.
,, ,, detail elevation of enta-
blature
22. The Theseion, Athens ....
23. Greek Examples VI.
The Parthenon, Athens :
longitudinal
section .
,, ,, (half se
Naos
,, ,, half se
Opist
,, ,, east fa9ade
,, ,, view fror
., ,, sectional
end
,, view of
angle
plan .
,, ,, method
columns .
,, ,, statue of
Parthenos
24. The Parthenon, Athens. View of angle
25. Greek Examples VII.
Comparative Restorations of the Methods
of Lighting the Interiors of Greek
Temples
Method of lighting by clerestory .
Method of lighting by skylight
26. Greek Examples VIII.
The Propylaea, Athens, west fa9ade .
,, longitudinal section
,, details of Interior
Order
i, ., cornice looking up
Authorities.
Stuart and
Revett.
J
Photo.
Michaelis.
>n through

LIST OF ILLUSTRATIONS. XIX
No, Name. Authorities.
26. Greek Examples VIII. continued.
The Propylaea, section through mutule .
'
plan .
transverse section
27. Greek Examples IX.
Temple of Apollo Epicurius, at Bassae
,, north elevation
,, transverse section
,, plan
,, long, section
,, detail of Interior
Order .
,, ,, plan of Interior
Order .
, , , ,
detail of single Corin-
thian column
,, ,, details of capital of
Corinthian column
,, ,, setting out of flutes .
., ,, large details of
mouldings .
28. Greek Examples X.
The Temple of Neptune, Psestum, plan .
,, ,, long, section
,, ,, elevation
Temple at Paestum (the Basilica), plan .
,, ,, elevation .
Temple of Apollo Epicurius at Bassae,
plan
,, ,, ,, elevation .
,, ,, ,, section
Choragic monument of Lysicrates, Athens
Plan, elevation, and section .
Tower of the Winds, Athens, elevation .
,, ,, ,, section
,, ,, plan.
Temple of Jupiter Olympius at Agrigen-
tum, Sicily, plan . . . .
Temple of Jupiter Olympius at Agrigen-
tum, Sicily, section ....Temple of Jupiter Olympius at Agrigen-
tum, elevation .....29. Greek Examples XI.
The Ionic Order-
Temple on the Ilissus . . .
The Erechtheion, east portico
The Archaic Temple of Diana, Ephesus .
Temple of Minerva Polias at Priene
Temple of Apollo Epicurius at Bassae .
Temple at Eleusis . . . . ~ ; -.
30. Greek Examples XII.
The Erechtheion, Athens, sketch from
N.w. ;
.
w /.,
'
east elevation S--'} - **<"'
E
F
Penrose.
G J
E
F
G
H, J
K
L, M, N j
>
Cockerell.
Gailhabaud,
Durand.
Cockerell.
Stuart and
Revett.
Cockerell.
I
(Vol. IV. Stuart
(and Revett's
'
Athens.')
A. B, c, D ) Stuart and
.E, F, G J Revett.
H, j, K Murray.
L, M Mauch.
N, o, P Cockerell.
Q, R Mauch.
) Inwood,
A L Middleton
B ) and others.

XX LIST OF ILLUSTRATIONS.
No, Name.
30. Greek Examples XII. continued.
The Erechtheion, west elevation .
,, ,,
section
,, ,, north elevation .
., ,, plan
,, enlarged elevation of
Caryatid Porch
31. Greek Examples XIII.
Temple of Diana at Ephesus, view 6?
front fa9ade . . .
.
plan
Heraion at Olympia, plan
,,
section ....
32. Choragic Monument of Lysicrates,
Athens
33-
and
The
34.
35.
Comparative Examples of Greek
Roman Corinthian Capitals.
Capital of column to portico,
Pantheon, Rome ....Typical Roman Acanthus leaf ., .
Plans of capital (A) looking up
Diagram of relative sizes of Pantheon,
Rome, and the Stoa, Athens . .
Angle view of capital from the Stoa,
Athens ......Plans of capital, looking up . . .
Typical example of Greek Acanthus leaf
Comparative Examples of Greek and
Roman Theatres.
Typical Greek theatre ...Roman theatre at Orange
Greek Examples XIV.
Mausoleum at Halicarnassos, transverse
section ....,, half plans of basement and
peristyle
,, west fa?ade
,, enlarged capital, base and
entablature
, ,
south fa9ade
,, three other restorations:
36. Greek Examples XV.
Lion Tomb, Cnidus, south elevation .
,, section '. .
,, west elevation
,, half plans of peristyle and
roof
,, plan through base . .
Sarcophagus from a tomb at Cnidus, end
elevation . , .
,, side elevation . . .
"Tomb of the Weepers'
1
A
* B
C
D, E
F
G
H
D
E
F, G, H
Authorities.
Inwood,
Middleton
and others.
[ Murray.
Photo.
Taylor and
Cresy, Stuart
and Revett.
Cockerell.
Newton and
Pullan.
> Society of
Dilettanti.

LIST OF ILLUSTRATIONS. XXI
No. Name.
37. Comparative Examples of Greek and
Roman Doorways.
Doorway of the Pantheon, Rome,
elevation ......Doorway of the Pantheon, Rome, details
Doorway, Erechtheion, Athens, elevation
,, ,, ,, details .
38. Comparative diagrams of the Greek and
Roman Orders of Architecture.
Greek Doric Temple of Theseus at
Athens ......Roman Doric, by Vignola
Greek Ionic Temple on the Ilissus,
Athens ......Roman Ionic, by Scamozzi .
Greek Corinthian Choragic Monument
of Lysicrates, Athens
Roman Corinthian Pantheon, Rome .
Comparison of Greek and Roman
Mouldings I
Comparison of Greek and Roman
Mouldings II
39-
40.
41. Greek Ornament I.
The Ionic Volute
Volute from Cyprian tomb .
Capital from Egyptian wall painting
Bronze armour plate from Tamassos,
Cyprus . . ....Capital from Neandria ....Capital from the Heraion at Olympia
Ionic Lycian tomb ....Goldman's method of describing Ionic
Volute
Ionic Volute described by a whelk-shell
Angle capital, N. portico of Erechtheion,
half section
,, half front view . .
,, side view ....,, plan, looking up .
Temple of Nike Apteros, sketch of angle
42. Greek Ornament II.
Scroll ornament from roof of choragic
Monument of Lysicrates, Athens
Sanctuary of the Bulls, Delos
enlarged triglyphs, side view .
,, ,, front view
enlarged capital, side view
,, ,, front view .
key plan ....plan of piers . ...
elevation of piers .
Canephora . . .. . .... ,.-.
A
B, c
D
E to H
A to M
N to V
Authorities.
Mauch and
Donaldson.
} Stuart and
| Revett.
Mauch.
Stuart and
J Revett.
Mauch.
} Stuart and
j
Revett.
Taylor and Cresy.
Various.1
) Stuart and Revett
j"
and Cockerell.
Taylor and Cresy.
Dr. Richter.
Chambers.
Mauch.
J. Ward.
Stuart and
Revett.
Durand.

XX11 LIST OF ILLUSTRATIONS.
No. Name.
42. Greek Ornament II. continued.
Caryatid figure from Erechtheion
Typical Greek
Anthemion
Funeral Stele with
43-
44-
45-
46.
47-
48.
49.
Greek Ornament III.
Capital, Temple of Jupiter Olympius,
Athens ...... A
Capital, Tower of the Winds, Athens ./ B
Capital, choragic Monument of Lysic rates,
Athens c
Sculptures, from Tower of the Winds,
Athens . . . . . .
D, E
Half elevation of Stele Head . . F
Greek Ornament IV.
Honeysuckle ornament .... A
Lion's head, front B
side c
Crowning ornament, choragic Monument
of Lysicrates ..... D
Stele head E
Anta capital from Erechtheion . . F
Portion of frieze from Parthenon . . G
Metope from the Parthenon . . . H
Acanthus ornament . . . .
j
Console from Erechtheion . .
K, L
Portion of caryatid figure M
Antefixa ornnment N
ROMAN ARCHITECTURE.
Map of the Roman Empire.
Roman Examples I.
Roman System of Construction
Roman walling of concrete with brick
facing and methods of heating . . A to H
Roman vaulting and domes of concrete I to M
Plan of the Roman Fora
The Forum Romanum restored
Roman Examples II.
Temple of Fortuna Virilis, Rome, plan .
,, ,, front fa9ade
,, ,, flank facade .
Arch of Titus, Rome, section
,, ,, elevation
,, plan .
Arch of Goldsmith's or Silversmith's,
Rome, view from
the south-west
,, ,, section .
.
, ,. plan
elevation
Authorities.
|
Stuart and
j
Revett.
I
Cockerell,
Stuart and
Revett.
J. C. Watt.
Stuart and
j
Revett.
J. C.Watt, Stuart
and Revett.
1J. Henry
j
Middleton.
A. Choisy.
1
Taylor and
Cresy and
others.
f
Joseph
Gatteschi.
Taylor and
Cresy.

LIST OF ILLUSTRATIONS.
No. Name.
49. Roman Examples .-contimted.
Temple of Saturn, Rome, plan . . L
,, ,, front fa9ade . . M
,, ,, details of entablature N
50. Roman Examples III.
Temple of Venus and Rome, Rome, part
cross section . . A
,, ,, plan B
, , , , part front elevation . c
,, ,, long- section . . D
Temple of Diana at Nimes, plan . . E
,, ,, cross section . . F
,, ,, part long, section . G
Maison Carree, Nimes, plan H
,, ,, front elevation . .
j
,, ,, part side elevation '. K
51. Maison Carree, Nimes . .
52. Roman Examples IV.
Tomb at Mylassa, Asia Minor, half
elevation . . A
,, ,, half section . . B
,, perspective view . c
,, half plans of base-
ment and peri-
style D
Tomb of Caecilia Metella, Rome . . E
Tomb at Wadi-Tagije, North Africa . F
Tomb at Dugga, near Tunis, plan and
view . . . . . . . G
Tomb at S. Remi in the South of France H
Temple of Antoninus and Faustina,
Rome, plan . I
,, ,, front facade .
j
,, ,, view of remains K
,, ,, flank facade . L
Temple of Mars Ultor, Rome, detail of
corbel, cornice to
enclosing wall . . N
,, ,, detail of main cornice o
,, ,, plan P
53. Roman Examples V.
Temples at Baalbec, Syria, half section . A
,, ,, half entrance fa?ade B
,, ,, long, section through
Great Temple . c
,, ,, transverse section,
Great Temple . D
,, plan E
Temple of Jupiter, section F
,, ,, fa9ade . . . G
54. Roman Examples VI.
The Pantheon at Rome, section . . A
,, ,, ,, half-plan . B
Bronze mouldings round the
"
eye
r
.
c, D
XX111
Authorities.
Palladio.
Palladio.
Photo.
Society of
Dilettanti.
Sketches.
^ Taylor and
Cresy.
|
Durand,
J^Dawkins, and
Wood.
J
{ Taylor and
j Cresy.
J. H. Middleton.

xxiv LIST OF ILLUSTRATIONS.
No.
55-
56.
57-
58.
59-
60
61.
62.
63.
64.
Name.
The Pantheon, Rome. Interior view
The Pantheon, Rome. ....
Roman Examples VII.
Arch of Septimius Severus, Rome, the
order and key plan A
,, ,, detail of capital . B
,, ,, keystone of arch .
/ C
,, ,, coffer from central
arch D
The Pantheon, Rome, the order and key
plan . . . E
,, ,, capital, elevation and
half plan . . F
,, ,, details of capital . G
Temple of Vesta, Tivoli, the order and
key plan . . H
,, ,, detail of capital .
J
,, ,, coffer to peristyle
ceiling . . K
Roman Examples VIII.
Basilica of Maxentius, plan ... A
,, ,, long, section . c
,, ,. transverse section D
Basilica Ulpia, plan B
,, ,, interior view E
Roman Examples IX.
Baths of Caracalla, Rome
Plan (restored) Palace of Diocletian at
Spalato ......Roman Examples X.
Pont du Card, Nimes, elevation
,, ,, section
Circus of Maxentius, near Rome, plan .
Circular Temple of Baalbec, plan .
,, ,, ,, section
,, ,, ,, elevation .
Baths of Diocletian, section .
,, ,. elevation
plan
Trajan's Column, elevation .
,, section . . .
Pont du Gard, Nlmes . . . ,..% .
Roman Examples XI.
The Colosseum, part elevation . . A
,, ,, section. . . B
,, ,, plan . . . c
The Colosseum .....
Amphitheatre, Verona ....
Authorities
Piranesi.
Photo.
,
Taylor and
'
Cresy.
J. H. Middleton.
A
B

LIST OF ILLUSTRATIONS. XXV
No.- Name.
65. Roman Examples XII.
House of Pansa at Pompeii
? j) ,, section.
i ,, plan .
Arch of Septimius Severus, Rome
u ,, section
,, ,, elevations
>, , > ,, plans .
66. Arch of Septimius Severus
67. Roman Ornament I.
Temple of Jupiter at Rome, capital
Arch of Titus, keystone.
Forum of Nerva, Rome, cornice .
Pilaster Villa Medici, Rome .
Temple of Mars Ultor, capital
Pantheon, panel .....68. Roman Ornament II.
Temple of Jupiter Stator, Rome, details
of cornice
,, ,,
plan of coffer .
; , ,, key elevation .
,, console, looking up .
Temple of Antoninus and Faustina,
Rome, portion of frieze . '.:.
Roman Corinthian pilaster capital, Pan-
theon, Rome .....Roman altar .....Pilaster capitals . . . .
*
.
Etruscan candelabrum .
Pompeian candelabrum
Roman gladiator's helmets
Roman arm chair .....69. Roman Ornament III.
Arch of Titus, Rome :
Figures in span-
drels of main arch ....Baths of Titus, Rome : Wall fresco
Bronze candelabra ....Typical Roman tripod altar .
Typical Roman baths ....Rostral column .....Mosaic pavement, Pompeii .
Roman chariot .....Typical Roman tomb .
70. Principles of Proportion.
Tetrastyle, hexastyle, and octastyle form
of Temple
Arch of Trajan, Beneventum
Arch of Septimius Severus, Rome
Baptistery, Pisa . . . ;.
Proportions of mediaeval cathedrals
Section of Henry VII.'s
Chapel
Chapter House at Wells
S. George's Chapel, Windsor
Section of King's College Chapel .
Authorities.
A
B
C
D, E
F
A, C
B
D, E
F
G
H
F
G
H
J
K
L, N
M
A, C
B
D, F
E
G, J
H
K
L
M
A, B, C
D
F
G
H
J
K
L
M
I Gailhabaud.
[
Gailhabaud.
Photo.
)
Taylor and
j
Cresy.
C. H. Tatham.
) Taylor and
j Cresy.
Taylor and
[ Cresy.
F. S. Meyer.
D'Agincourt.
Durand.
J. C. Watt.
v Durand.
J. C. Watt.
Durand.
Gwilt.

XXVI LIST OF ILLUSTRATIONS.
No. Name.
71. Optical Corrections in Architecture.
Correction of apparent proportions
Effect of color on proportions
The Parthenon : Inclination of columns
Method of drawing entasis of column
The Parthenon :
Optical corrections to
prevent appearance of sagging .
Optical illusions caused by convex and
concave curves, when diawn in relation
to parallel straight lines
Authorities.
Pennethorne.
ViolleMe-Duc.
Pennethorne.
E, F, G A. Choisy.
H, J
EARLY CHRISTIAN ARCHITECTURE.
72.

LIST OF ILLUSTRATIONS. XXV11
No.
78.
79-
80.
81.
82.
83.
84-
85-
86.
87.
Name.
Early Christian Ornament continued.
S. Giovanni, Rome, mosaic frieze in
cloister ......S. Clemente, Rome, parapet and pilaster
S. Maria Maggiore, Rome, mosaic.
S. Giovanni, mosaic floor
Authorities.
Digby Wyatt.
Cattaneo.
D'Agincourt.
Digby Wyatt.
A. Choisy.
BYZANTINE ARCHITECTURE.
Byzantine Examples I.
Byzantine System of Construction.
Dome construction . . . .
A, B ) Lethaby and
Method to find outline of pendentive .
c, D j
Swainson.
S. Sergius, Constantinople, interior
view ....... E
S. Sergius, Constantinople, exterior
view ....... F
S. Sergius, Constantinople, plan . . G
Tomb of Galla Placidia, section . . H
S. Sophia, Constantinople, sectional
view ....... y
S. Sophia, Constantinople, exterior
view ....... K
Byzantine Examples II.
S. Sophia, Constantinople, north-east
elevation ...... A
S. Sophia, Constantinople, longitudinal
section ...... B
S. Sophia, Constantinople, ground plan c
S. Sophia, Constantinople, exterior . Photo.
S. Sophia, Constantinople, interior . Photo.
Comparative Examples of Early Domed Structures.
The Minerva Medica, Rome, plan . . A
,, ,, ,, section . B
S. Vitale, Ravenna, plan . ... c
,, ,, section . . . D
Cathedral at Aix-la-Chapelle. plan E
,, ,, ,, section . F
Byzantine Examples III.
S. Mark, Venice, section ... A
. S. Mark, plan . . . . . c
S, Front, Perigueux, section B
S. Front, Perigueux, plan D
S. Mark, Venice, exterior . . . .
S. Mark, interior
Byzantine Examples IV.
Cathedral at Athens, sketch ... A
,, plan B
W. and E., elevations .
C, D
section ..... E
Church of Theotokos, Constantinople,
W. and S. elevations . .
F, o
plan . . . . ; _
.' H
longitudinal section '.
j,".:r, .... J
Salzenberg.
Isabelle.
Gailhabaud.
Dehio and
Von Bezold.
Gailhabaud.
Photo.
Photo.
[
Gailhabaud.
Gailhabaud.

XXV111 LIST OF ILLUSTRATIONS.
No:
88.
89.
Name.
from S. Mark,Byzantine Capitals
Venice
Byzantine Ornament.
S. Sophia, capital ....Bowl and tile capital ....S. Demetrius, Thessalonica, Ionic capital
,, Byzantine Corinthian
capital .
S. Sophia, bird and basket capital
S. Demetrius, Bird Corinthian capital .
S. Sophia, window from the Gynaeceum,
elevation ......S. Sophia, window from the Gynaeceum.
section
Authorities
Photo.
f Lethaby and
{ Swainson.
Texier and
j
Pullan.
Salzenberg.
J
Texier and
(
Pullan.
f- Salzenberg.
ROMANESQUE ARCHITECTURE
90. Map of Europe at the Death of Charles
the Great.
91. The Baptistery, Cathedral and Leaning

LIST OF ILLUSTRATIONS. XXIX
No. Name
99. The Abbaye-aux-Dames, Caen
100. French Romanesque Examples.
Abbaye-aux-Hommes, exterior
,,
interior
,, plan .
Angouleme Cathedral, section
,, ,, plan .
,, ,, section through
dome ......
101. The Abbaye-aux-Hommes, Caen .
102. Porch of S. Trophhne, Aries .
103. French Romanesque Ornament.
Fleac, capital
Pontorson, corbel table ....Vaison, frieze .....S. Trophime, capitals ....S. Paul-Trois-Chateau, archivolt .
Abbaye-de-Montmajour, corbel
Angouleme Cathedral, frieze .
corbel .
D'Ouezy, capital .....Plans of piers .....
104. Church of the Apostles, Cologne .
105. German Romanesque Examples.
Church of the Apostles, Cologne, part
elevation
, , , , part section .
plan
Worms Cathedral, part elevation .
,, ,, part section
,, ,, transverse section
plan
106. Worms Cathedral .....
107. German Romanesque Ornament.
Limburg Cathedral, capitals .
Church of S. Pantaleon, capital
S. Gereon, Cologne, capital and base
Worms Cathedral, cornice
S. Gereon, Cologne, double capital
Limburg Cathedral, towers .
Worms Cathedral, capital and base
Limburg Cathedral, capitals .
Ilsenburg Cathedral, capital .
,, ,, column . .'...'.
Laach Abbey Church, window
Worms Cathedral, doorway .
A, B
c
D
E
F
G
H
J
K
Authorities.
Photo.
Pugin.
Sharpe.
Photo.
Photo.
A
B

GOTHIC ARCHITECTURE.
No. Name.
108. Map of Mediaeval Europe, Thirteenth Century.
109. Principles of Gothic Construction.
Amiens Cathedral . . . . . A
S. Saviour, Southwark, vaulting com-
partment . B
,, ,, setting out of
groined vault ( C, D
1 10. Comparative Views of Models of Con-
tinental Cathedrals.
Milan A
Evreux ....... B
Cologne ...... C
Vienna ....... D
Chartres E
in. Comparative Diagrams of Vaults and
Domes.
Roman cross vault .... A
Romanesque cross vault ... B
Byzantine and Renaissance domes . . c
Gothic vault ...... u
Renaissance cross vault . . . . . E
112. English Gothic Examples I.
Comparative Examples, showing progress of
Gothic Vaulting.
Waggon vault ..... A
,, plan .... B
,, ,, stilted .... c
,, ,, showing diagonal and
transverse groins D
Abbaye-aux-Hommes, sexpartite vaulting E
,, ,, external view . F
Peterborough, Norman vaulting . . G
,, ,, plan . H
Salisbury, Early English groined vaulting j, L
Westminster Abbey, groined, with inter-
mediate ribs . . . . .
K, M
Bristol Cathedral, Decorated Lierne vault N, o
S. Mary, Redcliffe, Perpendicular stellar
vault interior view . . . .
p, Q
Gloucester, Cathedral, Perpendicular fan
vaulting . . . . .
R, s
113. English Gothic Examples II.
Types of Mediaeval Open Timber Roofs.
Stowe Bardolph Church, trussed rafter
roof A
Trinity Chapel, Cirencester, tie-beam
roof . . . . . ,-.-. B
S. Mary Magdalen, Pulham, collar-
braced roof . . . . -
. c
Trunch Church, hammer-beam roof D
Authorities,
Viollet-le-Duc.
A. A. Notes.
Photos- by
T. Thatcher.
W. R. Purchase.
Parker, and
f others.
Brandon.

XXXI
Authorities.
Weale.
Brandon.
Thomas Morris.
Photos by
T. Thatcher.
No. Name.
113. English Gothic Examples II. continued.
Types of Mediaeval Open Timber Roofs
continued.
Middle Temple Hall, double hammer-
beam roof ..... E
Ixworth Church, aisle roof F
New Walsingham, aisle roof G
Westminster Hall, hammer-beam roof . H
Evolution of hammer-beam J
114. Comparative Views of Models of English
Cathedrals I.
Chichester
Durham
Ely . . . c
Worcester . . . D
Rochester . . . E
Oxford . . F
Carlisle . . . . G
Bristol . ..... H
115 Comparative Views of Models of English
Cathedrals II.
York ....... A
Chester ...... B
Peterborough ..... C
Exeter . . . . . . . L> Photos by
Winchester ...... E T. Thatcher.
Hereford ...... F
Wells ....... G
Gloucester . ..... H
116. Comparative Views of Models of English
Cathedrals III.
Salisbury ...... A
Lincoln ...... B
Canterbury ...... C Photos by
Norwich ...... i>
*
T. Thatcher.
Ripon ....... E
Lichfield ...... F
117. English Gothic Examples III.
Comparative Plans of English Cathedrals i.
Ely ....... A 1 Builder
'
Cathe-
York ....... dral Series,
Winchester ...... I
Storer, Britton,
Peterborough ..... Loftie, Murray,
Salisbury ...... I
Willis.
Lincoln ......118. English Gothic Examples IV.
Comparative Plans of English Cathedrals 2.
Worcester ...... A 1 'Builder Cathe-
Canterbury ...... B dral Series,
Gloucester
7
. ..... c

Loftie, Brit on,
Norwich ...... D I
Storer, Willis,
Durham ..... E J Murray.

XXX11 LIST OF ILLUSTRATIONS.
No.

No. Name.
127. English Gothic Examples IX.
Westminster Abbey :
Exterior ......Section
Interior ......Plan . ....128. Henry VII. Chapel, Westminster Abbey.
129. Henry VII. Chapel, Westminster Abbey,
Fan Vaulting ....
130. English Gothic Examples X.
Typical English Parish Church :
S. Andrew. Heckington, Lines.
view
interior .
plan
elevation
section .
131. English Gothic Examples XI.
Comparative Plans of English Domestic
Buildings :
Tower of London ....Oxburgh Hall
Kenilworth Castle ....Hatfield House, plans ....Longford Castle . . . . .
Stoke Park
Chevening House, plans
Holkham Hall
32. English Gothic Examples XII.
English Gothic Domestic Examples :
Penshurst Place, elevation of great hall .
,, ,, section of roof
,, ,, chimney stack
,, ,, section of hall roof
., ., general plan
Lambeth Palace, cross sections
,, ,, plan and longitudinal
section
Chiddingstone, Kent, timber houses
S. Mary's Hospital, Chichester, plan
,, ,, sections
133. S. George's Chapel, Windsor.
134. Saxon Architecture.
Earls Barton, tower ....,, ,, window ....Deershurst, ,,
Earls Barton, doorway ....Repton. capital .....Wickham, window
Corhampton, impost
Sompting, capital .....S. Benets, Cambridge, capital
XXX111
Authorities.
D, E
F
G
H, J
K
C, D
E
F
G
H, K
J
L
M, N
[-J.
Neale.
Photo.
Photo.
I Bowman
h and
j
Crowther.
Kerr.
Gotch and
'
)
Brown.
Kerr.
(
" Vitruvius
(
Britannicus.
Kerr.
-Dollman.
Photo.
y Parker and
Bloxam.
Rickman.
F.A.

XXXIV LIST OF ILLUSTRATIONS.
No. Name.
135- S. John's Chapel, Tower of London
136. English Gothic Examples XIII.
Comparative Examples showing progress of
English Gothic Cathedral Architecture :
Ely Cathedral, nave, interior and exterior A
Peterborough ,, ,, ,, B
Ripon, choir, interior and exterior . . c
Ely, presbytery ,, ,, .
/ D
137. English Gothic Examples XIV.
Engh'sh Gothic Cathedral Architecture
(continued).
Lichfield Cathedral, nave, interior and
exterior ...... E
Ely choir, interior and exterior . . F .
Winchester, nave, interior and exterior . G
138. Iffley Church, Oxon
139. Norman Mouldings.
Lincolnshire, zigzag .... A
S. Contest, Caen, chevron B
Winchester, billet c
Canterbury ,, . . . . . D
Westminster, chevron E
North Hinksey F
Abbaye aux-Dames, billet G
Stoneleigh, double cone H
S. Peters-at-Gowts, nebule J
Iffley, Oxon., flower K
North Hinksey, beaks head . . . L
Lincoln, embattled . . . . M
140. English Gothic Examples XV.
The Evolution of Gothic Spires in England :
S. Peter, Raunds, Northants ... A
S. John, Keystone, Hunts. B
S. Wulfran, Grantham, Lines. . . c
Salisbury Cathedral . D
S. Mary, Bloxham, Oxon. . . . E
S. Peter, Kettering, Northants. . . F
S. James, Louth, Lines. G
S. Michael, Coventry, Warwickshire . H
141. English Gothic Examples XVI.
The Evolution of the Gothic Buttress :
Norman, Fountains Abbey . . . A
E. English, Southwell Minster . . .B
Decorated, S. Mary Magdalen, Oxford . c
Perpendicular, Divinity School, Oxford . n
Detached Flying Buttress, Chapter Ho.
Lincoln ...... E
Flying Buttresses, Amiens and Kheims .
F,
Constructive principle of the Mediaeval
Church . . G
Authorities.
Photo.
hSharpe.
[
Sharpe.
Photo.
Pr.rker, Rick-
man, Bloxam
and others.
}
C. Wickes.
Sketches

LIST OF ILLUSTRATIONS. XXXV
No. Name.
142. English Gothic Examples XVII.
Gothic Tracery Development :
Lynchmere, plate tracery ... A
Woodstock ,, ., . . . B
Dorchester, bar tracery . . . c
Minster Lovel, bar tracery . . . D
Headington, plate tracery . . . E
Wimborne Minster, grouped lancet lights F
Warmington, grouped lancet lights . G
Long Wittenham, geometrical tracery . H
S. Mary Magdalen, curvilinear tracery .
j
Duston, clerestory windows . . .
K, I,
Great Milton, curvilinear tracery . . M
New College Chapel, rectilinear tracery. N
King's College Chapel ,, ,, . o
S. Mary, Dinan, Flamboyant example . p
143. English Gothic Examples XVIII.
Comparative Examples of English Gothic
Doorways :
Clare Church, elevation ... A
capital and base .
-
B
jamb moulding . . c
S. John, Cley half exterior and interior . D
capital and base . . E
arch mould F
jamb and arch mould . G
capital and base . . H
Merton Colle e Chapel, Oxford, elevation j
,, capital and base K
,, jamb and arch
moulds . L
, , jamb mould . M
Authorities.
Parker.
J. K. Colling.
Bowman
and Crowther
Pugin.
144. English Gothic Examples XIX.
Norman Font, Coleshill, Warwickshire . A
E. English Font, Lackford, Suffolk . B
Decorated Font, Offley, Herts . . c
Perpendicular Font, ClympingCh, Sussex D
Norman Piscina, Crowmarsh, Oxford-
shire ....... E
E. English Piscina, Cowling, Suffolk . F
Decorated Piscina. Gt. Bedwin, Wiltshire G
Perpendicular Piscina, Cobham, Kent . H
E. English Tabernacle, Warmington,
Northants ...... j
Norman Sedilia, S. Mary, Leicester . K
Decorated Tabernacle, Exeter Cathedral L
E. English Sedilia, Rushden, Northants M
Decorated Sedilia, Merton, Oxon .
'
. N
Perpendicular Sedilia, S. Mary, Oxon . o
Parker.
Braddon.
Parker.
C 2

XXXVI LIST OF ILLUSTRATIONS.
No, Name,
145. English Gothic Examples XX.
Pew, Steeple Aston, Oxon. .
Pulpit (External), Magdalene Coll.,
Oxford
Pulpit, Wolvercot, Oxon.
Eagle Lectern, Upwell S. Peter,
Norfolk
Roodloft, Handborough, Oxfordshire
Parclose Screen, Geddington Ch.,
Northants ,
Prince Arthur's Chantry, Worcester
Cathedral
Authorities.
[ Parker.
j
A. A. Sketch
I Book.
Parker.
[
J. K. Colling.
146. English Gothic Ornament I.
Comparative Mouldings of the Periods of
Gothic Architecture :
" Norman" capitals, bases, piers . . I to 13
"
Early English
'"
., ,. 141025
"Decorated" .. ., .
.261038
"Perpendicular
'
,. ,, .
39 to 54
147. English Gothic Ornament II.
Comparative Selection of Gothic Ornaments
in Different Periods :
Early English dog-tooth ornament. . A
., ,, crocket . . . .
j
,, parapet .... M
" Decorated
"
four-leaved flower . . B
ball flower c
tablet flower . . . D
typical crocket . . K
parapet N
"
Perpendicular
"
vine leaf and grapes . E
cornice flower . . F
Tudor flower, cresting . G
Tudor rose H
crocket .... L
parapet o
Parker and
Paley.
Parker.
Bloxam.

* Parker.
R. Glazier.
)
,
L
Parker.
-
Bloxam.
Parker.
148. English Gothic Ornament III.
Comparative Examples of Gothic Capitals
and Carved Foliage :
" Norman
"
capitals . . . .
A, B, c
"
Early English
"
capitals and spandrel D, E, F
'jDecorated
"
capitals and ornament . G, H, J, K
"
Perpendicular
"
capitals, spandrels . L. M, N, o,P I
i
Parker, Pugin,
and Colling.
149. English Gothic Ornament IV.
Gable Crosses :
Early English Higham
Ferrers
,, ,, Decorated Haslingfield
Church
,, ,, Perpendicular Stoke
Ferry Church .
j. K. Colling.
)
-Brandon.

No.
Name.
149. English Gothic Ornament IV. continued,
Sanctus Bell Bloxham Church, Oxon. .
Finials :
Early English Lincoln Cathe-
dral .....,, Decorated Winchester Cathe-
dral .....,, Perpendicular York Minster .
Stone Pendant :
Perpendicular, All
Saints, Evesham ....Bosses :
Early English Lincoln Cathe-
dral .
., ,, Westminster
Abbey .
Decorated Southwell Minster.
, , Perpendicular S. Mary's
Church, Bury St. Edmunds .
Early English bracket: S. Alban's Abbey
Poppy-heads : Paston Church, Norfolk .
,, Winchester Cathedral
150. Compton Wynyates, Warwickshire
151. Examples of Scottish Architecture.
Rothesay Castle, plan ....Drum Castle, plan .....Doune Castle, plan
Castle Frazer, plan
Cowane's Hospital, plan
Glamis Castle, plan ....,, view from the south-east
George Heriot's Hospital, plan
,, entrance gate-
way .
Grangepans, sketch from .the S.E. .
152. Examples of Irish Architecture.
Cormac's Chapel, Cashel, ground plan .
,, ,. ,, view from the
S.E.
,, ,, ,, plan of crofts.
,, ,, ,, section through
nave .
,, ,, ,, long, section .
,, ,, ,, section through
Tower, Devenish .
,, Kilree, Kilkenny
sanctuary
N. porch
XXXV11
Authorities.
P>om a Photo.
}]. K. Colling.
Nash.
^
MacGibbon and
f
Ross.
Arthur Hill.
Fergusson.
} Arthur Hill.
Fergusson.
FRENCH GOTHIC.
153. French Gothic Examples I.
Beauvais Cathedral, section A
plan c
j-
Bulges.
,, ,, plans of buttress .
D, E, F )
Notre Dame, Paris, wheel window . K Gailhabaud.

XXXV111 LIST OF ILLUSTRATIONS.
No. Name.
154. Comparative Views of Models of Conti-
nental Cathedrals.
Amiens .......Rouen .......Antwerp ......Notre Dame, Paris ....Strasbourg ......Beauvais . . . . . .
155. French Gothic Examples II.
Comparative plans of cathedrals :
Rouen ......Evreux ......S. Oaen, Rouen ....Chartres .....Rheims ......S. Chapelle, Paris ....
156. Notre Dame, Paris. View of west front .
157. French Gothic Examples III.
Notre Dame, Paris, exterior bay .
,, ,. ,, cross section .
,, ,, ,, interior bay .
,, plan
158. Notre Dame, Paris. Interior .
159. Comparative Plans of English and
French Types of Cathedrals.
Authorities.
160.
161.
162.
163.
Salisbury Cathedral
Amiens
Amiens Cathedral. Interior .
Rheims Cathedral. View of west front .
Coutances Cathedral. View of west front
House of Jacques Cceur, Bourges .
164. Palais de Justice, Rouen ....
165. French Gothic Ornament.
Chartres, figure sculpture
., capital .....Amiens, fleche . . . .
-
.
,, grotesque figure
Notre Dame, Paris, open parapet .
,, ,, stone pulpit
Mont S. Michel, foliage
Notre Dame, Chalons sur-Marne .
Piers in Northern and Southern France .
*'_
Semur, capital and crocket .
166. Antwerp Cathedral. Exterior .
A
B
C
D
E
/F

LIST OF ILLUSTRATIONS. XXXIX
No. Name.
167. Belgian Gothic Examples.
S. Gudule, Brussels, elevation
,, ., section.
,, ,, interior elevation
,, ,, plan
Antwerp Cathedral, section .
,. ,, plan
168. Town Hall, Bruges ....
169. Town Hall, Ghent ....
170. German Gothic Examples I.
Cologne Cathedral, exterior .
., ,, section .
,, interior .
., ,, piers
plan
171. Ratisbon Cathedral. Exterior.
172. German Gothic Examples II.
S. Stephen, Vienna, plan
,, section .
,, interior .
S. Eliz heth, Marburg, plan
,, exterior .
,, section
,, interior .
173. S. Stephen, Vienna
174. German Gothic Ornament.
Freibourg Cathedral, canopy capitals
S. Paul, Worms, capitals
Cologne, parapet ....,, corbel capital .
,, gargoyles
,, doorway
Gelnhausen, doorway .
Bruges, miserere ....Marburg, tomb ....
175. Milan Cathedral. Exterior
176. Italian Gothic Examples I.
Milan Cathedral, plan .
,, long, section
S. Maria-dei-Fiori, Florence, plan
,, long, section .
177. Milan Cathedral. Interior
178. The Doge's Palace, Venice .
179. Italian Gothic Examples II.
Palazzo della Ca d'Oro, elevation .
Doge's Palace, Venice, fa?ade
Palazzo Pisani, Venice, fa9ade
Siena Cathedral, plan .
A
B
C
D, E. G, H
F
A, C
B
I)
J
K, L
F
E
G, H
M
Authorities.
-
King.
Photo.
Photo.
Boisseree.
Photo.
Gailhabaud.

King.
Photo.
Norman Shaw.
Moiler.
)
'-
Boisseree.
J
Moller.
Norman Shaw.
Moller.
Photo.
Gailhabaud and
others.
Photo.
Photo.
Cicognara.

xl LIST OF ILLUSTRATIONS.
No. Name.
180. Ca d'Oro Palace, Venice
181. Florence Cathedral. Exterior .
182. Siena Cathedral. Exterior
183. Monreale Cathedral. The cloisters .
184. Italian Gothic Ornament.
Baptistery at Pisa, detail of capital from
pulpit
,, ,, plan of pulpit .
,, pulpit
,, Florence, candelabra
Campo Snnto, Pisa, window .
Pisa Cathedral, portion of pulpit .
,, ,, lion and base of column
Naples, capital .....Ducal Palace, Venice, capital
Venice, angle window ....Palazzo Scaligeri, Verona, campanile .
185. Burgos Cathedral. Exterior .
1 86. Burgos Cathedral. Interior
187. Spanish Gothic Examples.
S. Maria del Mar, Barcelona, plan
Barcelona Cathedral, plan
Gerona ,, .,
Toledo ,, ,,
Lerida ,,. ,,
1 88. S. Juan de los Reyes, Toledo
189. S. Gregorio, Valladolid ....
190. Spanish Gothic Ornament.
Burgos Cathedral, ornament from tomb .
,, Gonzalo ,, .
balcony
sculptured pier .
plan ....window of dome
elbows of sedilia
Miraflores, Infante's tomb .
,, base of Infante's tomb .
,, pier of ,. ,,
Las Huelgas, capitals ....S. Gil, canopy .....
A
B
c
H
L
J
K
D
G
M, N
E
F
Authorities.
Photo.
Photo.
Photo.
Photo.
[
Rohault de
I Fleury.
Norman Shaw..
") Rohault de
) Fleury.
Cicognara.
Photo.
Photo.
L Street.
Photo.
Photo.
-Waring,
RENAISSANCE ARCHITECTURE,
191. Florentine Renaissance Examples I.
Palazzo Strozzi, main cornice . . A
,, ,, section and elevation of
court ; . . c
,, ., plan E
,, ,, keystone F
- Raschdorff.
(Grandjean et
(
Famin.
Raschdorff.

LIST OF ILLUSTRATIONS. Xli
No. Name.
191. Florentine Renaissance Examples I. continued.
Palazzo Riccardi, main cornice . . B
., ,, elevation . . . D
,, ,, plan .... G
192. Palazzo Riccardi, Florence
193. Florentine Renaissance Examples II.
Pazzi Chapel, plan
,, ,, elevation .
,, ,, section
S. Lorenzo, plan ....S. Andrea, Mantua, plan
., ,, ,, long, section.
porch .
S. Spirito, capital
,, ,, plan ....,, ,, long, section
194. Florentine Renaissance Ornament.
Duomo of Fiesole, console from tomb
Palazzo Vecchio. capital
Medici Chapel, Santa Croce, corbel
Palazzo Strozzi, window
,, Gondi, ,, .
,, Pandolfini, window .
,, ,, pilaster .
Mercato Nuovo, niche .
Banner bracket
Piazzo Annunziata, bronze fountain
Palazzo Guadagni, lamp bracket .
195. Palazzo Giraud, Rome . . .
196. Roman Renaissance Examples I.
Cancellaria Palace, elevation .
,, ,, plan
Massimi Palace, elevation
,, ; , plan
197. Farnese Palace, Rome
198. Roman Renaissance Examples II.
Farnese Palace, Rome
Details of main cornice .
Front fa?ade ....Elevation of cortile
Plan
Section and plan through loggia
Upper plan ....
A, B
C
D
E
F
G, H
J
Authorities.
/ Grandjean et
(
Famin.
/ Waring and
( Macquoid.
J Grandjean et
(
Famin.
Photo.
I
Grandjean et
j
Famin.
D'Agincourt.
D'Agincoiirt.
A
B

xlii LIST OF ILLUSTRATIONS.
No.

LIST OF ILLUSTRATIONS. xliii
No. Name.
207. Palazzo Vendramini, Venice .
208. Venetian Renaissance Examples I.
Palazzo Grimani, plinth
.
,, cornice, capitals .
, , elevation of half fa9ade
plan . . .
Palazzo Vendramini, half fa?ade
,, cornices and capital
209. The Pesaro Palace, Venice
210. Venetian Renaissance Examples II.
S. Mark's Library, fa?ade
,, ,, cornices .
Doge's Palace, cornices ....
213.
214.
215.
,, pers ....
Venetian Renaissance Examples III.
S. Maria dei Miracoli, fa?ade
,, ,, section
,, ,, long, section
plan
S. Giorgio dei Greci, fa9ade
,, ,, long- section
., ,, plan .
,, ,, doorhead
,, ,, cornice
S. Giorgio Maggiore, facade
5 j ,, plan .
,, ,, section
S. Maria della Salute, Venice
Comparative Plans of Various
Cathedrals.
S. Paul, London .....S. Peter, Rome .....Pantheon, Paris .....Cologne Cathedral . .
S, Maria della Salute ....Venetian Renaissance Ornament.
S. Mark, pedestal of flagstaff
Equestrian statue of Colleoni, elevation
Half plan, ditto .
Entablature and capital
to ditto .
Scuola di S. Marco, doorway .. . .
,, ,, panel .
Window and balustrade
Palazzo Zorzi, capital ....S. M. dei Miracoli, capital and pilaster .
,, Greci, campanile .
The Basilica at Vicenza ....

xliv LIST OF ILLUSTRATIONS.
No. Name.
216. Renaissance Examples by Palladio.
The Basilica at Vicenza, elevation . . A
,, ,, section . . B
plan C
Villa Capra, Vicenza, elevation . . D
,, ,, section . . E
,, ,, plan F
Palazzo del Capitanio, elevation . G
Palazzo Porto Barbarano, ,, . . / H
217. Renaissance Examples in Genoa and '
Verona.
Palazzo Pompeii, Verona, fa9ade . . A
,, Municipio, Genoa, fa9ade . . B
,, ,, section . . . c
,, ,, long, section . . D
,, ,, plans . .
E, F
218. Renaissance Ornament in Genoa and
Verona.
Palazzo Gambaro, angle of cornice to
doorway . . A
,, ,, plan of cornice . B
,, ,, key sketch . . D
,. Carega, angle cornice . . c
, , , , key sketch . . E
Old Convent, Genoa, lavabo . . F
Villa Cambiaso, coffered ceiling . . G
,, ,, pilaster . . .
K, L
Typical cap ...... H
Doorway ...... J
Sanmicheli's house, Verona, doorway . M
219. Chateau de Blois, Escalier Francois
Premier . . . .
220. French Renaissance Examples I.
Chateau de Bury, plan .... A
,, ,, elevation B
,, Chambord, plan . . . C
,, ,, elevation . . D
The Louvre, Paris, fa9ade E
,, ,, block plan . . F
221. Chateau De Chambord ....222. S. Eustache, Paris
223. French Renaissance, Examples II.
Les Invalides, Paris, section through
dome . . A
,, ,, plan B
The Pantheon, Paris, section through
dome . . C
,, ,, plan D
Chateau de Maisons, elevation . . E
,, ,, plan F
Luxembourg Palace, Paris, part elevation G
,, ,, ,, plan . . H
Authorities
Palladio.
f Waring and
} Macquoid.
Reinhardt.
Reinhardt.
-
Reinhardt.
J. Kinross.
-
Reinhardt.
J. Kinross.
) Waring and
j" Macquoid.
Photo.
Durand.
Photo.
Photo.
Gailhabaud.
Durand.
Sauvageot.
f
Sauvageot and
(
Durand.
Durand.

LIST OF ILLUSTRATIONS. xlv
224.
225.
226.
227.
228.
229.
231,
232.
233-
234-
Name.
The Pantheon, Paris ....French Renaissance Ornament I.
Palace at Fontainebleau, capital
,, ,, panel
Chateau de Chamborcl, capital
,, ,, dormer
,, Chenonceaux, doorway
French Renaissance Ornament II.
Keystone
Balcony (Louis XV.) .
Versailles, lead fountain
Lycee Napoleon, dormer window .
Paris, console .....Versailles, style of decoration
Doorway . .
Paris, fountain (Louis XV.) .
,, door and window .
Palais Royal, cornice and balustrade
Heidelberg Castle
The Rathhaus, Cologne ....German Renaissance Examples.
Lemgo Town Hall, elevation .
Solothurn Town Hall, elevation
Ober-Ehnheim, wellhead
Weimar, arcade .....Nuremberg, dormer window . . .
The Pellerhaus, Nuremberg .
German Renaissance Ornament.
Heidelberg Castle, windows and niche .
,. ,, statue . .
Freiburg, Switzerland, capital
Heilbron, gable .....Freiburg, capital .....Erfurt, window .....Heilbron, cartouche ....Munich, doorway .....Belgian and Dutch Renaissance
Examples.
Haarlem, pinnacles ....Antwerp, gable .....Utrecht, pilasters .....Leyden Town Hall, elevation
The Town Hall, Antwerp
Belgian and Dutch Renaissance
Ornament.
Dordrecht, bench-ends ....Antwerp, doorway ....Gable end
Enghien, capital .....Brussels, ornament
Musee Plantin, Antwerp, door
,, ,, ,, staircase .
Zalt Bommel, figures ....L'Eglise des Capucins, ornament .
Authorities.
Photo.
A, B
C. E
D,F
K, L, M
H, J
A
B, C, D
E
F
G, H
L
J, K
N, O, P
Q, R, S
T, U
J
Pfnor.
'rBerty.
} Cesar Daly.
Photo.
Photo.
Lambert and
c'
D
Stahl.
J
E
F, G
A, C
B
D
E
F
G
H
J
A, B, C, E
Photo.
Lambert and
Stahl.
Photo.
A, B
C
D
E
F
G
H
J
K
VEwerbeck.

xlvi LIST OF ILLUSTRATIONS.
No. Name.
235. Town Hall, Seville
236. Spanish Renaissance Examples.
Toledo;
the Alcazar, portion of facade .
Avila, the Casa Polentina courtyard
237. Burgos. Courtyard of the House of
Miranda .....
238. Comparative Plans of Various Buildings.
The King's House, Greenwich . .
(
The Rotunda, Vicenza ....The Escurial, Spain ....Villa of Pope Julius, Rome .
Blenheim Palace .....
239. Spanish Renaissance Ornament.
Siguenza Cathedral, door from cloisters
Cuenza Cathedral, iron screen
Alcala De Henares, window .
Avila, iron pulpit ....
240. Map of Western Europe at the Time of
Elizabeth.
241. Hatfield House. The Hall .
242. Knole, Kent. Staircase
243. Haddon Hall. Long Gallery .
244. English Renaissance Examples I.
Holland House, elevation
,, ., ground floor plans
Stockton House, side of drawing-room .
Blickling Hall, Norfolk, the great
staircase .....
245. English Renaissance Examples II.
Castle Ashby, Northamptonshire, south
elevation
i 1 .
plan .
Hardwicke Hall, elevation
it plan .
246. Kirby Hall, Northants .
247. Little Moreton Hall, Cheshire
248. The Tower of the old Schools, Oxford .
249. Hatfield House , .
,
A
B
C
D, E
F
A
B, C
D
E
A
B, C
D
E
Authorities
Photo.
}
A. N. Prentice.
Photo.
Campbell.
Palladio.
Thompson.
Letarouilly.
Kc rr.
-A. N. Prentice.
Nash.
Nash.
Nash.
Richardson.
f Princess of
( Lichenstein.
[
Henry Shaw.
j
P. F. Robinson.
Photo.
Photo.
Photo.
Photo.

LIST OF ILLUSTRATIONS. xlvii
No. Name.
250. English Renaissance Ornament I.
Bramshill House, Hants, balustrade . A
., ., ,, oriel . . E
,, ,, ., arcade . . G
,. ,, ,, plaster ceiling M
Duke's House, Bradford, balustrade . B
Hatfield House, newel c
Blickling Hall, Norfolk, entrance . . D
,, ,, ,. chimney piece K
All Hallow's (Barking) Church, wall
tablet F
House at Yarmouth, frieze . . . H
Aston Hall, frieze j
Claverton, Somersetshire, rain water
head ...... L
251. English Renaissance Ornament II.
Doorway in Broughton Castle . . A
Bay window, Hinchingbrooke Hall . B
Chapel screen, Charterhouse, London . c
Bookcase, Pembroke College, Cambridge D
Tomb of Lord Burghley, S. Martin,
Stamford ...... E
Throne and stalls, Convocation Room,
Oxford ...... F
Pulpit, North Cray Church, Kent . . G
Lead cistern, Victoria and Albert
Museum ...... H
Tablet, Peterhouse College Chapel, Cambs. j
252. English Renaissance Examples III.
York Water-Gate, London, elevation . A
,, ,, ,, plan . . B
Banqueting House, Whitehall, elevation c
,, ,, plan . D
Whitehall Palace, ground plan . . E
253. English Renaissance Examples IV.
S. Paul, London, Wren's original plan A
,, ,, section through
dome
,, ,, plan . . . c
,, ,, sketch of peristyle . D
,, ,, transverse section . E
, ,
western fa$ade . F
254. S. Paul, London
255. English Renaissance Examples V.
S. Mary Le Bow, section ... A
,, ,, elevation . . . B
,, ,, plans . . . 1-6
S. Bride, elevation c
,, section D
,, plans . . . .
7-12
Authorities.
I Henry Shaw..
j
Richardson.
} Henry Shaw~
Richardson.
}J.A. Gotch.
H. Tanner, junr..
J. A. Gotch.
H.'.Tanner, junr..
C. J.Richardson.
H. I.
Triggs.
H. Tanner, junr..
Campbell.
Kent.
Campbell.
Kent.
Clayton and
Gailhabaud
Photo.
J-Clayton..

xlviii LIST OF ILLUSTRATIONS.
No. Name.
256. English Renaissance Examples VI.
S. Stephen, Walbrook, details
,, ,, section
,, ,, plan
257. English Renaissance Examples VII.
S. James, Piccadilly, London'
Plan
Elevation .....Cross section .....Long, section ....S. Bride, London, plan
,, ,, elevation
,, ,, cross section
,, ,, long, section .
258. English Renaissance Examples VIII.
Castle Howard, elevation
,, section
,, central portion
Kedlestone Hall, elevation .
,, section
,, plan
259. Somerset House, London
260. English Renaissance Ornament III.
Doorway ......Horse Guards, London, typical window
Aston, wall tablet ....
Wilton, archway ....S. Martin's Church, London, window
Gate piers . . . .
-
.
Chimney piece .....Westminster, monument
261. English Renaissance Examples IX.
Examples by Sir William Chambers.
Pedimented gateway ....Doorway ......A Venetian window ....Doorway or portion of Ionic colonnade
without pedestals ....Casino at Marino, near Dublin
Doorway or portion of Corinthian colon-
nade with pedestals ....Superimposed orders, without pedestals .
,, ,, ,, section
,, ., with arcades and
pedestals
,, ,, with Venetian
arcades and
pedestals
thorities.
A, C
B j- Clayton.
D
j-Clayton.
I
Campbell.
I Woolfe and
j
Gandon.
Photo.
A, C

LIST OF ILLUSTRATIONS. xlix
No. Name.
262. Comparative diagrams of the propor-
tions of the Orders after Sir W.
Chambers.
Greek Doric .
Tuscan
Roman Doric . . . . .
Ionic
Corinthian
Composite
263. The Houses of Parliament, London
Authorities.
Chambers.
Photo.
ARCHITECTURE IN THE UNITED STATES.
264. Garrick (formerly Schiller) Theatre,
Chicago.
INDIAN ARCHITECTURE.
265. Map of India.
266. Indian Examples and Ornament.
Sanchi, gateway
Indian roof construction
Kanaruc in Orissa, pagoda
Sanchi, rail
Seringham, compound pillar .
Bindrabund, Agra, plan
,, ,, pillar
Greek Temple, Baillur, plan .
Vellore, compound pillar
Stone ornaments .....267. Karli. Interior of rock-cut cave
268. Ajunta. Fa$ade of rock-cut cave
269. Elephanta. Interior view of rock-cut cave
270. Mount Abu. Interior of Dilwana Temple .
271. Palitana. The great Chawmukh Temple .
272. Gwalior. The great Sas Bahu Temple
273. Umber. The Hindu Temple of Tagat-
Garwan . ......274. Hullabid. The East door of the double
Temple .......275. Ellora. The "rath" (Temple of Kailos) .
276. Tanjore. The Great Temple from the N.E.
277. Mandura. The West Gateway and Gopura
278. Tarputry. Entrance to the old Temple
279.
280.
A

DIAGRAM TABLE
OF THE
SYSTEM OF CLASSIFICATION
FOR EACH STYLE.
1. Influences.
i. GEOGRAPHICAL.
n. GEOLOGICAL.
in. CLIMATE.
iv. RELIGION.
v. SOCIAL AND POLITICAL.
vi. HISTORICAL.
2. Architectural Character.
3. Examples.
4. Comparative Table.
A. Plan, or general distribution of the building.
B. Walls, their construction and treatment. -
c. Roofs, their treatment and development.
D. Openings, their character and shape.
E. Columns, their position, structure, and
decoration.
F. Mouldings, their form and decoration.
G. Ornament, as applied in general to any
building.
5. Reference Books.

A
ON THE
COMPARATIVE METHOD.
PREHISTORIC ARCHITECTURE.
"
Study mere shelter, now for him, and him ;
Nay, even the worst just house them !
Any cave
Suffices ; throw out earth ! A loop hole ? Brave !
. . . But here's our son excels
At hurdle weaving any Scythian ;
fells
Oak and devises rafters ; dreams and shapes
His dream into a door post, just escapes
The mystery of hinges. . . .
The goodly growth
Of brick and stone ! Our building-pelt was rough,
But that descendants' garb suits well enough
A portico-contriver.
*****The work marched :
step by step a workman fit
Took each, nor too fit to one task, one time
No leaping o'er the petty to the prime,
"When just the substituting osier lithe
For brittle bulrush, sound wood for soft withe,
To further loam-and-rough-cast work a stage,
Exacts an architect, exacts an age." BROWNING.
THE origins of architecture, although lost in the mists of antiquity,
must have been connected intimately with the endeavours of man
to provide for his physical wants. It has been truly said that
protection from the inclemency of the seasons was the mother of
architecture. According to Vitrtivius, man in his primitive savage
state began to imitate the nests of birds and the lairs of beasts,
commencing with arbours of twigs covered with mud, then huts
formed of branches of trees and covered with turf (No. 2 c).
Other writers indicate three types of primitive dwellings the
caves (No. 2 H) or rocks or those occupied in hunting or fishing,
F.A. B

BRANCHES OF TREE5
COVERED WITH TURF-
THE HUT (g) MOMOLITO,' (ft SHIELMGS JuRA,
^^LQCMARIAKER. 5WTTAHY. ^^ ^
JuRA,5coTLm
.r.SV^. __ ,,..'
))
BEEHIVE HUTS LIWIS,SCOTUND,
.
BEEHIVE HUT, IRELAND.
ASSTORED w W/WIRE
THE DlAMLTER OF LARGE 5TONE CIRCLE IS 106 F

PREHISTORIC ARCHITECTURE. 3
the hut (No. 2 A, D, E) for the agriculturist, and the tent (No. 2 j)
for those such as shepherds leading a pastoral or nomadic life.
Structures of the prehistoric period, although interesting for
archaeological reasons, have little or no architectural value, and
will only be lightly touched upon.
The remains may be classified under :
i. Monoliths, or single upright stones, also known as menhirs,
a well-known example 63 feet high, 14 feet in diameter, and
weighing 260 tons, being at Carnac, Brittany. Another example
is at Locmariaker, also in Brittany (No. 2 B).
ii. Dolmens (Daul, a table, and maen, a stone), consisting of
one large flat stone supported by upright stones. Examples are
to be found near Maidstone and other places in England, also in
Ireland, Northern France, the Channel Islands, Italy (No. 2 F)
and India.
iii. Cromlechs, or circles of stone, as at Stonehenge (No. 2 G),
Avebury (Wilts), and elsewhere, consisting of a series of
upright
stones arranged in a circle and supporting horizontal slabs.
iv. Tumuli, or burial mounds, were probably prototypes of the
Pyramids of Egypt (No. 4) and the beehive huts found in Wales,
Cornwall, Ireland (No. 2 D, E) and elsewhere. That at New
Grange (Ireland) resembles somewhat the Treasury of Atreus at
Mycenae (No. 15).
v. Lake Dwellings, as discovered in the lakes of Switzer-
land, Italy and Ireland consisted of wooden huts supported on
piles, and were so placed for protection against hostile attacks of
all kinds.
These foregoing primitive or prehistoric remains have little
constructive sequence, and are merely mentioned here to show
from what simple beginnings the noble art of architecture was
evolved, although unfortunately the stages of the evolution cannot
be traced, owing to the fact that the oldest existing monuments of
any pretension, as in Egypt, belong to a high state of civilization.
REFERENCE BOOKS.
Gamier (C.) and Ammann (A.).
" L' Habitation Humaine Pre-
historique et Historique." 4to. Paris. 1892.
Lineham (R. S.).
"
The Street of Human Habitations : An Account
of Man's Dwelling-places, Customs, etc., in Prehistoric Times, and in
Ancient Egypt, Assyria, Persia, India, Japan, etc." 8vo., cloth. 1894.
Viollet-le-Duc (E. E.). "The Habitations of Man in all Ages."
Translated from the French by B. Bucknall. 8vo. 1876.
Waring (J. B.).
"
Stone Monuments, Tumuli, and Ornament of
Remote Ages, with Remarks on the Early Architecture of Ireland and
Scotland." Folio. 1870.
B 2

PART I. /
v
THE HISTORICAL STYLES.
GENERAL INTRODUCTION.
" Deal worthily vith the History of Architecture and it is worthy to take its
place with the History of Law and of Language." FREEMAN.
IN introducing this Comparative treatment of Historical Archi-
tecture, a general outline sketch is given of the course which
the art has taken up to the present time in Europe, and also in
those countries, such as Egypt and Assyria, which have influenced
that development.
Architecture may be said to include every building or structure
raised by human hands, and is here denned as construction with
an artistic motive : the more the latter is developed, the greater
being the value of the result.
The first habitations of man were undoubtedly those that
nature afforded, such as caves (No. 2 H) or grottoes, which
demanded little labour on his part to convert into shelters against
the fury of the elements, and attacks from his fellows or wild
animals.
As soon as man rose above the state of rude nature, he
naturally began to build more commodious habitations for him-
self, and some form of temple for his god. Such early forms are
given under the heading of Prehistoric Architecture.
To pass, however, at once into Historic times, there prevailed
in Egypt a system of architecture which consisted of a massive
construction of walls and columns, in which the latter closely
spaced, short, and massive carried lintels, which in their turn
supported the flat beamed roof. In Babylonia, the develop-
ment of brick construction with the consequent evolution of
the arch and vault was due to the absence of more permanent
building materials. The influence of Egyptian and Assyrian
architecture on that of Greece is apparent in many directions.

GENERAL INTRODUCTION TO THE HISTORICAL STYLES. 5
Grecian architecture is considered by many to have had its
origin in the wooden hut or cabin formed of posts set in the
earth, and covered with transverse beams and rafters, and this
was the type which was developed in the early Mycenaean
period into the pyodomus of the Greek house. This timber archi-
tecture, copied in marble or stone, was naturally at first very
simple and rude ;
the influence of the material, however, was soon
felt, when the permanence and value of stone aided in the growth
of the art. It should be noted, however, that many writers hold
that Greek architecture is developed from an early stone type.
As civilization and technical skill, moreover, advanced, the
qualities of refinement in detail and proportion were perceived,
and the different orders of architecture Doric, Ionic, and
Corinthian (No. 38) came into existence. By the word " order
"
is meant certain methods of proportioning and decorating a
column, and the part it supports, i.e., the entablature. The
above "orders" are characteristic of Greek architecture, and
the beauty and grace with which they were treated, and the
artistic and mathematical skill with which they were constructed,
illustrate the keen artistic temperament of the Greeks.
Greece eventually succumbed to the conquering Romans who,
however, adopted their architecture, and in many cases employed
Greek artists in the erection of their buildings. While borrowing
this trabeated architecture, they added the use of the arch, which
they had probably already learnt to construct from the Etruscans,
the ancient inhabitants of Central Italy.
The column and arch were used conjointly by the Romans for
some time, good examples being the Colosseum at Rome (Nos. 62
and 63), and the Triumphal Arches (Nos. 65 and 66). This
dualism is a very important fact to remember, because, as will
be seen, it
eventually ended in the exclusion of the beam
altogether, and in the employment of the arch alone, throughout
the entire constructive system of the building. In the numerous
buildings which the Romans erected, it will be noticed that the
column has. in the generality of cases, become merely a decorative
feature, the actual work of support being performed by the piers
of the wall behind, connected together by semicircular arches.
As time went on, however, such practical people as the Romans
could not but discard a feature which was no longer utilitarian,
so the column as a decorative feature disappeared, and the
arcuated system it had masked was exposed.
Columns were, however, used constructively, as in many
of the great basilicas, in which the semicircular arches spring
directly from their capitals. As the Romans conquered the
whole of the then known world, that is to say, most of what is
now known as Europe (No. 45), so this feature of the semicircular
arch was introduced in every part, by its use in the settlements

6 COMPARATIVE ARCHITECTURE.
which they founded. Roman architecture was prevalent in
Europe in a more or less debased form up to the tenth century of
our era, and is the basis on which European architecture is
founded. The gradual breaking up of the Roman Empire, the
formation of separate European states, and other causes which
we shall enumerate separately, led to many variations of this
semicircular arched style, both in construction and decoration.
The transition commenced. in the tenth, eleventh, and twelfth
centuries, when the later Romanesque, so called as being derived
from the Roman style, was in vogue. Constructive necessity,
aided largely by inventive genius, led, in the latter part of the
twelfth century, to the introduction of the pointed arch.
The pointed arch is the keynote of what is known as the
Gothic or pointed style, which prevailed throughout Europe
during the thirteenth, fourteenth, and fifteenth centuries, during
which period were erected those magnificent cathedrals and
churches, which form the most emphatic record of the religious
feeling and character of the Middle Ages.
The past styles of European architecture may be broadly
summarized as being divided into two great types, viz. :
(i) Classic,
or the architecture of the beam, ancf (2) Gothic, or the architecture
of the arch. Each of these types depends on an important con-
structive principle, and any style may be placed under one or
other of these types.
The early styles, including the Greek, belong to the former.
Roman architecture is a composite transition style, whose goal,
if unchecked, would seem to have been the combination of the
round arch and dome that are seen in the great examples of the
Byzantine style. It was left to the Gothic style to formulate a
complete system of arcuated construction, the working out of
which was marvellously alike in all countries. It was a style,
moreover, in which a decorative system was closely welded to the
constructive, both uniting to reflect a more intense expression of
its age than had, perhaps, hitherto been achieved in previous
architecture.
The revival of the arts and letters in the fifteenth century was
a fresh factor in the history of architecture. The condition of
Europe at that period was one of ripeness for a great change,
for the Gothic system, whether in architecture or in civilization
regarded as a whole, may fairly be said to have culminated. Its
latest works were tinged by the coming change, or showed
signs of becoming stereotyped by the mechanical repetition of
architectural features.
The new force was the belief that the old Romans had been
wiser and more experienced than the medievalists, and the
result was the earnest study of every Roman fragment, whether
of art or literature, that had been preserved or could be recovered.

GENERAL INTRODUCTION TO THE HISTORICAL STYLES. 7
For some three centuries this belief held good, till
by the opening
up of Greece to travel and study towards the end of the
eighteenth century, the tradition was modified by the admission
of Grecian remains to an equal or supreme place, beside or even
above those of Rome.
This second phase had not, however, an equal success for
divers reasons ;
a reaction was at' hand in favour of mediaeval
ideals, whether in the church, art, or the State.
A conscious effort was then made the most earnestly in
England to modify the current that had been flowing since the
year 1500, and some of the results of this attempt may be traced
by the student wise enough to follow up the clues indicated in the
concluding pages of the English Renaissance style. In acquaint-
ing himself with the buildings therein mentioned, he may feel
that few of the diverse elements of our complex civilization, at
the beginning of the twentieth century, have failed to find some
architectural expression.

COMPARATIVE ARCHITECTURE.
GENERAL REFERENCE BOOKS.
N.B. Lists of Reference Books for special periods and styles are given
throughout the book.
"Architectural Association Sketch Book." Folio. 1867-1904.
Bosc (E.).
"
Dictionnaire raisonne d'Archi lecture." 4 vols., 4to. Paris,
1877-1880.
Brault (E.).
"
Les Architects par leurs ceuvres."
7
3 vols. Paris, 1892-
1893.
Choisy (A.).
"
Histoire de 1'Architecture." 2 vols, 8vo. Paris, 1899.
Cummings (C. A.). "A History of Architecture in Italy from the Time
of Constantine to the Dawn of the Renaissance." 2 vols., 8vo. 1901.
D'Agincourt (S.).- -"History of Art by its Monuments." Translated
from the Italian by Owen Jones. Folio. 1847.
Dehio (G.) and Bezold (G. v.). "Die Kirchliche Baukunst des
Abendlandes." Folio. Stuttgart, 1884, etc.
"
Dictionary of Architecture, issued by the Architectural Publication
Society." With Detached Essays and Illustrations. 6 vols., folio. 1848-1892.
Durand (J. N. L.).
"
Parallele des Edifices de tout genre." Paris, 1800.
Eulart (C.).
"
Manuel d'Archeologie Fran9aise depuis les temps
Merovingiens jusqu'a la Renaissance." i. Architecture Religieux.
2. Architecture Civile. 2 vols., Svo. Paris, 1902.
Fergusson (J.).
"
History of Architecture in all Countries." 5 vols.,
Svo. 1893, etc.
Fletcher (B. F.).
"
The Influence of Material on Architecture."
Imperial Svo. 1897.
Gailhabaud (J.). L'Architecture du V. au XVII. siecle." 5 vols., folio
and 410. Paris, 1869-1872.
Gailhabaud (J.). "Monuments Anciens et Modernes." 410. Paris.
1850.
Gwilt (J.). "Encyclopaedia of Architecture." Svo. 1900.
"
Handbuch der Architektur." Comprising a number of volumes upon
the History and Practice of Architecture. Darmstadt.
Milizia (F.).
"
Lives of Celebrated Architects." 2 vols., Svo. 1826.
Parker (J.).
"
Glossary of Terms used in Architecture." 3 vols. 1850.
Perrot (G.) and Chipiez (C.).
"
History of Ancient Art." 12 vols.,
Svo. 1883-1894.
Planat.
"
Encyclopedic d'Architecture et de la Construction." 1 1 vols.
"
Royal Institute of British Architects' Transactions.'
3
1853 ct scq.
Sturgis. "A Dictionary of Architecture and Building." 3 vols.,
4to. New York, 1901.
Vasari (G.).
"
Lives of the most Eminent Painters, Sculptors and
Architects." Edited by Blashfield. 4 vols., Svo. 1897.
Viollet-le-Duc (E. C.).
"
Dictionnaire de 1'Architecture." 10 vols., Svo.
Paris, 1859.
Viollet-le-Duc.
"
Entretiens sur 1'Architecture." 3 vols. Paris, 1863.
There is an English translation by B. Bucknall, entitled
"
Lectures on
Architecture." 2 vols., Svo. 1877-1881.
Vitruvius (Marcus Pollio). "The Architecture of." Translated by
W- Newton. Folio, 1791. An edition by J.
Gwilt. 410. i3?6.

EGYPTIAN ARCHITECTURE.
" Those works where man has rivalled nature most,
Those Pyramids, that fear no more decay
Than waves inflict upon the rockiest coast,
Or winds on mountain steeps, and like endurance boast."
i. INFLUENCES.
i.
Geographical. -The civilization of every country has
been, as will be shown, largely determined by its geographical
conditions, for the characteristic features of the land in which any
race dwells shape their mode of life and thus influence their
intellectual culture.
On referring to the map (No. 3) it will be seen that Egypt consists
of a sandy desert with a strip of fertile country on the banks of
the Nile. Egypt was the only nation of the ancient world which
had at once easy access to the Northern, or Mediterranean Sea,
as well as to the Eastern, or Arabian Sea ;
for by way of the Red
Sea, Egypt always commanded an access to both these highways.
The consequence was that Egypt had outlets for her own pro-
ductions and inlets for those of foreign nations. The possession
pf the Nile, moreover, was of immense advantage, not only on

IO COMPARATIVE ARCHITECTURE.
account of its value as a trade route, and as a means of communi-
cation, but also because its waters were the fertilizing agents
that made desert sands into fruitful fields. It was on the banks
of this ancient river that from time immemorial the cities of the
Egyptians were naturally placed ; here, therefore, are found the
chief remains of the Tombs, Temples, and Pyramids.
ii.
Geological. In this section throughout the volume an
endeavour will be made to trace that influence on architectural
style which the materials at hand in each/country had in its
development. The natural products of /a country such as
wood, brick, or stone, determine to a large extent its style of
art.
In Egypt there existed an abundance of limestone in the north,!
of sandstone in the central region, and of granite in the south. I
The latter is
principally found near Assuan (Syene), and is
called Syenite. This hard and lasting building material largely
influenced the architecture of the country, and to its durable
qualities is due the fact that there are so many remains. Bricks
were also employed, but were generally faced with some harder
material. Wood of a kind suitable for building was not available,/
only small forests of palm and acacia existing. J
iii. Climate. The climate is equable and of warm temperature,
snow and frost being wholly unknown, while storm, fog, and even
rain are rare, which accounts to a large extent for the good
preservation of the temples. Egypt has been said to have but
two seasons, spring and summer. The climate was thus of
importance in developing the qualities of the architecture, admit-
ting of simplicity in construction, for though it demanded some I
protection against heat there was no necessity to provide against
inclement weather.
iv. Religion. A close_^ojonectioji_h.etween religion and archi-
tecture is everywhere manifest at this epoch. The priesthood
was powerful, possessed of almost unlimited authority, and
equipped with all the learning of the age. The religious rites
were traditional, unchangeable, and mysterious. A tinge of
mystery is one of the great characteristics of the Egyptian archi-
tecture as well in its tombs as in its temples. The Egyptians
attained to a very high degree of learning in astronomy, mathe-
matics, and philosophy ;
the remains of their literature have been
preserved to us in the papyri, or MSS. written on paper made
from the pith of the papyrus. In theory the religion was mono-
theistic, but in practice it became polytheistic ;
a multiplicity of
gods was created by personifying natural phenomena, such as
the sun, moon, and stars, as well as the brute creation. The
Egyptians were strong believers in a future state ;
hence their
care in the preservation of their dead, and the erection of such
everlasting monuments as the Pyramids. Herodotus mentions

EGYPTIAN ARCHITECTURE. II
that the dwelling-house was looked upon by them as a mere
temporary lodging, the tomb being the permanent abode.
"What availeth thee thy other buildings?
Of thy tomb alone thou art sure.
On the earth thou hast nought beside ;
Nought of thee else is remaining."
v. Social and Political. A vast population was available
for employment on public works, the workmen probably receiving
no other pay than their food. Thus a state of cheap labour existed
which was eminently favourable to the execution of large and
important structures. In addition there existed a centralized
despotic government which, perhaps more than any other,
favoured the execution of monumental works. .
It is assumed by
some that the spare time which occurs during the annual floods
enabled the population to be employed on these state buildings.
It is also possible that the transport of stone required for the
great buildings was effected by means of rafts floated down at
this season. During the reign of Rameses II. the captives and
foreigners, who had largely increased, ,were put to enforced
labour upon the public works, and in the first chapter of the
book of Exodus the natives are said to have viewed with alarm the
growing numbers and power of these strangers.
vi. Historical. Egyptian civilization is the most ancient of
any of which there is a clear knowledge ;
its history is partly
derived from Holy Scripture and from Greek and Roman authors,
but more particularly from the Egyptian buildings, by which it can
be traced back for more than 4,000 years B.C. The Pyramids are
thought to be a thousand years older than any building which has
yet been discovered in Western Asia, the subject of the next
division. The Kings or Pharaohs (from the title
" Peraa
" =
"great house ") have been arranged in thirty dynasties, extending
down to B.C. 332. These have been based on the list of Manetho,
an Egyptian priest who lived about B.C. 300, and compiled a
history of Egypt in the Greek language, and may be divided
into the following periods :
1. Prehistoric Period, B.C. 23000 (?)-4777-
2. The Ancient Empire (Dynasties I.-X.), B.C. 4777-2821.
The capital being at Memphis, the tombs of this period
are at Abydos, Nakadeh, Memphis, Sakkara, Gizeh and
Abusir.
3. The Middle Empire (Dynasties XI.-XVI.), B.C. 2821-1738.
A prosperous period in which much building was carried
out. This period includes the dynasties of the "
Hyskos"
or shepherd kings.
4. The New Empire (Dynasties XVII.-XX.), B.C. 1738-950.
This period had Thebes as the capital, and many imposing
buildings were erected at Karnac, Luxor, and elsewhere.

12 'COMPARATIVE ARCHITECTURE.
5. Penod of Foreign Domination (Dynasties XXI.-XXV.),
B.C. 950-663.
6. The Late Egyptian Period (Dynasties XXVL--XXX.), B.C. 663-
332. This period includes the Persian Domination.
7. The Grace-Roman Period, B.C. 332-A.D. 640:
i. Alexander the Great and Ptolemaic Period, B.C. 332-30.
ii. The Roman Period, B.C. 3O-A.D. 395.
iii. The Byzantine Period, A.D. 395-640.
8. Medieval Egypt (Mahometan Period), A.D. 640-1517.
9. Modem Egypt (Turkish Domination), A^. 1517 to the present
time.
This section of the book deals with the architecture comprised
in Periods 1-7. For periods 8 and 9 see pages 653, 659.
r The nineteenth dynasty, founded by Rameses I.
(B.C. 1400-1366),
pay be taken as the most brilliant epoch of Egyptian aft. Thie
evidence of his greatness, and that of his grandson, Rameses II.
(B.C. 1333-1300), as builders, is to be seen in the Temples of
Thebes and elsewhere. During the twenty-sixth dynasty the
country was conquered by the Persians in B.C. 527, from whom it
was wrested in B.C. 332 by the Grecian general, Alexander the Great.
On Alexander's death and the division of his empire, Egypt
passed to Ptolemy, one of Alexander's generals, who founded a
dynasty that ruled from B.C. 323 to B.C. 31. After the wars which
ended in the death of Cleopatra, Egypt passed, as did nearly the
whole of the then known world, into the hands of the conquering
Romans, and became a Roman province. On the spread of
Mahometanism, in A.D. 638, Egypt was conquered by the Arabs, who
left important monuments (see Saracenic Architecture, page 659).
In A.D. 1517 it became a part of the Turkish dominions.
In the valley of the Nile, the land which is the gift of a great
river, and the seat of the most ancient civilization, a primitive
architecture of mud or puddled clay and bundles of reeds changed
in later times to a style of stone and granite.
The primitive structure was composed of bundles of reeds
bound together and placed vertically in the ground at intervals,
the angle bundles being of greater strength. Joining these reeds,
at the top, were laid horizontally other bundles, which bound the
heads of the uprights together. The origin of the characteristic
cornice (No. 10 j), is held to be due to the pressure of the clay, of
which the primitive roofs were constructed, on the upright reeds,
which formed the framework of the walls. This formed the
slightly projecting cornice, the reeds keeping the rammed clay in
a projecting position and allowing the curve to be terminated by
a flat fillet which gave the level of the terrace. The jambs and

EGYPTIAN ARCHITECTURE. 13
lintels of the doors and windows were made of reeds in the
humbler dwellings and of palm trunks in those of more pretension.
Here, then, is seen a fair and likely prototype of the construc-
tion of an Egyptian wall, the form of which is more suitable
to a structure of rushes overlaid with mud or puddled clay
than to one consisting of large stones. Still, an important point
remains the batter or slope which is
invariably given to the
walls. Viollet-le-Duc's theories as to the origin of this batter
do not point to the influence of material, and this feature is
alleged by him to have been introduced at a later stage, having
been promulgated by a royal decree. He infers the custom
to have been derived from the Pyramids, which were found to
remain undisturbed during earthquakes, while straight-sided
houses were upset, owing to their walls being more easily over-
turned. It seems, however, more reasonable to attribute it to
a mud origin, for nothing would be more natural, in order to
strengthen such buildings, than to slightly tilt the bundles of
reeds towards the interior, forming as it were an arch, a treatment
which in any other material scarcely seems to be feasible.
Proceeding to the internal architectural features of the style, a
very distinct reminiscence of the primitive reeds tied together at
intervals, and crowned with the lotus bud, is found in the later
granite column and capital (No. 10 L, M). During the Theban
kingdom especially (B.C. 3000-3. c. 2100), examples in stone of
capitals and columns derived from timber and reed originals are
frequent. At Beni- Hasan some pillars represent a bundle of four
reeds or lotus stalks bound together near the top and bulging
above the ligature, so as to form a capital, in imitation of a lotus
bud. Such a pier must evidently have been originally employed
in wooden architecture
only,
and the roof which it supports, in
this instance, represents a light wooden construction having the
slight slope necessary in the dry Egyptian climate.
This type of column was largely used in later Egyptian times
in a more substantial lithic form (No. 10 M), and in conjunction
with the hollow-formed capital of the bell type (No. 10 L), of
which the earliest example appeared in the eighteenth dynasty.
In fact, throughout, although materials changed, the forms of
the early reed and clay construction were adhered to ;
and the
endeavour of the conservative Egyptian was to reproduce in stone
and granite, superimposed in layers, the appearance assumed in
the early reed and mud type.
The surface decoration executed on the later granite buildings
(No. 10 p), apparently came from the "
sgraffito" (incised plaster)
work on the earlier mud walls. The surfaces of such walls could not
be modelled or carved with projections of high relief, but their flat
surfaces, when plastered, provided an admirable field for decora-
tion and for instruction through the use of hieroglyphics. The

Egyptian system of decoration consisted in not contravening the
form adopted, but in clothing it with a kind of drapery more or
less rich, which never presented a projecting outline, contenting
itself with enveloping the geometric form as would an embroidered
stuff, or a diapered covering.
Remarkable then as were the arts of Egypt, it is clear that the
spirit of criticism and logical method were wanting ;
and that
traditional forms, hallowed by long use, were clung to and repro-
duced when the method of building which suggested them had been
replaced by other systems. Egyptian art proceeded on an unin-
terrupted line or course of tradition, and when necessity dictated
a change in the methods of construction, or in the materials, the
immutable form was not thereby affected, but was perpetuated in
spite of novel conditions.
The principal remains of ancient Egyptian architecture are the
Pyramids, or royal tombs of the kings, and the temples, a
contrast in this respect with Assyria, where the palaces of
the kings are the chief remains. The Egyptian wali-paintings,
sculptures, jewellery, bronze implements and utensils, which have
been unearthed from their temples or tombs, show that the race
had attained to a high degree in art. As regards the architec-
ture, the impression given to the mind of the spectator is that
these buildings were erected for eternity, all the remains having
a character of immense solidity, and usually of grand uniformity.
The Pyramids (Nos. 4 and 5) are the most extravagant of
all ancient buildings in many ways.
The relative return in
impressiveness and the higher beauties of the art is small when
compared with the amount of labour, expense, and material used
in their erection.
The finishing and fitting of such large masses of granite is
remarkable, for many of the blocks, perfectly squared, polished
and fitted, are at least 20 feet long by 6 feet wide. The method
of quarrying and of transportation for long distances by land and
water, and the raising of these blocks of stone into position, is
even now uncertain, although M. Choisy in his latest work (see
Reference Books, page 30) has produced many probable theories.
The Architectural Character of the temples is striking and
characteristic (Nos. 5, 7 and 8). The buildings decrease in height
from front to back, presenting a disconnected collection of various
sized structures, often built at different times, and thus forming a
direct contrast to the harmonious whole of a Greek temple, which
is all comprised within one "order" of columns, and which is
distinctly, both in appearance and reality, one building.
The character of the tombs consists in the planning of their
mysterious chambers and corridors, which, covered with paintings
and hieroglyphics, produce an effect of gloom and solemnity on
the spectator.

EGYPTIAN EXAMPLES.
THE am. m$ mm mmw&
^^THE OTHERS.
EKnarct
mows 53 FIST
IN BREATH,*
* * KW-PEET
IM LHMTH^W

3. EXAMPLES.
THE SPHINX
(No. 4), whose date is unknown, is situated near the great
pyramids, in the centre of an ancient stone quarry, and is a
natural rock cut to resemble a Sphinx, with rough masonry added
in parts. An Egyptian Sphinx (No. 10 o) had the head of a king,
a hawk, a ram, or more rarely a woman, on the body of a lion.
The dimensions of the Great Sphinx, which represents a recum-
bent lion with the head of a man, are as follows : it is 65 feet
high by 188 feet long, the face is 13 feet 6 inches wide, and
the mouth 8 feet 6 inches long. Greatly mutilated, it is still a
marvel, as it has been throughout the ages. The symbol for an
insoluble problem, it is, and probably ever will be, a mystery.
It was excavated in 1816 by Captain Caviglia, who found a
temple between the paws, and it has since been examined by
Mariette and Maspero.
THE PYRAMIDS
of Gizeh, near Cairo, all erected during the fourth dynasty
(B.C. 3998-B.c. 3721), form one of several groups within the
necropolis of the ancient capital city of Memphis, and rank
among the oldest monuments of Egyptian architecture. The
other groups are those of Abu-Roash, Zawiyet-el-Aryan, Abusir,
Sakkara, and Dashur.
These were built by the kings as their future tombs, the
governing idea being to secure immortality by the preservation
of the mummy, till that time should have passed, when, according
to their belief, the soul would once more return to the body.
Their construction has been described by many writers, including
Herodotus.
The Great Pyramid (Nos. 4 and 5 c, D), by Cheops (Khufu)
(B.C. 3733-B.c. 3700) ;
the Second Pyramid (No. 4), by
Cephron (Khafra) (B.C. 3666-6. c. 3633) ;
the Third Pyramid
by Mycerinos (Menkhara) (B.C. 3633-6. c. 3600), are the best
known examples.
The Great Pyramid of Cheops is square on plan, 760 feet
each way, its area being about 13 acres, i.e., twice the extent
of S. Peter, Rome, or equal to the size of Lincoln's Inn Fields,
London. The faces of the pyramid are equilateral triangles laid
sloping and meeting in a point. The sides face directly north,
south, east and west, as in all the pyramids, and they make an
angle with the ground of 51 degrees 50 minutes. The original height
was 482 feet. The entrance (No. 5 c), which is on the northern
side, is 47 feet 6 inches above the base, and is now reached by
means of an earthen embankment. The passage to which it
F.A. c

l8 COMPARATIVE ARCHITECTURE.
gives access first slopes downwards, and afterwards re-ascends
towards the heart of the pyramid, where the King's Chamber is
situated. In this chamber, which is 34 feet 6 inches by 17 feet
and 19 feet high, was placed the sarcophagus of the king contain-
ing his embalmed body. The upper part is elaborately con-
structed with stones one above the other (No. 5 D), and the
entrance is protected by a massive stone acting as a portcullis,
fitting into a rebate or recess, and weighing from 50 to 60 tons.
Two air channels, each about 8 inches by 6 inches, led to the ~?
outer face of the pyramid for ventilation.
There were two other chambers in the Great Pyramid, one known
as the Queen's Chamber, connected with a passage leading off that
to the King's Chamber, and the other below the ground.
The exterior of this pyramid was originally cased with a
sloping face of limestone, but this has now disappeared, 'showing
the original stepped surface in tiers of 4 feet, on which the casing
was placed, and which still exists in the Pyramid of Mycerinos.
TOMBS.
Besides the Pyramids or royal tombs are others for private
individuals.
(a.) In the Ancient Empire the Mastabas, probably derived
from rude heaps of stones piled up over earlier mummy holes,
were rectangular structures, with sides sloping at an angle of
75 degrees, and having flat roofs. They were divided into three
parts :
i. The outer chamber, in which were placed the offerings to
the " Ka "
or "
double," having its walls decorated with
representations of festal and other scenes, which are
valuable from an historical standpoint.
ii. Inner secret chambers, known as the "
serdabs," containing
statues of the deceased, and members of his family.
iii. A well of great depth, leading to the chamber containing
the sarcophagus with its mummy.
The Mastaba of Thy, Sakkara, is well preserved and has
been restored. It dates from the fifth dynasty, and was erected
to Thy, who in his day held the position of royal architect and
manager of pyramids. It consists of a small vestibule, beyond
which is a large court where offerings to the deceased took place,
and from which a mummy shaft led through a passage to a tomb
chamber. The masonry of this tomb is carefully jointed and
covered with flat reliefs, which are generally considered the best
specimens of their kind. The principal reliefs are in a second
tomb chamber, 22 feet 9 inches by 23 feet 9 inches and 12 feet
6 inches high. These reliefs represent harvest operations, ship-
building scenes, scenes representing the arts and crafts of the

period, the slaughtering of sacrificial animals, and Thy himself
sailing through the marshes in a boat with a surrounding papyrus
thicket.
(b.)
In the Middle Empire tombs vere either of the Pyramidal
form, as at Abydos, or were rock-cut, as in the vertical cliffs
bounding the Nile valley (No. 6).
The Tombs at Beni-Hasan,in Upper Egypt, form a remark-
able group of these rock-cut examples. There are 39 in all,
arranged in a row in the rocks as shown (No. 6). They were
made during the twelfth dynasty (B.C. 2778-^565), a period which
was particularly remarkable for the progress of the arts of peace.
The entrance to the Tomb of Khnemhotep, known as Tomb No. 3,
has two sixteen-sided columns, sometimes considered to be a
prototype of the Greek Doric order. These are slightly fluted
and have an entasis, and the deeply projecting cornice has stone
beams carved out of the solid rock, indicating a derivation from a
wooden origin.
(c.) During the New Empire.tombs were rock-cut and structural,
and in many cases accompanied by sepulchral temples.
Thebes, which for a time was the necropolis of the Egyptian
kings, has a large number of tombs dating mostly from the New
Empire, and forming a contrast to the pyramids which formed
the graves of the earlier kings. These tombs consist of a series
of chambers connected with passages hewn in the rock, and were
intended only for the reception of the sarcophagi. Amongst the
most important of these are those of Rameses III., IV., and IX.,
and that of Sethos L, usually known as Belzoni's tomb from its
discoverer in 1817. The structure of all is very similar, consist-
ing of three corridors cut in the rock leading into an ante-room,
beyond which is the sepulchral chamber, where the granite
sarcophagus was placed in a hollow in the floor. The walls,
from the entrance to the sarcophagus chamber, were sculptured
with hieroglyphics of pictures and texts necessary to the deceased
in the future life, and mostly representing him sailing through the
under-world accompanied by the sun god. The texts were mostly
taken from various books relating to the ceremonies which were
essential for insuring the immortality of the departed.
The mortuary or sepulchral temples, such as those of Der-el-
bahri, Medinet-Habou, the Ramesseum, and others, were utilized
for offerings and other funereal rights for the dead.
TEMPLES.
The purposes for which they were used and their component
parts are important. They were sanctuaries where only the king
and priests penetrated, and in which mysteries and processions
formed a great part of the religious services. They differ,

therefore, from the Greek temple, the Christian church, and the
Mahometan mosque, for they were not places for the meeting of
the faithful or the recital of common prayers, and no public ritual
was celebrated within them. The priests and king only were
admitted beyond the hypostyle hall, and the temple, therefore,
was a kind of royal oratory reared by the king in token of his own
piety and in order to purchase the favour of the gods.
The student is referred to Lockyer's theories as to the orienta-
tion of temples with regard to the particular stars.
The " mammeisi "
were temples (dedicated to the mysterious
accouchement of I sis) each consisting of one small chamber with
statue and altar as at Elephantine, approached by a flight of steps.
In this form they are generally considered to be the prototypes of
the Greek temples. The more usual type of temple, However,
consisted of chambers for the priests, with courts, colonnades,
and halls, all surrounded by a high wall.
In order that the student may understand the general distribu-
tion of the parts of an Egyptian temple, a plan is here given of
the Temple of Khons, near the Great Temple of Ammon, at
Karnac (No. 5), on the eastern bank of the Nile, which may be
taken as a fair example of the ordinary type of plan.
The entrance to the temple was between "pylons," or massive /
sloping towers, on each side of the central gateway (No. 7). In
(
front of the entrance were placed obelisks, and in front of ,
these an avenue of sphinxes, forming a splendid approach to
'
the temple. This entrance gave access to the large outer court-
yard, which was open to the sky in the centre, and therefore I
called "hypaethral" (from two Greek words, meaning "under
the air ").
This courtyard was surrounded by a double colonnade
on three sides, and led up to the hypostyle hall, in which light
was admitted by means of a clerestory above, formed by the
different height of the columns (No. 5 B). Beyond this is the
sanctuary, surrounded by a passage, and at the rear is a smaller
hall ;
both the last chambers must have been dark or only
imperfectly lighted.
The whole collection of buildings forming the temple was
surrounded by a great wall as high as the buildings themselves.
Thebes, the site of w'hich occupied a large area on the east
and west banks of the Nile, was the capital of Egypt during the
New Empire (Dynasties XVII.-XX.). The eastern bank had an
important group of Temples at Karnac, including the Great
Temple of Ammon, and the Temple of Khons (twentieth dynasty).
At Luxor, also on the eastern bank, was another Temple of
Ammon (eighteenth and nineteenth dynasties). On the western
bank lay the Necropolis or Tombs of the Kings and Queens, and
a large number of mortuary temples, which included those of
Der-el-bahri, the Ramesseum, and Medinet Habou.

The Great Temple of Ammon, Karnac, is the grandest,
extending over an area of 1,200 feet by 360 feet, and originally
was connected with the Temple of Luxor by an avenue of
sphinxes. It was not built on an original plan, but owes its size,
disposition and magnificence to the additions of many later kings,
from the first monarchs of the twelfth dynasty down to the
Ptolemaic period. It has six pylons added in successive genera-
tions, a great court measuring 338 feet by 275 feet, the great
hypostyle hall, and other halls, courts and/ a sanctuary. The
Hypostyle hall measures 338 feet by 170 /feet, covering about
the same area as Notre Dame, Paris. The roof is supported by
134 columns in sixteen rows. The central avenues are about
80 feet in height as compared with 140 feet at Amiens Cathedral,
and have columns 69 feet high and nf feet in diameter, the
capitals of which are of the lotus blossom type (No. 10 L) so as
to receive the light from the" clerestory. The side avenues are
about 46 feet high and have columns 42 feet 6 inches in height
and 9 feet in diameter, the Capitals being of the lojus t>u.<J type,
on which the clerestory light would fall. The impression pro-
duced on the spectator by the forest of columns is most awe-
inspiring, and the eye is led from the smaller columns of the side
avenues, which gradually vanish into semi-darkness, giving an
idea of unlimited size, to the larger columns of the central
avenues lighted by the clerestory, which is formed in the differ-
ence of height between the central and side avenues, a form of
lighting more fully developed in the Gothic period. The walls of
the hall, the column shafts, and the architraves are covered with
incised inscriptions, still retaining their original colored decora-
tions relating to the gods and personages concerned in the erection
of the structure.
The Temple of Sethos I., Abydos, was dedicated to Osiris
and other deities of Abydos. It was built by Sethos I.
(B.C. 1366-1333), and completed by Rameses II. (B.C. 1333-1300).
The walls are of fine grained limestone, and the reliefs on them
are among the finest Egyptian sculptures. In common with
other temples it has pylons, a first and second fore-court and two
hypostyle halls, but instead of one sanctuary it has seven
arranged side by side, dedicated to six deities and a deified king ;
hence the front of this temple was divided into seven parts, each
with its separate gateway and portal. The seven sanctuaries are
each roofed by means of horizontal courses, every course project-
ing beyond that immediately below, and the undersides afterwards
rounded off in the form of a vault by the chisel. It further differs
from others in having a wing at right angles to the main structure
in consequence of a hill immediately behind the temple.
The Great Temple of Abu-Simbel, built by Rameses II.
(B.C. 1333-1300), is one of the most stupendous creations of

Egyptian architecture, and was entirely excavated out of the
solid rock. It has a fore-court, at the back of which is the
imposing facade, 119 feet wide and over 100 feet high, formed as
a pylon, and having four seated colossi of Rameses II., each over
65 feet in height. The entrance leads to a vestibule, the ceiling
of which is supported by eight pillars, the walls having vividly
colored reliefs. Eight smaller chambers, probably used to store
the temple utensils and furniture, adjoin this vestibule, and in
the rear is a small hypostyle hall, 36 feet by 25 feet, having four
pillars. Behind this is a long narrow chamber out of which are
three apartments, the centre and largest one being the sanctuary,
with an altar and four seated figures of the deities worshipped.
The Temple of Isis, Island of Philse, is an interesting
example of the Ptolemaic period, and, like earlier examples, was
the work of several generations. The fore-court, entered through
a massive pylon, 150 feet broad and 60 feet high, has on the west
side the Birth House, a small colonnaded temple dedicated to
Hathor-Isis and to the memory of the birth of her son Horus,
and on the east a colonnaded building used by the priests. On
the fourth side of the court is the second pylon, which is 105 feet
broad and 40 feet high. Beyond is the temple proper, consisting
of courts, a hypostyle hall with eight columns, two small vesti-
bules, a sanctuary, and other adjoining chambers, all nearly in
total darkness. This group, including the second pylon, has its
axis at an angle to that of the first pylon and courtyard. The
entire structure has the walls, both inside and out, covered with
inscriptions.
The Temple of Hathor, Dendera (A.D. first century), is
another Ptolemaic example, but was not completed till the reign
of Augustus. It has no pylons, fore-court, or enclosing outer
walls, but has a great vestibule with twenty-four columns, six of
which form the fa9ade, having low screen walls between them on
either side of the central entrance. Behind this is the hypostyle
hall, having six columns with elaborate Hathor-headed capitals.
On each side of this hall and beyond are chambers, used as
lavatory, treasury, store-rooms ;
and behind are two ante-chambers
with a sanctuary beyond. Staircases on either side lead to the
roof of the temple.
During the Graeco- Roman period many temples were erected,
of which the Temple of Edfou, commenced by Ptolemy III.
(B.C. 237), is the best preserved example. A massive pylon,
faced with reliefs and inscriptions, gave access to a great court,
surrounded by a colonnade. The back of this court was formed
by the front of the great hypostyle hall, the portal of which
was the centre intercolumniation of a row of six columns, the
narrower spaces between the side columns having low screen walls
(No. 8). Twelve larger columns with elaborate capitals support

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the roof over this hall, beyond which was a smaller hypostyle
hall, the roof of which was carried by twelve columns, having
rich floral capitals, embellished by so-called heads of Hathor.
Behind this were vestibules, smaller chambers, and the sanctuary.
OBELISKS
are monumental pillars, originally employed in pairs before the
principal entrances of temples. They are monoliths, i.e., single
upright stones, square on plan with slightly rounded faces, and
tapering sides, with a pyramidal summit. The height is
usually
about nine to ten times as great as the diameter, and the four
faces were cut with hieroglyphics. The capping was of metal,
for the groove into which it was fitted is in some cases still
visible. The quarrying and transport of such a mass of stone
without the power of a steam-engine was" an engineering feat of
considerable skill.
Many obelisks were removed from Egypt by the Roman
emperors, and at least twelve are in Rome itself. That in the
centre of the Piazza of S. John Lateran is the largest in existence.
It is of red granite from Syene, and is 104 feet high, or with
the pedestal 153 feet, 9 feet square at the base, 6 feet 2 inches
at the top, and altogether weighs about 600 tons.
Cleopatra's Needle on the Thames Embankment, another
example, brought to London from Alexandria, although originally
erected at Heliopolis (B.C. 1500), is 68 feet 6 inches high, 8 feet
square at the base, and weighs 180 tons.
DWELLINGS.
All these have disappeared, being only built of wood or of
sun-dried bricks. Houses are shown on paintings and sculptures
which have come down to us, from which they appear to have
had one, two, or three stories.
In the absence of any authentic remains, an illustration of the
Egyptian House is given (No. 9), conjecturally restored, and
erected at the Paris Exhibition, 1889, by M. Charles Gamier.
The design was founded on an ancient painting, and had a garden
in front, laid out in a formal style, with fish-ponds. The house
was divided by a corridor in the centre, giving access to the
rooms. The staircase at the back led to a verandah, and also to
a flat roof, extending over the whole length of the structure.
The whole building was treated with color, the upper part of
the house being painted a bright yellow, and the long external
wooden columns blue.

4. COMPARATIVE.
A. Plans. The temples have already been slightly compared
with Greek examples (pages 15 and 22), and as already noticed
they were especially planned for internal effect. The hypostyle
hall seemingly unlimited in size, crowded with pillars, and
mysteriously illuminated from above, realized the grandest con-
ceptions of Egyptian planning (No. 5). Externally the massive
pylons ornamented with incised decorations formed the chief
facade, a contrast being obtained by the /slender obelisks which
usually stood in front of them, while the approach was through an
impressive avenue of innumerable sphinxes.
The erection of these temples was in progress during many
centuries by means of continual additions. In this respect they
resemble the growth of English cathedrals ;
as also in the disregard
for symmetry in the planning of one part in relation to another.
This may be seen in many of the later temples erected under
the Ptolemys, the temple on the island of Philae being a notable
instance. The walls, the pylons, and other features are placed on
different axes, free from any pretence of regularity. The freedom
and picturesqueness of grouping thus obtained is remarkable.
B. Walls. These were immensely thick, and in important
buildings were of granite, while in the less important they were
of brick faced with granite.
The faces of the temple walls slope inwards or batter towards
the top, giving them a massive appearance (No. 7). Viollet-le-
Duc traces this inclination to the employment of mud for the walls
of early buildings. Columns which form the leading features of
Greek external architecture are not found on the exterior of Egyp-
tian buildings, which have normally a massive blank wall crowned
with a characteristic cornice, consisting of a large hollow and roll
moulding (No. 10 j, M). For the purposes of decoration, the walls,
even when of granite, were generally covered with a fine plaster,
in which were executed low reliefs, treated with bright color
(Nos. 7 and 10 P). Simplicity, solidity, and grandeur, qualities
obtained by broad masses of unbroken walling, are the chief
characteristics of the style.
c. Openings. These were all square-headed and covered with
massive lintels, for the style being essentially trabeated, the arch
appears to have been but little used. Window openings are
seldom found in temples, light being admitted by the clerestories
in the earlier examples at Thebes, or over the low dwarf walls
between the columns of the front row, as at Luxor, Edfou (No. 8),
Dendera, or Philae, a method peculiar to the Ptolemaic and
Roman periods.
D. Roofs. These were composed of massive blocks of stone
supported by the enclosing walls and the closely spaced columns

EGYPTIAN ARCHITECTURE. 2Q
(No. 5 F). Being flat, they could be used in dwelling-houses
(No. 9) as a pleasant rendezvous for the family in the evening for
the enjoyment of the view and the fresh breezes which spring up
at sunset, and at certain seasons may have been used for repose.
They may also have been used in the daytime, if protected from
the sun by temporary awnings. The flat roofs of the temples
seem to have been used in the priestly processions. In the rock-
cut temples the ceilings are sometimes slightly arched in form,
and as at the tombs at Beni- Hasan, the roofing is made to represent
timber construction (No. 6).
E. Columns. The papyrus, a tall, smooth reed, and the lotus,
a large white water-lily of exquisite beauty, offered many sugges-
tions. The columns, seldom over sijL-dia T
Tlf^PT -ip hejgbj-, were
made to represent the stalks, and at intervals appear to be tied by
bands (No. 10). The capitals_wej^_mostly derived from the_Jptus
plant (No. 10 D, E, F),"as follows:
~"~(^-)
The lotus bud, conventionalized, tied round by stalks
(No. 10 M).
(b.) The fully-grown lotus flower, which formed a bell-shaped
capital, sculptured or ornamented with color decoration
(No. 10 L).
(c.)
The "
palm" capital, the main outline of the palms being
painted or sculptured (No. 10 K).
In addition, the Isis or Hathor-headed capital, as at Dendera
and Philae, is formed of heads of the goddess Isis, supporting the
model of a pylon (No. 10 G).
F. Mouldings. These were few, viz., the hollow and bead
generally used in conjunction, but the bead was also used by itself.
The two combined invariably crowned the upper part of the
pylons (Nos. 7 and 10 j, M), and walls.
G. Ornament (No. 10). This was symbolical, and was an
important element in the style, including such features as the solar
disc or globe and the vulture with outspread wings (No. 10 N), as
a symbol of protection, while diaper patterns, spirals (No. 10 A, B)
and the feather ornament (No. 10 c) were largely used. The
scarab, or sacred beetle, was considered by the Egyptians as the
sign of their religion, much in the same way as the cross became
the symbol of Christianity. It probably attained its sacred
character as the emblem of resurrection because of its habit of
allowing the sun to hatch its eggs from a pellet of refuse. It
must be remembered that the decoration of the walls of a temple
consisted largely in acts of adoration on the part of the monarch
to his gods, to whose protection he ascribed all his warlike
successes. The Egyptians were masters in the use of color,
chiefly using the primary ones blue, red, and yellow. The
wall to be decorated was prepared as follows :
(a)
It was first
chiselled smooth and covered with a thin layer of plaster or cement,

3O COMPARATIVE ARCHITECTURE.
after which a colored wash was put over the whole, (b) The
figures or hieroglyphics were then drawn on with a red line by an
artist, being corrected with a black line by the chief artist ;
(c) the
sculptor next incised the outline, rounding slightly the inclosed
form towards its boundaries ; (d) the painter then executed his
work in the strong hues of the primary colors. (See the Egyptian
Court at the Crystal Palace.) The hieroglyphics were often, how-
ever, incised direct on the granite and then colored, as may be
seen on the sculptures at the British Museum. They are instruc-
tive as well as decorative, and from then! is learnt most of what
is known of Egyptian history (No. 10 p).
The Egyptians possessed great power of conventionalizing
natural objects such as the lotus plant, the symbol of fertility and
abundance, produced by the overflowing Nile, the palm, the
papyrus, and others, each being copied as the motif for a design,
being treated by the artists in a way suitable to the material in
which they were working. The distinguishing, or essential, feature
of the natural object, or its class, thus passed by a process of
idealizing into forms adapted for ornamentation.
5. REFERENCE BOOKS.
Champollion (J. F., le jeune).
"
Monuments de l'gypte et de la
Nubie." 6 vols., folio. Paris, 1845.
Choisy (A.). "L'art debatir chezles Egyptians." Imp.Svo. Paris, 1904.
"
Description de l'gypte" (known as
"
Napoleon's Egypt "). 23 vols.,
large folio. Paris, 1809-1822.
Erman (A.).
"
Life in Ancient Egypt." 8vo. 1894.
Herz(M.). "Mosqueedu Sultan Hassan au Caire." Folio. Cairo, 1899.
Lepsius (R.).
"
Denkmaeler aus Aegypten und Aethiopien." 12 vols.,
large folio, and i vol. text. Berlin, 1849-1859.
Maspero (G.). "The Dawn of 'Civilization." 8vo. 1897.
Perrot and Chipiez.
"
History of Art in Ancient Egypt." 8vo. 1883.
Petrie (W. N. F.).
"
The Pyramids and Temples of Gizeh." 410. 1883.
Petrie.
"
Ten Years Digging in Egypt." 8vo. 1
892.
Petrie.
"
Egyptian Decorative Art." 8vo." 1895.
Prisse d'Avennes (E.). "Histoire de 1'Art gyptien." 2 vols., large
folio, and text in 4to. Paris, 1879.
Rawlinson (G.).
"
History of Ancient Egypt." 2 vols., 8vo. 1881.
Smyth (C. Piazzi).
" Life and Work at the Great Pyramid, 1865."
3 vols., 8vo. Edinburgh, 1867.
Publications of the "
Archaeological Survey of Egypt
"
and the "
Egypt
Exploration Fund."
Ebers (G.). "An Egyptian Princess." (Historical Novel.)
Haggard (H. Rider)." Cleopatra."
Ward (T.).
" The Sacred Beetle." Demy 8vo. 1902.
The Egyptian Court at the Crystal Palace and the Egyptian Rooms at
the British Museum give a good idea of the Architecture and decoration
of the style. The latter place contains a most complete collection of
Egyptian antiquities, which will give the student a better knowledge of
the style than can be gleaned merely from books.

<r
JO
tffit
BflCTRlfr
II.
WESTERN ASIATIC ARCHI
TECTURE.
"
Babylon,
Learned and wise, hath perished utterly,
Nor leaves her speech one word to aid the sigh
That would lament her." WORDSWORTH.
i. INFLUENCES.
i. Geographical. On referring to the map (No. n) it will be
seen that the principal ancient cities of Western Asia were
situated in the valley of the twin-rivers Tigris and Euphrates.
The district was one of the earliest seats of civilization, being
celebrated for its great fertility, and has been styled the cradle
and tomb of nations and empires. The plain of Mesopotamia,
once the seat of a high civilization, was irrigated by numerous
canals between the above-mentioned rivers, and was highly culti-
vated, supporting an immense population round Nineveh and
Babylon.
The earliest known buildings appear to have been erected
at the mouth of the great rivers draining the country, and in
this respect can be compared with Egypt (No. 3), where the

WESTERN ASIATIC ARCHITECTURE. 33
Pyramids and other early structures were near the delta of the
Nile. In Western Asia the march of civilization spread north-
wards from Babylon (the Gate of God) to Nineveh, while in
Egypt it spread southwards from Memphis to Philse, but in both
cases it developed from the sea inland.
ii. Geological. The whole district of Chaldaea or Lower
Mesopotamia is alluvial, being formed of the thick mud or clay
deposited by the two great rivers Tigris and Euphrates. The
soil, containing no stone and bearing no trees, could be made into
bricks, which thus became the usual building material. The
general body of the walls was constructed of the ordinary sun-
dried bricks, while " kiln-burnt
"
and sometimes glazed or vitrified
bricks of different colors were used as a facing. As a cementing
material, bitumen or pitch, applied in a heated state, seems to
have been used, being obtained from bitumen springs found in the
district, as at Is, on the Euphrates. Mortar, made of calcareous
earth, was used in the latest periods.
In Assyria, where stone was not scarce, the walls were also
faced, internally and externally, with alabaster or limestone slabs,
on which were carved the bas-reliefs or inscriptions, which are
so important from an historical point of view.
iii. Climate. The unhealthy exhalations from the vast swamps
in Chaldaea, and the swarms of aggressive and venomous insects
infesting the entire region during the long summer, rendered the
construction of elevated platforms for the towns and palaces not
only desirable, but almost essential. Moreover, the floods during
the rainy season, when torrents fell for weeks at a time, further
demanded the need for such structures.
Persia is for the most part a high tableland and has been
described as a country of sunshine, gardens, and deserts, with a
climate ranging from the extremes of heat and cold.
iv. Religion. The people were worshippers of the heavenly
bodies, such as the sun and the moon, and of the powers of nature,
such as the wind and thunder. Numbers of omen tablets have
survived, and bear witness to the extreme superstition which
existed.
Ormuzd, the god of light and of good, as opposed to Ahriman,
the god of darkness and evil, was worshipped with fire as his
symbol. Temples, and even images, do not seem to have been
necessary, as sacrifices and the worship of fire and sun appear to
have been conducted in the open air, and thus the essential
stimulus was wanting for the rise and development of religious
art. On the other hand, the man-headed bulls, placed at the
entrances of temples and palaces, probably had a mythical mean-
ing, and appear to belong to the class of beneficent genii or to
that of the great deities of the Chaldaean pantheon.
v. Social and Political. Judging from their history, the
F.A. D

Assyrians were a sturdy, warlike, but cruel people, and in their
battles the conquering monarchs took thousands of prisoners, who
were employed in raising the enormous mounds mentioned here-
after. It has been calculated by-Rawlinson that the erection of
the great plat orm or mound of Koyunjik upon which the build-
ings of Nineveh stood would require the united exertions of
10,000 men for twelve years, after which the palaces would have
to be built.
The Assyrian sculptures give in a very /ninute way the social
conditions of the period, and show us the" costumes of the time
and the military character of the period, for'the long inscriptions
and series of pictures with which the palace walls were covered
form an illustrated history of the battles and sieges of succeeding
monarchs, the sculptor thus explaining the political events of the
period in a lasting manner.
The cuneiform or wedge-shaped characters which form the
inscriptions consist of groups of strokes placed in different positions.
These characters were impressed on clay tablets or cylinders,
while still moist, with a triangular ended instrument of wood,
bone, or metal. Libraries of these strange MSS. were formed on
a large scale, and by the translation of these inscriptions much
knowledge of the social condition has been acquired.
The Persian astronomer-poet, Omar Khayyam, in his writings,
indicates the national love of beauty and the influence exerted by
environment and climate.
vi. Historical. From the study of Assyrian history can be
gleaned certain facts which considerably assist in forming the
divisions of the periods. The earliest Babylonian king mentioned
in the cuneiform inscriptions was Eannadu, who reigned B.C. 4500,
and the empire he founded was gradually extended northwards,
following the course of the great river Tigris. In B.C. 1700 Assyria,
the northern part of the early Babylonian empire, asserted her
independence and became the great power of Western Asia.
Of the Assyrian kings, the most celebrated was Sargon
(B.C. 722-705), who erected the great palace at Khorsabad ;
he
was the first Assyrian king who came in contact with the
Egyptian army, then in alliance with the Philistines, a combina-
tion of forces which he defeated. The Assyrians conquered and
occupied Egypt in B.C. 672, sacking the ancient city of Thebes
in B.C. 666 ;
but the Egyptians finally shook themselves free from
the Assyrian yoke. The destruction of Nineveh took place in
B.C. 609, and the great Assyrian kingdom was then divided among
its conquerors, Assyria being handed over to the Medes. Babylon
then took the leading place until it was finally conquered by the
Persians, a hardy race from the mountainous district north of the
Persian Gulf, under Cyrus, in B.C. 539. The reigns of Darius
(B.C. 521-485; and Xerxes (B.C. 485- 465) are important as being

those in which some of the most interesting palaces were erected
at Susa and Persepolis. The country remained under the rule of
the Persians until the time of Alexander the Great, B.C. 333,
when it became a possession of the Greeks. The conquest of
Egypt by Cambyses, B.C. 525, and the dazzling impression left
by the marvellous buildings of Memphis and Thebes, caused the
development of the use of the column amongst the Persians. In the
seventh century A. D., the Arabs overran the country and settled there
Bagdad becoming a new capital of great magnificence. Towards
the close of the tenth century, the Turks, a barbarous people
pouring in from the east, settled in the country, which is at the
present moment in a desolate state owing to Turkish misrule.
The banks of the Tigris and Euphrates presented only alluvial
plains, where wood suitable for building was rare. The country,
however, possessed an abundance of clay, which, being com-
pressed in flat square moulds and dried in the sun, was
the material of which were formed the huge platforms upon
which temples and palaces were built. These immense plat-
forms were at first faced with sun-dried bricks, and sub-
sequently with kiln-burnt bricks, or in the later Assyrian period
with stone slabs from the mountains that separate Assyria
from Media. It will be perceived how the salient characteristics
of the architecture may be explained by the nature of the
materials at hand, for the walls being of brick, each unit, in
general, was a repetition of its neighbour, and rarely of special
shape. The buildings thus constructed could only be decorated
by attached ornament, similar in principle to the mats and
hangings spread over floors 'or -walls as a covering, for the
Assyrians either cased their walls with alabaster or with a skin
of glazed brickwork of many colors.
The arch was applied to important openings (No. 12) and also to
vaults. In some cases it was not a true arch, but one formed by
corbelling or projecting horizontal courses. The true arch however
was also practised, being probably accidentally hit upon through
the use of small units ;
for as the Chaldaeans were unable to support
walls over openings upon beams of stone or timber, owing to the
lack of these materials in suitable forms, they had to devise some
other means for doing so. It is a general law, which study and
comparison will confirm, that the arch was earliest discovered
and most invariably employed by those builders who found them-
selves condemned by the geological formation of their country to
the employment of the smallest units.
Arches, therefore, in the absence of piers, rested on thick and
D 2

solid walls ;
and whether used for the formation of vaulted drains
under the immense platforms, or to form imposing entrances of
colored and glazed brickwork in elaborate fasades, held a space
of extreme importance in the style.
In Chaldaea, isolated supports, such as are found in the hypostyle
halls of Egypt and Persia, or in Greek temples and Latin basilicas,
were not used, for the want of suitable stone rendered any such
arrangement impossible. The Chaldaeans and Assyrians scarcely
ever used stone constructively except as the/envelope for a brick
wall ; but on the other hand as stone was abundant in the rocky
country of Persia, the Persians used it for walls and columns at
Susa and Persepolis. Assyria undoubtedly gave many of her
architectural forms to Persia, who later borrowed much from
Egypt and Asiatic Greece.
The bracket and scroll capitals of the columns at Persepolis
and Susa retain much of the form of their wooden prototypes, and
demonstrate very clearly that a form which, applied to wood, is
natural and inoffensive, becomes inappropriate when applied to
stone (No. 13 A, c, G).
Texier's description of the great mosque at Ispahan might, it
is believed, be applied with general accuracy to the palaces of
Nineveh and Persepolis, if the power of a Merlin could bring them
back to our view :
"
Every part of the building, without exception,
is covered with enamelled bricks. Their ground is blue, upon
which elegant flowers and sentences taken from the Koran are
traced in white. The cupola is blue decorated with shields and
arabesques. One can hardly imagine the effect produced by such
a building on an European accustomed to the dull uniformity of
our colorless buildings." The palaces would differ principally
from the description of this mosque owing to the rules of the
Koran as to the prohibition in sculpture and decoration of the
copying of natural objects (page 654).
The appearance of the monuments must, however, be entirely
left to the imagination, for the effect of the towering masses of
the palaces, planted on the great platforms, and approached
from the plains by broad stairways, can only be imagined. The
portal, flanked by colossal winged bulls (Nos. 12 B, F, G, H, and
13 D, E), led to an audience-chamber paved with carved slabs
of alabaster. This apartment had a dado, 12 feet high, of
sculptured slabs, with representations of battles and hunting
scenes (No. 13 F, H), and was surmounted by a frieze containing
figures of men and animals in glazed and brightly colored brick-
work ;
a beamed roof of cedar, through which small openings
gave a sufficient illumination, probably covered the apartment
(No. 12 B).
At Khorsabad an ornamentation of semi-cylinders in juxta-
position was employed externally, a style of decoration which

is a last reminiscence of the timber stockading which had originally
served to keep up the tempered earth before the regular use of
sun-dried bricks.
In Asia Minor many of the buildings present stone forms
borrowed from a timber type, and the influence of this tradition
is better seen in the tombs of Lycia than in any other remains.
An example of one of these at the British Museum has a double
podium (cf. Glossary) upon which is placed a chest or sarcophagus
crowned with a roof of pointed-arch form, the mortises and
framing, including the pins, being copied from a wooden form.
In Lycia many rock-cut tombs present flat and sloping roofs,
in which unhewn timbers were copied ;
and the last stage
shows an Ionic facade certainly developed from these carpentry
forms (No. 41 F).
The copying of timber forms in stone has also been traced in
Egypt ;
in India, where it was introduced by the Bactrian Greeks,
between the second and third century B.C., and in Greece some-
what earlier than in Lycia, in the seventh century B.C. It may,
therefore, be admitted that a material from which a style is
evolved continues for a period to have its influence even when
another material is substituted. It was only, however, in the
infancy of stone architecture that timber forms were adhered to ;
for as soon as habit gave familiarity with the new material, the
incongruities of such forms applied to stone structures were by
degrees abandoned, and features suitable to the new material
were evolved.
3. EXAMPLES.
Western Asiatic Architecture can be divided into three tolerably
distinct periods :
(a.) The first or Babylonian (Chaldaean) period (B.C. 4000 (?)-
1290).
(b.) The second or Assyrian period (B.C. 1290-538).
(c.)
The third or Persian period (B.C. 538-333).
THE FIRST OR BABYLONIAN PERIOD
was a temple-biiilding epoch, the principal remains being the temple
of Birs-Nimroud near Babylon, and the temple at Khorsabad.
Colonel Rawlinson has shown by 'his investigations that the
Temple of Birs-Nimroud was dedicated to the seven heavenly
spheres.
In Chaldaea every city had its
"
ziggurat
"
(holy mountain),
surmounted by a richly decorated temple chamber, which served
as a shrine and observatory from which astrological studies could
be made (No. 12 A, c, D).
These temples were several stories in height, constructed in

ASSYRIAN EXAMPLES.
OT CONSTRUCTION .
mmi m waa&ie*, SOUTH E^ST
12.

receding terraces, and each of different colored glazed bricks.
A walled inclosure surrounded the whole structure. The angles
of these temples were made to face the cardinal points, in contrast
to the Egyptian pyramids, whose sides were so placed.
The attempts of the Babylonians to build a tower which should
" reach to heaven
"
(Gen. xi. 4), may be referred to here, and
it is a fact worth noting that in Western Asia and Egypt,
countries both remarkable for their dulness and sameness of
aspect, man should have attempted his highest flights of audacity
in the way of artificial elevations.
THE SECOND OR ASSYRIAN PERIOD
was a palace -biiUding epoch, and terminated with the destruction
of Babylon by Cyrus, B.C. 539.
The principal remains are the palaces at Nineveh (or
Koyunjik), Nimroud, and Khorsabad.
The Palace of Sargon, Khorsabad (B.C. 722-705), is the best
example of the general type, and has been the most completely
studied by means of systematic excavations, chiefly by Place. It
was erected about nine miles north- north-east of the ancient city
of Nineveh, and with its various courts, chambers, and corridors is
supposed to have occupied an area of 25 acres. As in all Assyrian
palaces, it was raised upon a terrace or platform of brickwork
faced with stone, 46 feet above the plain, from which it was reached
by means of broad stairways and sloping planes or ramps. The
palace contained three distinct groups of apartments, corresponding
to the divisions of any palatial residence of modern Persia, Turkey,
or India, viz. :
(a.) The Seraglio, including the palace proper, the
men's apartments, ajid the reception rooms for visitors, in all
containing 10 courts, and no less than 60 rooms or passages ;
(&.) the Harem, with the private apartments of the prince and his
family ;
and (c.)
the Khan or service chambers, arranged round
an immense courtyard, having an area of about 2| acres, and form-
ing the principal court of the palace. There was also a temple
observatory on the western side of the platform. The great
entrance portals on the south-east facade led into the great court
already mentioned. These portals formed probably the most
impressive creations of Assyrian Architecture, and were rendered
imposing by no fewer than ten human-headed winged bulls,
19 feet in height (No. 12 F, G, H), examples of which are now pre-
served in the British Museum. In the principal apartments a
sculptured dado of alabaster about 10 feet high, which seems to
have been sometimes treated with color, lined the lower portions
of the walls, above which was a continuous frieze of colored and
glazed brickwork. Conjectural restorations have been made by
various authorities (No. 12 B).

The excavations of the Palace of Sennacherib, Nineveh,
B.C. 705-681, and the Palace of Ashur-nasir-pal, Nimroud, B.C.
885-860, have revealed a large amount of information concerning
Assyrian Palaces, and many of the sculptures with which the
walls were lined are now in the British Museum.
The method of roofing is still much in dispute. Some authorities
hold that the long and narrow rooms were roofed with beams of
poplar or palm, resting upon the summits of the walls, and that the
large halls would have a central portion open to the sky, with
porticos around, similar to that of a Roman atrium. Other autho-
rities hold that the arch, which was used largely in the drains and
water channels of the great platforms and in the city gates
(No. 12 F), also played an important part in the construction of
the palaces themselves, specially in view of the thickness of the
walls, which would indicate that the architect had to provide solid
abutments for arched vaults which supported a heavy roof.
From a bas-relief found by Layard, it would appear that domed
roofs both spherical and elliptical were also employed.
THE THIRD OR PERSIAN PERIOD,
from the time of Cyrus to that of Alexander the Great, has
important remains of palaces, tombs and temples, at Susa,
Persepolis, and Passagardae.
The Persians having no architecture of their own, proceeded to
adapt that of the conquered Assyrians, as later the Romans
assimilated that of the Greeks.
In the neighbourhood of their new cities, Susa and Persepolis,
good stone was to be found, and, as a consequence, many
architectural features, which are wanting in the earlier periods,
are still extant.
Persepolis, one of the important capitals of Persia, has inte-
resting remains of no less than eight different buildings. These
were erected on a great platform, 1,500 feet long by 1,000 feet
wide, of four different levels, partly cut out of the solid rock and
partly built up. It was from 20 to 50 feet above the plain and
was reached by a wide stairway on the western side. The most
important buildings erected by Darius are his Palace and the Hall
of the Hundred Columns, while his son Xerxes built the Propylsea,
the Hypostyle Hall and a famous palace. The Hall of the
Hundred Columns, 225 feet square, was probably used as an
audience and throne-hall. It was surrounded by a brick wall,
10 feet 8 inches thick, in which were forty- four stone doorways and
windows. The bas-reliefs are on a magnificent scale, representing
the king surrounded by the arms of subject states, receiving
ambassadors, rows of warriors and other subjects. The columns,
of which only one is still in situ, had capitals of curious vertical

Ionic-like scrolls (No. 13 G), or of the double-bull or double-horse
types (No. 13 A, c). The Hypostyle Hall of Xerxes (B.C. 485),
probably used as a throne room, and having no enclosing walls,
occupied an area larger than the Hypostyle Hall at Karnac, or any
Gothic cathedral except Milan. It originally had seventy-two
black marble columns, 67 feet in height, arranged in a somewhat
novel manner supporting a flat roof. Of these only seventeen
now exist, and have capitals either of brackets and volutes, or
formed of a pair of unicorns or bulls ;
the bases are bell-shaped
(No. 13 A, c, G) and the shafts are fluted with fifty-two flutes.
Susa has important remains in the palaces of Xerxes and
Artaxerxes, from which splendid examples of colored and glazed
brickwork have been excavated, especially the frieze of lions and
the frieze of archers in which the figures, about 5 feet high, are
now in the Louvre, Paris, and give a good idea of the glazed and
colored work of the Persians.
The Tomb of Darius, Naksh-i-Rustam, near Persepolis,
has a rock cut fa9ade, reproducing the Palace of f)arius, and
forming one of four rock-hewn sepulchres of the Akhaemenian kings.
In this fa9ade the columns are of the double-bull type with cornice
over, above which are two rows of figures supporting a prayer
platform, upon which stood a statue of the king, about 7 feet high,
with his arm uplifted towards an image of the god Ormuzd.
Jewish Architecture. The Hebrews apparently borrowed
their architectural forms from Egyptian, Assyrian, Greek and
Roman sources. Remains are unimportant, consisting principally
of tombs in the valleys near Jerusalem.
The only great attempt at a monumental structure was the
Temple at Jerusalem. This was commenced by Solomon (B.C.
1012), and the biblical description (i Kings vi., vii., 2 Chronicles
iii., iv.) is interesting, portraying entrance pylons, courts, cedar
woodwork, metal work, and the isolated brazen columns Jachin
and Boaz. The Temple was afterwards added to by Herod
(B.C. 18), and the site is now occupied by the Mosque of Omar.
(Page 659.)
4. COMPARATIVE.
A. Plan. A special character was given to the temples of the
early, and the palaces of the later period, by raising them on
terraces or platforms some 30 feet to 50 feet in height (No. 12 G),
and by grouping the buildings round quadrangles. Whereas the
sides of the Egyptian pyramids face the cardinal points of the
compass, the angles of the Assyrian ziggurats were so placed.
Egyptian temples were designed mainly for internal effect, while
Assyrian palaces were designed so as to be effective inter-
nally and externally, being raised on the platforms mentioned
above.

UBN HUNT, nOA me NORTH
*0Tlll]KEJITfflfllOO&.
KINS OTEB ON HI5 TROWE WITH
13-

B. Walls. The Assyrians in the early period used stone only
as a facing to their brick walls, forming a contrast with the solid
marble work of the Greeks, and with the constructive use of
stone and granite by the Egyptians.
In Assyria, the massive walls, which were of cased brickwork,
only remain, the columns being of wood having perished. In
Persia, however, the walls which were thin have disappeared,
leaving the massive stone or marble blocks forming the door and
window openings, immense columns, and broad stairways which
alone have survived the ravages of time.
The slabs of alabaster with which the walls of the palaces were
faced reveal much of the social history of the people, and many of
the slabs are now in the British Museum (No. 13).
c. Openings. The lighting to the temples is conjectural, but
it appears to have been effected by means of a "clerestory"
(No. 12 B), somewhat similar to that in use in the Egyptian temples.
It is believed that the Assyrian architects counted chiefly on
the doorways, which were of great size, to give their buildings a
sufficient supply of light and air, and openings may also have
been formed in the upper parts of the walls.
The use of the arch, both circular and pointed, was practised
by the Assyrians, as is proved by the discoveries of Sir Henry
Layard at Nimroud, and of M. Place at Khorsabad (No. I2F, G, H),
where semi-circular arches spring from the backs of winged bulls
with human heads.
D. Roofs. The roofing appears to have been effected by
means of timber beams reaching from one column to the next, and
resting on the backs of the "double-bull" capitals (No. 12 B).
Some authorities consider that the halls of the palaces were
covered with brick tunnel vaults, but in many cases the roof of con-
siderable thickness was flat, formed of very tough but plastic clay
and debris, and kept in condition by being occasionally rolled, as
in modern eastern houses. Perrot and Chipiez, however, are of
opinion that Assyrian builders made use of domes in addition to
barrel vaults, because of the discovery of a bas-relief at
Koyunjik
in which groups of buildings roofed with spherical or elliptical
domes are shown. Strabo (xvi. i.
5) also mentions expressly that
all the houses of Babylon were vaulted.
E. Columns. These were primarily of wood, but in the later
period at Persepolis, the Persians, on their return from Egypt,
built them of the natural stone which had been wanting in
Chaldsea. They were not so massive as in Egypt, where stone
roofs had to be supported.
The capitals were characteristic, being of the "double-bull,"
.
"
double-unicorn,"
" double-horse
"
or "
double-griffen
"
type
(No. 13 A, c), and the Ionic scroll occurs in some examples.
F. Mouldings. As in the case of Egypt, in Western Asia

the use of mouldings does not appear to have advanced to any
great extent. In the Assyrian palaces the sculptured slabs and
colored surfaces took their place. At Persepolis the bead,
hollow and ogee mouldings may be noticed in the bases, while
the volutes of the capital were treated with plain sinkings.
G. Ornament. The Assyrian sculptures in alabaster exhibit
considerable technical skill and refinement, while the repousse
pattern work on bronze bowls, shields, and gate fittings is also
notable. From the decorative treatment of Assyrian architecture
can be traced much of the peculiar and characteristic detail used
by the Greeks, and on the sculptured slabs (No. 13 B, F. H), already
mentioned at Nimroud and Nineveh, are represented buildings
with columns and capitals of Ionic and Corinthian form in
embryo.
Further, it may be said, that Greece took from Assyria the
idea of the sculptured friezes, the colored decorations, and the
honeysuckle (No. 12 j)
and guilloche ornaments, the latter being
seen in a pavement slab from the palace at Nineveh (Koyunjik),
now in the British Museum.
In the next chapter it will be seen that Greece adopted much
of her decorative art from the preceding styles of Egypt and
Western Asia, which are thus of extreme interest in enabling
the evolution of architectural forms from the earlier periods to
be traced.
5. REFERENCE BOOKS.
Dieulafoy (M.). "L'Art Antique de la Perse." 5 vols., folio. Paris,
1884-1889.
Flandin (E.) et Coste (P.)-" Voyage en Perse." 6 vols., folio. Paris,
1844-1854.
Layard (A. H.).
" Monuments of Nineveh." 2 vols., folio. 1853.
Layard.
" Nineveh and its Palaces." 2 vols., 8vo. 1849.
Perrot and Chipiez.
"
History of Art in Chaldasa and Assyria, Persia,
Phrygia, and Judaea." 5 vols., 8vo. 1884-1892.
Place (Victor).
" Ninive et L'Assyrie." 3 vols., large folio. Paris,
1867-1870.
Ragozin (Z. A).
"
Chaldea." 8vo. 1888. (A most interesting account
of the people and their history.)
Texier (C.).
"
L'Armenie, la Perse, et la Mesopotamie." 2 vols., large
folio. Paris, 1842-1852.
Whyte-Melville. "Sarchedon" (Historical Novel).
A visit to the Assyrian galleries and basement of the British Museum
will afford much interest and information to the student and will impress
him with the dignity and importance of the style.

14.
GREEK ARCHITECTURE.
" Fair Greece ! sad relic of departed worth !
Immortal, though no more ; though fallen, great !
"
BYRON.
" AnH downward thence to latest days
The heritage of beauty fell ;
And Grecian forms and Grecian lays
Prolonged, their humanising spell,
Till when new worlds for man to win
The Atlantic riven waves disclose,
The wildernesses there begin
To blossom with the Grecian rose." LORD HOUGHTON.
i. INFLUENCES.
i.
Geographical. A reference to the map of Greece (No. 14)
shows a country surrounded on three sides by the sea, possessed
of many natural harbours, and convenient for the development of
trade. By means of these havens .the Phoenician merchants in
early times carried on commerce with the country. The influence
of the sea in fostering national activity should not be forgotten
an influence to which Great Britain owes her present position.
Again, the mountainous character of the country, with scarcely a
road until Roman times, was calculated to isolate the inhabitants
into small groups, and together with the tempting proximity of
a whole multitude of islands, was instrumental in producing
a hardy and adventurous people, who might be expected to
make good colonists.
ii.
Geological. In Greece the principal mineral product was
marble, the most monumental building material in existence, and
one which favours purity of line and refinement in detail. This
material is found in great abundance in various parts of Greece,
e.g., in the mountains of Hymettus and Pentelicus, a few miles

from Athens, and in the islands of Paros and Naxo's. In the
effort to obtain refinement of line and smoothness of surface where
crude bricks were used, they were in many cases coated with a
fine cement formed of marble dust and lime ;
where stone was
employed, as at Paestum and elsewhere, it appears also to have
been coated with this marble cement, while marble itself was
often treated in the same way, the cement being susceptible of a
higher polish than the uncemented surface. The country was
also rich in silver, copper, and iron.
iii. Climate. The climate of Greece /s remarkable for the
hot sun and the heavy rains, factors probably answerable for the
porticos which were important features of the temples.
Greece enjoyed a position intermediate between the rigorous
surroundings of the Northern nations and the relaxing condi-
tions of Eastern life. Hence the Greek character combined the
activity of the North with the passivity of the East in a way
that conduced to the growth of a unique civilization.
iv. Religion. The Greek religion was in the main a worship
of natural phenomena (nature-worship, major and minor), of which
the gods were personifications. There are, however, numerous
traces of ancestor-worship, fetishism, and other primitive forms of
religion. It should be borne in mind that Greek cults were always
local, each town or district having its own divinities, ceremonies,
and traditions. The priests had to perform their appointed rites,
but were not an exclusive class, and often served only for a
period, retiring afterwards into private life. Both men and
women officiated, and a small bright "cella" took the place of
the mysterious halls of the priest-ridden Egyptians (page 20).
The principal deities of the Greeks with their Roman names
are as follows :
Greek. Roman.
Zeus Chief of the gods and supreme ruler Jupiter (Jove).
Hera Wife of Zeus and goddess of marriage Juno.
(The
son of Zeus and father ot
]
yEsculapius. The god who pun- /
ishes, heals and helps. Also the ^ Apollo,
god of song and music, of the sun, t
( and founder of cities.
Hestia Hearth (sacred fire) Vesta.
Heracles Strength, power Hercules.
Athena .. .
/
^> Power-
Peace- and Pros-
I Minerva,
Poseidon Sea Neptune.
Dionysos Wine, feasting, revelry Bacchus.
Demeter Earth, agriculture Ceres.
Artemis Hunting (goddess of the chase) Diana.
TT-,., ( Herald or messenger of the gods, )
..
iermes
1 therefore eloquent with winged feet j
Mercury
Aphrodite Beauty Venus.
Nike Victory Victoria.

GREEK ARCHITECTURE. 47
v.' Social and Political. The early inhabitants were known
to the ancients under the name of Pelasgi. Their civilization
belonged to the bronze age, as is evident from the remains of it
found at different points round the ^Egean sea, viz.. in Crete, at
Hissarlik in the Troad, at Mycenae, Tiryns, and elsewhere. It
fell before the iron weapons and greater courage of invaders from
the North, viz., the Achaeans or Homeric Greeks. The war
against Troy affords proof of an early connection of the
inhabitants of Greece with Asia. The Achaeans in their turn
succumbed to a fresh influx of invaders from the North, hardy
mountaineers called Dorians, who established themselves at
Sparta and elsewhere in the Peloponnese. In classical times
the land was peopled by lonians (i.e.,
the old Pelasgic popula-
tion), ^Eolians (i.e., descendants of the Achaeans), and Dorians.
Dorian Sparta and Ionian (Pelasgian) Athens are the two
principal factors in the drama of Greece. It was not till some
500 years after the fall of Troy that the new Hellenic civiliza-
tion was evinced in the construction of the Temple of Corinth
(B.C. 650), one of the earliest Doric temples known.
As regards the people themselves, it is clear that the national
games and religious festivals united them in reverence for their
religion, and gave them that love for music, the drama, and the
fine arts, and that emulation in manly sports and contests for
which they were distinguished. It should be remembered that
the people led an open-air life, for the public ceremonies and in
many cases the administration of justice were carried on in the
open air.
The Greeks, as already indicated, were great colonists, and
emigration, especially to the coast of Asia Minor and the
Mediterranean, was a government measure dating from about
B.C. 700, undertaken not only to establish trade, but also to reduce
the superfluous population, and to provide an outlet for party
strife. It thus came about that the colonies were often peopled
with citizens of a more energetic and go-ahead character than
those of the mother country ;
and it will therefore be found that
many of the important buildings of Greek architecture, especially
in the Ionic style, are in their colonies of Asia Minor, and
that this connection with the East had some influence upon
their architecture.
vi. Historical. The poems of Homer, apparently a Pelasgic
bard who sang for Achaean masters, give a picture of Greek
life about the twelfth century B.C. Whether or no the war with
Troy be an actual fact, the incidents related have a substratum
of truth, and the tale probably arose out of the early conflicts of
the Greeks in north-west Asia. The Hesiodic poems, circ. B.C. 750,
depict the gloomy prospects and sordid life of the Boeotian
peasantry at a time when art was almost in abeyance. For the

fourth and fifth centuries B.C. there are the more or less critical
histories of Herodotus, Thucydides, Xenophon, and others. The
cities of Greece had by this time settled down in their several
forms of government tyrannic, aristocratic, or democratic and
most of their colonies had been founded. The Persians under
Cyrus, having captured Sardis, overthrew the kingdom of Lydia ;
whereupon the Greeks of Asia Minor became subject to Persia.
It was the revolt of these lonians in B.C. 499-493 which led to the
Persian wars. The first great Persian invasion resulted in the
victory of the Greeks at the battle of Marathon, B.C. 490 ;
and
the second invasion by Xerxes terminated in the naval victory
of Salamis (B.C.480). National exaltation caused by the defeats
of the Persians is largely responsible for the fact that all the
important temples now found in Greece were built in the "
fifty
years
"
which succeeded the battles of Salamis and Plataea. The
wonderfully rapid growth of Athens excited the jealousy of the
slower Spartans, and the Peloponnesian war, which followed,
lasted from B.C. 431 to 404. The rule of Pericles (B.C. 444-429)
marks the climax of Athenian prosperity. The Peloponnesian
war left Sparta the chief power in Greece ;
but her arbitrary and
high-handed conduct roused other states against her, and the
supremacy passed successively to Thebes and Macedonia. The
latter had hitherto been considered a half-barbarian state;
but thanks to the ability of Philip King of Macedonia and of
his son Alexander the Great, it rose to a leading position in
Greece. In B.C. 334 Alexander set out on his great expedition,
and in six years he subdued the Persian Empire, having besieged
and taken Tyre en route and received the submission of Egypt,
where he founded and gave his name to the famous city of
Alexandria. His conquests extended to Northern India, and
the effect of these was most important, for Hellenic civilization
was thus introduced far and wide throughout Asia. On his death
at Babylon in B.C. 323, the empire he had created was split up
among his Generals, Egypt falling to the share of Ptolemy, who
founded a dynasty (page 12). In Greece itself the formation
of leagues, as the Achaean and ^Etolian, between cities was
attempted ; but the Roman interference had commenced, and
gradually increased until in B.C. 146 Greece became a Roman
province. The isolation and mutual animosity of the Greek
communities afforded all too good an opportunity for the intrusion
of the better-centralized and more united power of Rome. En
revanche, where arts not arms were concerned,
" Graecia capta ferum victorem cepit et artes
Intulit agresti Latio."

Much as Greek culture owed to the preceding Oriental
civilizations, still the change effected by the Greeks has so
profoundly influenced the development of European progress
that Greece must be regarded as the veritable source of literary
and artistic inspiration. As a recent writer puts it,
" Whate'er
we hold of beauty, half is hers." Greek architecture stands alone
in being accepted as beyond criticism, and as being an obligatory
study for students of otherwise very different principles.
The character of the early or Mycenaean period, also known as
the Pelasgic, Cyclopean or Primitive period, is very different from
the later or Hellenic period, and, as mentioned on page 53, con-
sists of rough walling of large blocks of stone, often unworked.
In this period the Greeks often had recourse to the corbel system,
to inclined blocks over openings, and even to the true arch.
The Hellenic Period which followed the Mycenaean is dealt
with specially here because it is notable for the development of
the trabeated style which the Greeks approved and developed,
and which is recognised as the special Grecian type.
The following diagram emphasizes the main facts':
Greeks. Etruscans.
Greek. Roman. / Gothic.
Trabeated. Trabeated and Arcuated. Arcuated.
This style was essentially columnar and trabeated (trabs
= a
beam), and the character was largely influenced by the use of
finely-dressed marble.
Stability was achieved solely by the judicious observance of
the laws of gravity ;
the weights acting only vertically, and
consequently needing but vertical resistances.
Stone or marble lintels being difficult to obtain of any great
length, the columns or supporting members had to be placed com-
paratively close together, a method of design which called for a
certain simplicity of treatment characteristic of the style. Mortar
was unnecessary because it would have been of no use for dis-
tributing the pressure between the stone or marble blocks of
which the walls and columns were constructed, as the beds of
these were rubbed to a very fine surface and united with iron
cramps. Further, careful study of the materials at hand was
made, for Choisy found in the temples at ^Egina and Paestum
(Nos. 20, 28), that the stones were laid on their natural bed or
otherwise, according to the pressures they had to bear ;
thus the
architraves, which had to support a cross pressure, were placed
with the planes of their beds vertically, as they were then better
able to withstand a cross-strain, and a wider intercolumniation
could also be obtained.
F.A, E

US THE
TBEayjgf, IP- r-^^^^^wm^^.
$&K THE FRlMClBilL CHiMBER II FORHED OF HdlZONTfil t>
iHCM Of WHICK tfllltt OVER TOE MB
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? ^ ... ^ .... ^
MoroilS ^T TIRYNJ. WCTIOM OP TOE
F CYOjOTON nlS!NIOT OOWOXB Of HOW
F STOWB 6 TO 10 PCET L0Ni S FSET

The general architectural character of the early works of the
Hellenic period is heavy and severe, the influence of the Mycenaean
period being apparent ;
but a gradual change towards refinement
and beauty took place, and in the later periods the proportions of
the columns were more slender, and the mouldings more refined.
Unity of effect in the larger temples was obtained by the colon-
nade surrounding the shrine-cell, forming a contrast with the
number of courts, halls, and chambers, decreasing in size from the
entrance pylons, comprised in a typical Egyptian temple. Greek
buildings have the qualities of harmony, simplicity and unity,
because of the excellence of their proportions, their truthful and
apparent construction, and the employment of one constructive
principle.
Many refinements in design were practised in the best
period of Greek art, in order to correct optical illusions, as has
been discovered by the late Mr. Penrose in many temples,, and
especially in the Parthenon. The long lines of the architrave,
stylobate, pediments and other features, which, if built straight in
reality, would appear to sag or drop in the middle of their length,
were formed with slight convex lines. For instance, in the
Parthenon the stylobate has an upward curvature towards its
centre of 2-61 inches on the east and west fronts, and of 4-39
inches on the flanks. The vertical features were made to incline
inwards in order to correct the tendency which such features have
of appearing to fall outwards at the top. Thus, in the Parthenon
the axes of the outer columns lean inwards 2*65 inches, and would
meet if produced at a distance of a mile above ground. The faces of
the architrave (No. 71, c) were also given an inward inclination.
The shafts usually have an entasis which, in the case of the
Parthenon column, amounts to about three-quarters of an inch
in a height of 34 feet, and is shown on No. 710.
The close spacing of the angle columns has been already
referred to, and these were increased in thickness as it was found
that seen against the sky owing to irradiation (No. 71,6) they
would appear thinner than those seen against the darker
background formed by the cella wall.
According to Pennethorne a further correction is pointed out in
an inscription from the Temple of Priene (No. 71, A), where
according to Vitruvius, Bk. vi., chap. 2, the letters at the top of
the inscription were increased in size, and the letters at the lower
part decreased so that they might all appear of one size when seen
from the point of sight.
Sculpture and carving of the highest class completed the effec-
tiveness of their most important buildings, and these were in-
fluenced very largely by the hard, fine-grained marble employed,
which rendered possible the delicate adjustment and refined
treatment characteristic of this period.
E 2

GREEK EXAMPLES. I.
CLCWlTIOM OF. PJgncg.(IF..ffi.STHErtOM.
IflC

Color and gilding were applied very largely by the Greeks both
to their buildings and sculpture, and some of the remains which
have been lately excavated at Athens, Delphi, and elsewhere still
exhibit traces of their original coloring.
The Greeks developed the so-called " Orders of Architecture,"
the Doric, Ionic and Corinthian being used by them. To these,
in later times, the Romans added the Tuscan and Composite,
thus completing the " five orders of architecture." An " order
"
in Greek and Roman architecture consists of the column or
support, including base and capital, and the entablature, or part
supported. The latter is divided into the architrave or lowest
portion ; the frieze, or middle member, and the cornice or upper-
most part. The proportions of these parts vary in the different
orders, as do the mouldings and decorations applied (No. 38).
The origin and evolution of the different parts of the three Greek
orders are dealt with later under their respective headings, but the
characteristics are well expressed in the following lines :
"
First, unadorn'd,
And nobly plain, the manly Doric rose ;
Th' Ionic, then, with decent matron grace,
Her airy pillar heaved ;
luxuriant last,
The rich Corinthian spread her wanton wreath.
The whole so measured, so lessen' d oft"
By fine proportion, that the marble piles,
Form'd to repel the still or stormy waste
Of rolling ages, light as fabrics look
That from the wand aerial rise." THOMSON.
The late J. Addington Symonds well observed that Art is
commonly evolved through three stages: (i) The ardent and
inspired embodiment of a great idea this gives strength and
grandeur ; (2) the original inspiration tempered by increasing
knowledge and a clearer appreciation of limits the result being
symmetry ;
(3) ebbing inspiration, details being elaborated, and
novelties introduced to make up for its loss this occasions a
brilliant but somewhat disproportioned style. This progress can
be traced in all departments of Greek life. In architecture, there
is the solid strength of the Doric capital, the clear-cut beauty of
the Ionic, and the florid detail of the Corinthian, in poetry the
rugged grandeur of ^Eschylus, the exquisite symmetry of Sopho-
cles, and the brilliant innovations of Euripides, and in sculpture,
an Ageladas, a Pheidias, and a Praxiteles.
3. EXAMPLES.
The Mycense-an Period has already been defined as extend-
ing to shortly after the war with Troy, though in the Islands (e.g.,
Cyprus, Crete, and Delos), it lasted on till the eighth century B.C. ;
but remains of a pre-Mycensean period called Min6an, dating

back to about B.C. 3000, have been discovered by- Dr. Arthur
Evans, of which the Minoan Palace at Knossos in Crete is an
example. The architectural remains of these periods include
town-walls, palaces, and tombs. The walls are of three kinds of
masonry: (i) "Cyclopean" i.e., masses of rock roughly quarried
and piled on each other, without cramp-irons, but with clay
mortar, the interstices between the larger being filled with smaller
blocks. Examples at Argos, Tiryns, Mycenae, Knossos in Crete,
and Athens. (2) Rectangular, i.e., carefully hewn rectangular
blocks arranged in regular courses, but the/ joints between stones
in the same course are not always vertical. Examples at
Mycenae in the entrances and towers, and the entrance passage in
"tholos" or beehive-tombs. (3) Polyzonal, i.e., many sided blocks
accurately worked so as to fit together. Examples at Mycenae,
wall of Acropolis at Athens, and Cnidus. Thus all three styles
occur in structures of "
Mycenaean
"
age, although in out-of-the-
way places, as in Caria, they survived for centuries. The first is
seemingly the parent of the other two : but the common assump-
tion that polygonal is later than rectangular masonry cannot be
proved with regard to the Pelasgic period.
In addition various characteristic features were used :
Corbels. Sometimes horizontal courses were employed pro-
jecting one beyond the other till the apex was reached, producing
either a triangular opening as is found above the doorways of the
tholos-tombs (No. 15 A, E), or an apparent arch as at CEniades in
Acarnania, Assos, and the gallery at Tiryns, or a dome-shaped
roof as in the Treasury of Atreus at Mycenae (No. 15 A, B).
Inclined Blocks. Sometimes inclined blocks forming triangular
headed openings were employed as in the early, perhaps pre-
historic, sanctuary on Mount Ocha in Eubcea, and the ancient
shrine of Apollo on Mount Cynthus (Delos).
Arches. A few examples of Greek arcuated work are extant,
viz., a Cyclopean arch at Cnidus, an arch with a key-stone
(partially dropped) in Acarnania, and an arched gateway at
CEniades. A water-channel or drain at Athens, which crosses the
town from east to west, is partly arcuated and partly roofed with
advancing corbels. The barrel-vault ("kamara") occurs in sub-
terranean funeral chambers in Macedonia, and also in the vaulted
passages at the theatre of Sicyon, the tunnel leading to the
Stadium at Olympia and other places.
The " tholos
"
or beehive-tombs at Mycenae, Orchomenos, and
Amyclae were originally modelled on underground huts for the
living (Vitruv. ii., i), the precise shape being found by Prof. Adler
in Phrygia. At Mycenae the tholoi are confined to the lower city
as opposed to the shaft-graves of the upper city. The largest and
best preserved is the so-called "
Treasury of Atreus
"
(No. 15). It
consists of a long entrance passage or "
dromos," 2oJfeetJ>road by

ii 5 feetkmg, a large vaulted chamber, about 50 feet broad by 50 feet
rn^7ali3~a~small square tomb-chamber adjoining. A similar tomb
at Orchomenos in Bceotia has a magnificently ornamented ceiling
in its sepulchral chamber, while another at Menidi in Attica has
no less than five superposed lintels to support the mass of earth
above it
(cf. section of Great Pyramid, No. 5 D). These tombs
belong to the second stage in the evolution of the dwelling-house,
the complete series being (a) natural cave (No. 2 H) ; (b) artificial
cave below ground ;
(c)
artificial cave above ground, i.e., hut
(No. 2 E). The famous Gate of Lions on the Acropolis at
Mycenae also belongs to this period (No. 15 E).
The Hellenic Period contains all the principal temples and
monuments which were erected between the years B.C. 700 and
the Roman occupation B.C. 146. The masterpieces of Greek
architecture, however, were all erected in the short space of about
150 years, viz., between the defeat of the Persians, B.C. 480, and
the death of Alexander, B.C. 323.
Many of the Greek cities were upon or in the immediate
vicinity of a hill which was known as the Acropolis (Greek = an
upper city), and formed a citadel upon which the principal
temples or treasure-houses were erected for safety. A model of
the Acropolis at Athens in the British Museum will give a good
general idea of the disposition of the important buildings placed
thereon, as also the plan No. 17. Other great centres of archi-
tectural activity were Olympia, Delphi, Psestum in South Italy,
Sicily, and Asia Minor.
IQO ... Q 100 200 30O 400 500

The Temples formed the most important class of buildings
erected during this period, and a general description applicable
to all is therefore given.
Their points of difference with Egyptian examples have been
already referred to. (Pages 15, 21, 28). They were built with
special regard to external effect, and were ornamented with
sculpture of the highest class in order to form fitting shrines
for the deities in whose honour they were erected. They were
generally placed in a "temenos" or sacred enclosure, and consisted
of a "naos" or cell, usually oblong in plan/ in which was placed
the statue of the god or goddess ;
a treasury or chamber beyond
and a front and rear portico, with flanking colonnades, the whole
generally raised on a stylobate of three steps.
In the larger temples were internal colonnades of columns placed
over each other to support the roof (Nos. 18 H, 20, 23, 23, 28 A, B,
and 31). On the two end fagades above the columns a triangular-
shaped pediment, usually but not always filled with sculpture,
terminated the simple span roof (Nos. 16 A, 20, 21, 23, 26, 27, 28,
30, and 31 A). These roofs were constructed of timber and covered
with marble slabs ;
the ends of the overlapped joints being provided
with ante-fixae at the eaves (Nos. 16 D, 20 H, j, and 44 N). The
door was almost always placed in the centre of the end wall,
behind the portico of columns, and frequently planned so that the
sun might enter and light up the statue opposite.
The general absence of windows in the temples, that at
Agrigentum being the only exception (No. 28 o), has given rise ,
to many theories as to how light was admitted. The method of
lighting by a clerestory concealed in the roof which is favoured by
Mr. Fergusson (No. 25 A), can be seen practically in Sir Arthur |
Blomfield's restoration of S. Peter, Eaton Square, London.
Another theory by Herr Bdtticher is also shown (No. 25 B).
The temple was occasionally
"
hypaethral," that is to say, there
was an opening in the roof which admitted air and light to the
central portion of the naos or cell. The use of an hypaethral
opening has been often refuted, but it appears to have been used
in the larger temples as in that of Jupiter Olympius at Athens
(No. 1 8 j) (see Vitruvius), and in the Ionic Temple of Apollo-/
Didymaeus, near Miletus, as mentioned in Strabo (lib. xiv.)..
The temple was the house of the local god, being merely a
glorified dwelling-house, and some hold that the opening in the
centre of an ordinary house must have had some counterpart in
that of the divinity. Both alike were developed out of the smoke-
hole of the primitive hut ;
the whole development being ably
traced in an article on " domus" in Daremberg et Saglio,
" Diet,
des Antiquites." An extant hypaethral opening is that of the
Pantheon, Rome (Nos. 54, 55).
Many authorities hold that light was obtained solely through

GREEK EXAMPLES. II
rPLc -(DgRHAMNUS
DISTYLE IN ANTIS
(DORIC)
Of ARTEMIS
lEAAiELEUSlS
AMPHl-AtTO DISTYLE
/^-
i
"-H^-
1
I V
U/ V PROSTYLE
(DORIC)
^J I m |
v-/
TETRASTYLE
TEMPLE or VESTA *T TIVOLI
PERIPTERAL
TEMPLE ON T
ILISSUS(IOMC)
AMPHI-PRO STYLE
ITETRASTYLE.
THE THESEtOH
/^p ATHENS MAISON CARREE
TyPERIPTERAL NlMES (CORINTHIAN)
HEXASTYLE PSEUDOPERIPTERAL
(DORIC) //? HEIXASTYLE
1

the doorways, others that the transparent Parian marble roofing
slabs would admit sufficient light.
Artificial illumination by means of lamps may also have been
employed.
The different kinds of temples are classified, by the disposi-
tion of their columns, and a sheet of plans (No. 18) is given
in order to indicate the general distribution of parts, and also to
show the evolution from the simple shrine-cell of the smaller
examples. The different methods of spacing the columns one
from the other is shown in No. 39, R, s, T./U, v.
i.
Di-style in antis at one end (the simplest form, having two
columns between antae). Ex. Temple of Rhamnus(No. i8A).
ii.
Di-style in antis at both ends. Ex. Doric Temple at Eleusis
(No. 18 B).
iii.
Prostyle tetrastyle (a front portico of four columns). Ex.
Doric Temple at Selinus, Sicily (No. 18 D).
iv. Amphi-prostyle tetrastyle (front and rear porticos of four
columns). Ex. Ionic Temple on the Ilissus (No. 18 E), and
Temple of Nike-Apteros (No. 18 N).
v. Peripteral circular (a ring of columns surrounding a circular
cell). Ex. Philipeion at Olympia, The Tholos at Epidauros
(No. 18 K).
vi. Peripteral hexa,style (a temple surrounded by columns, the
porticos at each end having six). Ex. The Theseion
Athens (Nos. 18 F and 21 D), Temple of Neptune, Paestum
(No. 28 A, B, c), Temple of Apollo at Bassae (No. 27 c).
vii. Peripteral octastyle (as last, but with eight columns to each
portico). Ex. the Parthenon Athens (Nos. 18 H, 23 H).
viii. Pseudo-peripteral (having columns attached to cella walls,
a favourite form afterwards adopted by the Romans. See
page 12). Greek ex. Temple of Jupiter at Agrigentum
(No. 28 M).
ix. Dipteral octastyle (double rows of columns surrounding
temple, having ranges of eight at each end). Exs. Temple
of Jupiter Olympius, Athens (No. 18 j),
and Temple of
Diana at Ephesus (No. 31 B).
x. Pseudo -dipteral octastyle (as last, with the inner range left
out). Ex. Great Doric Temple of Selinus, Sicily (No. 18 L).
xi. Dipteral decastyle (as ix., but with ten columns at ends).
Ex. Temple of Apollo Didymaeus, near Miletus. A Roman
example is the Great Temple at Baalbec (No. 53 E).
xii. Octagonal. Ex. Tower of the Winds Athens (No. 28 K, L).
xiii. Irregular planning. Ex Erechtheion, Athens (Nos 18 M,
30 F), The Propylcea, Athens (No. 18 N), Teleskrion at
Eleusis.
In order to keep the descriptions of classic temples together,
mention is made here that the Romans employed the circular

form as in the Pantheon (Nos. 54, 57 E), and also planned smaller
circular temples as follows :
(a.) Peripteral. Temple of Vesta, Tivoli (No. 18 c), and
Temple of Vesta, Rome (No. 47).
(b.) Monopteral (in which the roof was supported by
columns only, without walls).
(c.) Pseudo -peripteral (the cella wall having attached
columns).
The varieties of temples described were erected in either the
Doric, Ionic, or Corinthian style, which will be referred to
now in detail with their principal examples.
THE DORIC ORDER.
The Doric order, the oldest, plainest, and most sturdy, is traced
by many to an Egyptian prototype as exemplified at Beni-Hasan
(No. 6) ;
but as the origin of this, the earliest of the Greek orders,
is of special interest, the theories put forward by several authorities,
are here stated.
Perrot and Chipiez, in their monumental work on " Art in
Primitive Greece," discuss the question of the wooden origin of
the Greek Doric column and its entablature, and endeavour to
show its derivation from the wooden-built prodomus or porch of
the Mycenaean palace (No. 16). They themselves suggest no
origin of the Capital, and decline to consider the derivation from
the examples at Beni-Hasan in Egypt.
They make various interesting suggestions, e.g., the derivation
of the "
guttae
"
from constructive wooden pegs, and the restora-
tion they give of the timber architecture of Mycenaean palaces,
and the explanation of the wooden types used decoratively in the
later stone architecture, form a consistent and attractive theory
a theory, moreover, which is yearly gaining ground and is to many
minds convincing. Illustrations showing these reconstructions
are given in No. 16.
Viollet-le-Duc, however, held a decided opinion that the orders
of Greek architecture involved an original stone treatment. He
was unable to conceive how the Greek Doric capital could have
been derived from a timber form, and he considered the triglyphs
in the frieze, not as the petrified ends of wooden beams which
could not be seen on four sides of a building, and which would be
vry difficult to flute across the grain of the wood but as original
stone uprights, fluted to express their function of vertical support,
and therefore treated in this respect in the same manner as the
columns, which were certainly fluted when in position. He like-
wise observed that " the form given to the entablature of the
Doric order can be adapted with some unimportant variations to a
structure in stone as well as of wood, in neither case involving

GREEK EXAMPLES. III.
(TCMPLEFMHENA)
ATHENS B.C 435.
19.

GREEK ARCHITECTURE. 6l
the necessity of falsifying the form or the structure." He was
not prepared to admit, then, that a wooden original suggested a
stone structure in the composition of the Doric order ; indeed,
he would rather suppose the converse.
Garbett goes so far as to call the wooden theory an " insolent
libel," and asserts that in the case of the inclination of the soffit
of the cornice this barbarous theory is at once disproved by two
facts, the inclination being observed on the fronts equally with
the sides of the building, and its angle being wholly independent
of that of the roof.
A later writer, Mr. H. H. Statham, in a recent work on
architecture, rejects the wooden theory as far as the Doric column
and capital are concerned, and adds that its adherents have to
explain these facts :
(i.) That the greater the age of the known
and approximately dated examples, the thicker the columns are,
while the reverse would probably have been the case had the
original forms been wooden ;
and (ii.) That the characteristic
moulding under the abacus of the Doric column is an essentially
stone form, and one which it would not be at all easy to work in wood.
These opponents of the wooden theory might, however, have
modified their views, had they been familiar with the recently-
discovered examples of Pelasgic or "Mycenaean" construction.
The similarities between these proto-historic buildings and the
later Greek styles of architecture are too numerous to be acci-
dental, and Pelasgic or "
Mycenaean
"
palaces undoubtedly had
columns and entablatures of wood.
The column, which has no base, but stands directly ori, a
gstylpbate usually of three steps is, including the cap, from 4 to 6^
times "the diameter at the base in height. The circular "sEaft
diminishing at the top t$ from f to f of this diameter is divided as a
rule in 20 shallow flutes or channels separated by sharp arrfses.
Occasionally the flutes number 12 (Assos), 16 (Sunium), 18 (Greek
Temple at Pompeii), or 24 '(Psestum, No. 19 B). The division
into twenty flutes seems to have been selected in order that a pro-
jection or arris might come under each of the angles of the square
abacus above, and at the same time a flute in the centre of the
column as seen from the front, back or sides. It will be found
that no other number of flutes between twelve and twenty-eight
will enable this to be done, thus following out one of the Greek
constructive principles of placing projections over projections.
The shaft has normally an outward curvature of profile calledjhe
"entagjgl' (No. rj A), lo counieiacl the hollow -appearance "6T
straight sided columns. In early works this is often too obtru-
sive (e.g., Basilica at Paestum) ;
where it is omitted altogether (e.g.,
Corinth) the effect is lifeless ;
but the happy mean may be seen
in the Parthenon, (page 67). The column is surmounted by a
distinctive capital formed of abacus, echinus and annulets. The

GREEK EXAMPLES. IV.
THE TEMPLE ? APMIA, (JUPITER FAMMELLEMIIIS) AT /EGIMA.
PEDIMENT
(NOW IN MUNICH M05EOM)
THIS TEMPLE is HEMSTYLL PETIPTEJML . SOME COLONS .MONOiiihs . OTHER
BUILT IN DRUMS . MATERIAL ASOfT YELLOW LIMESTONE ORI&NALLY COATED Wlffl
THIN 5TUCCD, ENTABLATURE WAS PAINTED. CfMATIUM, CORNICE TILES i SCULPTOItE
Of PARIAN MARBLE. THE FLOOR Of-PRONAOS HAS SQUARE IO.ES ftt HXING METAL
SCREEN THE fOSTICUM IS'CURIOOSLY DIVIDED BY TW OBLOflG BLOCKS. THE:
AfROTERIA ARE REMARKABLE. THE WESTERN & BEST PRCStRVED PEDIMENT REPRE5-
ENTJ THE FIGHT BETWEEN THE GREEKS HBJJAN8 OVER THE BODY Of PATItOCLQS
VHOLIE5ATMfEET Of ATHENA. THE EASTERN PEDIMENT PROBABLY REPKEfflff
S AN' EARLIER EXPEDITION AGAINST TROY.
GILDEb.
VIEW ? LOWER
ACROTERION
20.

abacus is a square slab under which is a large convex moulding
called the echinus, which is somewhat similar in outline to a
human hand supporting a book. The profile of the echinus varies
according to the date of erection, the earlier examples, such as
the Temples at Paestum (No. 19 A, B), being fuller in outline
(approximately parabolic section), whereas in the later examples
such as the Theseion (No. 19 D), and the Parthenon (No. 19 E)
the curve approaches a straight line (approximately hyperbolic
section). Annulets or horizontal fillets varying from three to five
in number are placed beneath the echinus of the capital in order
to form a stop or contrast to the long lines of the arrises between
the flutes. Immediately below is the trachelion or necking, having
beneath it the hypotrachelion formed of three groves in the older
or archaic examples and one in the later.
The entablature, usually about one quarter of the height of
order, is supported by columns, and has three main divisions :
(a.} The architrave is derived from its prototype, the wooden
beam. It has considerable depth, and only one vertical face, whereas
in the Ionic and Corinthian orders the usual number is three.
Separating this from the frieze is a flat moulding called the tenia,
and underneath this at intervals corresponding to the triglyphs is
a narrow band called the regula, having six guttae.
(b.) The frieze has triglyphs, ornamented with three channels,
and metopes or square spaces between them, sometimes filled with
sculpture of the highest quality (page 72). Beneath the triglyphs
are guttae or small conical drops. The triglyphs are placed at
equal distances apart, and come immediately over the centre of
each column and intercolumniation. At the angles, however, this
is not so, because the two triglyphs meet with a bevelled edge,
and in consequence the intercolumniation of the two outer
columns in each front is less by about half a triglyph in width
than that of the others.
(c.) The cornice consists of an upper or crowning part consist-
ing of cymatium and birdsbeak mouldings beneath which is a
vertical face known as the corona. The soffit is inclined upwards
and parallel with the slope of the roof, and its underside has flat
projecting blocks called mutuies, which recall the feet of sloping
rafters, one over each triglyph and metope, their soffits being
ornamented with eighteen guttae in three TOWS of six each.
The principal examples are found in Greece, Sicily, and South
Italy.
DORIC EXAMPLES IN GREECE.
Date. Architect.
The Heraion, Olynipia (No. 31 c, D, page 66) B C. 700
The Temple of Athena, Corinth . . . B.C. 650
The Temple of Poseidon, Island of Paros . B.C. 6th cent.
The Temple of Zeus, Olvmpia (page 67) B.C. 472-469 Libon.

GREEK EXAMPLES. V.
THE SO-CALLED THESEION OR TEMPLE, OF HEPHAESTOS (?)
B.C. 465.
PEDIMENTAL SCULPTORE
E/ITlftLY DC
METOPES WE FRONT : THE LABOURS OF HERACLES,-
I.H.&NEMEAN LION; 2.H.MOLAU5DESTROY-
(A)EAST ELEATI@M
i
(QHALF SQUTH ELEVATTOM
'
HALF LOHG. SECTION 9 AMBULATORY
"t
EXISTMG LACOMMIA
SETT ING OUT
OFFLUTtS,
OP WHICH EACH
COLUMN HAS 0.s ON S.SHJL: m FEING TIMTIN t.m.t;-THESEUSmING THE MINOTAUR; 2JHESE05 WITH THE FULL OF
MARATHON; 3&4.TOO MUCH RUINED TO DISCOVER SUBJECTS.
sop. SIDE: M'SJHESEUS KILLS CREON KING OF
; 6. HERACLES KILLS ANTAEUS: 7. THESEUS OVER-
IETAIL ELEATI@M S
F EMTAiLATUIE.'r
<? ! ? 3
LING 5KRON; 8. THESEUS KILUNG THE CROMMYONIAN 50W
THEThESEIONfSOCALL:
ED)ISTHtBE5TfRE5ERV-
ED ANCJENT TEMPLE. IT
IS BUILT OF PENTELIC^
MARBLE AND STANDS ONi
AN ARTIFICIAL FOUNDATION
OF LARGE LIMESTONES
BLOCKS. A SMALL fORTION
OF COFFEKED CEILING 15
NOW IN THE
Wll Of WEST CELLA WALL
jfEPRESENTS' CONTESTS Of GREEKS 4 CtNTAURS. MUSEUM-
21.

DORIC EXAMPLES IN GREECE (continued)^
Date. Architect.
The Theseion (so called) or Temple of B.C. 465 (?)
Hephaestos, Athens (No. 19 n, 21. 22.
38 A) (page 67).
The Temple of Aphaia (Jupiter Panhel- B.C. 470-450
lenius) on the Island of sJLgina. (Nos.
19 c, 20) (page 67).
The Parthenon, Athens (No. 16 A, B. B.C. 454-438 Ictinus and Callicrates.
C, D, E, F, 17, l8 H, 19 E, 23, 24, 25,
40 A, D, K, 44 G, H) (page 67).
The Temple of Poseidon, Sunium . .
B.C./44O
The Propyl&a (Entrance Gateway), Athens B.C. 437-432 Mnesicles.
(Nos. 17, 18 N, 26) (page 93).
The Temple of Apollo Epicurius (" The B.C. 430 Ictinus.
Ally"), Basses, near Phigaleia in Arcadia
(No. 27 A, B, C; D, L, M, N, 28 F, G, H)
(page 72).
The Temple of Demeter (Ceres), or the Hall B.C. 435-310. Ictinus and Philon.
of the Mysteries, Eleusis.
The Tliolos, Epidaiiros (No. 18 K) . . B.C. 4th cent. Polycleitos the younger.
The Temples of Themis and Nemesis (No.
1 8 A), Rhamnus.
The Temple of Apollo, Island of Delos (No. B.C. 300.
19 F).
DORIC EXAMPLES IN SICILY AND SOUTH ITALY.
Date. Architect.
The Great Temple, Selinus, Sicily (No. B.C. 610-509
l8L).
The Temple kncnvn as the "Basilica," B.c 550
Pastum (No 28 D, E).
The Temple of Ceres, Pastuni (No. 19 A). B.C. 550
The Temple of Concord, Agrigentiun . . B.C. 550
The Temple ofJuno, Agrigentum . . . B.C. 550
The
r
l emple of Poseidon (Neptune), Pastum, B.C. 500
S. Italy (No. 19 B).
The Temple of Athena, Syractise, Sicily . B.C. 6th cent.
The Temple of Egeita, Sicily. . . B.C. 5th cent.
Temples {several} at Selinus, Sicily . .B.C. 628-410
The Temple of Zeus (Jupiter) Olympitis, B.C. 480 Theron.
Agrigentum (Girgenti), Sicily (No. 28 M,
N, o) (page 75).
The Heraion (Temple of Hera), Olympia (B.C. 700)
(Nos. 31 c, D, 41 E), is believed to be the most ancient of all
Greek Temples hitherto discovered. It stands on a stylobate of
two steps, measuring 168 feet by 64 feet 6 inches. The cella
is very long in proportion to its width and has on either side a
range of eight columns, the alternate ones being connected to the
cella wall by means of short transverse walls. The peristyle
columns, which with the capitals measured 17 feet in height,
varied much in diameter and are both monolithic and built in
drums. It is generally held that the original columns were of wood
replaced by stone columns as they decayed (see page 59, on the

origin of the Doric Order). Pausanias mentions that in the 2nd
century A.D. two of the columns in the opisthodomos were of oak.
The Temple of Zeus, Olympia (B.C. 472 469) is peripteral
hexastyle on plan. The columns, of which there are thirteen to
the sides, equal those of the Parthenon in height, but are much
greater in diameter. The building was especially famous for its
sculptured pediments by Paeonias and Alcamenes.
The so-called Theseion (? B.C. 465) (Nos. 18 F, 19 D, 21, 22,
38 A), is now generally believed to be the Temple of Hephaestos,
and, although the best preserved Doric example in Greece, both
date and name are a matter of doubt. It is peripteral hexastyle
on plan with thirteen columns on each flank. The existing
lacunaria, especially at the eastern end, still retain some of their
original coloring. The metopes and portions of the frieze are
shown on No. 21, but although both pediments were ornamented
with sculpture none of this now remains.
The Temple of Aphaia (Jupiter Panhellenius), (B.C. 470
450), (No. 19 c), on the Island of ^Egina is an interesting and well-
preserved example of an early peripteral hexastyle temple. On
the interior are two rows of five columns which help to support
the roof. A general description is given on No. 20.
> The Parthenon (B.C. 454 438) (Nos. 16, 17, 23, 24), was
v erected in the time of Pericles, being dedicated to Athena
Parthenos (the virgin Athena). Ictinus and Callicrates were
the architects and Phidias was the superintending sculptor. The
temple is peripteral octastyle on plan, with seventeen columns on
the flanks. It is placed on a stylobate of three steps, the dimen-
sions on the top step being 102 feet by 228 feet, i.e., a relation of
breadth to length of about 4. to 9. Each of the steps measures
about i foot 8 inches high and 2 feet 4 inches wide, and being too
steep to ascend with comfort, intermediate steps were provided at
the centre of the -east and west ends (No. 23 F). On the east, the
principal doorway, led into the cella, which, measuring 100 attic
feet in length, was called the "
Hecatompedon." The cella,
62 feet 6 inches wide, was divided into a nave and aisles by two
rows of ten Doric columns, 3 feet 8 inches in diameter, and having
sixteen flutes, as may be ssen by the marks of their basis on the
marble paving. Three columns were placed at the western end,
so making the aisle continuous round three sides of the cella.
Near the western end of the cella was the famous statue of Athena,
mentioned hereafter. To the west of the cella was the Parthenon
proper (i.e. virgin's chamber), from which the temple took its name.
This chamber is a peculiarity differentiating the temple from most
others, and it appears to have been used as the Hieratic treasury.
It was entered from the opisthodomos by a large doorway corre-
sponding to the eastern one, and its roof was supported by four
Ionic columns (No. 23 A, c). The cella and the Parthenon were
F 2

GREEK EXAMPLES. VI.
*t ONE 6ENEWK % KEPT IN PiSlTION m THE
CEMWDdrfELMICHWSofW&O
AT THf aURTACE IS 50NK aiKiHTLY AND
XT 0) A' LITRE MORE THDE aWKWS WE8E
KoWBCf fcRMED NH fc IDEA uf OWING
SLYlEW?Koiffiwrw
80dIELfVA-|
UaUSfcTONS )
2 3 .

enclosed by walls about four feet thick, having on the outside,
encircling the building, an ambulatory 9 feet wide on the sides and
1 1 feet in the front and rear. Both the pronaos and opisthodomos
(measuring about 60 feet by 12 feet) were planned in a somewhat
unusual manner, having six columns about 5! feet in diameter
and 33 feet high, forming a prostyle portico on an upper stylo-
bate of two steps. They were both used as treasure stores, and in
order to render them secure, lofty metal grilles extending from the
floor to the roof were fixed between the columns, the central
intercolumniation having gates for means of access.
The internal columns supported an upper row of smaller Doric
columns carrying the roof timbers and forming the side aisles in
two heights (an arrangement still to be seen in the Temple of
Poseidon (Neptune) at Paestum). Near the western end of the cella
stood the famous statue of Athena Partherios, being one of the
most marvellous works of Phidias, representing Athena fully
armed with spear, helmet, segis and shield, supporting a winged
victory in her right hand (No. 23 K). It wa*s a "
chryselephantine
"
(gold and ivory) statue, about 40 feet in height, including the
pedestal, and was constructed on a wooden core. The gold plates
of which it was partly composed were detachable and could be
removed in case of national dangers. The face, hands and feet
were of ivory, but the drapery, armour, and accessories were of
solid gold, and precious stones were inserted for the eyes.
The manner of lighting the interiors of Greek temples has
already been referred to (page 56), and the theories there set forth
apply especially to the Parthenon. The most prominent external
features are the fluted marble columns, 34 feet 3 inches high,
forming the peristyle and resting on the stylobate. Only thirty-
two are still standing ; they are 6 feet 3 inches in diameter at the
base and 4 feet 7 inches under the echinus, and support an
entablature 1 1 feet high with the usual divisions of architrave,
frieze and cornice, as already described (page 59). The former
is three slabs in thickness, and was ornamented on its eastern and
western fronts with bronze shields, probably selected from those
presented by Alexander the Great in B.C. 334, with dedicatory
inscriptions between in bronze letters. The flanks of the building
were enriched by the antefixae placed at the bottom of the rows of
marble tiles which covered the roof. The pediments or low gables
which terminated the roof at each end had at their lower angles an
acroterion and a carved lion's head. The apex (59 feet above the
stylobate) was also ornamented by a large sculptured acroterion
of the anthernion ornament (No. 16 A). The peristyle ceiling was
richly ornamented with " lacunaria
"
and marble beams, some of
which at the western end are still in situ. The triangular enclosed
portions (tympana) were filled with sculpture of the most perfect
type. The eastern pediment represents the birth of Athena and

GREEK ARCHITECTURE.
2 4. THE PARTHENON, ATHENS.
View of Angle.

GREEK EXAMPLES. VII.
F E RG U S S O N.
METHOD OF LIGHTING BY CLERESTORY
SCALE or rEEl
TTICHER
METHOD OF LIGHTING BY SKYLIGHT.
25- THE PARTHENON, ATHENS.

the western the contest of Athena and Poseidon for the possession
of Athens. The celebrated Panathenaic frieze was carved along
the top of the outside of the cella wall, being taken across the east
and west ends above the six columns to pronaos and opisthodomos.
It is 3 feet 4 inches high, in very slight relief (if inches), and is
carefully sculptured so as to be effective by reflected light
(No. 23 F). It represents the Panathenaic procession every
fourth year to the Acropolis in order to present the "
peplos
"
or robe to the goddess Athena, and shows the prepara-
tions of the Athenian knights, procession/of Athenian cavalry,
chariots, men with olive branches, musicians, youths, sacri-
ficial animals, maidens with sacrificial vessels, magistrates and
gods, terminating with a great central group at the eastern
end over the principal entrance to the temple. Out of a total
length of 525 feet only 335 feet are in existence. The western
frieze, excepting the three central figures, is in its original
position ;
the greater portion of that belonging to the northern,
southern and eastern sides is in the British Museum, the
remainder, with the exception of eight fragments of the eastern
frieze in the Louvre, being in the Athens museum. The sculptured
metopes, about 4 feet 4 inches square, numbering fourteen on each
front and thirty-two on each side, are in high relief. Those on the
eastern fa9ade represent contests between the gods and giants, on
the western, between Greeks and Amazons, on the southern,
between centaurs (man-headed horses) and Lapithae, and on the
northern, scenes from the siege of Troy.
In the 6th century, the Parthenon was converted into a
Christian Church, dedicated to the " Divine Wisdom," when
an apse was* formed at its eastern end. From 1206 1458 it was,
under the Prankish Dukes of Athens, a Latin church. From
1458 it was again an orthodox Greek church until 1460, when it
vas converted into a mosque. In 1687 during the capture of
Athens by the Venetians, it was much damaged by a shell which
fell into a portion of the building used as a powder magazine.
In 1688, Athens was restored to the Turks and the building
suffered considerable injury at their hands, until in 1801, through
the instrumentality of Lord Flgin, many of the principal
sculptures were removed to the British Museum.
" Earth proudly wears the Parthenon
As the best gem upon her zone."
Emerson.
The Temple of Apollo EpicuriuS (The Ally or Helper),
Bassse, near Phigaleia in Arcadia (B.C. 430) (Nos. 27, 28 F, G, H,
29 N, o, P), of which Ictinus was architect, was an exceptional
design in which all the three Grecian orders of architecture
Doric, Ionic and Corinthian were employed. It is a peripteral

GREEK EXAMPLES. VIII
TECT MNESICLE3ABBT
8.C437-432
IT 19 BUILT OF PENTELK
MA
=AT THE WEST END cm
ACROPOLIS IT @N8I5T3
OFAfRQNTsREAR
PORTICO A CENTRAL
VESTIBULE WITH
Bourn m*.
THE SOUTH WING WAS
NEVER FINISHED AS IT
WOULD HWE ENCROACH-
*> ^Pff acMIfoii[llflVlB3KIl^
26.

GREEK EXAMPLES. IX.
m^-H i mi m i m i
mpriOHS 50 10 20 5O 4ofEC
RBnON S!SMIittCam^M1tlM,
'"'3^^ w"
i i iMiurnn i?
NECKIMG A5
DRAWN BY
TL.D6NALD50N

hexastyle temple with fifteen columns on each flank, all built up
in drums. The principal fa9ade faces north, an unusual arrange-
ment, and apparently due to its erection on the site of an earlier
temple. The statue of Apollo was placed to one side at the
southern end of the cella forming the sanctuary of the earlier
building, which was orientated, light being admitted by an open-
ing in the eastern wall. Owing to the narrowness of the cella,
internal rows of columns were avoided, but instead of these a
range of five fluted Ionic half-columns on each side forming the
ends of short cross walls connected to the cella walls. The two
columns furthest from the entrance on each side are joined to
walls placed diagonally with those of the cella. The single
column at the southern end was of the Corinthian order, and is
generally referred to as the earliest example known (No. 27 G, H, j).
The lighting of the interior is conjectural, but the cella north of
the more ancient sanctuary was probably hypaethral or had
openings in order to admit top-light to the celebrated frieze above
the internal half-columns (No. 27 B, D, E). These have a new
and original treatment of the capital, with angle volutes, and have
boldly moulded bases (No. 29 N, o, p). The sculptured frieze,
about 2 feet in height and 100 feet in length, represents the battles
of the Centaurs and Lapithae, and the Athenians and Amazons.
The building is constructed of a hard grey limestone, which being
covered with a beautiful pink lichen of the district, has a very
picturesque appearance.
The roof was covered with Parian marble slabs, measuring
3 feet 6 inches by 2 feet, and less than 2 inches in thickness. The
ceiling of the peristyle was very richly treated in marble panels
or lacunaria, and those to the pronaos and opisthodomos had
marble beams in addition.
The Temple of Zeus Olympius, Agrigentum (B.C. 480)
(No. 28 M, N, o), of which Theron was the architect, is of excep-
tional design, and ranks as second in size among Grecian examples.
It is pseudo-peripteral septastyle in plan, having seven half columns
on the front and fourteen on each side. These half columns are
of great size, being 13 feet in diameter, and are represented inter-
nally by flat pilasters. The triple cella is of immense size, and
is believed to have been lighted by windows high in the wall.
The building was never completed, the illustrations being from
restorations by Professor Cockerell. Owing to its immense size,
structural truth (usually so important in Greek buildings) had to
be sacrificed, the order being built up of small pieces, which in
features like the echinus, abacus and architrave, is a departure
from Greek principles, as is also the use of attached half columns.
The architrave is supported not only by the half columns, but by
the intervening screen wall to which they are attached.

GREEK EXAMPLES. X.
PKONH05
TWYFR-
WTHfl
UiOTUPm SECTION ^SSf^ (f*^ ELEVfflTIW
Z4FunH5 ^Vx/
PKULIflR IN HflVING DORIC
COLONNflDE, IONIC %
COLUMNS 4TEND5 OF^HORT
RflNK5 fl5 5ECOND IN MAGNITUDE flMONGJT GREEK
TEMPLE5 flND 15 PECULIAR INHflVING flTWHED HfltF
COLUMNS TO FflCflDE5 flND SQUARE PIER5 TO
DIVI5IONflLWHLL'iplNTERIOR.WINDOV( IN OUftR Wtf) IN
WING flN ODD NUMBER OF COLUMNS TO END FrtCflDES
150 700FITT
28.

GREEK ARCHITECTURE.
THE IONIC ORDER.
77
The Ionic order (No. 38 c) is
especially remarkable for its scroll
or volute capital. This, like so many other decorative motifs,
seems to have been derived from the lotus bud of the Egyptians
(No. 41 B), undergoing sundry modifications on its way from Egypt
by way of Assyria to Asia Minor, but to what influence these
modifications should be attributed is not at present clear. The
spiral is also found in early Mycenaean jewellery and domestic
articles as early as B.C. 800, and these origins might be sufficient to
account for its adoption in a later period. The earliest extant
Ionic capitals at Lesbos, Neandra, and Cyprus, exhibit volutes of
a distinctly vegetable type with a palmette interposed, and early
Ionic capitals at Delos and Athens form a link between these and
later types. The columns have shafts usually about nine times
the lower diameter in height, including the capital and base,
having twenty-four flutes separated by fillets, and not sharp edges
as in the Doric order. The earlier examples, however, have
shallow flutes separated by arrises, and the flutes number forty in
the shafts in the Archaic Temple at Ephesus (No. 29 K) and at
Naukratis, and forty -four at Naxos. There is a moulded base
(No. 40 H) usually consisting of a torus and scotia, but no square
plinth. In the later examples a lower torus was added, making
what is known as the Attic base. The capital consists of a pair
of volutes or spirals, about two-thirds the diameter in height, on
the front and back of the column, connected at their sides by what
is known as the cushion, sometimes plain and sometimes orna-
mented, and on the front and back an echinus moulding carved
with the egg and dart, and a bead moulding under.
The volutes were either formed by hand or by various
geometrical processes easily acquired, one of which is shown on
No. 41 G, where it will be seen it can also be formed by twisting a
string round an inverted cone or common whelk shell. A further
development was to make the angle capital with volutes facing
the two fa9ades by joining the two adjacent volutes at an angle
approximating 45 (No. 41 P). The Temple at Bassae (Nos. 27,
29, N, o, P), is an instance of all the volutes being thus placed.
The entablature varies in height, but is usually about one-fifth
of the whole order. It consists of (a) an architrave usually formed
as a triple fascia, probably representing superimposed beams;
(b) a frieze, sometimes plain, but often ornamented by a band of
continuous sculpture (Nos. 27, 29 c) ;
(c)
a cornice, with no
mutules, but usually with dentil ornament reminiscent of squared
timbers, and having above it the corona and cyma-recta moulding.
The principal examples of the Ionic order are found in Greece
and Asia Minor.
The Doric order provided a setting for sculptor's work. The

GREEK EXAMPLES, XI
/siElEUSIIS,
coiunn TOUMD
ON5ITL.
29 .

Ionic incorporated it with the order itself, usually in the form of
carved enrichments on its main lines.
IONIC EXAMPLES.
Date.
B.C. 550
Architect.
B.C. 484
B.C. 438 Callicrates.
B.C. 437-32 Mnesicles.
B.C. 430 Ictinus.
B.C. 420-393

GREEK ARCHITECTURE. 8l
pediment is only 23 feet. The sculptured frieze, 18 inches high,
originally consisting of fourteen slabs (four are in the British
Museum), is in high relief. The marble balustrade mentioned
above was 3 feet 2 inches high, enriched with very fine sculpture
dating from B.C. 425-400. The Temple was removed by the
Turks in 1684 and built into a battery on the Acropolis. In 1836,
on the destruction of the battery, the materials were recovered
and reconstructed by the architects Ross, Schaubert, and Hansen.
The Erechtheion, Athens (B.C. 420-393) (Nos. 17, 18 M, 29 E,
F, G, and 30), of which Mnesicles was the architect, is situated on
the Acropolis, north of the Parthenon, and was erected on the
site of an older temple burnt by the Persians in B.C. 480. The
temple was regarded with special veneration by the Athenians, as
it contained the memorials of the religion of the State, viz. : the
sacred olive tree that Athena called forth in her contest with
Poseidon, the salt well produced by the trident of Poseidon, the
tomb of Cecrops, the olive wood Xoanon (primitive statue) of
Athena Polias, the golden lamp of Callimachus, and other curiosi-
ties and spoils from the Persians. It is an interesting example of
unusual and irregular planning, due to its sloping site and the fact
that it consisted of three distinct shrines. The distribution of
the interior, which measures 61 feet 3 inches by 31 feet 6 inches,
is still a matter of conjecture. It has no side colonnades, hence it
is called "
apteral." The eastern portion was appropriated to the
shrine of Athena Polias (guardian of the city), the western portion
to those of Erechtheus and Poseidon, the Pandroseion being pro-
bably included within the precincts to the west of the temple proper.
There are three porticos of different designs : an eastern Ionic
hexastyle portico, a northern Ionic tetrastyle portico, and a
southern Caryatid portico. The eastern portico probably formed
the principal entrance. The columns are two diameters apart
(systyle), the northern one being now in the British Museum. The
northern portico gave access to the western cella ;
it is on a level
10 feet lower than the eastern one, from which it is approached by
a wide flight of steps on the north. It projects westward of the
main building, and its columns, three diameters apart (diastyle),
are arranged in a manner unknown in other Greek buildings.
They are 2 feet 9 inches in diameter, and 25 feet high. The
doorway in this portico is of the finest workmanship (No. 37), with
carved consoles and architrave enrichments. The southern or
Caryatid portico (as it is called) was probably not an entrance,
but a raised "tribune," as it had only a small entrance on its
eastern side, whence the lower level of the western cella was
reached by means of steps (No. 30 D, F). It has six sculptured
draped female figures, 7 feet 9 inches high (Nos. 30 G and 42 G),
similarly spaced to the columns of the northern portico, but
resting on a solid marble wall about 8 feet above the level of the
F.A. G

terrace and supporting an unusual entablature on which rests the
marble coffered roof. All the figures face southwards, the three
western leaning on their right (outer) legs, and the three eastern
on their left, thus correcting the same optical illusion as in the
Parthenon and other temple fa9ades. (The second Caryatid from
the west is in the British Museum, being replaced in the building
by a terra-cotta copy.) The exterior, constructed in marble from
Mount Pentellicus, owes much of its character to the sloping site
and unusual and irregular .disposition of the/three porticos, unlike
in character, height, and treatment. The north portico is an
example of a very rich treatment of the lonjc order. The capital
has a plaited torus moulding between the volutes once inlaid with
colored stones or glass, and bronze embellishments were formerly
affixed to other parts of the capital. The spiral of the volute
appears to have been finished by hand and is enriched with inter-
mediate fillets, while the cushions (sides) have hollows and pro-
jections carved with the bead and reel ornament (No. 41, L, M, N, o).
The abacus is enriched with the egg and tongue ornament. The
neckings .of the columns are carved with the " anthemion
"
(palmette) ornament, which is also applied to the antae (No. 44 F),
and carried round the entire building under the architrave. The
shafts of the columns have an entasis, and the upper torus of the
bases have plaited enrichments.
The order of the eastern portico is very similar although less
rich. The angle columns in each portico have the volutes arranged
so as to show on both faces. The main building is crowned with
an entablature 5 feet high, with the usual triple division of archi-
trave, frieze, and cornice, with water-leaf and egg-and-tongue
enrichments. The skyline was enriched by the acroterion orna-
ments of the pediments and the antefixae of the marble roofing
slabs. The frieze to the porticos and main building was formed
of black Eleusinian marble, to which the sculptured figures of
white marble were attached by metal cramps, a method of showing
up the sculptured figures which in other temples was frequently
gained by the use of color. The pediments appear to have been
devoid of sculpture.
The west wall was provided in Roman times with four Ionic
half-columns, angle antae and three windows.
The Erechtheion ijas passed through various vicissitudes. It
was transformed into a church in the time of Justinian, and after
the Turkish annexation it .was converted into a harem. In 1827,
during the Greek revolution, the north portico and coffered ceiling
and portions of the rest of the building were destroyed, only three
of the Caryatides remaining in position. In 1838, the walls were
partially rebuilt in their present state, and in 1845 the Caryatid
portico was re-erected. In 1852 a storm damaged the building,
overthrowing the upper half of the western wall and engaged
Roman columns.

GREEK EXAMPLES. XIII.
THEtMPLE
(m.A.S. MURRAY)
.THtlNbRLD WAS BUILT EJf
DINXRATT5.ARCHrB.C550
ON THE efTE Or AN OLDER
TEMPLE. IT IS REMARKABLE
Q)HJMIB 5 PEDESTALS.
'
<3(ALC K* PL1N5
3 1 -
G 2

The Temple of Artemis (Diana), Ephesus (B.C. 330)
(No. 31 A, B), occupied the site of two previous temples. The
oldest archaic temple (No. 29 H, j, K) erected from the designs of
Ctesiphon (B.C. 550), was burnt in B.C. 400. It was either restored
or rebuilt by the architects Paeonius and Demetrius, of Ephesus,
but was again burnt in B.C. 356, on the night of Alexander's
birth. The later temple, regarded as one of the seven wonders of
the world, was erected in B.C. 330 in the time of Alexander the
Great.
The site of the temple was discovered by/tne architect Wood in
1869 74> and many of the remains, both of the archaic and later
temples are now in the British Museum. The building rested on
a lower stylobate of four steps, having at each end an additional
flight of steps, placed between the first and second rows of columns,
in order to reach the upper platform. Conjecturally restored by
the late Dr. Murray, by the aid of Pliny's description, the plan is
dipteral octastyle, having double ranges of twenty columns on
each flank. In addition to the cella, there were a pronaos,
posticum, treasury, opisthodomos and staircases leading to the
roof. Pliny mentioned that the temple had one hundred columns,
thirty-six of which were sculptured on the lower drum, but he
does not mention the sixteen front and rear columns with square
sculptured pedestals, which are shown on a lower level so that
their top surface is level with the upper platform. Behind these
at each end are eight of the columns with sculptured drums, two
being placed in antis to the pronaos and posticum, thus making
the thirty-six columns with sculptured drums mentioned by Pliny.
The cella is believed to have had super-imposed columns to
carry the roof. The building externally must have been one of
the most impressive among Greek temples, owing to its size, and
the sculpture on the above-mentioned square sub-pedestals and
thirty-six circular drums, which were probably suggested by the
archaic temple, are distinctive of this building.
The Temple of Apollo Didymaeus, near Miletus (B.C. 335-
320), was by the architects Paeonius of Ephesus, and Daphne of
Miletus. There was an archaic temple having seated figures
on either side and a lion and sphinx, which were dedicatory
offerings to Apollo. (Ten of these seated figures and the lion and
sphinx are in the archaic room of the British Museum.) This
archaic temple was destroyed by the Persians under Darius, on
the suppression of the Ionic revolt in B.C. 496. The new temple
is referred to by Strabo, who says,
" In after times, the inhabit-
ants of Miletus built a temple which is the largest of all, but
which on account of its vastness remains without a roof, and there
now exists inside and outside precious groves of laurel bushes."
The building is dipteral decastyle on plan, the cella being
hypaethral. It has a very deep pronaos, having beyond it an

ante-chamber with stone staircases on either side. The cella
walls were ornamented with Ionic pilaster's, six feet wide and
three feet deep, resting on a continuous podium, ranging with the
peristyle level. These pilasters were crowned with capitals of
varied design, having between them a sculptured band of griffins
and lyres.
At the eastern (entrance) end on either side of the doorway
were half columns having Corinthian capitals, the acanthus leaves
being unusually placed and the central volutes undeveloped. At
the western end of the cella, Messrs. Rayet and Thomas discovered
the foundations of a shrine.
The peristyle columns of the Ionic order are fluted, and the
bases are of very varied design, being octagonal with carved
panels on each face.
THE CORINTHIAN ORDER.
The Corinthian Order (Nos. 33 F, 38 E, 43 A, B, c), which is
still more ornate than the Ionic, was little used by the Greeks.
The column, the base and shaft of which resemble those of
the Ionic, is generally about ten times the diameter in height,
including the capital, and is placed on a stylobate in the same
manner as the other orders. The distinctive capital is much
deeper than the Ionic, being about one to one-and-one-sixth diame-
ters in height. The origin of the capital is still unknown. It may
have been derived from the Ionic, such as the Erechtheion example,
where bands of sculpture occur beneath the scrolls, or it
may have
been borrowed from the bell-shaped capitals of the Egyptians,
with the addition of the Assyrian spiral.
Callimachus of Corinth, a worker in Corinthian bronze, is some-
times referred to as the reputed author of the capital, and as the
earlier examples appear to have been of this metal, the name may
have been derived from the fact, for Pliny (xxxiv. chap, iii.)
refers to a portico which was called Corinthian, from the bronze
capitals of the pillars. It consists normally of a deep bell on
which were carved two tiers of eight acanthus leaves, and between
those of the upper row eight caulicoli (caulis=a stalk) surmounted
by a curled leaf or calyx, from which spring the volutes (also
known as caulicoli and helices by different authorities), supporting
the angles of the abacus, and the small central volutes supporting
a foliated ornament.
The abacus is moulded and curved on plan on each face, the
mouldings at the angles either being brought to a point as in the
Temple of Apollo Didymaeus, at Miletus, Temple of Jupiter
Olympius, at Athens (No. 43 A), and the Stoa or Portico, Athens
(No. 33 F, G), or having their edges chamfered off as in the
Monument of Lysicrates (No. 38 E).

32. CHORAGIC MONUMENT OF LYSICRATES, ATHENS.

Another type of capital has one row of acanthus leaves with
palm leaves over, and a moulded abacus square on plan, as in the
Tower of the Winds, Athens (No. 43 B).
The entablature, which is__usually about one-fifth of the
JieighJLof the_ entire order, bears a general resemblance to the
Ionic, having the usual triple division of architrave, frieze and
^cormce,_
the mouldings of the latter having additional enrichments.
CORINTHIAN EXAMPLES.
Date. Architect.
The Temple of Apollo Epicurius, Bassie B.C. 430 Ictinus.
(single internal column). (No. 27 G,
H, j) (page 72).
The Tholos, Epidauros. (Internal order) B.C. 4th cent. Polycleitos the
(No. 18 K). younger.
The Philipeion, Olympia. (Internal order B.C. 338
of half columns).
The Choragic Monument of Lysicrates, B.C. 335-34
Athens (Nos. 28 j, 32, 38 E) (see below).
The Temrle of Apollo Didymaeus, Miletus B.C. 334-320 Poeonius, of Ephesus
(or Branchidae). (Two attached internal and Daphne, of
columns) (page 84). Miletus.
The Olympieion (or Temple ofZeics-Olympius, B.C. 174 | Cossutius (com-
Athens (No. 18 j, 43 A) (page 90). A.D. 117 j pleted by Hadrian),
The Tower of the Wind's, Athens (Nos. B.C. 100-35
28 K, L, 43 B, D, E) (page 88),
The Vestibule, Eleusis.
The Choragic Monument of Lysicrates, Athens (B.C.
335-34), (Nos. 28 j, 32, 40 j, L, 43 c,), is a type of structure
which was erected to support a tripod as a prize for athletic
exercises or musical performances in the Grecian festivals. They
are referred to in Virgils' ^Eneid (V. verse, 140) in the following
lines :
" In view amid the spacious circle lay
The splendid gifts, the prizes of the day,
Arms on the ground, and sacred tripods glow
With wreaths of palms, to bind the Victor's brow."
(Translation by Pitt.)
The rusticated podium or base of Piraeus stone, 9 feet 6 inches
square, supports a circular structure of 6 feet internal diameter,
and having Corinthian columns supporting an entablature crowned
by a marble dome, ornamented with sculptured scrolls, and
terminating in a floral ornament which formerly supported the
bronze tripod. Between the columns are circular wall panels,
but the interior was apparently never intended for use, as there
was no provision for the admission of light. The total height
of the structure is 34 feet. The basement is slightly rusticated,
by means of sinkings at the joints, and is 13 feet in height to
the top of the cornice. The circular colonnade has six Corinthian

columns 1 1 feet 7 inches high, projecting rather more than half
their diameter. These rest on a secondary base encircling the
whole building, and are complete in themselves, as shown on
No. 38 E. Between the columns are panels, the upper part of
each originally being sculptured in bas-relief.
The flutings of the columns are peculiar in that they terminate
at the top in the form of leaves. The capitals, i foot 7 inches
high, bear some resemblance to those of the half-columns of about
the same date in the cella of the Temple of ^.pollo-Didymaeus, at
Miletus. On the inside, where they could /not be seen they were
left unfinished. The foliage is different from the later type in
having a lower row of sixteen small lotus leaves, then a single
row of very beautiful acanthus leaves, having between them an
eight-petalled flower resembling an Egyptian lotus. The channel
just above the foliated flutings of the shaft probably had a
bronze collar, although the Greeks were accustomed to these
sinkings under their Doric capitals. The architrave and frieze are
in one block of marble, the former bearing an inscription, and the
latter being sculptured to represent the myth of Dionysos and the
Tyrrhenian pirates. The cornice is crowned with a peculiar
honeysuckle scroll, forming a sort of frilling, used instead of a
cyma-recta moulding, and probably an imitation of ante-fixae
terminating the joint tiles, as in Greek temples. The outside of the
cupola is beautifully sculptured to imitate a covering of laurel
leaves, and from the upper part branch out three scrolls (Nos. 42 A,
44 D), the upper ends of which are generally supposed to have
supported dolphins. The central portion is carried up as a
foliated and moulded stalk or helix in conjunction with acanthus
leaves branching in three directions, having on their upper
surfaces cavities in which the original tripod feet were placed.
The Tower of the Winds, Athens (B.C. 100-35) (Nos. 28 K,
L, 43 B, D, E), also known as the Horologium of Andronikos
Cyrrhestes, was erected by him for measuring time by means of
(a.) a clepsydra or water-clock internally ;
(&.) a sun-dial externally ;
and it also acted as a weathercock. The building rests on a
stylobate of three steps, and is octagonal, each of its eight sides
facing the more important points of the compass.
It measures 22 feet 4 inches internally, and on the north-east and
north-west sides are porticos having Corinthian columns. From
the south side projects a circular chamber, probably used as a
reservoir for the water-clock. The interior has a height of 40 feet
9 inches, and the upper part is provided with small fluted Doric
columns resting on a circular band of stone. The Corinthian
columns, 13 feet 6 inches high, to the external porticos are fluted.
They have no base and the capitals are of a plain unusual type,
without volutes, the upper row of leaves resembling those of the
palm. The wall of the octagonal structure is
quite plain for a

height of 29 feet, with the exception of the incised lines forming
the sun-dial, above which on each face are sculptured figures,
boldly executed to represent the eight principal winds (Nos. 43
D, E). The roof is formed of twenty-four equal sized blocks of
marble, and was surmounted by a bronze Triton (see Vitruvius, I.,
chapter vi.).
The Olympieion (Temple of Jupiter Olympius), Athens
(No. 1 8 j), stands on the site of an earlier Doric temple commenced
by Pisistratus, in B.C. 530. It was commenced by Antiochus
Epiphanes of Syria in B.C. 174, Cossutius/ a Roman architect,
being employed ;
hence it is often designated Roman architecture.
It remained incompleted, and in B.C. 80 Sulla transported some of
the columns to Rome for the Temple of Jupiter Capitolinus, as
related by Pliny. The building was completed by Hadrian in
A.D. 117, but only fifteen columns of the original one hundred and
four forming the peristyle are standing. It was dipteral-octastyle
on plan, having twenty columns on the flanks, and occupied
an area of 354 feet by 154 feet (equalling the Hypostyle Hall at
Karnac), and was placed in the centre of a magnificent peribolus
or enclosure, measuring 680 feet by 424 feet, part of the retaining
wall of which still remains at the south-east corner. It is
described by Vitruvius as hypaethral, but it was unfinished in
his time. The peristyle columns were 6 feet 4 inches in diameter,
and had a height of 56 feet a proportion of about one to nine.
The capitals (No. 43 A) are very fine specimens of the Corinthian
order, and appear to date from both periods mentioned above.
GREEK THEATRES.
The Greek theatre was generally hollowed out of the slope of
a hill near the city, and was unroofed, the performances taking
place in the day time. In plan (No. 34) it was usually rather
more than a semicircle, being about two- thirds of a complete
circle. The auditorium consisted of tiers of marble seats, rising
one above the other, often cut out of the solid rock. Those
spectators who sat at the extremities of the two wings thus faced
towards the orchestra, but away from the stage. The Greek-
theatre, which was constructed more for choral than dramatic
performances, had a circular "orchestra" or dancing place
(corresponding to the stalls and pit of a modern theatre) in
which the chorus chanted and danced.
The orchestra was the "
germ
"
of the Greek theatre.
The stage was known as the logeion or "
speaking place," its
back-wall being the skene (
= booth or tent for changing in), the
latter name being preserved in the modern word " scene." The
actors being few, the stage consisted of a long and narrow platform,
with permanent background. To what height above the level of

THE INSIDE BOMNtf 0P TAB
IWCbUWJOTTW

Q2 COMPARATIVE ARCHITECTURE.
the orchestra this platform was raised is a question that has been
much debated in recent years. The most probable view seems to
be the following: (i.) In pre-.'Eschylean drama, before regular
theatres were made, an actor mounted on a table, probably the
table-altar of the god Dionysos, and held a dialogue with the
dancers or chorus. The rude table-stage illustrated on some
vases from South Italy may represent a local retention of this primi-
tive custom. (2.) In the fifth century B.C. no direct evidence is
available ;
but a low wooden stage is practically certain, connected
by means of a ladder with the orchestra. (3/) The fourth century is
the earliest period in which there is monumental evidence. At
Megalopolis a platform of wood from 3 feet 3 inches to 4 feet 6 inches
high appears probable, with a stone colonnade behind it. At Epi-
dauros there was a wooden floor supported by a wall 12 feet high.
(4.) In Hellenistic and Roman times, Vitruvius tells us, the Greek
stage was 10 to 12 feet high, and this statement is borne out by
many extant examples. The Theatre of Dionysos, Athens,
(No. 17), completed B.C. 340, in which thirty thousand spectators
could be accommodated, is the prototype of all Greek theatres,
and was the one in which the plays of the great Athenian
dramatists were produced.
The Theatre, Epidauros, was constructed by the architect
Polycleitos, and is the most beautiful as well as the best pre-
served example extant. The circle of the orchestra is complete,
and is about 66 feet across, the entire theatre being 378 feet in
diameter. .
Thirty-two rows of seats forming the lower division are
separated by a broad passage (diazoma) from twenty rows above.
Twenty-four flights of steps diverge as radii from bottom to top.
THE PALACES AND DOMESTIC BUILDINGS.
The excavations lately carried out by Dr. Arthur Evans at
Knossos in Crete (page 54), and those by the Italians at Phaestos,
in the same island, have revealed palaces more remote in date than
the Mycenaean period, to which is given the name " Minoan." The
excavations of the Palace of King Minos, Knossos, show the
remains of a remarkable structure laid out on a plan afterwards
used in the Roman palaces and camps. This building is believed
to date from about B.C. 2000, and was unfortified. Underneath
the upper palace were found the remains of an earlier one, which
is believed to date from about B.C. 3000. About five acres of this
remarkable structure have been uncovered. The apartments, round
a central oblong courtyard '(about 180 feet by 90 feet), are
constructed in several stories, which are reached by staircases.
Some remarkable wall frescoes and colored plaster ceilings, an
olive press with huge oil jars, and the remains of a system of
drainage, with terra-cotta drain pipes, were discovered.

At Tiryns, situated by the sea coast to the south-west of Athens,
and at Mycenae, remains have been discovered of recent years by
Drs. Schliemann and Dorpfeld which are of the greatest interest
in showing the general arrangement of other palaces (No. 15 F).
At Mycenae, flights of steps lead to an outer courtyard, from
which, by traversing a portico and vestibule, the megaron, or
principal men's apartment, is reached. From this megaron, sur-
rounded by a roof and open to the sky in the centre, were reached
other chambers, whose uses are not defined. The women's
chambers are considered by some authorities to be planned so as
to afford the greatest seclusion, while others, notably Prof. Ernest
Gardner, hold that little or no attempt was made at seclusion,
and bring strong evidence to bear from literary authorities,
principally from Homer. The plans of domestic buildings
appear to have resembled, on a smaller scale, the general arrange-
ment of the palaces as is seen in the remains at Athens, Delos,
and Priene, dating from the Hellenic period. They appear to
have been of one story only, and grouped around an internal
courtyard or peristyle. Vitruvius (Book VI., chapter x.) refers to
their general arrangement, when he says there was no atrium but
a peristylium with a portico on three sides, and chambers grouped
around. It is generally held that the Graeco-Roman houses of
Pompeii may be taken as typical examples (No. 65 A, B), and
these may be referred to on page 162.
PROPYL^A.
Propylaea were erected as entrance gateways to many of
the principal cities of Greece, and those at Athens, Epidauros,
Sunium, Eleusis, and Priene are the best known.
The Propylaea, Athens (No. 26), were erected under Pericles
by the architect Mnesicles in B.C. 437. It is at the west end of the
Acropolis (No. 17), being reached by a long flight of steps from
the plain beneath. It has front and rear hexastyle Doric porticos
at different levels, giving access to a great covered hall, having a
wide central passage bounded by two rows of Ionic columns, and
having at its eastern end a wall in which are five doorways of
different heights. On either side of the western entrance portico
are projecting wings having three smaller Doric columns, that to
the north being used as a picture gallery, while that to the south
was never completed. The general external appearance is well
shown in the restored view (No. i).
TOMBS.
The most important from an architectural point of view are
found in Asia Minor. The Harpy Tomb, Xanthos, in Lycia

(B.C. 550) is an early or archaic example, with sculptured reliefs,
from which the tomb is named, and is now in the British Museum.
The Nereid Monument (B.C. fifth century), Xanthos, is
generally considered to have been erected as a trophy monument.
Important fragments discovered by Sir Charles Fellows, and the
model in the British Museum, indicate a building consisting of a
central chamber or cella surrounded by a colonnade of fourteen
Ionic columns, the whole elevated on a basement standing on two
steps. The sculptured figures of nereids or marine nymphs, from
which the building takes its name, originally stood between the
columns and had under them marine attributes. This monument
has important sculptured friezes, acroteria and pediments. The
Mausoleum, Halicarnassos (No. 35), was the most famous
tomb. It was erected to the King Mausolos (B.C. 353) by his
widow Artemisia, and consisted of a square plinth supporting a
tomb-chamber, which was surrounded by Ionic columns and sur-
mounted by a pyramidal roof with a marble quadriga and group
of statuary at its apex (see page 108).
The architects were Satyros and Pythios, and Scopas was the
superintendent sculptor. Portions of the frieze, the statue of
Mausolos and Artemisia, with the horses and chariots of the
quadriga, and other fragments are in the British Museum.
The Lion Tomb, Cnidus (No. 36), also consists of a
square basement surrounded by a Doric colonnade of engaged
columns surmounted by a stepped roof, and crowned with
a lion, now in the British Museum. The interior was circular
and roofed with a dome in projecting horizontal courses.
The Sarcophagus from a Tomb at Cnidus (No. 36 E, G),
is an interesting and beautiful example of a smaller type,
as is also the Tomb of the Weepers (B.C. fourth century)
(No. 36 H), found at Sidon (now in the Museum at Constanti-
nople), which is executed in the form of a miniature Ionic temple,
having sculptured female figures between the columns. The
so-called Alexander Sarcophagus (B.C. fourth century), found
near Sidon, and now in the Constantinople Museum, is the
most beautiful and best preserved of all. It is so-called
because its sides, which are of marble, represent battle and hunt-
ing scenes in which Alexander was engaged, and is especially
remarkable for the colored work which is still preserved on the
sculpture. There are also important examples of rock-cut tombs
at Cyrene (North Africa) and Asia Minor (No. 41 F), and reference
has also been made to the Lycian Tombs (page 37), of which
the two brought to London by Sir Charles Fellows, in 1842, are
now in the British Museum.
The Stele was a class of tombstone in the design of which
the Greeks excelled. It consisted of a flat stone placed upright
in the ground like a modern tombstone and crowned with the

GREEK EXAMPLES. XIV.
Il5 ToMBcf MAU50L05 PJINCE ? (folk
BUILT w TO AKHITBCR
*PYTHI05 ABOUT fi.C.353Mfi OF
Cf WfflCHTffiRIAK SOME
30 IK ALL.
WAS RAHKED AMONGST THE SEVEN
WONDERS OF THE WORLD.
MAU50IP5 SUCCEEDED Hfi FATHER A^
.SATRAP UNDER THE KING orPCKIA.
5EATOFCMRHMEKT FROM THE
IN1TAKD TOWN OF MYLA3A TO
HAUCARNA-3505. ONTHfDfATH
OFMAUSOl05HfiWirEART[MI5IA
SUCCEEDED t, REIGNED ON IY 2 TTAR^
SHE CELEBRATED HIS MEMORY BY
RHETORICAL * DRAMATIC CONTESTS
BUT CHIEECTGr THE INSTRUCTION
or THIS TOMB- ITis RECORDED
THATTHERE WAS HOT TIME TOFINISH
fT DURING HER REIGN R AOToRDIMG
ToPLINYiTyyASWLLTEDBfTHE
ARTCT5 MA LABOUR OF 10VE.
IT 15 STATED BT TWO LATER BYTAN
TINE AUTHORS THAT MAU5010 HAD
HIM3ELF BEGUN THE TOMB,
FOR MANY CENTURIES THE TOMB RE-'
MAIMED INTACT. INA.1I40E THE
KNIGHT5 OF 8 JOHN TflDK POSSESSION
OFrTANOD5EDlHERUIHSA5A90ATOf
FoR MATER1ALT5 BUILD THE Q6TLEF
PLINYiatHECHIFJAUTHOHnYSIdlKI
RESTORATION HAVE BEEN BASED.
HE 5A13 THAT THE MAUSOLEUM HAD
A 10FTY BASEMENT OF 6RFF.N
KAC-3ToNEONWHH:H5ni)DA
UPPER 510W SURROUNDED BY
A COLONNADE (PTERON) OF 35
COLUMN& SUPPORTING ASTEPP-
n PYRAMID CROWNED BVA
THE 5CULPTURD WERE EX-
ECUTED IN PARIAN MARBLE it
mSET OFF Bf RED AND
BLUE O
35-

GREEK EXAMPLES. XV.
EiTCNIiniOll.THENECItoPol.lS EX-
MlE5
BIT A RKUMK
WHICH THE TOMB TAKES IT8 NAME.
mour ofAN
IMMENSE BLOCK
OFMAI?BLEAND
RCtCrORHAMEKT-
EDINAttTE
5ME OFAKT.fc
SIDE ELEYATIONo
A3WJ&PHAGU5 ToUND AT THE NECR6P5LI5 orSIDON INTHE ToRM OF
A TEMPLE WITH riCURE8 Of M.OURNER3 BEWAILING THE DECEASED AND
NOW IN THE MUSEUM AT NSTANTlNOPLE.
36.

GREEK ARCHITECfURE. g>?
Anthemion design, the lower portion having panels in bas-relief
(Nos. 42 H, 43 F, and 44 E). Many of these can be seen in the
British Museum.
AGORA.
The agora, or open meeting-places for the transaction of public
business, were large open spaces surrounded by stoae or open
colonnades, giving access to the public buildings, such, as
temples, basilicas, stadion (racecourse), and the palaestrae or
gymnasia.
PUBLIC BUILDINGS.
Stose or Colonnades were formed for the protection of pilgrims
to the various shrines, as connections between public monuments,
or as shelters adjoining open spaces, and were an important class
of structure. The most important of these were the StoaPcecile, or
Echo Colonnade, about 300 feet by 30 feet, at Olympia ;
two at
Epidauros one two stories in height acting as shelters for the
patients who came to be healed at the shrine of ^Esculapius ;
three examples at Delphi ;
and the remarkable example near the
Propylaea at Delos, known as the "Sanctuary of the Bulls"
(No. 42).
The Stadion was the foot racecourse found in cities where
games were celebrated, and it came eventually to be used for
other athletic performances. It was usually straight at one end,
the starting-place, and semicircular at the other, and was always
600 Greek feet in length, although the foot varied, and was some-
times planned with the semicircular end on the side of a hill, so
that the seats could be cut out of the sloping sides, as at Olympia,
Thebes, and Epidauros, or else constructed on the flat, as at
Delphi, Athens, and Ephesus. The Stadion at Athens, now
completely restored, was commenced in B.C. 331, and finished by
Herodes Atticus, and accommodates between 40,000 and 50,000
people. The Hippodrome was a similar type of building used for
horse racing.
The Palaestra or gymnasia, as at Olympia and Ephesus, were
the prototypes of the Roman thermae, and comprised exercise
courts, tanks for bathers, exedrae or recesses for lectures, with
seats for spectators.
4. COMPARATIVE.
A. Plans (Nos. 18, 20 E, and 27 c).
These were simple, well
judged, nicely balanced, and symmetrical, exceptions to the latter
being the Erechtheion (No. 18 M), and the Propylaea (No. 18 N),
at Athens, and probably the private houses. Plans involving
F.A. H

/oy
COMPARISON OF GREEK AND ROMAN
MOULDINGS. I.
DtOOOOOMO^) }D
(*s)
39-

IO2 COMPARATIVE ARCHITECTURE.
probably also framed into deep coffers, as were the marble
lacunaria of the peristyles (No. 21 B, c, E).
E. Columns. As the temples were usually one story high, the
columns with their entablature comprise the entire height of the
building, except in some interiors, as the Parthenon (Nos. 23, 25),
the Temple of Neptune, Paestum (No. 28 B), and elsewhere, where
a second range of columns was introduced into the cella to support
the roof.
The orders having been fully dealt with /on pages 59, 77, 85,
are merely summarized as follows :
The Doric (No. 19) is the oldest and plainest of the orders, the
finest examples being the Parthenon and the Theseion (page 67).
The Ionic (No. 29) was more ornate, and is best seen at the
Erechtheion (page 81), and the Temple on the Ilissus (page 79).
The Corinthian was little used by the Greeks, the best known
examples being the monument of Lysicrates at Athens (Nos. 32,
38 A), and the Temple of Jupiter Olympius (No. 43 A), upon which
the Romans founded their own special type.
Caryatides (No. 42 G) and Canephora (No. 42 F), or carved
female figures which were sometimes used in the place of columns,
as at the Erechtheion, Athens (No. 30), and are of Asiatic origin.
F. Mouldings. Refer to illustrations of Greek mouldings
compared with Roman given on Nos. 39 and 40. Mouldings are
the means by which an architect draws lines upon his building,
and a true knowledge of the effect of contour is best obtained
from actual work rather than from drawings, the examples at the
British Museum being available for this purpose.
The principal characteristic of Greek mouldings was refine-
ment and delicacy of contour due to the influence of an almost
continuous sunshine, a clear atmosphere, and the hard marble
in which they were formed.
These mouldings had their sections probably drawn by hand,
but approach very closely to various conic sections, such as
parabolas, hyperbolas, and ellipses.
As a general rule the lines of the enrichment or carving on any
Greek moulding correspond to the profile of that moulding.
This is a rule which was rarely departed from, and therefore,
is worthy of notice, for the profile of the moulding is thus
emphasized by the expression in an enriched form of its own
curvature.
The examples given from full-size sections taken at the Par-
thenon, the Erechtheion, and elsewhere, may be studied on No. 40.
The following classified list gives the most important mould-
ings :
(a.) The cyma-recta (Hogarth's "line of beauty"). When
enriched it is carved with the honeysucke ornament,
whose outline corresponds with the section (No. 39 j).

COMPARISON OF GREEK AND ROMAN
MOULDINGS. II.
40.

GREEK ORNAMENT.
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TEMPLE orNIKE-APTERQ5 ATHENE.
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GREEK ORNAMENT. II.
LENGTH SYJOF'IN WIDTH. IT
FORMED
fifRElK'Oiri CfREMONIESAT
WAS HERE THAT THE
(!lEBMTED B4NCI onrtLIAM
MAIDENS 15 SAID To HAVE TAKfN
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6Y DORIC PIL-ASTER5 WHICH /.. A ..-'
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"
UPON THEIR CAPlttL5 &
SHEWN IN SKETCH.
42.

(b.)
The cyma reversa. When enriched it is carved with the
water-lily and tongue (No. 39 L).
(c.)
The ovolo (egg-like). When enriched it is carved with
the egg and dart, or egg and tongue ornament (No. 39 N).
(d.)
The fillet, a small plain face to separate other mouldings
(No. 39 A). This is usually without enrichment.
(e.)
The beid serves much the same purpose as the fillet,
and approaches a circle in section. When enriched it is
carved with the bead and reel or with beads, which in fact
gave the name to the moulding (No. 39 c).
(/.) The cavetto is a simple hollow (No. 39 E).
(g.) The scotia is the deep hollow occurring in bases, and is
generally not enriched (No. 39 G).
(/?.)
The torus is really a magnified bead moulding. When
enriched it is carved with the guilloche or "
plat
"
ornament,
or with bundles of leaves tied with bands (No. 39 p).
(?'.)
The bird's-beak moulding occurs frequently, especially
in the Doric order, and giving a deep shadow is very
suitable for the English climate (No. 40 G).
(j.) The corona (No. 17 A), the deep vertical face of the
upper portion of the cornice. It was frequently painted
with a Greek "fret
"
ornament.
G. Ornament (Nos. 41, 42, 43, and 44). The acanthus leaf
(Nos. 33 H, 44 j) and scroll play an important part in Greek
ornamentation. The leaf from which these were derived grows
wild in the south of Europe, in two varieties, viz. :
(i.)
That with pointed and narrow lobes, V-shaped in section,
giving a sharp crisp shadow, and known as the "acanthus
spinosis
"
(No. 33 H);
(ii.)
That with broad blunt tips, flat in section, known as the
"acanthus mollis" (No. 33 B).
The Greeks usually preferred the former with deeply drilled-
eyes, and the Romans the latter of these varieties.
The leaf was used principally in the Corinthian capital
(Nos. 33 F, G, H, 43 A, B, c), and is also found in the crowning
finial of the Choragic Monument of Lysicrates (No. 44 D). The
scroll which accompanies the leaf and acts as a stalk is usually
V-shaped in section with sharp edges.
The anthemion, palmette ov honeysuckle ornament, was a favourite
decoration of the Greeks, and was largely used as an ornamentation
on Anta Caps (No. 44 A, F), cyma-recta mouldings (No. 39 j), and
round the necks of columns, as in the Erechtheion (No. 41 N). It
is also frequently employed as an ornamentation to the tops of
stele-heads and ante-fixae (Nos. 42 H, 43 F, and 44 E, N).
The sculpture employed Was of the highest order, and has never
been excelled. It may be divided into :
(a.) Sculpture appertaining
to buildings, including friezes (as at the Parthenon, the Temple

GREEK ORNAMENT.
IflRnnnnnnnnrf
(A) 0$ F^EHEJPMIfi OF
THE TWER fflfQMKK!
M8MIMT!
AlHEfB^ MOITO.
SSr^
.9 1 ? 3 4-
HALF ELEY^noN OF^TELEHEAD
WITH MfBLE KUDraKIM OfiNAMEHT
'mm A mmm IN^TAMCE OF TO
50MEWAT MKE TRMTMENT,
43-

of yEgina, the Heraion, Olympia, and the Temple of Apollo
Epicurius, Bassae), the tympana of the pediments, the acroteria
at the base and summit, the sculptured metopes in the Doric frieze,
and the Caryatides, as at the Erechtheion (Nos. 30 G, 42 G, 44 M) ;
mention might also be made of the series of magnificent figure
sculptures to the Altar of Zeus at Pergamon in Asia Minor, of
which the great frieze or "
Gigantomachia" is now in the Berlin
Museum, (b.) Sculptured reliefs as seen on stele-heads (No. 42 H).
(c.) Free-sianding statuary, consisting of groups, single figures, bigas
(two-horse chariots), or quadrigas (four-h^rse chariots (page 94).
Color was largely used on buildings, and many traces are left,
as already mentioned (page 53). In many instances the stonework,
as in the Temples at Paestum and in Sicily, brickwork, and in some
instances marble, were covered with carefully-prepared cement
to receive wall paintings or color decoration, which appears to
have been almost universal, especially in buildings of the Doric
order. This cement casing was also capable of a high polish,
and Vitruvius mentions that well-polished stucco would reflect
like a mirror.
5. REFERENCE BOOKS.
Anderson (W.J.) and Spiers (R. Phene)." The Architecture of Greece
and Rome. A Sketch of its Historic Development." 8vo. 1902.
"The Unedited Antiquities of Attica" (Dilettanti Society). Folio.
1817.
Boetticher (C.).-
"
Die Tektonik der Hellenen.'' Folio. Berlin, 1874.
Boetticher.
"
Die Akropolis von Athen." 8vo. Berlin, 1888.
Chipiez (C).
"
Histoire critique des Ordres Grecs." 8vo. Paris, 1876.
Clarke (J. T.) and others.
"
Investigations at Assos (1881-83)." Folio.
Boston, 1902.
Cockerell (C. R.).
"
The Temples at ^Egina and Bassae." Folio. 1860.
D'Espouy (H.).
"
Fragments de 1' Architecture Antique." Paris, 1899.
Defrasse (A.) and Lechat (H.). "Epidaure ;
restauration et descrip-
tion des principaux monuments du Sanctuaire d'Asclepios." Folio.
Paris, 1895.
Dorpfeld ( W.).
" Das Griechische Theater." Sur folio. Athens, 1
896.
Durm (J.). "Die Baukunst der Griechen." 4to. Darmstadt, 1892.
Fergusson (J.).
" The Parthenon." 8vo. 1883.
Frazer (J. G.). Pausanias's Description of Greece. 6 vols., 8vo.
1898.
Gardner (E. A.)." Handbook of Greek Sculpture." 8vo. 1
896.
Invvood (H. W.).
"
The Erechtheion at Athens.'' Folio. 1831.
"
The Antiquities of Ionia" (Dilettanti Society). 4 vols. 1769-1881.
Laloux (V.). "^Architecture Grecque." 8vo. Paris.
Laloux(V.)et Monceaux(P.).
u
La restauration d' Olympic, 1'historie
les monuments, le culte et les fetes." Folio. Paris, 1889.
Mauch (J. M. von).
"
Die Architectonischen Ordnungen der Griechen
und Roemer." Folio. Berlin, 1875.
Michaelis (A.).
"
Der Parthenon." Folio. Leipzig, 1870-1871.

GREEK ORNAMENT. IV.
llV Br -r
I
LJ0H5 HERD, FOXING __, ___
THE C^llO OF eÊHC TEWPj^, 4 FORftlNQ
OPÂEMT FROA THC CKPCTHEID^.. OTLET5 ^R ^'^
SfiTÊ CSPÊWBICHED WITH HOMttJOCKIf. BS6
AETOPE fBo THE PftBTHENON.- (
TEMPLE OP EFIIÛÔ^ . EEECTHEI0M,
44.

lio COMPARATIVE ARCHITECTURE.
REFERENCE BOOKS continued.
Middleton (J. H.). "Plans and Drawings of Athenian Buildings."
Svo. 1902.
Murray (A. S.). "History of Greek Sculpture." 2 vols., Svo. 1890.
Murray (A. S.). "The Sculptures of the Parthenon." Svo. 1903.
Newton (C. T.) and Pullan (R. P.). "A History of Discoveries at
Halicarnassus, Cnidus, and Branchidse." 3 vols., folio. 1862-1863.
Pennethorne (Sir J.).
"
The Geometry and Optics of Ancient Archi-
tecture." Folio. 1878.
Penrose (F. C.). "An Investigation of the/
7
Principles of Athenian
Architecture" (Hellenic Society). Folio. i88B.
Pontremoli (E.) et Haussouillier (B.).
"
Didymes : Fouilles de 1895
et 1896." Folio. Paris, 1903.
Pontremoli (E.) et Collignon (M.).
"
Pergame : restauration et
description des monuments de 1'Acropole." Folio. Paris, 1900.
Perrot (G.) and Chipiez (C.). "The History of Art in Primitive
Greece." 2 vols., Svo. 1894.
"
Restaurations des Monuments Antiques, publiees par 1'Academie de
la France a Rome." Paris, 1877-1890.
Ross (L.), Schaubert (E.), and Hansen (C.). "Die Akropolis von
Athen ; Tempel der Nike Apteros." Folio. Berlin, 1836.
Smith (Sir William).
"
Dictionary of Greek and Roman Antiquities."
3 vols., Svo.
Spiers (R. P.)." The Orders of Architecture." Folio. 1901.
Stuart (J.) and Revett (N.).
; '
Antiquities of Athens." 5 vols. 1762-
1832.
Verrall and Harrison. "
Mythology and Monuments of Ancient
Athens." Svo. 1890.
Waldstein (C). "The Argive Herasum." 2 vols., 410. Boston, 1902.
Watt (J. C.).
" Greek and Pompeian Decorative Work." Folio. 1897.
Wilkins (W.). "Antiquities of Magna Gratia." Large folio. 1807.
Church (A. J.).
" The Fall of Athens" (Historical Novel). Svo.
The student should visit the Greek Court at the Crystal Palace for the
splendid model of the Parthenon facade, and also the British Museum
for actual fragments of the sculptures from the Temples.

I/I
THE
ROMAN ARCHITECTURE.
* :
Immortal glories in my mind revive
Wht-n Rome's exalted beauties I descry
Magnificent in piles of ruin lie.
An amphitheatre's amazing height
Here fills my eye with terror and delight,
That on its public shows unpeopled Rome,
And held uncrowded nations in its womb ;
Here pillars rough with sculpture pierce the skies;
And here the proud triumphal arclies rise,
Where the old Romans deathless acts displayed."
i. INFLUENCES.
i.
Geographical. The map (No. 45) will show that the sea
coast of Italy, although the peninsula is long and narrow, is not
nearly so much broken up into bays, or natural harbours, as the
shore line of Greece, neither are there so many islands studded
along its coasts. Again, although many parts of Italy are moun-
tainous the great chain of the Apennines running from one end
of the peninsula to the other yet the whole land is not divided
up into little
valleys in the same way as the greater part of
Greece.
The Greek and Italian nations may therefore with fair accuracy

be compared as follows :
(a.) The Romans never became a sea-1
faring people like the Greeks, nor did they send out colonists
of the same description to all parts of the then known world.
(b.) There were few rival cities in Italy at this period (a condition
which was altered in after times, pages 230, 234, 405, 476), and the
small towns, being less jealous of their separate independence, the
Roman power could be built up by a gradual absorption of small
states, a process that was never completed by Athens or Sparta.
The position of Italy enabled her to act as the intermediary in
spreading over the continent of Europe the arts of civilization.
ii. Geological. The geological formation of Italy differs
from that of Greece, where the chief and almost the only building
material is marble. In Italy marble, terra-cotta, stone, and
brick were largely used even for the more important buildings.
In Rome the following materials were at hand '.Travertine, a
hard limestone from Tivoli ;
Tiifa, a volcanic substance of which
the hills of Rome are mainly composed ;
and Peperino, a stone of
volcanic origin from Mount Albano. Besides these, Lava and
Pozzolana, derived from volcanic eruptions, and excellent sand and
gravel were plentiful. The existence of Pozzolana (a clean sandy
earth) found in thick strata in the district, gave the Roman
a material which contributed largely to the durability of their
architecture, for it has extraordinary properties of hardness,
strength and durability, when mixed into concrete with lime.
The walls were generally formed of concrete and were faced in
a decorative way with brick, stone, alabasters, porphyries, or
marbles of all kinds, hewn from countless Oriental quarries by whole
armies of workmen. Roman architecture, as it spread itself over
the whole of the then known world, was influenced naturally by the
materials found in the various parts where it planted itself, but
concrete, in conjunction with brick and stone casing or banding,
was the favourite material ; although in Syria, notably at Palmyra
and Baalbec, and in Egypt the quarries supplied stones of enormous
size, which were used locally.
iii. Climate. The north has the climate of the temperate
region of continental Europe ;
central Italy is more genial and
sunny ;
while the south is almost tropical.
iv. Religion. The heathen religion of ancient Rome being
looked upon as part of the constitution of the state, the worship of
the gods came eventually to be kept up only as a matter of state
policy. The emperor then received divine honours, and may almost
be described as the leader of the Pantheon of deities embraced by
the tolerant and wide-spreading Roman rule. Officialism therefore
naturally stamped its character on the temple architecture.
A list of the chief Roman deities is given on page 46.
v. Social and Political. In early times three chief nations
dwelt in the peninsula. In the central portion (or Etruria) lived

ROMAN ARCHITECTURE. 113
the Etruscans, probably an Aryan people, who appear to have
been settled in Italy before authentic history begins, and who
were great builders (page 119). In the south the Greeks
had planted many colonies, which were included in the name
of "
Magna Graecia." The remainder of Italy (exclusive of
Cisalpine Gaul) was occupied by tribes of the same Aryan race
as the Greeks, and the common forefathers of both must have
stayed together after they had separated from the forefathers of
the Celts, Teutons and others. But long before history begins
the Greeks and Italians had separated into distinct nations, and
the Italians had further split up into separate nations among
themselves. The common form of government in ancient Italy
resembled that of Greece, consisting of towns or districts joined
together in leagues. The government of Rome was effected
firstly by chosen kings, aided by a senator and popular assembly,
but about B.C. 500 it became Republican, and under Augustus
Caesar in B.C. 27 the Empire originated. The "Building Acts
"
of Augustus, Nero, and Trajan had considerable influence on the
development in Rome.
vi. Historical. The foundation of Rome is of uncertain date,
but is generally taken at B.C. 750. The Republic engaged in
many wars, conquering several Etruscan cities, but was defeated
in B.C. 390, at the hands of the Gauls, who continued for some
time to hold the northern part of Italy. About B.C. 343 began the
Roman conquest of Italy, which was effected in about sixty years,
and resulted in the dominion of a city over cities. Then came the
wars with peoples outside Italy, Pyrrhus, King of Epirus, being
first subdued. The first Punic war (B.C. 264-241) against Carthage,
when brought to a conclusion, resulted in Sicily becoming the first
Roman province.
The second Punic war (B.C. 218-201) was the most severe
struggle in wr
hich the Romans had engaged, for Hannibal, the great
Carthaginian general, entering Italy from Spain, defeated all the
Roman armies, and maintained himself in Italy until recalled by
a counter attack of the Romans, under Scipio, upon Carthage itself.
The third Punic war (B.C. 149-146) ended in the total destruc-
tion of Carthage, which, with its territory, became a Roman
province in Africa. At the same time were effected the conquest
of Macedonia and Greece, the latter becoming a province in
B.C. 146, which induced the importation of Greek artists and
works of art. Greece formed a stepping stone to Western Asia,
which in turn gradually acknowledged the Roman power, till in
B.C. 133 it also became a province. With the conquests of Spam
and Syria, the Roman empire extended from the Atlantic ocean
to the Euphrates, while Caesar's campaigns in Gaul in B.C. 59,
made the Rhine and the English Channel its northern boundaries.
In B.C. 55 Caesar crossed into Britain.
F,A. I

This tide of conquest swept on in spite of civil war at home,
and eventually rendered the empire a political necessity owing to
the difficulty of governing so many provinces- under the previous
system. On Pompey's defeat at Pharsalia, Julius Caesar remained
without a rival, but was murdered in B.C. 44. Then followed a
period of great confusion lasting 13 years. The Triumvirate, con-
sisting of Marcus Antonius, Caius Octavius (great nephew to
Caesar) and Marcus ^Emilius Lepidus, were opposed to Brutus
and Cassius, and eventually defeated them. On the defeat ot
Antony at Aktion, Augustus Caesar (Julius
7
Caesar's nephew) was
made emperor B.C. 27, and governed till his death, A.D. 41.
The Augustan age was one of those great eras in the ^world's
history like that succeeding the Persian wars in Greece, the
Elizabethan age in England, and the beginning of the nineteenth
century in Europe, in which what seems a new spring in national
and individual life calls out an idealizing retrospect of the past.
The poets Virgil (B.C. 70-19), Horace (-B.C. 65-8), Ovid (B.C. 43
A.D. 17), and Livy the historian (B.C. 59 A.D. 17), were all contem-
poraries. Following Augustus came a line of emperors, of whom
Nero (A.D. 54-69), Vespasian (69-79), Trajan (98-117), Hadrian
(117-138) under whom the empire expanded to its greatest
extent Septimius Severus (193-211), Caracalla (211-217) and
Diocletian (284-305) were the most active in architectural matters.
Italy went out of cultivation and depended on imported corn.
A turbulent populace, and the huge armies required to keep in
check the barbarian tribes on every frontier, dominated the
government. Emperors soon chosen were sooner murdered, and
the chaos that gradually set in weakened the fabric of the empire.
Architecture then fell into complete decay until the vigorous
efforts of Constantine (A.D. 306-337) did something for its revival,
which in large measure was also due to a new force, Christianity,
which had been growing up and which received official recognition
under this emperor (page 176).
The Romans adopted the columnar and trabeated_styje of the
Greeks, and joined to it the Arch, the VaTIIt7~alid7!he Dome,
which it is presumed they borrowed from the Etruscans, and this
union of beam and arch is the keynote of the style in its earliest
developments.
The Colosseum (Nos. 62 and 63) at Rome is a good example
of this union in which the gigrs_ between the arches on the
different stories are strengthened by the semi-attached columns
which act the part of buttresses ;
thus becoming part of the
wall, and no longer carrying the entablature unaided.
The arch thus used in a tentative manner along with the

classical column eventually came to be used alone, and through
the basilica, was finally utilized in a pointed form in the construc-
tion of those magnificent vaulted Gothic cathedrals, which were
erected in the Middle Ages.
Greek buildings (see page 102) were normally only one story in
height, but owing to the varying needs of the Romans, buildings of
several stones were erected by them. The orders, usually attached
and superimposed, were chiefly decorative features ceasing to have,
their true constructive significance (No. 62 A).
The Thermae or Baths, Temples, Amphitheatres, Aqueducts,
Bridges, Tombs, Basilicas, and Fora, are all monuments of Roman
greatness, showing great constructive and engineering ability com-
bined with a power to use the materials at hand with the best
possible results.
The Greek method of building with large Blocks of stone,
unconnected with mortar, was employed in the buildings of the
Republic. The practical spirit of the Romans, however, urged
them to make a more economical use of materials, and instead
of composing the walls of their monuments of squared-blocks
of stone, they inaugurated the use of concrete, a material consisting
of small fragments of stone or quarry debris mixed with lime or
mortar. These materials, not being special to any country, were
used with success in every part of the Empire, and gave a
similarity to all Roman buildings.. The craftsmanship required,
under the direction of the central authority, was perfectly simple ;
for only rough labour, both plentiful and cheap, was required" for
mixing the materials of which the concrete was made, and spreading
it to form the walls. The structures could be erected by hands
quite unused to the art of building ;
thus the Romans employed
the slaves of the district, subjects liable to statute labour, or even
the Roman armies ;
while the legal punishment of condemnation
to work on public buildings was largely enforced.
The Romans by their extended use of concrete founded a
new constructional system and employed it in the most diverse
situations, adapting it with rare sagacity to their new needs, and
utilizing it in the most important projects. The various kinds
of walling may be divided into two classes :
opus quadratum,
i.e., rectangular blocks of stone with or without mortar joints,
frequently secured with dowels or cramps, and concrete unfaced or
faced, used especially in Italy. As stated, this was a building
mixture formed of lime and lumps of tufa, peperino, broken bricks,
marble or pummice stone, and from the first century B.C. was
used extensively for various building purposes.
(a) Unfacfd concrete was usually used for foundations, and
(b) faced concrete for walls. The latter was of four varieties :
i. Concrete faced with "
opus incertum" (No. 46 B), which
was the oldest kind, the concrete backing being studded
I 2

with irregular shaped pieces of stone, mainly used in the
first and second centuries B.C.
ii. Concrete faced with "
opus reticulatum
"
(No. 46 c), so
called from its resemblance to the meshes of a net (reticulum)
the joints being laid in diagonal lines.
iii. Concrete faced with brick (testae), used from the first
century B.C. to the end of the Western Empire. The
walling was faced with bricks, triangular on plan and
usually about i-J-
inches thick (No. 46 D).
iv. Concrete with "opus mixtum" consisting of a wall of
concrete having in addition to the ordinary brick facing
bands of tufa blocks at intervals.
The majestic simplicity of their edifices give them a severe
grandeur expressing the Roman ideals of conquest, wealth and
power.
Thus from the time that concrete displaced the ashlar masonry
of the Greeks, and allowed of unskilled labour, the style of the
Romans tended to become everywhere uniform and generally
above the influence of local conditions ;
for through the colonies
and legionary camps the new methods penetrated to the extremi-
ties of the empire, and cities could be improvised, which became in
their turn centres whence radiated the architectural ideas as well
as the manners and customs of Rome.
Vaulting. Although, as pointed out, the vault had been
previously used by the Assyrians, the early Greeks, and the
Etruscans, yet the Romans generalized vaulting as a structural
system dating from the first century of the present era. They
made it^imple and practical by the employment of concrete, by
which they covered the largest areas even now in existence. The
effect was far reaching and gave freedom in the planning of
complex structures, which were easily roofed, the vaults being of
any form, and easily constructed on rough centres or temporary
supports till the concrete was set. It will thus be understood that
vaults of concrete had a very important effect on the forms of
Roman buildings, and they were employed universally, so much so,
that every Roman ruin is filled with their debris. The kinds of
vault employed were as follows :
(a.) The semicircular or waggon-headed vault.
(b.} The cross vault.
(c.) The dome (hemispherical and semidomes).
(a.) The semicircular or waggon-headed vault resting on two
sides of the covered rectangle was used in apartments whose
walls were sufficiently thick.
(b.) The cross-vault was utilized for covering a square apart-
ment, the pressure being taken by the four, angles. When used
over corridors and long apartments the pressure being exerted
on points of division (Nos. 58 and 60), left the remainder of the

Il8 COMPARATIVE ARCHITECTURE.
walls free for window openings. If the oblong compartment or
hall were very wide, and the side walls had to be pierced by
large openings, it was divided into square bays generally three
in number and covered with groined vaults, that is to say, a
longitudinal half-cylinder, of the diameter of the hall, intersected
by three half-cylinders of similar diameter,
(c.) Hemispherical domes or cupolas (cupa cup) (Nos. 54 and
55), were used for covering circular structures as in the Pantheon.
Semi-domes were employed for exedrse and other recesses
(No. 46 K).
The great coherence of concrete formed of " Pozzolana" (see
page 112) and lime was important ; by its use, vaults and domes of
enormous size were constructed. Most of these were cast in one
solid mass with no lateral thrust on the walls, thus having the
form, without the principle, of the arch, which, if 'formed of
radiating voussoirs of brick or stone, would possibly have pushed
out the walls.
As Prof. Middleton has pointed out, the Roman use of
concrete for vaults was more striking and daring than for walls,
and had an important effect on the general forms of Roman
architecture. The use of buttresses had not been systematized,
and it would have been impossible to vault the enormous spans if
the vaulting had been composed of brick or of masonry as in
mediaeval times.
The Roman concrete vault was quite devoid of external thrust
and covered its space with the rigidity of a metal lid, or inverted
porcelain cup.
The construction of the Pantheon dome appears to be excep-
tional (page 134).
In many cases (No. 46), as in the Baths of Caracalla and
Basilica of Constantine, brick arches or ribs probably used as
temporary centres are embedded in the concrete vaults at various
points, especially at the "groins," but these are sometimes super-
ficial, like the brick facing to walls, and only tail a few inches into
the mass of concrete vault, which is frequently as much as 6 feet
thick.
The decoration of Roman buildings had little connection with
the architecture proper, for a Roman edifice built of concrete could
receive a decorative lining of any or every kind of marble, having
no necessary connection with the general structure, such deco-
ration being an independent sheathing giving a richness to the
walls both internal and external. Roman architecture had the
character, therefore, of a body clothed in many instances with
rich materials forming a rational and appropriate finish to the
structure, and differing essentially from Greek architecture.
Besides the use of many colored marbles other means of
decorating wall surfaces are briefly stated here. Cements and

ROMAN ARCHITECTURE. IIQ
stuccoes (" Opus albarium ") were frequently used for the
coverings of walls both internal and external, and the final coat
was polished. Mural paintings were executed on the prepared
stucco, and may be classified as follows :
(a.) Fresco painting,
(&.) Tempera painting, (c.) Varnish painting, and (d.) Caustic
painting.
Marble, alabaster, porphyry and jasper as linings to the walls
have been already referred to. They were usually attached by
iron or bronze cramps to the walls upon a thick cement backing.
Mosaics were also much used for ornamenting walls, vaults and
floors. They are divided by Middleton into :
(a.)
"
Opus tesselatum," or "
vermiculatum," formed of squared
tesserae of stone, marble, or glass to form patterns.
(&.) "Opussectile" or "Opusscutulatum," of tesserae of marble,
porphyry, or glass cut into shapes to form the pattern of which
the "
Opus Alexandrinum
"
was a very rich variety.
(c.)
"
Opus Spicatum," made of paving bricks in herring-bone
fashion.
The glass mosaics sometimes forming elaborate figure pictures,
were mostly used to decorate the walls and vaults only, and not
the floors.
Gilded bronze was employed as a roofing material to important
buildings, as employed at the Pantheon (page 134).
The abundant use of statues, many ot them brought from
Greece, led to the adoption of niches for their reception within the
thickness of the walls. These were either semicircular, crowned
with a semi-dome, or rectangular, and they occasionally had
columns supporting a pediment, thus forming a frame.
3. EXAMPLES.
Etruscan Architecture. In dealing with Roman Architec-
ture mention must be made of the Etruscans or early inhabitants
of central Italy, who were great builders, and whose methods of
construction had a marked effect on that of the Romans. The
style dates from about B. c. 750, and from their buildings it is known
that they were aware of the value of the true or radiating arch for
constructive purposes, and used it extensively in their buildings.
The architectural remains consist chiefly of tombs, city walls,
gateways (as at Perugia), bridges and aqueducts, and their
character is similar to the early Pelasgic work at Tiryns and
Mycenae (page 54).
The walls are remarkable for their great solidity of construction,
and for the cyclopean masonry, where huge masses of stone are
piled up without the use of cement, or mortar of any kind. The
" Cloaca Maxima" (c. B.C. 578) (No. 47), or great drain of Rome,

constructed to drain the valleys of Rome, has a semicircular arch
of ii feet span, in three rings of voussoirs, each 2 feet 6 inches
high.
There are no remains of Etruscan temples, but Vitruvius gives
a description of them. The Temple of Jupiter Capitolinus was the
most important Etruscan example (dedicated B.C. 509), and is
generally taken as being typical. Its cella was divided into three
chambers containing statues of Jupiter, Minerva (Livy VII., iii)
and
Juno, and was nearly square on plan, with widely spaced columns
and wooden architraves. It was burnt in/B.c. 83 and rebuilt by
Sulla, who brought some of the marble Corinthian columns from
the Temple of Zeus Olympius at Athens (page 90).
Roman Architecture followed the Etruscan, and as indicated
on page 114, was a composite style derived by the unipn of the
Greek and Etruscan styles. The principal examples of Roman
architecture were chiefly erected during 400 years, viz., between
B.C. 100 and A.D. 300. The principal remains are found not only
in Italy, but throughout Europe to wherever the Roman occupa-
tion extended, as at Nimes and Aries in France, Tarragona and
Segovia in Spain, Trevesin Germany, Constantine in North Africa,
Timgad in Algeria, and other places in North Africa, Baalbecand
Palmyra in Syria, and many places in England (page 280)^^
FORA.
The Forum corresponded with the Agora in a Greek city, and
was an open space used as a meeting place and market, or a ren-
dezvous for political demonstrators, corresponding to the Place of
a French country town, the market place of English country
towns, and to the Royal Exchange or probably Trafalgar Square
in the Metropolis. The forum was usually surrounded by porticos,
colonnades and public buildings, such as temples, basilicas (halls
of justice), senate house, and shops, and was adorned with pillars of
victory and memorial statues of great men.
Rome possessed several Fora, and a plan of these is given
(No. 47). The " Forum Romanum "
was the oldest, and grouped
around it were some of the most important historical buildings. A
restoration is given (No. 48), which will indicate its probable
appearance in the heyday of ancient Rome.
The Forum Romanum was in early times also used as a
hippodrome and for contests, which in after years during the
Empire took place in the amphitheatres. This and the Forum
of Trajan, which was the largest of all, were the most important.
The others include those of Julius Caesar, Augustus Vespasian
and Nerva. The models in the Walker Art Gallery, Liverpool,
and the Crystal Palace, give a good idea of the appearance of this
important centre of architectural history.

Pompeii also possessed an important Forum.
The remarkable colonnaded streets at Palmyra and Damascus,
Antioch, Bosra and elsewhere in Syria, and Asia Minor may also
be best mentioned here.
RESTORED AFTER YAEI0US
/tUTHOEITIES
1 TRAJANS COLUMN '
2 BASILO ULPW ^
3 TEMPLE Of VENUS GENETRIX
4T.Of MARS ULTOR (5 COLS. & PILASTER CTANMC
5 TEMPLE Of MINERft
6 TEMPLE Of PEACE
7 SITE Of THE BASILICA AMELIA /
8 TEMPLE Of ANTONINUS * MUSTINA
9 TEMPLE Of ROMULUS ,
10 BASILICA Of CONSTANTIKt *^ ,
11 TEMPLE Of VENUS * R0ME V
12 TME COLOSSEUM *^
13 ARCH Of CON5TANTINE
14 ARCH Of TITUS f^
15 HOUSE Of THE VESTAL VIRGINS^
16 TEMPLE Of VESTA </
17 ARCH Of AUGUSTUS y18 TEMPLE Of DIVWJUUU3
19 TEMPLE Of CASTOR & POLLUX (3 COLS. LEfT)
20 BASILICA JULIA v/
21 COLUMN Of PHOCAS
ZZARCHOfSEPTIMIUSSEVERUS
23R03TKA
2* T. Of SATURN (8 COLUMNS STANDING)
25 T. Of VESPASIAN (3 COLUMNS STANDING)
26 TEMPLE Of CONCORD.
.
'
IN'DICATEJ EXISTING REMAINS
'
INDICATES RESTORATIONS
47-
TEMPLES.
Note. The orders are described under the Comparative table (page 167).
The Roman temples were the result of the amalgamation of the
Etruscan and Greek types, for they resembled in many respects
Greek examples, but their prostyle arrangement and the use of
the podium was derived from Etruscan temples. The plans
shown on No. 18 give some of the types used, and others are
referred to later on (Nos. 49, 50, 52, 53 and 57). The charac-
teristic temple is known as pseudo-peripteral (page 58), and had
no side colonnades as was usuar in Cjreek exkiilpltib, "the order
of columns being attached to the flank walls and arranged as a
prostyle portico towards the front only. Steps were provided at
the principal end, between projecting wing walls, which often
supported groups of statuary, and were continued along the
flanks and back of the temple as a podium or continuous pedestal
(Nos. 1 8 G, 49, 50) (page 167). Whereas Greek peripteral temples
were normally twice as long as their width, the Roman examples
were very much shorter. The size of the cella was frequently

increased, being usually the whole width of the temple, which
was used as a museum for Greek statuary and as a treasure
store. As the architraves were supported by the enclosing walls
on the flanks, temples could also be built on a larger scale than
in the Greek style. Nothing definite is known as to the ceilings,
but these may have been of coffering in stone as in the colonnades,
of open_timber-work as in the basilicas, or vaulted as in the
TempleTof Venus and Rome at Rome (No. 56), the Temple of
Diana at Nimes (No. 50), and the Temples at Spalato. The
abolition of the encircling colonnade and the continuous stylobate
of steps resulted in a certain loss of unity in comparison with
Greek examples, which in most cases were isolated and visible
from all sides ;
whereas the Roman temples were specially intended
to be seen from the forum or open space upon which they usually
faced, the front being therefore made important by the deep
portico and flight of steps. No consideration was given to
orientation as in Greek examples.
Circular and polygonal temples were also used by the Romans,
being probably derived from Etruscan examples.
RECTANGULAR EXAMPLES.
At Rome.
The Temple of Forluna Virilis
(No. 49, A, B, c).
The Temple or Mars Ultor
(the Avenger) (No. 52 and 67 G).
The Temple of Concord (No. 47-).
The Temple of Castor and Pollux.
Also known as Jupiter Stator
(Nos. 47
19
, 67 A and 68).
The Temple of Vespasian (No.47
Q5
).
The Temple of Antoninus and
Faiistina (Nos. 52 I, J, K. L. and
68 E).
The Temple of Vemis and Rome
(Nos. 47
11
,
and 50 A, B, c, D).
The Temple of Saturn ^Nos. 47
1'
4
,
and 49 L, M, N).
At Athens.
The Temple ofJupiter Olympius
(Nos. i8j, 43 A).
At Nimes.
The Alaiscn Carrce (Nos. 1 8 G,
SOH, j, K, 51).
The l^emple of Diana (No. 50 E,
F, G). x
Date.
B.C. IOO
B.C. 42-2
B.C. 27-A.D.
14
A.D. 6
A.D. 94
Remarks.
A typical Roman temple plan.
Ionic. Pseudo-ptripteial te-
trastyle. Now the church of
S. Maria Egiziaca.
Corinthian. Three columns and
api'asterremaining(page 125).
Corinthian. Pseudo peripteral
prostyle-hexa^tyle. Unusual
plan, having cella twice as
wide as long.
Corinthian. Peripteral octastyle
with front portico. Three
colu-nns remaining.
Corinthian. Pro-tyle-hexastyle.
Three columns remaining.
A.D. 141 Corinthian. Pseudo-peripteral
prostyle-hexastyle.
Now the
church of S. Lorenzo.
A.D. 123-135 Corinthian. Peculiar double
temple (page 125).
A.D. 284 Ionic Pseudo-peripteral pro-
style-htxastylc. Eight columns
remaining.
B.C. 174 (See page 90.)
A.D. 117-138 (See page 125.)
(See page 125.)

ROMAN EXAMPLES
3LYEISMTHS10ME:AJ).204
QfcTtD BrTHtGOLD5MITHTD5EPTlMIUSEVERlB IN
HONOUR Of HI& VICTORIES IN THE EAST. WHICH ARE
THE fAWofJMWMEM.THE SPOILS TROM 1HLTF.MPLE
tRC REPRESENTED BY KUJUB IN VMBJCfiQi
SCALE FOR PLANS A.F.J. SCALE FOR ELEV/1TION5 ETC,B,CD,EH.K
FTip p To 2,0 30
'
|
1 10 p ipf'
&
18MEC.284A.D.
FINAL REBUILDING BY DIOCLETIAN.
8 COLUMNS . WHICH ARE Of GREY AND
RED EGYPTIAN GRANITE, NOW REMAIN.
it R PLAN SaLE fcR ELEVATION
10 20 3040 50 60 J)F. 10 10 30 40F7
49-

RECTANGULAR EXAMPLES (continued).
At Spalato. Date. Remarks.
The Temple of sEsculaphts (No. A.D. 300 (See page 1 6 1.)
59)-
At Baalbec.
The Great Temple (No. 53). A D. 131-161 (See below.)
The Temple ofjiipiter (No. 53). A.D. 273 (See page 130.)
At Palmyra.
The Great Temple ofthe STDI. A. D. 273 Peripteral ocvastyle, probably
Corinthian, having attached
bronze leaves.
The Temple of Mars Ultor, Rome (B.C. 42-2) (No. 52),
stood in the Forum of Augustus, in a precinct surrounded by an
enclosing wall 100 feet high. It was one of the largest Roman
temples, having columns 58 feet in height, but there are only three
columns and a pilaster remaining, the capital of the latter being
shown in No. 67 G. A short description is given on No. 52.
The Temple of Venus and Rome (A.D. 123-135) (No. 50),
had a peculiar plan consisting of two cellas, each provided with an
apse placed back to back, and a pronaos at each end. It was
pseudo-dipteral decastyle (No. 47
11
),
the peristyle having twenty
columns on the flanks, and the cella walls were of extra thickness
to take the thrust of the vault. Internally there were niches for
statues, and the cella was crowned with a hemispherical coffered
vault, the apses having semi-domes. The plan on No. 47" gives
the usually accepted restoration of this building, and that by
Palladio is given on No. 50 A, B, c, D. This temple was raised
on a platform and stood in a large enclosure, entered through
imposing gateways, surrounded by a colonnade of nearly 200
columns of red and grey Egyptian granite and red porphyry,
occupying in all an area of about 540 by 340 feet.
The Maison Carree, Nimes (A.D. 117-138) (Nos. 18 G, 50 H,
j, K, and 51), was erected during the reign of Hadrian, and is
the best preserved Roman temple in existence. It is of the
typical form, being pseudo-peripteral prostyle hexastyle, with
Corinthian columns supporting a rich entablature, and raised on a
podium about 12 feet high provided with a front flight of steps only.
The so-called Temple of Diana, Nimes (No. 50 E, F, G),
was probably a nymphaeum connected with some thermae. The
interior walls have detached Corinthian columns, supporting a
cornice from which springs a stone-ribbed barrel vault, the thrust
of which is counteracted by smaller continuous vaults over the
side passages, probably a prototype of the vaulting of many
southern French Romanesque churches.
The Great Temple, Baalbec (A.D. 131-161) (No. 53), was
dipteral decastyle, but only six columns now remain. It stood in
a court 380 feet square with recessed porticos, in front of which
was a hexagonal cortile entered by a dodecastyle Corinthian portico

ROMAN EXAMPLES
WHKAfltT.
PECULIAR IN HAVING STONE RIBBED BARRELS
THRUST IS OONTERACTfl) ar SMALLER WOLT5 OftR AISIB
|
I
^NTlMOUS
UCHT-DTHL INTERIOR PRoBABLT 1N1MCED "IflW
AtARGE SEMICIRCULAR WINDOW IN THE FRPHT
P3EODO-FERIFTEKAL IN PLAH
PEING A TYPICAL FORM OF
ROMAN TEMPLE
rAS'Sf >
50-

ROMAN EXAMPLES. IV.
PEAK
M)ElEVATION OTKADE or TEMPLE SHEWING EHCEaiNS W/I0.
TEMDLEorMARS >1 : ! L/~S.
RPME.BC42
A UKt SPWC IN TOW WC
.>* nmowiotDanno WHI WH
DfCWTD MIH NfK? HSTOTUC6 MW1HALIT
DETAIL Or
(SRNKlTo CN-
OQSINGmil IbTIMPLL
52-

ROMAN EXAMPLES. V.
THE GREATTEMPLE we MMENCED IN w
REIGN oryWTONINlfi PiU5 A 131
-
161 .
TiiE HEXAGONAL FORE-URT 6 ENTERED W
THREE DGDRWAY3 AHD HM ON EACH
PORTAL LEADS is THE MAIN WRJ
5IDE5 Of WHICH NORTH.50UTHANDEA5T
ARE LXEDRAE.THE GREW IMRI FACE5
EAST AND STANDS ON A BA5EKENT50fr
ABOVE THE PLAIN. 6 @LUMNS of THE PERI-
STYLE ARE THE ONLY REMAINS. THE5E
ARE ABOUT 65 ET IN HEI5HT.UNFLUTH).
THESE MA55IVE COLUMNS ARE 7 FKT
IN DIAMETER AND CoNSIST OF 3 PIEOFA
HELD TOGETHER WITH IRON .
THE ARCHITRAVE 15 IN .
THE ENTABLATURE 15 ttJ'IN HEIGHT.
FNCIKING WALL OF GKTANTIC
BlflCK80F510NEoyER64Fr
IN LENGTH J 13 TIN HEIGHT
ON A BASEMENT 23 ETABiVE.
, THE LEVEL OF THE FCAIN,.!g J
THETEMPLEofJUPlTEKissiTt
THAN THE GRfAT TTMPLE Jt 18 AW..._
EASTERN aiGHT OF STETS. IT 15 OCAS'
AND HA3 15 LUMNS ON EACH SlOC. ...
INTERIOR H AfFERED lWLT|F|yTtD 4 1*115
50SLE FoR ELEV/TlQNa JEflloffi u , . .
5
i
53-
F.A.

I3O COMPARATIVE ARCHITECTURE.
in antis. The buildingsWere constructed with large blocks of
stone without cement, ana the columns were built up in three
pieces. A further short description is given on No. 53.
The Temple of Jupiter, Baalbec (A.D. 273), is peripteral
octastyle with a vaulted sanctuary at the west end, approached by
a flight of steps. The interior was ornamented with half-Corin-
thian columns having returned entablature, from which sprung the
coffered vault. Between the columns were two tiers of niches.
Dawkins and Wood restore this temple as^ if vaulted, but other
authorities do not think this possible.
CIRCULAR AND POLYGONAL EXAMPLES.
At Rome.
The Temple of Mater Matuta, for- B.C.27-A.D. 14. . (See below.)
merly known as the Temple of
Vesta.
The Pantheon (Nos. 33, 54, 55, A.D. 120-124. (See below.)
56, 57, 67 H).
The Temple of Vesta (No. 47). A.D. 205. (See below.)
At Tivoli (near Rome).
The Temple of'Vesta (Nos. iSc, 57). B.C. 27-A.D.I4. (See page 134.)
At Spalato.
The Temple ofJttpiter (in Diocle- A.D. 284. (Seepages 136, 161.)
tian's Palace) (No. 59).
At Baalbec.
The Circular Temple (No. 60 D, A.D. 273. (See page 136.)
E, F).
The Temple of Mater Matuta, Rome, formerly known as
the Temple of Vesta, is situated in the Forum Boarium, and is
circular peripteral, having twenty Corinthian columns, 34 feet
7 inches in height and 3 feet 2 inches in diameter, and therefore
nearly eleven diameters high. These surround a cella 28 feet in
diameter, and rest on a podium 6 feet high. It is built of Parian
marble, with the* exception of the podium, which is of tufa, and
is approached by a flight of marble steps. The roof was probably
of wood covered with bronze tiles. The V-shaped section of the
leaves indicates the .work of a Greek artist. It is now the Church
of S. M. del Sole.
The Temple of Vesta, Rome, (in the Forum Romanum)
(No. 47), was founded in B.C. 715, but was frequently destroyed by
fire and repeatedly rebuilt, finally by Septimius Severus in A.D. 205.
According to Middleton it was circular peripteral with eighteen
columns surrounding a cella, and resting on a podium 10 feet
high. Among the remains lately found are some fragments of the
columns having fillets for fitting metal screens between the shafts.
The Pantheon, Rome (Nos. 33, 37 A, B, c, 54, 55, 56, 57 E) is
now, owing to the investigations of M. Chedanne in 1892, known
to belong to two distinct periods.
The circular portion, known as the Rotunda, occupies the site

ROMAN EXAMPLES. VI.
THE flP IZ3 OH THE }ITE OFfl THREE (EfcEp
E!flCTOFTHEO|2 TETI~
PORTIA PIECE OF THE
NOW COVERED WITH LEAD.
tiE V/AU5 OF
ROTUNDA (WHICH)
5UPPORTMD6MC
IN SOLID CoHcREfE
PACED iffil 6RICK
& ORIGINAHY
EX-
J5. 1NP6RTI6H?
EMENTBTHEAHDOl
ARE HOL6 COHMUNICATING"
WiTHClPACA^ DRAIN ONDfl.
THE DOME WAS FOUND BY
M.CHEDANNETOBEBUILT
OF BRICKWORK LAID IN
HORIZONTAL COURSES
BOTH -NEAR THE CENTRAL
OPENING AND DP TO THE-
FOURTH RANGE OF COF-
FERS.THE INTERMEDIATE
PORTION WAS NOT EXAMIN-
ED, BUT IT 15 HELD THAT A
SERIES OF ARCHES MAY
HAVE BEEN CARRIED ROUND
IN THIS PORTION. THI5
METHOD Of CONSTRUCTION
MAY HAVE BEEN ADOPTED
TO AVOID THE THRUST OF
THE POME.
MH5lbWCP ARE
HS of
RED fPflAH
H RtuHlAH
CAPITA15^ WHITE PENtaiC
54-
K 2

of an older uncovered piazza, used as a "
nymphaeum," or place
for plants, flowers, and running water, the level of its floor being
8 feet below the present level.
In front of this "
nymphaeum," and facing towards the south,
was a decastyle portico, forming a frontispiece to a three-cell
temple of the Etruscan type, built by Agrippa during the reign
Of AugUStUS, B.C. 27-A.D. 14.
The present Rotunda was erected by the Emperor Hadrian, in
A.D. 120-124, on the site of the more ancient "
nymphaeum," the
portico to the Etruscan temple being takenx
down and re-erected at
the higher level. As rebuilt this portico was made octastyle instead
of decastyle, and was made to face the north instead of the south.
The Rotunda (now the Church of S. Maria Rotonda) is a
circular structure having an internal diameter of 142 feet 6 inches,
which is also its internal height. The walls, of concrete (opus
incertum), with a layer of tiles every three feet in height, are
20 feet in thickness, and have eight great recesses, one of which
forms the entrance ;
three of the remaining seven are semicircular
exedrae, the other four being rectangular on plan. Two columns
are placed on the front line of these recesses, above which are
relieving arches.
The eight piers have niches entered from the exterior of the
building, formed in three heights, of which the lower are semi-
circular on plan, and are 19 feet high to the springing of their
hemispherical heads, the second tier have their floor on the same
level as the cornice over the inner order, and the third tier are
level with and entered from the second cornice of the exterior.
In front of the Rotunda is the Corinthian octastyle portico,
1 10 feet wide by 60 feet deep in the centre, the first, third, sixth and
eighth columns having two others behind them. At the back of
the portico are niches, and staircases by which to ascend to the
various parts of the edifice. ft
The columns, 42 feet 6 inches high, in front of the recesses in
the interior, are believed to be part of the original design of
Hadrian's architect. The lower third of these columns is cabled,
and the upper portion is fluted (No. 55). The marble facing to
the walls between, and the columns, entablature, and pediments
of the projecting altars are later additions.
The attic or upper story was originally ornamented with
porphyry or marble pilasters, with capitals, six of which are in the
British Museum, of white marble and panelling of giallo antico,
serpentine, and pavonazetto, but in 1747 this marble panelling
was removed and the present stucco decoration inserted.
The dome or cupola is a hemisphere, having its inner surface
coffered in five ranges. The manner in which the sinkings or
mouldings are regulated or foreshortened so as to- be seen from
below is worthy of notice.

The dome, although described by Middleton to be of concrete,
was found by Chedanne to be built of brickwork laid in almost
horizontal courses up to the fourth range of coffers, and also near
the central opening at the summit. The intermediate portion was
not examined, but it is held that a series of arches may have been
formed in this portion, so as to relieve from pressure the recessed
openings below.
The lighting is effected solely by one circular unglazed opening,
27 feet in diameter, formed in the crown of the dome, and still
retaining its circular bronze cornice (No. 54 c, D).
This method of lighting produces an effect which is solemn
and impressive ;
and there may have been a symbolic meaning
in thus imitating the appearance of the vault of the heavens in
the temple of all the gods, the idea being that the worship of
Jupiter should take place in a building open to the sky.
" One
great eye opening upon heaven is by far the noblest conception
for lighting a building to be found in Europe."
The circular portion was originally faced with marble up to the
lower string cornice, the upper portion being faced with stucco
decorated with pilasters, as shown in the drawings made by
Palladio in the i6th century. At the present time the walls are
faced in brick with "opus reticulatum," divided by the two cornices.
The dome, which has its lower portion formed in steps, was
originally covered with bronze gilded plates, but these were
removed to Constantinople by Constans II. in 655, and replaced
with sheets of lead.
The octastyle portico has monolith Corinthian columns,
46 feet 6 inches high, 5 feet in diameter at the base, and
4 feet 3 inches at the top. These support an entablature 1 1 feet
high, and a pediment having an inclination of about 23 degrees.
Each of the three divisions of the portico ceiling appears to
have been segmental and formed of bronze plates, since removed.
The old Roman bronze door frame, doors and fanlight,
originally plated in gold, still remain (No. 37 A).
The Temple of Vesta, Tivoli (B.C. 27-A.D. 14) (Nos. 18 c,
57 H, j, K), is another circular peripteral example, having a cella
24 feet in diameter, surrounded by a peristyle of eighteen Corin-
thian columns, 23 feet 6 inches high, resting on a podium. The
cella, 23 feet 1 1 inches in diameter internally, had two windows,
and a doorway approached by a flight of steps. The columns
are nearly gf diameters high, and the capitals, of which the foliage
is derived from the acanthus mollis, are one diameter in height.
The reason for the difference in design between the Temple of
Mater Matuta, Rome, and this example are instructive. The Roman
building, placed in a low flat situation, has columns of slender
proportions in order to give it the required height ;
whereas the
Tivoli example, placed on the edge of a rocky prominence, and

thus provided with a lofty basement, has columns of a sturdier
proportion.
The Temple of Jupiter, Spalato (in Diocletian's Palace)
(A.D. 284) (No. 59), is a further development of the Pantheon.
Externally it is octagonal, surrounded by a low peristyle of
Corinthian columns, but the interior of the cella is circular,
43 feet 8 inches in diameter, with four circular recesses and three
square, the entrance corresponding to a fourth. Between these
are placed eight Corinthian columns with Composite ones super-
imposed, advanced slightly in front of tKe face of the wall.
The whole is raised on a podium, and crowned with a remarkable
domical vault constructed in tiers of brick arches, externally
presenting a pyramidal form.
The Circular Temple, Baalbec (A.D. 273) (No. 60 D, E, F),
has a circular cella raised on a podium and approached by a
flight of steps. It is surrounded by eight Corinthian columns,
six of which are well advanced from the cella wall, and occupy the
positions resulting from the division of a circle into seven equal
parts. The entrance is placed centrally on the seventh division of
the circle, and has a column on either side. The cella wall has
Corinthian pilasters, between which are semicircular niches for
statuary. The line of the entablature is curved inwards towards
the cella between the six columns above mentioned. Internally
it has superimposed Ionic and Corinthian orders.
The Christian baptisteries erected in the following centuries
were adapted from such circular temples as these just described,
which are therefore extremely interesting with respect to architec-
tural evolution.
BASILICAS.
These, erected as halls of justice and as exchanges for merchants,
comprise some of the finest buildings erected by the Romans,
and bear witness to the importance of law and justice in their
eyes. These buildings are also interesting as a link between
Classic and Christian architecture, as explained later on page 181.
The usual plan was a rectangle, whose length was two or three
times the width. Two or four rows of columns' ran through the
entire length, resulting in three or five aisles, and galleries were
usually placed over these. The entrance was at the side or
at one end, and the tribunal at the other on a raised dais, generally
placed in a semicircular apse, which was sometimes partly cut off
from the main body of the building by columns. Ranged round
the apse were seats for the assessors, that in the centre, which was
elevated above the rest, being occupied by the Praetor or Questor.
In front of the apse was the altar, where sacrifice was performed
before commencing any important business.
The building was generally covered with a wooden roof, and

ROMAN EXAMPLES. VII.
/*?
KEY STONE o- ARCH.
>v
KttPLAM
@F
E0ME.204S.
THIS fllCTB CONSTRUCTED Of WHITE
ICATIhG WITH EACH OTHER W LATERAL
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CASE WHICH LEADS TO THETCfMtEft
WEK TORMEIfLY FLACE6 THE 5TATUE5
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ACANTHUS LEAf. IT
HA6 BEEN U5tD IN
THE- BANK or ENOANb
W SIR JOHN 5QANE .
THE TEWLE
57'

ROMAN EXAMPLES. VIII.
END WJUITED .
COLUMNS ATWHED TO THE FACE OF PIEfiS SUPPOBT
THE MAN VAULTS ,6EWG M EMLY EXAMPLE OF COL-
LECTING THE WEKHT ON ISOLATES POIMTS OFSOPPOfiT.
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ROMAN ARCHITECTURE.
the exterior seems to have been of small pretensions, in com-
parison with the interior.
Trajan's (the Ulpian) Basilica, Rome (A.D. 98) (Nos. 47*,
58 B, E), of which Apollodorus of Damascus was the architect^
was a fine example of the wooden._ roofed type. Entered
from Trajan's Forum, it had a central nave 87 feet wide with
double aisles, each 23 feet 9 inches wide, and an internal length
excluding the apses of 385 feet. The total internal height was
about 120 feet. The columns on the ground story separating
the nave and aisles were of red granite from Syene, with white
marble Corinthian capitals. At each end were semicircular apses,
reached by flights of steps, having sacrificial altars in front of
them. Galleries were formed over the side aisles, reached by
steps as shown on the plan.
Adjoining the Basilica were the Greek and Latin libraries, and
Trajan's famous Column (page 156) stood in an open court between
them.
The Basilica of Maxentius or Constantine, Rome
(A.D. 312) (Nos. 46 i, 47% 58 A, c, D), formerly erroneously
known as the Temple of Peace, consists of a central nave
265 feet long by 83 feet wide between the piers, crowned at a height
of 1 20 feet by an immense groined vault in three compartments.
To the north and south are aisles roofed with three great semi-
circular vaults, each 76 feet in span, springing from walls placed
at right angles to the nave. These walls had communicating
openings formed in them, and aided by the weight of the aisle
vaults, supported that of the nave. Monolithic columns were
attached to the face of these piers, and supported pieces of
.entablature from which sprung the groined vaults.
There were two apses, one to the north and one to the west of
the central nave.
Light was introduced in the upper part of the nave over the
aisle vaults by means of lunettes, or semicircular windows in the
wall formed by the intersecting vaulting. The building is similar
as regards plan and design to the Tepidarium of the Thermae
(No. 59), and is in many respects a prototype of a Gothic struc-
ture, in which the thrust and weight of an intersecting vault are
collected and brought down on piers built to receive them.
The vaults to the northern aisle still remain, exhibiting the
deep coffering executed in brick work, and a portion of the main
vault of concrete formed of pozzolana is still in position, although
the column which was placed to carry it has been removed, thus
showing the extraordinary tenacity of Roman concrete.
Other basilicas at Rome were the Basilica Porcia (B.C. 184),
believed to be the oldest, the Basilica Julia (No. 47), and the
Basilica Amelia (No. 47) ;
and the basilicas at Pompeii, Farno,
and Treves, and at Silchester in England, may be mentioned.

ROMAN EXAMPLES. IX.
CENTRAL
TH<3 OF<2RACALLA (A,Qfl?-:
PLATFOR/A 20 FEET ABOVE THE
T/-E VAULTED
m*
CARACALLA RO*E
NEURAL GROLlHD LEVEL
aNDER-jiEATHa0lQ FORCED AS
750 FEET-
FOR MATING T/AEV/ATER ^HOTROOn^ AW/E^ ^J5 STORAGE ROO^ FOR
FUEL OIL %c TME 5ATA5 AGOOmODATED 1600 BATHERS WALLS OFCOHCRETE OF Uh ^
PO^OLANAVlT/-TKlH FACING OF TRIANGULAR ^RIClS ^ONlDlNG COURSES OF LARGE
TILES ?FEET6C<'
EVLRY4 Fr IN hpK>
I!
59-

THERMS.
The Thermae or great public baths are quite as characteristic
of Roman civilization as the amphitheatres, being probably
derived from the Greek gymnasia.
The principal existing remains are found at Rome and Pompeii
in a ruined state, but much can be learned from the published
drawings of the Italian architect, Palladio, made in the sixteenth
century, when they were better preserved, and from the restora-
tions of French students sent to Rome as prize winners of the
Ecole des Beaux- Arts.
The Thermae supplied the place of the modern daily papers for
the dissemination of news and gossip, and also answered in a
measure the purposes of a modern club as a rendezvous of social
life. A small charge of a quadrans (| farthing) was sometimes
made, but in later days they were opened free as a bribe to the
populace by Emperors in search of popularity.
In general arrangement they usually consisted of three main
parts :
(a.) A great central block. This was planned for the baths proper,
the processes of bathing resembling the modern Turkish bath.
The Tepjdarium (warm room for bathers to rest in), Calidarium
(hot room, usually containing a warm water bath), Laconium or
Sudatorium (the hottest room, usually a circular domed apart-
ment), and a Frigidarium (cool room, usually containing a cold
swimming bath "piscina") were the most important apartments ;
added to which there were the Apodyteria (rooms for undressing),
Unctuarium (rooms for oils, pomades or ointments, where the
"
aliptae
"
anointed the bathers and performed the rubbing down,
shampooing with the "strigillus" or scraper, oiling and sanding the
body). The Sphgeristerium (place for the games of ball), libraries,
and small theatre occasionally formed part of the central structure.
(b.) A large open space. This surrounded the central block and
was frequently laid out as a stadium, with raised seats for
spectators. It was also used for various athletic exercises (such
as wrestling, races, boxing), or for lounging, and portions were
planted with trees and ornamented with statues.
(c.) An outer ring of apartments. These consisted of lecture
rooms for the hearing of discourses, open colonnades, exedrae or
recesses for the philosophers, poets and statesmen, and other
necessary apartments. A large reservoir frequently occupied one
side, being supplied by a special aqueduct from a distance. This
reservoir supplied the Frigidarium, Tepidarium and Calidarium
in succession. The external apartments were frequently let off
as shops or utilized for the accommodation of the numerous slaves
who formed part of the establishment.
The whole block was frequently raised on a high platform,

underneath which were the furnaces and other rooms for the
service of the baths.
The Thermae of Caracalla, Rome (A.D. 212-235) (
Nos-
46 F >
G, H, K and 59 A), accommodating 1,600 bathers, are the most
important of all the remains, and give a splendid idea of their
size and magnificence.
The entire site including gardens was raised on an artificial
platform 20 feet high, measuring 1,150 feet (over one-fifth of a mile)
each way, not including the segmental projection on three of the
sides. Under this platform were communicating corridors leading
to various parts of the establishment, vaulted chambers used as
stores, the hypocaust, and furnaces for heating the water and hot
air ducts.
Along the road front was a colonnade having behind it a row
of small chambers in two stories, the lower at the street level,
probably used as shops, and the upper on the platform level, for
private "slipper" baths.
The entrance to the establishment was in the centre of the
north-eastern facade, and led to the large open enclosure laid out
for wrestling and other games, around which, in the segmental
projections and elsewhere, were grouped the various halls for
dramatic representations and lectures. The central building, used
entirely for bathing, measured 750 feet by 380 feet, and therefore
covered an area of 285,000 square feet, i.e., about equal to West-
minster Palace (including Westminster Hall), but greater than
either the British Museum or the London Law Courts. Only
four doorways were formed on the north-east side, which was
exposed to cold winds, but large columned openings, giving access
to the gardens, were a feature of the south-western front.
Although now in ruins, restorations have been made which
show the relative positions of the Tepidarium, Calidarium (with
sudatio), Frigidarium (with piscina), Sphaeristeria (for gymnastics),
Apodyteria (dressing rooms), and other apartments. The planning
of this and similar buildings is very instructive to architectural
students and worthy of careful study, being laid out on.^ixial-linS,
which, while providing for the practical requirements of the bathers,
produced vistas through the various halls and saloons. Moreover,
by the system of exedrae and screens of columns, loss of scale was
prevented, and the vastness of the building was emphasized.
Internally the Tepidarium, forming the principal hall, around
which the subsidiary apartments were grouped, constituted the
controlling feature of the plan to which the other apartments were
subordinated. It was 170 feet by 82 feet, roofed with an immense
semicircular intersecting concrete vault, 108 feet above the floor,
formed in three compartments, and supported on eight portions of
entablature resting on granite columns, 38 feet high and 5 feet
4 inches in diameter, placed in front of the massive piers. This

ROMAN EXAMPLES. X
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60.

great apartment was lighted by clerestory windows, high in the
walls, admitting light over the roofs of adjoining halls by means
of the intersecting vault, which was constructed on a similar
system to that described for the Basilica of Maxentius (page 139).
S. George's Hall, Liverpool, is of similar dimensions to the Tepi-
darium of Caracalla's Thermae, but with five bays instead of three.
The Calidarium was roofed with a dome similar to that of the
Pantheon.
The Frigidarium was probably open to the sky, although as
many tons of T iron were found below the surface of the bath,
some suppose it to have been covered with a roof of iron joists
(probably cased with bronze) and concrete. Viollet-le-duc has a
drawing in his lectures of the Frigidarium restored, giving an
excellent idea of its probable original appearance.
The general adornment and color treatment of the interior
must have been of great richness, and in marked contrast to the
exterior, indicating a further secession from Greek principles.
Sumptuous internal magnificence was aimed at in all the great
Thermae, the pavings were patterned with mosaic cubes of bright
colors, either planned in geometrical patterns or with figures of
athletes ;
the lower parts of the walls were sheathed with many
colored marbles, and the upper parts with enriched and modelled
stucco bright with color ;
the great columns on which rested the
vault springers were either of granite, porphyry, giallo antico,
alabaster or other rare marbles from the ^Egean islands. Various
colored marble columns were used constructively to support the
upper balconies and the peristyle roofs, and decoratively to form
with their entablatures and pediments frames for the superimposed
niches in the walls.
The surface of the great vaults was also richly ornamented by
means of coffering, or covered with bold figures, decorations in
black and white, or colored glass mosaic.
In these magnificent halls thus sumptuously decorated some of
the finest sculpture of antiquity was displayed. This was brought
largely from Greece or executed in Rome by Greek artists, and at
the excavation of the Thermae during the Renaissance period much
of it found its way into the Vatican and other museums in Rome,
and in the principal European cities.
Finally, additional interest was given to the interiors by the
perpetual streams of running water, issuing from the mouths of
sculptured lions in marble or brightly polished silver, falling into
capacious marble basins and producing a delicious cooling effect
in the hot sultry weather.
'The exteriors appear to have been treated very plainly in stucco,
or more wisely left as impressive masses of plain brickwork,
perhaps banded or dressed with bricks of a different color.
The unbounded license of the public baths, and their connection

with amusements generally, caused them to be proscribed by the
Early Christians, who held that bathing might be used for
cleanliness, but not for pleasure.
In the fifth century the large Roman Thermae fell into disuse
and decay, caused by the destruction of the aqueducts by the
Huns and the gradual decrease of the Roman population.
The Thermae of Agrippa, Rome (B.C. 27) (No. 46 L), were
the earliest example. They have completely disappeared, but
an idea can be obtained from the measured drawings of Palladio,
published in Cameron's "Baths of the Romans," 1772.
The Thermae of Titus, Rome (A.D. 80) (No. 69 B), were
built on the foundations of Nero's Golden House.
The Thermae of Diocletian, Rome (A.D. 302) (No. 46 j), had
a plan, shown in a restored condition in No. 60 K, from which it
will be seen that the general distribution resembled the Baths of
Caracalla. The Tepidarium is 200 feet long by 80 feet wide and
90 feet high, and is covered with quadripartite vaulting of tufa con-
crete, springing from eight monolithic columns of Egyptian
granite, 50 feet high and 5 feet in diameter, having Composite and
Corinthian capitals of white marble each supporting a portion of
highly ornamental entablature. This Tepidarium was converted
by Michael Angelo, in A.D. 1561, into the Church of S. M. degli
Angeli, and in 1740 a projecting choir was formed on one side by
Vanvitelli, who thus converted the nave of the church into a kind
of transept.
The Balneum or small private bath was much used, and the
three examples at Pompeii indicate their general characteristics
and manner of use. These baths were heated by means of hot air
in flues under the floors, and in the walls from the hypocaust or
furnace in the basement (No. 46 F, G, H).
Typical Roman baths are shown on No. 69 G, j.
The so-called Temple of Minerva Medica, Rome (Nos. 46 M
and 83 A, B), is now generally regarded as a nymphaeum attached
to the Baths of Gallenius (A.D. 266). The absence of a hypocaust
or of flue tiles in the walls prevent it from being considered as a
Calidarium.
It is a decagonal on plan, 80 feet in diameter, with semicircular
niches to nine of the sides, the tenth being the entrance. Above
are ten windows of large size at the base of the dome, in order to
give the necessary light and air to the plants. The dome is formed
of concrete ribbed with tiles, bearing a remarkable similarity to
S. Vitale at Ravenna (No. 83 c, D). It is particularly interesting
in that the rudiments of the pendentive (see glossary) system are
to be seen in the manner of setting the dome on its decagonal
base, a system afterwards carried still further by the Byzantines.
Buttresses were placed at points as required, admitting of the use
of thinner walls, which is an advance on the construction of the
F.A. L

Pantheon (No. 54), and a step towards Gothic principles of con-
struction. The pendentives are of the rudest kind, and probably
were entirely masked by the original decoration.
THEATRES AND AMPHITHEATRES.
The design of Greek theatres was adapted to suit Roman
requirements. The auditorium, instead of being rather more
than a semicircle as in the Greek theatres, was here restricted to
a semicircle, and consisted of tiers of seats one above the other,
with wide passages and staircases ccmmunicating with the external
porticos on each story. At the ground level, separating the
auditorium of sloping seats from the stage, was a semi-
circular area which was occupied by the Senators, and which in
its original circular plan in Greek theatres was occupied by the
chorus. The stage thus becoming all important, was raised con-
siderably and treated with great richness, and became connected
more completely with the auditorium. Theatres were still con-
structed on the slope of a hill, but where the site did not allow of
this they were, by means of the new art of vaulting, constructed
tier upon tier of connecting corridors, in which the people might
retreat in case of sudden showers.
The Theatre at Orange, South France (No. 34 B), held 7,000
spectators, and is an example where the auditorium is constructed
and not hollowed out of the side of a hill. In diameter it is
340 feet between the inclosing walls. Staircases for access to the
various levels were placed on either side of the stage, which is
203 feet wide by 45 feet deep, and inclosed by return walls at
right angles to the back wall. The great wall at the back of this
stage, 314 feet long by 116 feet high, is ornamented by blind
arcading, and has at the summit two tiers of corbel stones, pierced
with holes, through which the velarium poles were placed. It
originally had a portico attached to it.
The Theatre of Marcellus, Rome (B.C. 23-13), is the only
existing example of a theatre in that city. The remains consist
of the arcading, two stories high, of the semicircular auditorium,
the fa9ade of which was ornamented with the Tuscan order and
the Ionic order superimposed.
The Theatre of Herodes Atticus, Athens (No. 17)
(A.D. 161), is also a fine example, seating 6,000 people. It is
partly hewn out of the Acropolis rock and partly constructed, the
seats having a marble casing. It is held to have been roofed with
cedar, but this, however, probably only applied to the stage.
Pompeii had two important theatres, which in recent years have
been excavated. The theatres at Taormina, on the east coast of
Sicily, at Fiesole, near Florence, and Aspendus, in Asia Minor, are
other examples.
L 2

ROMAN EXAMPLES. XI.
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The amphitheatres are characteristic Roman buildirigs, being
found in every important settlement, and in addition to their
normal purposes were used for naval exhibitions, the water drains
for flooding the arena still existing in many examples. The
modern Spanish bull rings to some degree give an idea of the
arrangement and uses of Roman amphitheatres. These are good
exponents of the character and life of the Romans, who had
greater love for mortal combats, which were considered to be a
good training for a nation of warriors, than for the tame mimicry
of the stage.
The Flavian Amphitheatre, (The Colosseum), Rome
(Nos. 62 and 63), commenced by Vespasian in A.D. 70, and com-
pleted (with the exception of the upper story) by Domitian in
A.D. 82, is the most important example. The model in the Crystal
Palace gives a good idea of the general distribution of its parts.
In plan it is a type of all the examples, consisting of a vast ellipse
620 feet by 513 feet, having externally eighty openings on each
story, those on the ground floor forming entrances, by means
of which the various tiers of seats are reached. The arena
proper is an oval 287 feet by 180 feet, surrounded by a wall
15 feet high. The seats, in solid stone, rise up from the arena,
having underneath them corridors and staircases. The dens for
the wild beasts were immediately under the lowest tiers of seats,
and consequently opened on to the arena, as at Verona (No. 64).
The auditorium has four ranges of seats, the two lower forming
the grand tiers, the third separated from the second by a wall,
and the top range under the peristyle forming the later addi-
tion. Access to the various seats is from the eighty entrances
by means of staircases placed between the radiating walls and by
corridors, placed at intervals as shown. The radiating walls were
cleverly constructed, concrete being used where least weight,
tufa stone where more weight, and travertine stone where the
heaviest pressures had to be supported (No. 62 B).
The masonry
was laid without mortar, and the construction is strong and solid,
Joeing of an engineering character. The system is one of concrete
vaults resting on walls of the same material, 2 feet 3 inches thick,
faced with travertine stone, 4 feet thick, and having an internal
lining of 9 inches of brickwork, making 7 jfeet
in total thickness.
The supports have been calculated at one-sixth of the whole area
of the building.
The constructive principle consists of wedge-shaped_piejs
radiating inwards, the vaults running downwards to the centre
from the high inclosing walls ; consequently no building is more
durable or more difficult to destroy a feeling well expressed by
the line :
" Vhen falls the Colosseum, Rome shall fall."

The external fa9ade is divided into four stories. The three
lower ones have their walls pierced with arches, and are orna-
mented with half columns of the Tuscan, Ionic, and Corinthian
orders, the two latter being on pedestals. The upper story has
Corinthian pilasters, and the height to the top of this order is
157 feet. Between the pilasters are the corbels used to support
the masts of the velarium.
In criticizing the general architectural character of this
wonderful building (No. 63), points worthy of notice are :
i. The multiplicity of its parts, viz., three tiers of apparently
countless arcades encircling the exterior, divided and united
by three tiers of orders,
ii. The grand sweeping lines of the unbroken entablatures
which entirely surround the building.
iii. The purely decorative use of the Classic orders of archi-
tecture which being superimposed are in strong contrast to
the Grecian method of single orders,
iv. The thick piers behind the orders, connected by eighty
arches and supporting the weight of the structure.
The proportions of the attached columns on the fa9ade, which
all have the same lower diameter are unusual : The Tuscan
column is about 9^ diameters high and the Ionic and Corinthian
about 8| diameters.
The Colosseum was used as a stone quarry by the builders ol
later times, materials being taken from it for the construction of
many Renaissance buildings (page 456).
The Amphitheatre, Verona (No. 64), is in splendid pre-
servation, all the stone seats being intact, although only four
bays of the external wall are still standing.
Other well-known examples are the Amphitheatres at Pompeii,
Capua, Pola in Istria, Nimes, Aries, El Djem near Carthage, and
remains of a roughly made example at Dorchester, in Dorset.
CIRCI.
The plan of a Roman Circus was an adaptation of a Greek
stadium, but, however, was used for chariot or horse races, while
the Greek stadium was principally used for foot races and
athletic sports. At Rome there were several important examples,
among which were the Circus Maximus and those of Maxentius,
Domitian, Hadrian, Nero, Flaminius, and Sallust.
The Circus Maxentius (No. 60 c) near Rome, also known
as the Circus of Romulus, was built by Maxentius in A.D. 311.
Although only part of it now remains, it is the most perfect
example of a Roman Circus existing. It consisted of a long open
circular-ended arena with a "spina" along its axis. Surrounding
this were rows of marble seats supported by raking vaults and an

external wall of concrete faced with "opus mixtum" (page 117).
At one end were the " carceres
"
or stalls for horses and chariots,
with a central entrance for processions and two side entrances,
and at the semicircular end was the "
porta triumphalis."
TRIUMPHAL ARCHES AND PILLARS OF
VICTORY.
These were erected to emperors or generals in honour of their
victories. They consisted either of a single arch or of a central
arch with a smaller one on either side. These rest on an impost,
and have Corinthian or Composite columns on either side, and
were adorned with architectural enrichments, statuary, and bas-
reliefs relating to campaigns. An attic or surmounting mass of
stonework was placed above, having a dedicatory inscription.
(a.) The single-arched type, of which the central arch at Hyde
Park Corner, London, is an example.
The Arch of Titus, Rome (A.D. 81) (Nos. 47, 49, 69 A, c),
commemorates the capture of Jerusalem in A.D. 70. On each side of
the arch are semi-engaged columns of the Composite order, being
the earliest known examples, and three-quarter columns occur at
the angles. The archway has its soffit ornamented with deep
coffers, in the centre of which is a relief of the apotheosis of Titus.
The inner jambs have reliefs of the emperor in a triumphal car,
being crowned by victory, on the one side, and the spoils taken from
the Temple at Jerusalem on the other. The central keystones
project considerably in order to support the main architrave, and
are richly carved, as shown in No. 67 B.
Other well-known examples of this type are the Arches of
Trajan at Ancona (A.D. 1
13), Trajan at Beneventum (A.D. 114)
(No. 70 D), the Sergii at Pola, Augustus at Susa (Piedmont)
(B.C. 7), Augustus at Aosta (Piedmont), Augustus at Rimini
(A.D. 27), and Hadrian at Athens.
The Arch of the Goldsmiths, Rome (A.D. 204) (No. 49), is
not of arched construction, the opening being spanned by an
entablature.
(b.) The three-arched type, of which the Marble Arch, London,
gives a general idea.
The Arch of Septimius Severus, Rome (A.D. 204) (Nos. 47,
57, 65, 66 and 70), built to commemorate Parthian victories, has
detached Composite columns resting on pedestals. A description
is given on each of the illustrations Nos. 57 and 65.
The Arch of Constantine, Rome (A.D. 312) (No. 47), was
built in honour of Constantine's victory over Maxentius, and is one
of the best proportioned examples. It has detached Corinthian
columns supporting an entablature, which returns round each
column, and above the attic were originally a quadriga, horses,
and statues.

ROMAN EXAMPLES. XII.
DWELLING HOU5ES THE ATRm WAS THE. PUI3LIC PART r THE BUILDING
INWICHTHE CLIENTS WERE AGttl5TOnED TO AWAIT THEIR PATRON JriCR KE^Rb
ING A AODERN HALL. THE PERISTYLE EORnED THE CENTRE ?THE RE5IDENTIAL
PORTION. THE ATRIU/A 8 PERI5TTLE WERE OPEN TO THE 3tf GIVING LIGHT d AIR
TOTHESURROUNDINQ ROO/A5
SECTION. ._.
or
IU5
TOLF
THIS TRianpH^ ARCH WAS
DEDICATED 0V ROMANS
IN HONORS EMPEROR
SEPT|AIU55EVERU5FOR
HIS VICTORIES IN THE EAST
IN CONJUNCTION WITH HIS
250N5CARACALLA&CETA
65-

The Arch at Orange is one of the finest examples of this type
outside Italy. It has semi-attached Corinthian columns between
the arches and three-quarter columns at the angles.
Besides these, mention might be made of the Arch of Janus,
Rome, in the Forum Boarium, built in the reign of Septimius
Severus, a four-way arch built as a shelter at the junction of four
roads; and also the arches at Palmyra and in North Africa.
Arches were also erected to form entrances to towns or bridges,
and in such cases might serve the purposes of defence. Of this
type of gateway the Porta Nigra, Treve^
7
,
the Porte S. Andre,
Autun, the Porte des Mars, Rheims, and the Porta Aurea,
Spalato (Palace of Diocletian), are among the best known.
Pillars of victory, or memorial columns, were sometimes
erected to record the triumphs of victorious generals.
Trajan's Column (No. 58 B, 60 j, L), was erected 'in connec-
tion with his Basilica (page 139), and stood in an open court with
galleries around at different levels, from which the bas-reliefs on
its shaft could be viewed.
"The sculptures wind aloft
And lead, through various toils, up the rough steep
The hero to the skies."
The column, of the Roman Doric order, stands on a pedestal
1 6 feet 8 inches square, and 18 feet high, ornamented with
sculptured trophies on three sides, and having a doorway on the
fourth. The column is 12 feet in diameter at the base and is
provided with an internal spiral staircase of marble, lighted by
small openings. Its total height is 147 feet. The sculptures,
numbering over 2,500 human figures, besides animals, and
carved on a spiral band over 800 feet long and about 3 feet
6 inches deep, were probably intended to represent the unwinding
of a scroll of parchment illustrating incidents of Trajan's war with
the Dacians. There is a full-sized cast in the Victoria and Albert
Museum.
The column erected in A.D. 161 to the memory of Antoninus
Pius and that erected to Marcus Aurelius in memory of his
victories over the Germans (A.D. 167-179) were founded on the
design of Trajan's Column.
Rostral columns, a type of memorial which, in the time
of the emperors, was numerous, were erected to celebrate naval
victories. Rostra, or prows of ships captured after a naval
victory, were used in their ornamentation (No. 69 H), and a recital
of the deeds which led to their erection was carved upon them.
TOMBS.
In contrast with- those of the Greeks, tombs were numerous,
and bear considerable similarity to Etruscan examples, in particular
that of Regolini Galassi at Cervetri.

The Romans either buried or cremated their dead, both sarco-
phagi (No. 69 M) and urns being sometimes found in the same tomb
chamber. The bodies of the emperors during the first three cen-
turies were usually burnt on magnificent pyres, from which an eagle
was set free, symbolizing the escaping soul of the dead emperor.
In the second century A.D. the practice of cremation became
less usual ;
the richer classes embalmed their dead and placed
them in massive and costly sarcophagi instead of the smaller
receptacle for ashes.
There are five varieties of Roman tombs, as indicated on
No. 52 :
(a.) Columbaria. These were placed in subterranean vaults
or caves, which are now known as catacombs, and have rows of
niches in the walls resembling pigeon-holes hence the name.
Each niche was reserved for a vase containing the ashes of the
deceased, with the name inscribed thereon. Sarcophagi were also
placed in these tomb-chambers, some of which in addition had
" loculi
"
or recesses for corpses, as in the Tomb of the Gens
Cornelia,, Rome.
(b.) Monumental tombs consisted of tower-shaped blocks,
square or circular, resting on a quadrangular structure and
crowned with a pyramidal roof. These may be survivals of the
prehistoric tumulus of earth with its base strengthened by a ring
of stones.
The Tomb of Cecilia Metella, Rome (B.C. 60), (on the Via Appia),
has a podium 100 feet square, supporting a circular mass
94 feet in diameter, probably surmounted by a conical roof. The
tomb-chamber was in the interior, and the whole was faced with
travertine and crowned by an entablature, the frieze of which is
carved with ox-skulls and festoons.
The Mausoleum of Augustus, Rome (B.C. 28), was erected for
himself and his heirs. Little is now left, but it is known, from
descriptions of Strabo, Tacitus, and others, to have had a square
basement surrounded with a portico of columns and supporting a
circular mass, 220 feet in diameter, containing the mortuary
chambers, the whole being capped by a mound of earth laid out
in terraces and planted with Cyprus and evergreen trees, and
crowned with a colossal statue of Augustus. In the middle ages
it was converted into a fortress, and in the eighteenth century,
what remained of it, was used as a theatre.
The Mausoleum of -Hadnan, Rome (A.D. 135) was one of the
most important of these monumental tombs. It is now the
Castle of S. Angelo, and consists of a square basement about
300 feet each way and 75 feet high, supporting an immense
circular tower 230 feet in diameter and 140 feet high, having
a peristyle of marble columns, surmounted by a conical marble
dome, as other examples, It was built of concrete, in which,

towards the centre of the mass, were formed the sepulchral
chamber and converging passages, which slope upwards from the
ground level. On the whole, the structure has been much altered
since its construction, being converted in the middle ages into a
fortress by the Popes, and is now used as a military barrack.
(c.) Pyramid tombs, probably due to the introduction of
Egyptian ideas, were also adopted, as in the Pyramid of Cestius
(B.C. 62-12), which is formed of concrete faced with white
marble, and has an internal tomb-chamber, the vault and walls
being decorated with figure paintings.
(d.) Smaller tombs, as isolated monuments, were often
erected along the sides of roads leading from cities, as at Rome
and in the Street of Tombs, Pompeii :
"
Those ancient roads
With tombs high verged, the solemn paths of Fame ;
'
Deserve they not regard ! o'er whose broad flints
Such crowds have roll'd ; so many storms of war,
So many pomps, so many wondeiing realms." DYER.
These often have subterranean tomb-chambers for sarcophagi
with niches for cinerary urns, and the walls and vaults were
ornamented with colored reliefs in stucco, as in the Tomb of the
Pancratii.
Above the ground the tomb resembled a small temple, often
with a prostyle portico, and the upper chamber contained portraits
or statues of deities and served as mortuary chapels.
(e.) Eastern tombs. The districts of Palmyra, Jerusalem
and Petra in Syria ;
Caria in Asia Minor, and Algeria and
Cyrene in Africa possess many examples, some rock-cut, and
some structural.
The Tomb at Mylassa,in Asia Minor, is one of the most interesting
examples of the latter. The illustration (No. 52) will show its
general characteristics.
The Tomb at Dugga, near Tunis (No. 52 G), somewhat resembles
that at Mylassa, but with a walled-up colonnade.
In addition to the foregoing, memorial structures or cenotaphs
were occasionally erected.
The Monument of S. Remi, in Provence (B.C. first century)
(No. 52 H), consists of a high pedestal ornamented with bas-
reliefs and supporting a story of engaged Corinthian angle columns
with arched openings between. Above is a circular story with
fluted Corinthian columns, supporting an entablature and conical
stone roof.
The Igel Monument, near Treves, Germany, is of similar design.
AQUEDUCTS.
The aqueducts, although more of an engineering than archi-
tectural character, fulfilling a utilitarian purpose only, formed by

their size and proportion striking features of the Roman landscape.
Throughout the Empire remains are to be seen showing the
importance put by the Romans upon an adequate water supply
to their cities. Rome had to be especially well supplied owing
to the inferiority of the local service and the large quantity
required for the reservoirs, great thermae and public fountains,
to say nothing of the domestic supply for its large population.
In any views of the Campagna near Rome, the ruined
aqueducts are striking features, and in
approaching the Eternal
City in the days of its glory, these enormous arched waterways
must have impressed the beholder. Vitruvius (Book VIII.,
chapter vii.) gives interesting information on the subject, which is
added to from other sources by Middleton.
The Romans were acquainted with the simple hydraulic law
that water will rise to its own level in pipes, and the upper rooms
of their houses were supplied by
"
rising mains
"
in the same way
as modern buildings. Owing, however, to the fact that pipes had
then to be made of weak and costly lead or bronze (cheap and
strong cast-iron pipes not being in use), it was found to be more
economical by the use of slave labour to construct aqueducts of
stone, or concrete faced with brick, having almost level water
channels, above or below ground (Vitruvius recommends a fall of
6 inches to every 100 feet), on immense arches above ground, a
system which even in modern times has been followed in the Croton
Aqueduct which supplies New York City.
The principle of all the examples is similar. A smooth channel
(specus) lined with a hard cement, is carried on arches, often in
several tiers and sometimes of immense height (say 100 feet), con-
veying the water from the high ground, across valleys, to the city
reservoirs. Many of them follow a circuitous course in order
to prevent the slope of the channel being too steep when the
source of the water was high above the required level of distribu-
tion in Rome. In the time of Augustus Caesar there were nine
of these aqueducts supplying Rome with water.
The Aqua Marcia (B.C. 144) and the Aqua Claudia (A.D. 38)
still supply water to Rome. The " Anio Novus "
(A.D. 38),
sixty-two miles in length, entered the city on arches above those
of the Aqua Claudia.
The Pont-du-Gard, near Nimes, in France (B.C. ig)(Nos. 60
A, B and 61), is the finest existing example. It forms part of an
aqueduct twenty-five miles long, bringing water from the neigh-
bourhood of Uzes. It is about 900 feet long, and is formed of
three tiers of arches crossing a valley 180 feet above the River
Gard. On the two lower tiers the central arch is the widest, and
the others vary in width. On the uppermost tier there are thirty-
five arches having 14 feet span, supporting the water-channel.
The masonry is laid dry without mortar and, as will be seen on

l6o COMPARATIVE ARCHITECTURE.
No. 61, some of the arch voussoirs of the intermediate tier
projected to carry the temporary centering.
Other aqueducts exist at Tarragona and Segovia, Spalato and
elsewhere.
BRIDGES.
The chief characteristics of Roman bridges were solidity and
simplicity, with a view to their withstanding the ravages of
time and the elements. The roadway was generally kept level
throughout.
The Bridge at Rimini is the best preserved in Italy and has
five arches.
There are examples of two types of Roman bridges in Spain
which are equally impressive, (a.) The many-arched type, as
exemplified in the extreme length of the bridges at Cordova and
Alcantara, (b.)
The single-arched type, of which the romantic
sweepT of the bridge at Toledo, spanning the rocky valley of the
Tagus, is the best example.
PALACES.
Of the Roman palaces the ruins only remain, but there is
enough to show their enormous extent and imposing character.
The Palaces of the Roman Emperors. The principal
approach was from the Forum Romanum, by a road which
branched off from the Via Sacra, on the west side of the Arch of
Titus (No. 47).
Excavations on the Palatine Hill, commenced by Napoleon III.
in 1863, and afterwards continued by the Italian Government,
have revealed remains of a group of magnificent palaces. These,
commenced by Augustus (A.D. 3), and having additions by
Tiberius, Caligula, Nero and Domitian, were remodelled by
Septimius Severus, and the giant remains attributed to him will
probably impress the student of architecture most when visiting
the site.
The chief apartments in these palaces were : The Tablinum
or Throne-room ;
the Basilica, or hall for administering justice;
the Peristylium, a square garden surrounded by a colonnade;
the Triclinium, or banqueting hall ;
the Lararium, or apartment
for statues of the household gods ;
and the Nymphaeum. Besides
these there were many minor chambers of service, whose uses
cannot now be ascertained.
The disposition of the buildings was governed by axial lines
producing magnificent vistas. Irregular spaces, caused by
additions being made from time to time, were rendered sym-
metrical by the use of hemicycles and other devices, disguising the

ROMAN ARCHITECTURE. l6l
different angles of the buildings in relation to each other, a method
frequently used by modern architects.
The Palace of Diocletian, Spalato, in Dalmatia (No. 59)
(A.D. 300), is another famous example, which formed the greater
part of the mediaeval town of Spalato, and has thus been called a
city in a house. It may be described as a royal country house, or
better, perhaps, as a chateau by the sea.
The original plan of the palace was approximately a rectangle,
occupying an area of 9^ acres, being thus almost equal in extent
to the Escurial in Spain (page 537, No. 238). There was a square
tower at each angle, and in the centre of each of the north, east
and west sides was a gateway flanked by octagonal towers,
between which and those at the angles were subsidiary towers.
These gateways formed entrances to porticoed avenues 36 feet
wide, which, meeting in the centre, gave the palace the character
of a Roman camp. On each of the facades, between the towers,
were rich entrance gateways; the "golden" on the north, the
"iron
"
on the west, and the " brazen
"
on the east, ending these
main avenues, which divided the inclosed area into four parts, each
assigned to a particular purpose. The two northern portions were
probably for the guests and principal officers of the household ;
while the whole of the southern portion was devoted to the palace,
including two temples, that of Jupiter (see under circular temples,
pp. 130, 136) and ^Esculapius (page 125) and the baths. A circular
vestibule, with a front portico in antis, formed an entrance to a
suite of nine chambers overlooking the sea ;
here were placed
the private apartments and baths of the emperor, the finest being
the portico, 524 feet by 24 feet, on the southern sea front. This
served as a connecting gallery, and was probably filled with works
of art (cf.
Elizabethan gallery, page 555). The columns to the
upper portion were detached and rested on carved corbels, a
feature also seen in the golden gateway.
Lining the inclosing walls of the whole area, on three sides,
internally, were the cells that lodged the slaves and soldiers of
the imperial retinue. The octagonal temple, and the more lofty
halls of the palace proper, being visible above the inclosing walls
in distant views by land and sea, were impressive features of the
group.
The architectural character is somewhat debased in style, broken
and curved pediments with decadent detail being employed. The
palace has a value, however, as a transitional example, for the
entablature of the peristyle is formed as an arch, thus losing its
constructive significance, and in the northern gateway arches rest
directly on capitals without the intervention of an entablature,
being an early example of a principle carried to its logical con-
clusion in the Romanesque and Gothic styles.
F.A. M

THE DWELLINGS OF THE ROMANS.
These may be classified under (a.)
The domus, or private house ;
(&.) The villa, or country house ;
and (c.)
The insitla, or many-
storied tenement.
The dwellings of the Greeks have already been touched upon
(page 92), and there seems every reason to believe that Roman
dwellings were evolved from them. They each possessed an
atrium, forming the more public portion of the building, and a
peristyle beyond, forming the centre of the family apartments.
At Rome, the Atrium Vestae, or House/of the Vestal Virgins
(No. 47), and the House of Livia, are interesting examples.
The excavations at Pompeii and Herculaneum have thrown
considerable light on this important subject, and as Pompeii was
a Graeco-Roman city, the remains which have been excavated are
believed to differ but slightly from the later Greek 'dwellings.
These Pompeian houses owe their preservation to an eruption of
Vesuvius, which in A.D. 79 overwhelmed the city, burying it in
ashes to a depth of 10 feet.
The streets of Pompeii were narrow (many only 8, 12, or 15 feet),
the widest being 23 feet 6 inches, with a roadway 13 feet 6 inches
and paths 5 feet wide. The houses had plain fronts to the street,
the frontage_on_ either side of the entrance passage beingL-4^fc-oft
asjshl2pr~~The absence oF windows on the fronts is explained by
some as being due to a lack of glass, in which case openings
towards the street would have rendered privacy impossible.
The rooms wereji^hted by orjenings giving on to internal courts
already mentioned, as are Eastern houses to this day, and the inns
of France and England in former days.
The Pompeian houses are_ mostly one story in height, but
stairs and traces of upper floors exist. Such upper stones were
probably of wood, but as a decree was passed in the time of
Augustus limiting the height of houses in Rome to 75 feet, brick or
masonry buildings must have been largely erected. The openings
were small, the light being strong in the sunny climate of Italy.
The House of Pansa (No. 65, A, B) may be taken as
a good type of domus or ordinary private house. It was sur-
rounded by streets on three sides, the garden occupying the fourth,
and, besides the house proper, consisted of shops, bakeries, and
three smaller houses. A prothyrum, or entrance passage, led direct
from the street entrance to the atrium, which served as the public
waiting-room for retainers and clients, and from which the more
private portions of the house were shut off. The atrium was open
to the sky in the centre, with a " lean-to
"
or sloping roof sup-
ported by brackets round all four sides. The impluvium, or "water
cistern," for receiving the rain-water from these roofs, was sunk
in the centre of the pavement, while round were grouped the front
rooms, probably used by servants or guests, or as semi-public

rooms, e.g.) libraries, each receiving sufficient light through the
door openings.
An open saloon, or tablinum, with "
fauces," or narrow passages,
led to the peristyle, or inner court, often the garden of the house ;
and around were grouped the cubiculae or bedrooms, the triclinium,
or dining-room (summer and winter), with different aspects, the
oacus, or reception room, and the alae, or recesses, for conversation.
The dining-rooms were fitted with three couches each for three
people to recline upon, as nine was the recognized number for a
Roman feast. The peristyle was the centre of the private part of
the house, corresponding to the hall of Elizabethan times, and it
usually had a small shrine or altar (Nos. 68 G, 69 E).
The walls and floors were richly decorated with mosaics and
paintings.
The kitchen and pantry are in the side of the peristyle, furthest
from the entrance.
The Houses of the Faun, Vettius, Diomede, the Tragic
Poet, and Sallust, are other well-known examples of Pompeian
houses which have their floors, walls, and vaults decorated in a
characteristic style, to which the name "
Pompeian
"
is now applied,
and which were furnished with domestic implements such as
candelabra (Nos. 68, 69), and fountains. The floors of these houses
were of patterned mosaic, either in black and white (No. 69 K) or
of colored marbles. The walls were either painted to imitate
marble or executed in fresco, the darkest colors of the decorative
scheme being placed nearer the ground. Pictures were some-
times framed with architectural features consisting of slender
shafts, suggestive of a metallic origin, with entablatures in
perspective. The ceilings, which have to be imagined, had pro-
bably painted and gilded timbers, forming an important element
in the decorative scheme. The roofs were covered with tiles or
bright colored terra-cotta.
Lytton's great novel,
" The Last Days of Pompeii," will be
found of interest to the student as a description of the habits
and life of the Romans.
The Pompeian House at the Crystal Palace, designed by the
late Sir Digby Wyatt, is an exceedingly good reproduction of an
ordinary Pompeian house, the decorations being copies of original
paintings at Pompeii.
Hadrian's Villa, near Tivoli, resembled a palace in its extent,
occupying an area of about seven square miles. Besides the
imperial apartments it was surrounded by terraces, peristyles,
palaestra, theatres, a gymnasium, and thermae. Restorations have
been made by many authorities, as Piranesi, Canina, and others.
Examples of Roman villas exist in England (see page 280).
The insula, or tenement of many stories, seems to have resembled
the modern flat.
M 2

FOUNTAINS.
Fountains, both public and private, have always been one of the
most striking features of both ancient and modern Rome on
account of their graceful designs, rich material, and the soothing
effect in a hot and low-lying city of the clear water sparkling in
the sun.
The public fountains were exceedingly /numerous, amounting
to many hundreds, either as large basing of water (locus) or as
spouting jets (salientes), or the two combined and ornamented with
marble columns and statues.
Private fountains existed in great numbers, mainly in the courts
and gardens of the houses, and exhibit much variety. of design.
They were of colored marbles and porphyries, often decorated
with bronze statuettes. In some the water issued in jets from
fishes, shells, or other objects, sometimes supported by a figure of
a nymph. In others, wall niches lined with glass and mosaics
were provided with lions' heads, from which issued the water, as
have been found at Pompeii.
4. COMPARATIVE.
GREEK.
A. Plans. Designs have refine-
ment and beauty, proportion
being of the first importance,
and there is a dignity and
grandeur of effect irrespective of
the smallness of scale.
Unity was attained in the self-
contained temples, while variety
ofgrouping and some picturesque-
ness was attempted in the Pro-
pylaea and Erechtheion (Nos. 18,
26, 30).
Purity and severity of outline
caused by the simple method of
post and beam, did not lend
itself to such variety and bold-
ness of planning as resulted
from the arcuated Roman style.
No mixture of constructive prin-
ciples occurs in the buildings of
the Greeks, the limits of whose
style have not been yet success-
fully expanded.
ROMAN.
A. Plans. Designs convey an
impression of vastness and
magnificence, and are charac-
teristic of a powerful and ener-
getic race. The Romans were
pre-eminently great constructors,
and knew how to use the
materials at hand. This con-
structive skill was acquired by
the building, on a large scale,
of utilitarian works, such as the
aqueducts and bridges.
The arch, vault, and dome were the
keynotes to the whole system of
the style, and constituted a step
toward Gothic architecture. By
the use of the arch, wide open-
ings were rendered possible, and
by vaults and domes large areas
and complicated plans could be
roofed (Nos. 58 and 59), giving
boldness and variety and leading
to the system of intersecting

ROMAN ARCHITECTURE.
GREEK.
The use of the true arch is avoided.
An example of a vaulted building
is the Treasury of Atreus, at My-
cenae, where the beds of the stones
are horizontal throughout, each
bed overlapping the one below till
the crown is reached (page 54).
The Greek Temples were usually
orientated, i.e., faced the east.
B. Walls. Constructed of large
blocks of marble, without mortar,
allowing of refinement of treat-
ment, and perfection of finish in
construction. Where coarse stone
was used it was frequently
covered with stucco. Jointing
was not reckoned as a means of
effect. Stability was achieved
solely by the judicious observance
of the laws of gravity, the adher-
ence of the blocks not being
necessary, for the weights only
acted vertically, and needed but
vertical resistance. Even for
transmitting the pressure be-
tween the blocks only metal
cramps were used. The employ-
ment of marble directly shaped
the development of the style.
One-sixteenth of an inch was
rubbed off the buildings on
completion, this polishing being
performed by slaves.
The Anta (Nos. 21, 26, 27 L, 30,
and 44 PJ
was employed at ex-
tremities and angles of cella walls.
c.
Openings. Of minor import-
ance, the columnar treatment
giving the necessary light and
shade. Doorways are square-
headed, and often crowned with
a cornice supported by consoles,
as in the fine example of the
north doorway at the Erech-
theion, Athens' (No. 37 D H).
Windows, except on rare occasions,
as shown on plate No. 28, were
not used in Temples, illumination
being obtained from doorways or
hypaethral openings (Nos. 20 c,
23 A, B, and 27 B, D).
ROMAN.
vaults, by which the concentra-
tion of weights on piers was
effected. The use of recesses
rectangular and semicircular on
plan is a special Roman feature
(Nos. 50 B, 54 B).
The Roman Temples were placed
without regard to orientation.
B. Walls. Constructed of small,
mean, and coarse materials, such
as brick, rubble, and concrete,
with brick or marble facing, bond
courses for strength being intro-
duced. Such walls are thus often
coarse in character. By the ex-
tended use of concrete, it may be
said that the Romans inaugurated
the employment of large masses
of irregular materials, reduced
into fragments and bound together
by mortar. These materials were
not special to any country, but
consisted of fragments of stone,
brick or hard rock and quarry
debris, all of which sufficed for
the most important projects.
Great haste was necessary in the
execution to complete sufficiently
for use. and doubtless many
buildings were never perfectly
finished.
The pilaster was the Roman de-
velopment of the Greek Anta
(Nos. 38 F and 67 F).
c.
Openings. These were im-
portant features, being square-
headed or circular, principally
the latter (No. 62 A). The
semicircle divided vertically by
two mullion piers was a favourite
type of window. Arches some-
times had centering, supported
at the springing line, after-
wards filled up with brick-
work, thus producing the seg-
mental arch, common in the
third and fourth centuries A.D.
(No. 46 E), from the Basilica of
Constantine.

ROMAN ARCHITECTURE. I67
GREEK.
D. Roofs. Extreme care was
bestowed upon the elaborately
constructed, and highly-finished,
roofs of the temples. These
were of timber framing (Nos. 23
and 25), and were covered with
large slabs of marble with cover-
pieces which at the eaves were
finished with richly carved ante-
fixae (Nos. 16, 19 c and 20 H, j).
The acroteria or blocks of stone
resting on the vertex and lower
extremities of the pediment, and
supporting statuary or orna-
ments were characteristic features
(Nos. 16 A, 20).
The ceilings of the peristyles were
coffered in stone with square
or rectangular panels (No. 21),
having carved enrichments, the
richest examples being at the
Parthenon (No. 23) and the
Temple of Apollo Epicurius
(No. 27). Coffered ceilings in
framed timber probably roofed
over the large span of the cella.
E. Columns. The orders were
structural necessities wherever
used. The column and beam
are the keynotes of Greek archi-
tecture, the fluting being carried
out when the columns were in
position.
Orders never superimposed except
to interiors of Temples (Nos. 20,
23, 28 B and 31 D). The only
Greek use of pedestals appears
to be that of the Temple of
Diana at Ephesus (No. 31).
The Tuscan Order, which is merely
a simplified form of the Doric,
was not employed by the Greeks.
The Doric Order (No. 38 A) was
largely used by the Greeks, their
most important buildings being
ROMAN.
D. Roofs. The noble vaults and
domes described on page 117
constituted the important de-
velopment, and in many cases
were richly coffered, as at the
Pantheon (N os. 54, 55). Timber
framing also appears to have
been employed, and according
to Horace, splendid wooden
coffered ceilings were employed
in the houses of the rich. Roof
coverings were either of terra-
cotta, as amongst the Etruscans,
or of bronze in the more impor-
tant buildings, as for example
the Pantheon. According to
Vitruvius flat terrace roofs were
employed, which it is believed
were constructed of T-iron and
concrete, as in some of the larger
halls of the Thermae.
The ceilings internally were of
various geometric patterns, such
as octagons and squares in com-
bination, as at Baalbec.
E. Columns. The orders were
used in connection with the arch,
and gradually lost their structural
importance, being used in a
decorative manner, as in the
Colosseum at Rome, or in the
Triumphal Arches.
Orders often superimposed, as at
the Colosseum (No. 62 A). The
Romans introduced pedestals on
which they placed the column
to secure greater height.
A canon of proportions, reduced to
rules by Vitruvius, was gradually
evolved for all the orders.
The Tuscan Order has a plain
unfluted column and simple
entablature (No. 262 B). S.
Paul, Covent Garden, is a good
modern example by Inigo Jones.
The Doric Order (No. 38 B), was
little used by the Romans, not
being suited to their ideas of

ROMAN ORNAMENT.
THIS TEMPLE
ALSO KNOWN
CASTOR * POLLUX
THREETOLUflNS
NOW EX'U (D)C<DMS@LE (LOOKING OF)
LAMF5 '
^ .
5USPENPEP2S; 5
rifonTHESL^
POIMT5
68,

GREEK.
erected of this order. It was
used without a base, the capital
having a plain square abacus,
beneath which is the echinus
(No. 40 D), whose outline varies
in different examples. The pro-
portions of the columns proceed
from extreme sturdiness in the
early examples to great refine-
ment in the late ones, and the
shaft is usually fluted. The archi-
trave overhangs the face of the
column (Nos. 16 and 38 A), and
the triglyphs are over the central
axes of the columns, except at
the angles, where the end triglyph
appears at the extremity of the
frieze (No. 16 A).
The channels in the triglyph are
rounded off at the top.
The mutules, placed over tri-
glyph and metope are much
inclined.
The Ionic Order (No. 38 c) was
used with great refinement by
the Greeks. The distinctive
capital has the scrolls showing
on two sides only, although an
example of angle volutes is
found in a special case at Bassas
(Nos. 27 and 29).
The Corinthian Order (No. 38 E)
was little used by the Greeks,
and the examples remaining are
thought by some to indicate the
decline of Greek art, in that
sculpture, as such, gave way to
mere carving.
The order was practically not
introduced till the later age,
although the earliest known
example, viz., that in the cella
of the Temple of Apollo Epi-
carius at Bassas, dates from
B.C. 430. It appears to have
been principally used in small
buildings only, such as the
choragic Monument of Lysicrates
(No. 38 E), and the octagonal
Tower of the Winds at Athens,
or internally in buildings of
greater size. The Temple of
ROMAN.
splendour and magnificence. The
Temple of Hercules at Cora is
the only temple in the style,
but engaged columns occur in
the Theatre of Marcellus. The
Romans added a base, varied
the abacus and echinus, and
modified the cornice, adding a
dentil course. The columns were
less sturdy and the flutes were
sometimes omitted. The archi-
trave does not overhang the face
of the column, but is in a line
vertical with it (No. 38 B). In
this order as approved by Palladio
and others the triglyphs in the
frieze were over the central axes
of the columns, even at the angle.
The channels in the triglyph have
square angles at the top.
The mutules, usually placed over
the triglyph only, are but slightly
inclined.
The Ionic Order (No. 38 D)
differed from the Greek chiefly as
regards the typical capital, which
usually had angle volutes, thus
showing the face of the scrolls on
each side.
The entablature is of a richer
description.
The Corinthian Order (No. 38 F)
was the favourite of the Romans,
and was used in the largest
temples, as those of Castor and
Pollux (Nos. 67 A, 68) and Ves-
pasian at Rome. The capital is
rich, the acanthus leaves sur-
rounding the
"
bell
"
often being
naturalistic in character and
derived from the leaves known
as the
"
acanthus mollis," which
are blunt-ended and flat in section,
or from the olive leaf,' as in the
Temple of Castor and Pollux.
The entablature is very much en-
riched by ornamentation, probably
derived from the painted work
of the Greeks. The architrave
has numerous and enriched
mouldings, and the frieze is fre-
quently carved with the acanthus

ROMAN ORNAMENT.
FIGURE. IN SPANDREL
TO MAIN ARCH
in LI IB5 HOMEiCOLOOffi) FRESCO WALL- IN PERSPECTIVE #
MOW IN THE
EO NAZIONALE./
MAPLES.
: NOW IN
THE M05EO NAZ-
IONALE.HAPLE5,
DECORATED WITH PROWS OF CAPTURED
,
E.RECTED AFTER A NAVAL VICTORY
BLACK tVHITE MARBLE. Tt5S-
'
EM. 'ABOUT -MICH 5QUARL
UPON RED CEMEflT GROUND. ^
69.

GREEK.
Jupiter Olympius at Athens may
be considered a Roman building,
or rather as a Greek design mainly
carried out by Romans. (See
page go.) The Acanthus leaves
surrounding the "bell" were of
the prickly acanthus (acanthus
spinosus) type (No. 33 F, H),
having pointed leaves of V-
shaped section.
Shafts of columns were fluted.
The Composite Order was never
used by the Greeks, but a treat-
ment somewhat similar is seen
in the capitals of the Erechtheion
where the necking under the
Ionic scrolls are carved with the
Anthemion ornament (Nos. 29 E
and 41).
F.
Mouldings (Nos. 39 and
40). The Greeks relied for effect
on the graceful contour of their
mouldings, which approach conic
sections in profile, and which,
though often covered with deli-
cately carved enrichments, never
lose the idea of grace of outline
which the decoration seems but
to enhance. Executed in a fine-
grained marble, they were often
undercut so as to produce a
fretted effect.
Greek dentils are far apart, and
occupy the whole depth of the
moulding.
Greek consoles used only as vertical
brackets to doorways as in the
Erechtheion doorway (No. 37).
c;. Ornament (Nos. 41, 42. 43
and 44). The sculpture of the
Greeks has never been surpassed,
whether executed in isolated
groups or in works within the
boundaries of an architectural
framing, as at the Parthenon.
The ornamental sculpture used
in the tympana of the pediments,
the metopes and the friezes, and
the carefully prepared cement
used as a covering to stone or
ROMAN.
scroll or with figure ornaments.
The cornice is also considerably
enriched, modillions (consoles,
brackets or corbels) being intro-
duced and giving an apparent
support to the corona, and have
between them sunk and sculp-
tured coffers. The mouldings
under the corona are much
enriched with carving, as is even
the corona itself.
Shafts were fluted or plain.
The Composite Order was invented
by the Romans, being used prin-
cipally in the Triumphal Arches.
The upper portion of the Ionic
capital was combined with the
lower part of the Corinthian. In
other details the order follows the
Corinthian, but with additional
ornamentation.
F.
Mouldings (Nos. 39 and 40).
The Romans relied on the rich
carving cut upon their mouldings,
which are usually parts of circles
in profile. Ostentation replaces
refinement, and in the latest
examples, every member being
carved, a certain rich picturesque-
ness of surface is
produced in
cornices and dressings, although
the execution of the carving to
the mouldings themselves is often
of inferior workmanship.
Roman dentils are close together,
of less depth, and have a fillet
underneath.
Roman consoles used horizontally in
cornices (No. 68) and vertically in
keystones to arches (No. 67).
G. .Ornament (Nos. 67, 68 and
69). The Romans did not excel
either in sculpture or painting,
but Greek artists were employed,
and Greek examples were prized
and copied. In later times both
vaults and floors of importance
were executed in mosaic, but
many examples show great vul-
garity of sentiment. In the case
of marble, for wall facings and
floors, rich and good effects were

ASCHOF
5EPT1MIU5
SEVEHU5,
10ME.
I MEDIEVAL CATHEPIALSf
EOOILATEIAL . TIIANQLE3, 1
70.

GREEK.
brick, have already been referred
to in the analysis of Greek archi-
tecture (page 108). It is generally
admitted that the exteriors of the
Temples were treated with color,
which must have aided in the
general effect. Polygnotus and
other great artists were em-
ployed for decorative painting
upon the temples and other build-
ings, part of the Propylaea being
known as the Painted Loggia.
The early frescoes were probably
in the style of the vase painters
of that period, while the later, if
judged from the provincial imita-
tions of Pompeii, must have
been grand in style and decora-
tive in effect.
The Anlhcmion, or honeysuckle
(Nos. 39 J, 42 H, 43 F, 44 A, E, F,
N), was the characteristic motif
of much Greek surface ornament,
and was also employed on cyma-
recta mouldings.
ROMAN.
produced, as the Romans were
connoisseurs in marbles, which
they sought out and imported
from all countries. The ox-heads
connected with garlands, so fre-
quently carved on Roman friezes,
are supposed to have originated
from the actual skulls and gar-
lands hung for decoration on
altars at which the beasts them-
selves had been slain.
A finely worked marble cement
was frequently used as a covering
to walls and stone columns, and
formed a ground on which paint-
ings could be safely executed, as
at Pompeii. The arabesques
which adorned the walls of the
Baths of Titus (No. 69 A), in-
fluenced largely the fresco decora-
tion of the Renaissance period.
The Acanthus scroll with con-
tinuous stem and spirals adorned
with rosettes or grotesques, is
specially characteristic (No. 67 F).
5. REFERENCE BOOKS.
Adam (R.). "Ruins of the Palace of Diocletian at
Spalatro." 1764.
Anderson (W. J.) and Spiers (R. Phene).
" The Architecture of Greece
and Rome: A Sketch of its Historic Development." Large 8vo. 1902.
Blouet (G. A.).
"
Restauration des Thermes Caracalla a Rome."
Folio. Paris, 1828.
Cameron (C.).
"
Description of the Baths of the Romans." 1772.
Canina (L.).
"
Gli Edifizj di Roma Antica." 6 vols. 1848-56.
Caristie (A.)." Monuments antiques a Orange, arc de triomphe et
theatre." Folio. Paris, 1856.
Choisy (A.).
"
L'Art de Batir chez les Romains." Folio. Paris, 1873.
D'Amelio (P.).
"
Dipinti Murali Scelte di Pompei." Folio. Naples.
Dennis (G.).
"
The Cities and Cemeteries of Etruria." 2 vols. 1878.
Durm (J.). "Die Baukunst der Etrusker und Roemer "
(" Handbuch
der Architektur"). 4to. Darmstadt, 1885.
Dutert (F.).
"
Le Forum Remain et les Forums de Jules Caesar,
d'Auguste, de Vespasian, de Nerva, et de Traja." Folio. Paris, 1876.
Gell (Sir W.) and Gandy (J. P.)." Pompeiana." 3 vols., 8vo. 1819-32.
Gusman. "
La Villa Imperiale de Tibur." 4to. Paris.
Isabelle (C. E.).
"
Les Edifices Circulates." Folio. Paris, 1855.
Jackson (T. G.)
"
Dalmatia, the Quarnero, and Istria." 8vo. 1887.
Lanciani (R.).
"
Ancient Rome in the Light of Recent Discoveries."
8vo. Boston, 1888.

C0MECTOM OF^PPffiEMT PfiQWfcTKHB.
FROM m INSCRIPTION ON THE FACES OF THE HNT7E OF A
TEMPLE AT PPJENE.
METHOD OF DRAWING
ENTASIS OF COLUMN:
AB & CD SRE BOTTOM* TOP
DIAMETERS RESPECTIVELY.
DESCRIBE SEMICIRCLES ON
THESE.* AT C ERECT PER-
PENDICULAR CUTTING URGES
ONE IN X. DNK SEGMENT
M k HEIGHT OF COLUMN
WTO flNY NUMBER Of EQUAL
PARTS _5AY 3 -I, NUMBER
BOTH 1,2,3 FROM A. THRO'
THE POINTS 1.23 IN SEGMENT
ERECT PERPENDICULARS
CUTTING CORRESPONDING
WVISIONS OF THE HEIGHT.
THROUGH TrfE POiiTS TO
OBTAINED DRAW CURV:.
EFFECT OF COLOR ON
IN X THE METOPES * CELLA WALL BEING BLACK THE COLUMNS APPEAR
STURDIER k THE ARCHITRAVE, TRIGLYPH5& CORNICE HAVE IMPORTANCE.
IN Y WITH REVERSED COLORING THE COLUMNS APPEAR THINNER t
HIGHER AND THE ENTABLATURE LOSES IN IMPORTANCE.
THE PAimffiMW ATHENS
THl? FR<ST FOHMT VV<yiN(LINATION OF COLUMNS,
A llll|u JLd.o.OJ Jl A Jftvl^il Ji
FRIEZE
PARALLEL 5TRAIGHUINE5
HAVING CONVEX CURVES ON
EITHER SIDE APPEAR WIDER
APART IN THE CENTRE
(3)
E THE TEMPLE FRONT AS IT APPEARS IN EXECUTION WITH CURVED
HORIZONTAL LINES AND INCLINED VERTICAL FEATURES AS AT G.
F THE TEMPLE FRONT AS IT WOULD APPEAR IF BUILT AS AT E
WITHOUT OPTICAL CORRECTIONS.
G THE TEMPLE FRONT ARRANGED WITH THE inRTICAL AXES IN-
CLINING AND WITH CONVEX 3TYLOBATE, ARCHITRAVE, ENTAB-
LflUffi AND PEDIMENT, PRODUCING RESULT AS AT E.
PARALLEL STRAIGHT LINES
HAVING CONCAVE CURVES ON
EITHER SIDE APPEAR CLOSER
TOGETHER IN THE CENTRE.
A SIMILAR EFFECT PRODUCED
BY INCLINED LINES AS INDICAT-
ED IN H,J BY DOTTED LINES.

ROMAN ARCHITECTURE.
REFERENCE BOOKS Continued.
175
Mau (A.). "Pompeii : Its Life and Art," translated by F. W. Kelsey.
New York, 1899.
Middleton (J. H.). "The Remains of Ancient Rome." 8vo. 1892.
Nibby (A.)." Descrizone della Villa Adriana." Rome, 1827.
Niccolini (F.).
"
Arte Pompeiana : Monumenti Scelti." Small folio.
Naples, 1887.
Niccolini (F.).
"
Le Case e i Monumenti di Pompeii." Several vols.
large folio. Naples, 1854-189-.
Palladio (Andrea)." I
Quattro Libri dell' architettura di A. Palladio."
Venice, 1570, and other editions. The best English translations are
those by Leoni (1715) and Ware (1738). See also the author's monograph,
with Life and Work of Palladio, published in 1902.
Paulin (E.).
" Thermes de Diocletian." Folio. Paris, 1877.
Penrose (F. C). "Temple of Jupiter Olympius." Transactions
R.I.B.A., vol. 4, p. 8.
Piranesi (G. B. and F.).
"
Antichita Romane." Forming about 30
or 40 large folio volumes, each containing a magnificent series of engravings
of Buildings and Antiquities in Ancient Rome and its Environs. Circ.
1748-1791.
Pliny.
"
Historic Naturalis "
(A.D. 23-79).
Ponce (N.). "Description des Bains de Titus." Paris, 1786.
Tatham (C. H.). "Etchings of Grecian and Roman Architectural
Ornament." Folio. 1826.
Taylor (G. L.) and Cresy (E.).
"
The Architectural Antiquities of
Rome, measured and delineated." 2 vols., folio. 1821-1822.
Vignola (G. B. da).
"
Cinque Ordini d'Architettura." Various
English and French translations. 4to.
Vitruvius (Marcus)." The Architecture of." Translated from the Latin
by Joseph Gwilt. Imp. 8vo. 1826.
Vulliamy (H). "Examples of Ornamental Sculpture in Architecture."
Folio. 1818.
Wood (R.).
"
The Ruins of Palmyra and Baalbec." 2 vols. 1827.
Church (A. J.). "Roman Life in the Days of Cicero." (Historical
Novel.)
For Classic Orders, see :
Chambers (Sir W.) "The Decorative Part of Civil Architecture.
Folio and 4to.
Mitchell (C. F.)." Classic Architecture." Folio. 1901.
Mauch (J. M. von). "Die Architektonischen Ordnungen der
Griechen und Roemer." Folio. Berlin, 1875.
N ormand (C) .
"
Parallel of the Orders of Architecture.'' Folio. 1 829.
Spiers (R. P.). "The Orders of Architecture: Greek, Roman, and
Italian." Folio. 1901.
The student should visit the Crystal Palace for the Pompeian House
and models of the Roman Forum, the Colosseum, Pantheon and other
buildings. The British and the Victoria and Albert Museums should
be visited for actual fragments.

EARLY CHRISTIAN ARCHITECTURE.
" A fuller light illumined all,
A breeze through all the garden swept." TENNYSON.
i. INFLUENCES.
i. Geographical. The position of Rome as the centre of a
world-wide empire was an important factor (see page in),
" All
roads lead to Rome," and Christianity, to become universal,
had to grow up at the capital, however eastern its birthplace.
Ravenna, subdued by Justinian in A.D. 537, was the connecting
link of the early Christian and Byzantine styles (see page 193).
ii. Geological. The quarry of the ruins of Roman buildings
influenced the architectural treatment of the style, both in regard
to construction and decoration, as columns and other architectural
features and marbles from the older buildings were worked into
the design of the new basilican churches of the Christians.
iii. Climate. See Roman Architecture (page i~ ,).
iv. Religion. History presents no phenomenon so striking as
the rise of Christianity, which spread so rapidly that in a very
short period it was diffused throughout the whole civilized world.
In A.D. 313 Constantine issued his celebrated decree from Milan,
according to Christianity equal rights with all other religions,
and in A.D. 323 he himself professed Christianity, which then
became the established religion of the Roman Empire. The
Christians, who up to that period were an unpopular dissenting
sect, and had worshipped in the Catacombs, which formed their
burial-places, were now able to hold their services openly and
freely.
The Council of Nice, A.D. 325, called by Constantine, was the
first of several Councils of the Church for the settlement of
disputes about heresies.
A temporary reaction took place in A.D. 360-363, under Julian,
known as the "
Apostate."

EARLY CHRISTIAN ARCHITECTURE. 177
I
Gregory the Great (590-604), when besieged by the Lombards
at Rome, employed the imperial army of Constantinople and acted
as the defender of Rome, making common cause with the people
against the Lombards and others.
v. Social and Political. On changing the capital of the
empire from Rome to Byzantium in A.D. 324 Constantine prac-
tically reigned as an absolute monarch till his death in A.D. 337,
the old Roman political system coming to an end.
The division of the Roman Empire first took place in A.D. 364,
Valentian being Emperor of the West and his brother Valens of
the East.
Theodosius the Great, reigning between the years A.D. 379-395,
reunited the Eastern and Western portions of the Empire.
The series of emperors in the West came to an end in A.D. 476,
and the empire was nominally again reunited, Zeno reigning at
Constantinople over the Eastern and Western Empires.
Theodoric the Goth reigned in Italy, A.D. 493-526, a period of
peace and prosperity, in which Byzantine art influenced Early
Christian art by way of Ravenna, which, from 493-552, was the
capital of the Gothic dynasty.
Kings of separate states were then elected in Italy, Spain,
Gaul, and Northern Africa, Odoacer, the new king of Italy,
recognizing the supremacy of the one Roman Emperor at Con-
stantinople. The emancipation of the West from direct imperial
control made possible the development of Romano-German
civilization, which facilitated the growth of new states and
nationalities, gave a fresh impulse to the Christian Church and
laid the foundations of the power of the Bishops of Rome.
From the Roman or common speech several of the chief
languages of modern Europe commenced to arise, and in conse-
quence are called Romance languages.
vi. Histoncal. The Early Christian period is generally taken
as lasting from Constantine to Gregory the Great, or from
A.D. 300 to 604. The Teutonic invasions of Italy commenced
about A.D. 376, and Teutonic settlements took place within the
empire about this time, these movements being caused by the
incursions of the Huns into Germany.
The West Goths sacked Rome under Alaric in A.D. 410. The
defeat of Attila, king of the Huns, at the battle of Chalons,
A.D. 451, aided in consolidating Christianity in Europe.
During the reign of Gregory the Great (A.D. 590 to 604) the
Latin language and Early Christian architecture, the latest phase
of Roman art, ceased to exist, and for the next two centuries
architecture was practically at a standstill in Europe, when the
old Roman traditions were to a great extent thrown aside, and
Romanesque architecture was gradually evolved.
F.A. N

-One style was evolved from another so gradually that it is
impossible to say exactly where the one ended and the next began.
This gradual growth characterizes progress in other departments
as well as Architecture. Each age feels its way towards the
expression of its own ideals, modifying the art of the past to meet
fresh conditions.
Little money being at the command of the Early Christians, it
was necessary for them to adopt places ofworship which could be
readily constructed. Many of the Roman Temples, which were
now rendered useless for their original purpose, were utilized for
the new faith, and in addition new churches built on the model of
the old Roman basilicas, and formed of columns and other features
from Pagan buildings, were erected.
These are known as basilican churches, and were often situated
over the entrances to their former hiding-places or crypts, and
were constructed with columns of different orders and sizes which
were made to an uniform height by the addition of new pieces of
stone, or double bases, or in some cases by the omission of the
base mouldings (No. 77).
On this account, although extremely interesting from an archaeo-
logical point of view, the early buildings can hardly have the
value for study, in the architect's mind at least, which a new
manner in architecture, arising from new structural necessities, is
certain to possess.
The earlier basilican churches had their columns closely spaced,
and were crowned with the entablature which supported the
main wall, on which rested the wooden roof (No. 75 B), but
as the arch came more into general use these columns were
spaced further apart, being connected by semicircular arches
(Nos. 72, 73 A and 74).
The basilican church with three or five aisles, covered by a
wooden roof, is the special type of the style as opposed to the
vaulted types of the Byzantine style (Nos. 80, 81, 84 and 85),
in which a circular dome was placed over a square space by
means of the pendentive (No. 79).
The architectural character is impressive and dignified ;
due
to the increase in the apparent size of the basilicas by the long
perspective of the columns, and the comparative lowness of the
interiors in proportion to their length.
3. EXAMPLES.
BASILICAN CHURCHES.
The plans of the basilicas, or--^^m^JtijJ]s_oi_justice,
were
copied by the early Christians for their places of worship, and

1
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l8o COMPARATIVE ARCHITECTURE.
thus became stepping-stones from the Classic of pre-Christian
times to the Gothic architecture of the Middle Ages, which
may be said to commence with these Basilican churches.
Some authorities, however, believe the early Christian churches
to have been evolved from the Roman dwelling-house, where at
first the community were in the habit of assembling, or from
the class-room where philosophers taught.
How suitable the Roman basilica type (No. 58) was for
Christian worship is seen from the plan of S. Clemente,
Rome, A.D. 1084 (Nos. 72, 73 B), which, ^although
rebuilt in the
eleventh century, contains the original internal arrangement of
the churches of the fifth century.
An atrium or forecourt, being an open space surrounded by
arcades, formed an imposing approach in most of the Basilican
churches. The covered portion next the church 'called the
narthex was the place for penitents. In the centre of the atrium
was a fountain or well, the water from which was used for washing
before entering the church a custom which still survives in an
altered form amongst Catholics, who dip their fingers into a stoop,
or holy-water basin, at the entrances of their churches.
The nave, lighted by a clerestory of small windows, had an aisle
on either side, such aisles being usually half the width of the
nave. ([Occasionally two aisles occur on each side of the nave, as
in the Basilicas of S. Peter (No. 75 c), S.
PaulJ(No. 75 E) and
S. John Lateran.
Galleries for the use of women were sometimes placed over the
aisles, as at S. Agnese and S. Lorenzo ;
but where none existed
the sexes sat apart on opposite sides of the nave.
A transept, called the "
bema," or "presbytery," which existed
in a modified form in the pagan basilicas, was occasionally
introduced, converting the plan into a Latin cross, of which the
nave was the long arm. Some consider, however, that this
cruciform ground plan was derived from the buildings erected
for sepulchral purposes as early as the age of Constantine.
A choir became necessary, owing to the increase of .ritual,
and was inclosed by low screen walls, or
'
" cancelli
"
(from
which the word chancel is derived), and provided with an
" ambo "
or pulpit on either side, from which the gospel and
Epistle were read (No. 72).
The bishop took the place formerly occupied by the "
pratprf
1
*!
"
qnestor" (page 136), until in subsequent ages the seat was moved
to the side, becoming the bishop's throne.
The presbyters, or members of the council of the early Church,
occupied seats on either side of the bishop formerly occupied by
the assessors. The apse became the sanctuary which remained
circular-ended in Northern Europe.
The altar in front of the apse, formerly used by the Romans

It/
EARLY CHRISTIAN EXAMPLES. I.
73'

for the pouring out of libations, or sacrifices to their gods, was
now used for the celebration of Christian rites, and a baldachino,
or canopy, supported on marble columns, was erected over it.
In later times the altar was frequently placed against the east wall
of the apse (No. 72).
The interiors of these buildings owe their rich effect to the use
of glass mosaic (" opus Grecanicum," )
which was placed fre-
quently in a broad band (No. 74) above the nave arcading and to
the semi-dome of the apse (No. 78 G, K), which is frequently richly
treated with a central figure of Christ seared in glory and set in
relief against a golden background.
" Below was all mosaic choicely planned,
With cycles of the human tale."
The ceilifigs of timber were also formed in compartments and
were richly gilded (Nos. 74 and 76).
The pavements were formed out of the abundant store of old
columns and other marbles existing in Rome, slices of columns
being used as centres surrounded by bands of geometric inlay
twisted with intricate designs (No. 78 B, L).
The old Basilican Church of S. Peter (A.D. 330) was
erected near the site of the martyrdom of S. Peter in the circus
of Nero. It had a "transept," or "
bema," 55 feet wide, and
113 feet high (No. 75 A, B, c). Five arches, the centre called
the arch of triumph, gave access from the body of the church,
and at the sanctuary end was a semicircular apse on a raised
floor, against the centre of the wall of which was the Pope's seat.
The priest stood behind the altar, and thus faced east, as the
chancel was at the west end of the church.
S. John Lateran (A.D. 330) has been altered so much in
modern times as to have lost its early character.
There were in all thirty-one Basilican churches in Rome,
mostly made up of fragments of earlier pagan buildings. The
interiors of these basilicas are impressive and severe, the repetition
of the long rows of columns being grand in the extreme, as in the
interior view of S. Paolo fuori le mura (Nos. 74, 75 E), built
A.D. 380 by Theodosius but re-erected in A.D. r82i,and S. Maria
Maggiore (Nos. 75 D and 76).
There are also important examples at Ravenna, a city well
situated for receiving the influence of Constantinople, and at one
time the seat of an Exarch of the Empire. S. Apollinare
Nuovo, A.D. 493-525, built by Theodoric the Goth, and
S. Apollinare in Classe, A.D. 538-549, are important three-
aisled Basilican churches carried out by Byzantine artists on
Roman models, and they are interesting for the impost blocks to
the capitals supporting the pier arches, and the fine mosaics.
At Torcello, near Venice, the foundations of the original

bishop's throne, surrounded by six rows of seats in the apse, still
exist, giving a good idea of the Early Christian arrangements.
BAPTISTERIES
are another description of building met with in Early Christian
architecture. They were originally used only for the sacrament
of baptism ;
hence the name "
Baptistery." The form was
derived from the Roman circular temples and tombs, already
described (page 136). There was generally one baptistery in
each city, as at Ravenna and Florence, and it was as a rule a
detached building, usually adjoining the atrium or fore-court.
Indeed, until the end of the sixth century of our era the baptistery
appears to have been a distinct building ;
but after this period
the font came to be placed in the vestibule of the church.
In adopting the Roman tombs as models for these buildings,
the early Christians modified them to some extent, for the internal
columns which in Roman examples were generally used in
a decorative way were now used to support the walls carrying the
domes. To cover a large area with one roof was difficult, but by
the addition of an aisle in one story round a moderate-sized
circular tomb, the inner walls could be replaced by columns in
the lower half, resulting in such a building as these early
baptisteries (No. 75 H, j).
The Baptistery of Constantine, Rome (No. 75 j, K, L) is
octagonal, and the roof is supported by a screen of eight columns
two stories in height.
The Baptistery, Nocera, between Naples and Salerno, is
circular, being 80 feet in diameter, with two rings of columns.
This building is domed and covered with a wooden roof, and
appears to be the first instance of the use of both, as the Roman
architects always allowed the stone vault to show externally, as
in the Pantheon. In the case of this building, however, the vault
is
merely an internal ceiling which is covered with an external
wooden roof, and is similar to the practice of Gothic architects,
who, in the mediaeval period, covered the stone vaults of their
churches with timber roofs (No 109).
S. Stefano Rotondo, Rome (A.D. 470), though not a
baptistery, is a good example of a circular plan of similar type
(Nos. 75 F, G, H, and 77), being 210 feet in diameter, and with roof
supported on two circular rings of columns, all taken from
older buildings, the outer range supporting arches, and the inner
a horizontal architrave. The two central columns are an addition
to support the roof timbers.
The Baptistery, Ravenna, founded at the end of the fourth
century, is an octagonal structure with two arcades in the interior
one above the other. The dome, constructed of hollow tiles, has

EARLY CHRISTIAN EXAMPLES.
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fine mosaics representing the Baptism of Christ, and altars with
the open books of the Apostles. It resembles the Temple at
Spalato (p. 130), but with arcades instead of horizontal architraves.
TOMBS.
S. Constanza, Rome (A.D. 330) was erected by Constantine
as a tomb for his daughter, but was converted into a church in
1256. It has a dome, 35 feet in diameter, supported on twelve
pairs of coupled granite columns.
The Tomb of Galla Placidia, Ravenna (A.D. 420) (No. 73 H,
j, K), is exceptional, as it is cruciform in plan, instead of the
usual circular form. It is 35 feet by 30 feet internally, and has
a raised lantern at the crossing, pierced with four windows. It
is domed by a portion of a sphere, and is one of the few examples
in which the pendentives and dome are portions of one hemi-sphere
(No. 79 H). Each of the arms of the cross contains a sarcophagus,
and the interior is remarkable, as it retains all its ancient poly-
chromatic decoration in mosaics.
The Tomb of Theodoric, Ravenna (A.D. 530) (No. 73 c,
D, E, F, G) is two stories in height, the lower story being a decagon,
45 feet in diameter externally, and containing a cruciform crypt.
Traces remain of an external arcade round the upper portion,
standing on the decagonal basement. The roof consists of one
slab of stone, hollowed out in the form of a flat dome, 35 feet in
diameter, and round the edge of this block are stone handles, origin-
ally used to place this immense covering in position. The ashes
of the founder were placed in an urn on the top of the covering.
Syria has a number of interesting monuments erected between
the third and eighth centuries, notably those by Constantine the
Church of the Nativity, Bethlehem, the Church of the Ascension,
Jerusalem, and the octagonal Church of the Holy Sepulchre on
the site of the Temple of Solomon, also at Jerusalem.
The Syrian type appears soon to have broken away from
Roman influence, due largely to the abundance of hard stone, the
absence of brick, and the distance from Rome. Piers were used
instead of columns, and roofs formed of stone slabs were usual.
A favourite plan was a circle placed in a square, the angles being
filled with niches, as in the Churches at Bozrah and Ezra. Such
are considered to be prototypes of later Byzantine churches of the
type of S. Sergius, Constantinople (No. 79 E, F, G), and S. Vitale,
Ravenna (No. 83 c, D). Salonica possesses important examples,
notably the domical Church of S. George. In Asia Minor, as at
Ancyra, Pergamus, and Hierapolis, and in Egypt and Algiers are
many examples of basilican and circular buildings of the Early
Christian period.

4. COMPARATIVE.
A. Plan. The early Christians adopted the Basilican model for
their churches (Nos. 73 and 75), but in addition the halls, baths,
dwelling-houses, and even the pagan temples were used for places
of worship.
An isolated circular church, used as a baptistery,
1
was generally
attached to the chief Basilica or cathedral.
B. Walls. These were still constructed according to the
Roman methods, rubble or concrete walling being used, faced
with plaster, brick, or stone. Mosaic was used internally, and
sometimes externally on the west facades for decorative purposes.
c. Openings. Doors, windows, and niches were generally
spanned by a semicircular arch, the use of the lintel being dis-
pensed with. The window openings were small (No. 78 D, F) ;
those to the nave being in the clerestory high in the nave wall
above the aisle roof, a feature which was developed in Gothic
architecture (Nos. 73 A, 75 B, G).
D. Roofs. Wooden roofs (No. 75 B), covered the central
nave, simple forms of construction such as King and Queen post
trusses being employed.. These roofs were ceiled in some orna-
mental manner (No. 74), the decoration of a visible framework
being of a later date, as at S. Miniato, Florence (No. 93). The
side aisles in the churches were occasionally vaulted, and the apse
was usually domed and lined with mosaic (Nos. 72 and 78 G, K).
E. Columns (Nos. 72, 77 and 78). They are often of different
design and size, being mostly from earlier Roman buildings which
had fallen into ruins &kt
were purposely destroyed. It was natural
that the early Christian builders, not being good craftsmen them-
selves, should use in their buildings the materials and ornaments
which had been left by the pagan Roman. A rich and grandiose
effect wT
as often obtained at the expense of fitness in the details
of the design. Middleton states that all the fine marble columns
1
In later Romanesque and Gothic periods, these early baptisteries, themselves
founded on the Roman circular temples and tombs, were treated as follows in the
different European countries :
In Italy, where the churches were not derived from a combination of a circular
eastern church with a western rectangular nave, as in France, but were direct
copies of the Roman basilica, the baptistery always stands alone.
In France, circular churches were built to stand alone, and when it was
necessary to enlarge them, the circular building was retained as the sanctuary or
choir, and a straight lined nave was added for the use of the people. Thus from
the circular church originated the apsidal choir of the Gothic period.
In Germany, the earlier baptistery was joined to the square church and formed
a western apse. The Germans also built circular churches, and then added choirs
for the priests, that they might pray apart from the people (No. 83 E).
In England, the Gothic builders generally preferred a square east end, except
where French influence made itself felt, as at Westminster. Circular churches
were erected, as the Temple Church, London, but they were few in number, and
due to the Knights Templars (page 219), being built as copies of the Rotonda of
the Holy Sepulchre at Jerusalem.

EARLY CHRISTIAN ORNAMENT.
51
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EARLY CHRISTIAN ARCHITECTURE. igi
in the churches of Rome have been taken from ancient Roman
buildings, except those in S. Paolo fuori le mura.
F. Mouldings. These are coarse variations of Roman types,
and the carving is of the rudest kind, though rich in general effect.
The technique of the craftsman gradually declined, and was at a
low ebb during this period.
Enrichments incised upon mouldings were in low relief, and
the acanthus ornamentation, although still copied from the
antique, became more conventional in form.
G. Ornament. The introduction of much color is a feature
of the period, giving much richness to the interiors.
The domed apse (No. 72), as has been mentioned, was lined with
mosaic, the subject generally being Christ surrounded by angels
and saints.
The arch of triumph, separating the nave from the bema, was
ornamented with appropriate subjects ;
long friezes of figures line
the wall above the nave arcades (Nos. 72, 74 and 76), and the
wall spaces between the clerestory windows often had mosaics
representing subjects taken from Christian history or doctrine.
The figures are treated in strong colors on a gold back-
ground. The design is bold and simple, both in form and
draperies, . and an earnest and solemn expression, fitting well the
position they occupy, characterizes the groups. The method of
execution is coarse and large, and no attempt was made at neatness
of joint or regularity of bedding. The interiors are, by the aid
of these mosaics, rendered exceedingly impressive.
In addition to the richness of the wall surfaces formed of
colored mosaics the pavements of colored marbles in geometric
patterns added much to the rich effect of the interiors. These
pavements were formed largely of slices from the old Roman
porphyry columns, which were worked into designs by connecting
bands of geometrical inlay on a field of white marble (Nos. 72, 78).
The glass mosaic used to decorate the ambones, screens, and
episcopal chairs, as in the fittings of the church of S. Clemente
at Rome (No. 78), was of a finer and more delicate description.
5. REFERENCE BOOKS.
Brown (Prof. Baldwin). "From Schola to Cathedral." 8vo. 1886.
Bunsen (C. C. J.).
"
Die Basiliken des Christlichen Roms." Folio.
Munich, 1843.
Butler (A. J.).
"
The Ancient Coptic Churches of Egypt." 8vo. 1884.
Butler (H. C.) American Archaeological Expedition to Syria, 1899
1900. Folio. New York, 1904.
Hubsch (H.).
" Monuments de 1'Architecture Chretienne depuis
Constantin jusqu'a Charlemagne." Folio. Paris, 1866.
Vogue (Marquis de).
" Les Eglises de la Terre-Sainte." Paris, 1860.
Vogue." Syrie Centrale." 2 vols. Paris, 1865-67.
Kingsley (Charles).
"
Hypatia." )
Historical NovelsII /X1T /~* LL C* T 1 55 1J 13 LUI ICdl l>(L/Vt.lO
Perry (W. C.).
"
Sancta Paula." )

BYZANTINE ARCHITECTURE.
"So fair a church as this had Venice none:
The walls were of discoloured Jasper stone
Wherein was Christos carved ; and overhead
A lively vine of green sea agate spread." CHAUCER.
i. INFLUENCES.
i. Geographical. Byzantium (renamed Constantinople by
Constantine), occupies the finest site in Europe, standing on two
promontories at the junction of the Bosphorus and the Sea of
Marmora. It was called " New Rome" by the Turks of Asia,
and, like the other Rome in Italy, it rests on seven hills. It
occupies an important commercial site, standing at the inter-
section of the two great highways of commerce the water high-
road from the Black Sea into the Mediterranean, and the land
high-road from Asia into Europe ;
a position which, from early
times, gave it power and influence, especially over the corn trade
carried on with the western merchants on the northern shores of
the Euxine. The absence of tides and the depth of its harbour,
an inlet known as the " Golden Horn," four miles in length,
rendered its quays accessible to vessels of large burden.
ii. Geological. Constantinople possessed no good building
stone or even material for making good bricks, but, as far
as possible the materials upon the spot had to be employed.
Most of the marble used in the new capital was brought from
different quarries round the Eastern Mediterranean, for Con-
stantinople was a marble working centre from which sculptured
marbles were exported to all parts of the Roman world.
Mr. Brindley, a .writer on the subject, is of opinion that quite
seventy-five per cent, of the colored marble used in Santa Sophia,
and the other churches and mosques in Constantinople, is Thessa-
lian green (Verde Antico), and that the architect was influenced
by the kind of column likely to be at once obtainable. The
quarries were situated in different parts of the empire, the mono-
lith columns being worked by convicts in groups of sizes such as
the quarry could produce.

BYZANTINE ARCHITECTURE. 193
iii. Climate. Owing to Constantinople being hotter than
Rome, and to its being further east, the Romans on settling
there altered their method of building to suit the novel conditions
due to climate and their contact with Oriental arts.
iv. Religion. Constantine first made Christianity the state
religion (page 176). The political division that came to pass
between east and west was followed by a separation of churches
also. This was due to the "
Filioque controversy
"
as to whether
the Spirit proceeded from the Father and Son or from the Father
only ;
the Eastern church which still claims to be the orthodox
church, maintaining the latter, and the western the former. The
iconoclastic movement during the eighth and ninth centuries was
in force and ended in the admission of painted figures in the
decoration of churches, but all sculptured statues were excluded.
These and other points of difference in ritual have vitally affected
eastern church architecture up to the present day.
v. Social and Political. Constantine, whose system of
government was an expansion of the despotic methods introduced
by Diocletian, removed the capital from Rome to Byzantium in
A.D. 324, the position of the latter city being unrivalled as a great
commercial centre on the trading highway between east and west.
After his death rival emperors troubled the state, and disputes in
the church were rife the Council of Nice in A.D. 325 being the
first of the general councils called to suppress heresies. The
eastern emperors lost all power in Italy by endeavouring to force
upon the west their policy of preventing the worship and use of
images. By the election of Charlemagne, chosen Emperor of the
West in A.D. 800, the Roman empire was finally divided.
vi. Historical. Byzantium is said to have been founded in
the seventh century B.C., and was a Greek colony as early as the
fourth century B.C. fSyzantine architecture is that which was
developed at Byzantium on the removal of the capital from Rome
to that city. It includes not only the buildings in Byzantium but
also those which were erected under its influence, as at Ravenna
and Venice, also in Greece, Russia, and elsewhere. During the
reign of Justinian (A.D. 527-565) Italy was recovered to the Eastern
Empire, accounting for the style of some of the buildings.
Ravenna became important owing to the Emperor Honorius
transferring his residence there from Rome in A.D. 402, and it was
created an archiepiscopal see in A.D. 438. After the fall of the
Western Empire the town was taken by Odoacer, and in A.D. 493
Theodoric the Great took the city, which, remaining the residence
of the Gothic kings till 539, rivalled Rome in importance. From
A.D. 539-752 it was the seat of the Exarch of the Eastern Roman
or Byzantine Emperors. The Byzantine style was carried on
until Constantinople fell into the hands of the Turks in A.D. 1453,
when it became the capital of the Ottoman Empire.
F.A. o

The general architectural character depends on the development
of the dome, induced by the adoption of circular and polygonal
plans for churches, tombs and baptisteries. This is in contrast
with the Romanesque style, which developed the vault in Western
and Northern Europe (page 224).
The change from the old Roman forms was of course gradual,
but in the course of 200 years the East asserted itself, and under
Justinian, the Church of S. Sophia (A. 0/532-537) was erected,
and remains the greatest achievement in the style the interior
being perhaps the most satisfactory of all domed examples.
Although no line can be stated as separating distinctively the
Early Christian and Byzantine styles, yet as already stated the
Basilican type is characteristic of the former and the vaulted
church with pendentives of the latter.
A Byzantine building consists generally of a brick carcass or
"
shell," constructed after the size of the marble shafts had been
assured. The walls of this shell were finally sheeted internally
with marble, and the vaults with colored mosaics on a golden
back-ground. In fact no church was founded during this period
in which mosaic was not intended to be employed, and the decora-
tion of S. Sophia and the churches of Nicaea and Thessalonica
show the perfection to which this was carried out. The core of
the wall was generally of concrete, as in the Roman period, but
the manner in which the bricks of the casing were arranged
contributed greatly to the decoration of the exterior. They
were not always laid horizontally, but sometimes obliquely,
sometimes in the form of the meander fret, sometimes in the
chevron or herring-bone pattern, and in many other forms of
similar design, giving great richness and variety to the facades,
as may be seen in the churches of Thessalonica. Externally an
attempt was made to render the rough brick exteriors of Roman
times more pleasing, by the use of bands and relieving arches of
an ornamental character.
Byzantine art and influences were carried westward by traders,
and are found at S. Mark, Venice, S. Vitale, Ravenna, S. Front,
Perigueux, and elsewhere, largely directing the architecture of
these districts.
The dome, already referred to, is the prevailing motif or idea of
Byzantine architecture, and had been a traditional feature in the
old architecture of the East, and M. Choisy, in his "Art de Batir
chez les Byzantins," traces the influence of this tradition of
domical construction on Greek architecture to show how from
this fusion the later imperial architecture became possible.
Domes were now placed over square apartments, their bases
being brought to a circle by means of "
pendentives" (Nos. 79,

80, 82, 836, 84, 86, me); whereas in Roman architecture
these features were as a rule placed over a circular apartment.
Windows were now formed in the lower portion of the dome,
which in the later period was hoisted upon a high circular drum,'
a feature which was still further embellished in the Renaissance
Period by the employment of a circular peristyle or colonnade.
In vaulting, porous stones, especially pumice, were used ; some-
times the domes were constructed of pottery, as at S. Vitale,
Ravenna (No. 83 D), where it is formed with urns and amphorae
placed side by side and grouted with mortar. The architecture of
the Byzantines was thus developed by the use of brick in the
fullest manner, especially in domical vaulting, and there is an
absence of preparatory and auxiliary work, M. Choisy remarking
that, the "greater number of their vaults rose into space without
any kind of support
"
(i.e., without centering), by the use of large
flat bricks, which is quite a distinct system, not derived from a
Roman but from an Asiatic source. Byzantine art is the Greek
spirit working on Asiatic lines, for the dome on pendentives
was invented and perfected entirely in the East. In the Byzan-
tine system of vaulting the vault surfaces gave the conditions
of the problem, and the groins or angles of intersections were of
secondary importance, presenting a direct contrast to the mediaeval
buildings of Europe.
The grouping of the smaller domes round the larger central
one was very effective externally (No. 79), and one of the most
remarkable peculiarities of Byzantine churches was that the tunnel
vault and the dome had no additional outer covering, but were,
visible externally (No. 80 A) ;
thus in no style does the elevation
so closely correspond with the section as in the Byzantine.
From, the time when the architect permitted the forms of the
vaults and arches to appear as architectural features in the
facades, the regular entablatures of the Romans were abandoned,
arid in the church of S. Sophia is seen the fully-developed Byzan-
tine style : for whereas in the older buildings of Rome, the
columns and entablatures could be and were removed with-
out causing the ruin of the building, in.S. Sophia the true Greek
expression of truth in construction was reverted to, its columns
and capitals being not merely ornamental, but really supporting
the galleries. The Classic orders were dispensed with, and the
semicircular arches made to rest directly on coiumns designed
for the purpose. The capitals, of which there are seven distinct
types, four being in S. Sophia, assume a novel form (Nos. 88
and 89), appropriate to their new purpose of receiving the
springers of arches, the voussoirs of which were always square,
and not set in receding planes, as in so-called Gothic architecture.
As Freeman says: "The problem was to bring the arch and
column into union -in other words, to teach the column to
o 2

BYZANTINE EXAMPLES. I.
M m "
b
iMHHODMHTOWEO BY CHOKY OF COM-
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OF RODS IfREE TO WYEIH ^LL DIRECTIONS flWD
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JMMTS1D1HEWnES1HU$ DWINBHINC1HRU5T
POTION
EXTERIOR VIEW
>ib^
79-

support the arch." This was done by shaping the block of
marble which formed the capital so that a simple transition from
the square block to the circular shaft of the column was formed.
Further, as Messrs. Swainson and Lethaby say, the numerous
round shafts of S. Sophia exhibit a remarkable and beautiful
structural expedient, by which the necking is entirely suppressed,
and bronze annulets surround the shafts under the capital and
above the base. These prevent the shafts from splitting a likely
result, since the monolithic shafts had to be set up contrary to
the direction of the quarry bed and also the lead seating from
being forced out by the superincumbent weight.
The science of construction acquired by the Romans descended
to the Byzantines, for the walls were formed with a brick facing
and concrete core a method also employed for vaults, bridges,
and aqueducts. The building procedure was developed some-
what as follows : the general form of the building being
more or less decided, .he first thing necessary was to collect
monolithic marble shafts, and it
" was necessary to have a certain
knowledge where such might be quarried or otherwise obtained,
before even the foundations were prepared, for the columns
decided the height and points of support of the building.' These
shafts once assured, the body of the structure was proceeded
with as a brickwork shell without further dependence on the
masons, who were only required to prepare the bases, capitals,
and cornices, everything else being completed as a brick
'
carcass.'
"
The building was thus made of vast masses of thin
bricks, with mortar joints of equal thickness", and when this
had settled down and dried, the walls were sheeted with their
marble covering, the vaults overlaid with mosaic, and the pave-
ment laid down. In this way the carcass was completed at once,
the bricklayers not having to wait for the masons ; and, further,
by reserving the application of the marble until the structure was
dry and solid, it was possible to bring together unyielding marble
and brickwork with large mortar joints that must have settled
down very considerably. This independence of the different parts
of the structure was a leading idea in Byzantine construction, and
is obviously necessary when the quantity of mortar is so great
that the bricks become secondary in height to the joints.
Brick, moreover, was the material preferred in the construction
of walls, and lent itself to all the caprices of the architect ;
for as
interiors were always lined with marble and mosaics, or decorated
with frescoes, such walls were the most suitable for the recep-
tion of these kinds of ornamentation. Bricks being so much used,
it is not surprising that the Byzantines took great pains in their
manufacture when it is remembered that they employed them
in their military as well as in their ecclesiastical and domestic
architecture. The form of these varied a great deal, but the

ordinary shape was like the Roman, an inch and a half in depth,
and they were always laid upon a thick bed of mortar, as
already mentioned. Moulds were used for the pieces forming
cornices, and the shafts of columns when of this material were
built of circular bricks. The universal use of brickwork made the
Byzantines pay great attention to their mortar, composed of lime,
sand, and crushed pottery, tiles or bricks, and it remains as hard
as that in the best buildings of Rome.
The interiors were beautified by richly colored marble pavements
in opus sectile or opus Alexandrinum (page 1199.
The use of natural stones in mosaics and inlaid pavements had
been abolished, and the art of enamelling had arrived at perfec-
tion, all the mosaics which still adorn the domes and apses being
of colored glass enamel rendered opaque by oxide of tin, an
invention which was introduced in the Early Christian -period.
The extensive use of rich marbles and mosaics caused a flat
treatment, with an absence of mouldings, cornices and modillions,
which were subordinate to the decorative treatment.
The simple exteriors of brickwork, with bandings of stone,
did not leave the same scope for mouldings as in other styles.
Flat splays enriched by incised or low relief ornamentation were
introduced, and mosaic and marbles were used, in a broad way,
as a complete lining to a rough carcass, architectural lines being
replaced by decorative bands in the mosaic, which was worked
on rounded angles. One surface melts into another as the
mosaic is continued from arch and pendentive upwards to the
dome, and the gold of the background being carried into the
figures, unity of surface was always maintained. Although
columns of the richest marbles were taken from old buildings,
the importation and sale of newly quarried columns and other
decorative materials, such as rare marbles, did not in the least
decrease. The Theodosian code in fact encouraged this branch
of trade and industry, and the mode of ornamentation by means
of colored marbles was carried to a greater extent than ever
before. The quarries opened by the Romans continued to be
used, and the workmen employed in them were governed by
imperial decrees issued specially for their guidance.
3. EXAMPLES.
Byzantine examples consist mainly of churches and baptisteries.
In the former, although a certain number follow the Basilican
type, the majority are founded on the circular and polygonal
plans of the Roman and Early Christian periods.
SS. Sergius and Bacchus, Constantinople (A.D. 527),
erected by Justinian, is nearly square in plan, being a rectangle of

BYZANTINE EXAMPLES. II.
(ELE/ATION
jftt* ^Hfifflb
Han*! &$& A IIM
STONE LMD
(jr JUSTINIAN An SSL . THE.
CENTRAL DO"VE m07F-T
IM
IS SUPPORTED
ABUTTING 8
WCOF40
WINDOWS
LONG & 25 F? WIDE. E*ST
& WEST ABE "D&M- DO/ALS
ARE IN 2 STORIES. S.SOPHIA
& IS COVERED WITH $AR-
CENIC DECORATIONS. THE.
EXTERIOR 15 IN I3RICK.
ANTHEMIU5?TRALLES&
ISIDORUS^MILETUSrARCH
1
?
THE DOME IS CONSTRUCTED 9 WELL BURNT BRICKS 2 THICK
WITH MORTAR JOINTS NEARLY SAME THICKNESS IN LOWER PART
? DOME. THE BRICKS ARE ABOUT 2/"SQ : AT THE CROWN THEY
ARE 2 ? 50. THE JOINTS DO NOT RADIATE TO CENTRE , BUT
HAVE A FLATTER INCLINATION WHICH DIMINISHES THRUST. DIAGRAM SHEWING CIRCLE DEVELOPED
FROM SQUARE BY MEANS ? PENDENTIVES

109 feet by 92 feet over all, and has an interior arrangement very
similar to S. Vitale (No. 83), but it has four niches only, and is
inclosed in a square instead of an octagon (No. 79, E, F, G). The
dome, 52 feet in diameter and 66 feet high, is visible externally,
having no wooden roof, and is of a peculiar melon-like form caused
by the formation of ridges and furrows from base to summit.
This church, picturesquely situated on the shores of the
Bosphorus, is in a ruinous condition, but was being partially
restored by the Sultan at the time of the authors' visit in
January, 1896. The beautiful frescoes ,and mosaics are, how-
ever, irreparably damaged in consequence of the penetration of
rain through the roof.
S. Sophia, Constantinople (Hagia Sophia = " Divine Wis-
dom") (Nos. 79, 80, 81), was built by order of Justinian, in A.D.
532-537, on the site of two successive churches of the s"ame name,
i.e. :
(a.) The wooden-roofed basilica, erected by Constantine,
A.D. 360. (b.) The church erected by Theodosius, A.D. 415. The
architects were Anthemius of Tralles and Isodorus of Miletus.
The Plan consists of a central space 107 feet square, bounded
by four massive piers, 25 feet square, connected above by semi-
circular arches, and supporting a dome 107 feet in diameter (cf.
S. Paul, London). East and west are great semicircular spaces,
crowned with semi-domes, and out of these are formed smaller
exedrae, in their turn covered with semi-domes. The area thus
formed is a great oval-ended nave 265 feet by 107 feet.
Outside this central area are aisles over 50 feet wide, in two
stories, north and south, the upper story being for women.
These aisles bring the main building approximately to a square,
which, excluding the apse and narthex, measures 250 feet by
237 feet.
The narthex, to the west of the main building, was set apart
for catechumens and penitents, and forms a grand apartment over
200 feet long by 30 feet wide ;
it is in two stories, the upper forming
a gallery to the church. Further west is the outer narthex and
atrium, with marble columns and brick pillars.
To the north and south, forming continuations of the four great
piers already mentioned, are massive buttresses, 25 feet wide by
70 feet long, pierced with double arches on the ground and upper
story. These piers take the thrust of the main arches and dome
on the two sides where there are no semi-domes. SS. Sergius
and Bacchus would resemble S. Sophia in plan if it were cut in
two and a dome on pendentives placed over an intervening square,
and the whole doubled in size.
The domical method of construction governs the plan, which is
subservient to it. The square central space is crowned with a
dome, 1 80 feet above the pavement, but in itself only 47 feet in
height above its base (i.e., less than a semi-dome),

2O2 COMPARATIVE ARCHITECTURE.
The two semi-domes, east and west, abut against the great
arches which support the central dome and act as buttresses
to it on the east and west sides. The smaller exedrae are also
covered with semi- domes, as has been stated. The pendentives
carrying the central dome have a projection of 25 feet and a
height of over 60 feet.
The great piers supporting the dome are of stones, the rest of
the building being of brickwork. The construction of the dome is
explained on No. 80.
Internally, the actual effect of the whole is one of extreme
intricacy, although the general scheme is very simple, while scale
is obtained by the careful gradation of the various parts from the
two-storied arcades to the aisles and lofty dome, which rests,
with little apparent support, like a canopy over the centre, or, as
Procopius, an eye-witness, described it,
" as if suspended by a
chain from heaven."
The impression is that of one great central domed space with
semicircular domed ends, the height gradually decreasing from
179 feet at the centre.
The walls and piers are lined with beautifully-colored marbles
(Phrygian white, Laconian green, Lybian blue, Celtic black,
white marble with black veins from the Bosphorus, and Thessalian
marble), in varied patterns, fixed by means of metal cramps ;
the
floors are laid with colored mosaics of various patterns, and the
vaults and domes are enriched with glass mosaics of the apostles,
angels, and saints on a glittering golden ground. Although many
of these are now concealed by matting covered with plaster, or
are replaced by quotations from the Koran, yet the four pendentives
still exhibit the six- winged seraphim, whom Mahometans acknow-
ledge under the. names of the four Archangels, Gabriel, Michael,
Raphael, and Israfil, and when the light is favourable the figure
of Christ can still be seen in the vaults of the apse.
The columns of many-colored marbles are used constructively
to support the galleries which rest on a variety of groined vaults.
Moulded bronze rings encircle the column shafts at their junction
with the capitals and bases, and elsewhere. The lower stories of the
aisles (north and south of the central space) are supported by
four columns of dark green marble from the Temple of Artemis
(Diana) at Ephesus, the upper stories having six columns of the
same material. Each oi the four small exedrse has two large
columns of dark red porphyry below, brought from the Temple
of the Sun at Baalbec, and six smaller columns on the upper story.
The total number of columns in the church is 107 (the same
number as the diameter of the church in feet), of which forty are
below and sixty-seven above.
The capitals are mostly of the pyramidal or cubiform type,
with small Ionic angle volutes and delicately incised carving.

Some bear the monogram of Justinian, and on a column to the
south exedra on entering is the date 534.
A variation of the dosseret block is in general used on the lines
of the Classical abacus.
The lighting is partly effected by forty small windows piercing
the dome at its base. Additional light is introduced through
twelve windows in each of the spandrel walls, north and south, under
the great arches which support the dome. The bases of the domes
of the smaller exedrae are also provided with windows. Many of
the windows are small and spanned by semicircular arches ;
others
are more elaborate, as in those to the "
Gynseceum," or women's
gallery, reached from the exterior by four gently sloping ascents,
one at each corner of the building, and from the interior by stone
staircases, in which large semicircular headed openings are
divided into six by columns in two heights, the lighting area
being filled with lattice work of marble 3 inches thick, pierced
with openings about 7 inches square, filled with glass. Externally
the walls are faced with brick and stone in alternate courses.
The vaulting of the domes and semi-domes is visible, being
covered with lead i-inch thick, resting on wooden battens placed
immediately on the brick vaults. The immense buttresses
already referred to, make imposing external features, as also
the two great spandrel walls between them, deeply recessed from
their face, and provided with windows lighting the central area.
The plainness of the exterior causes the building to depend for
effect entirely on the massiveness of its form and the general
symmetry of its proportions.
S. Sophia is the masterpiece of Byzantine architecture asS
the Parthenon is of Greek, or the Pantheon of Roman ;
but/
neither in plan nor treatment does it seem to have been largely
imitated, especially in respect of the abutting semicircular domes.
S. Irene, Constantinople, originally constructed by Con-
stantine and several times destroyed and rebuilt, finally about
A.D. 740, is interesting as preserving the Basilican plan of nave
and two aisles with Eastern apse and Western atrium. It has a
dome which is believed to be the earliest example, resting on a
high drum pierced with windows to light the interior.
The Theotokos Church, Constantinople, dating from the
ninth to the twelfth century, is a small but perfect example,
having a double narthex crowned with three domes, and a central
dome over the church itself.
The Church of the Chora, Constantinople, is an interest-
ing example, dating originally from the fourth century, but subse-
quently much altered. It has a central area crowned with a
dome resting on a drum 26 feet in diameter, pierced by windows,
and has semicircular windows on three sides and an apse on the
fourth. It has an inner and outer narthex, ornamented with

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BYZANTINE EXAMPLES. III.
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2O8 COMPARATIVE ARCHITECTURE.
large mosaic decorations, hence it is now known as the " mosaic
mosque." It is supposed by some that the fagade of this church
served as a model for that of S. Mark, Venice (No. 85).
The Church of the Holy Apostles, Constantinople,
founded by Constantine the Great, but rebuilt by Justinian, and
destroyed in A.D. 1463, to make way for the Mosque of Sultan
Mahomet II., was the second type of Byzantine plan, and is
interesting as being the prototype of S. Mark, Venice (Nos. 84,
85, 86) (see below).
S. Vitale, Ravenna (A.D. 526~547)/(No. 83 c, D), whose
prototype was the Temple of Minerva Medica at Rome (No. 83
A, B) is octagonal on plan, an inner octagon of 50 feet being
inclosed by an outer one of no feet. The apsidal chancel opens
from the inner octagon, by a square bay cutting through the outer
aisle. The relation of the chancel to the octagon is successfully
designed. It is to be noted that the other seven arches of the inner
octagon have columns placed on a half circle, carrying round the
gallery usual in Eastern churches. In many particulars Byzan-
tine influences are seen. The dome is composed of earthen pots,
and protected by a wooden roof, thus differing in construction from
Roman examples.
The church built by Charlemagne, and containing his tomb, at
Aix-la-Chapelle (No. 83 E, F), is derived from this church (see
page 261).
S. Mark, Venice (Nos. 84, 85 and 86), was erected, for the
most part, between A.D. 1063-1071, the columns and marble
mosaics to the exterior being added between 1100-1350. Venice
was by situation one of the connecting links between the
Byzantine and Franconian empires, and a great depot of the
traffic between the East and West, which is evident in Venetian
architecture.
The plan of S. Mark (No. 84 c) is in the form of a Greek
cross, of equal arms, covered by a dome in the centre (42 feet
in diameter), and one over each arm of the cross, and is deriyed
from the Church of the Holy Apostles at Constantinople. It
is worthy of note that the square piers, which carry the dome,
are pierced on the ground floor and gallery levels : the gallery
arcade connects the piers on either side, the depth of the gallery
being that of the pier. The vestibules fill out the western arm
of the cross to a square on plan.
The interior (Nos. 84 A and 86) is richly veneered with colored
marbles casing the lower part of the walls ; above, and extending in
one great surface over vault and dome, is a lining of richly colored
glass mosaic, in which are worked figures of saints mingled with
scenes from their lives, set off by a broad background of gold.
Mosaic, in fact, is the real and essential decoration of the church,
to which all architectural detail is subordinated.

2IO COMPARATIVE ARCHITECTURE.
The external fagade (No. 85) has five entrances, enriched with
shafts of many-colored marbles brought from Alexandria and
the ruined cities of the East, forming a rich and beautiful portal.
Mosaic panels also serve to enrich with color the spandrels of
the arches. It must be remembered that this and the external
domes are a later casing upon the original exterior of the usual
Byzantine type (No. 84 A).
The effects of S. Mark have been described by Ruskin, who
says that they depend not only upon the most delicate sculpture
in every part, but also on the most subtle./variable, inexpressible
color produced by transparent alabaster, polished marble, and
lustrous gold.
The Byzantine style spread over Greece, Russia, and other
parts, and has been the accepted style of the Greek church to the
present day.
In Greece the buildings are small but exquisitely executed, as
may be seen in the little Metropole Cathedral (No. 87), the Church
of the Kapnikarea, and other churches at Athens ;
the Church of
Daphni, near Athens, and the Monastery ofS. Luke of Stiris, on the
north of the Gulf of Corinth.
At Thessalonica (Salonica), in Macedonia, 5. George (A.D. 400) is
an early example of a domed church, and S. Demetrius (A.D. 500-
550) an example of a five-aisled basilica with transepts (not
showing externally), and galleries.
In Russia among the best known examples are the Cathedrals
of Moscow, Kieff, and Novgorod, all of which have a decided
Eastern aspect, due to the use of bulbous-shaped domes and unusual
details.
In Armenia are also interesting examples with local charac-
teristics, such as the Church of S. Sophia, TreUzond.
4. COMPARATIVE.
A. Plans. Byzantine churches are all distinguished by a
great central square space covered with a dome, supported by
means of pendentives, shown in No. 79 j, K. On each side
extend short arms, forming a Greek cross, which with the narthex
and side galleries make the plan nearly square (Nos. 80, 84).
The narthex was placed within the main walls.
The essential difference in plan between a Byzantine church
and an Early Christian basilican church are as follows :
The leading thought in a Byzan- The leading idea in an Early
tine church is vertical, by the group- Christian basilica is horizontal, by
ing of domes round a principal means of the long perspective of
central one, towards which the eye columns, which direct the eye
is drawn. towards the apsidal termination.

I//
BYZANTINE EXAMPLES. IV.
SKETCH?
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FROM M.E.
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87.
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B. Walls. These were often constructed of brick. Internally,
all the oriental love of magnificence was developed, marble
casing and mosaic being applied to the walls ;
hence a flat
treatment and absence of mouldings prevailed. Externally the
buildings were left comparatively plain, although the fa$ade
was sometimes relieved by alternate rows of stone and brick, in
various colors.
c. Openings. Doors and windows are semicircular headed
(No. 89 G, H), but segmental and horseshoe/ arched openings are
sometimes seen.
The windows are small and grouped together (Nos. 80 A and
87). The universal employment of mosaic in Byzantine churches,
and the consequent exclusion of painted glass, rendered the use
of such large windows as the Gothic architects employed quite
inadmissible, and in the bright climate very much smaller open-
ings sufficed to admit the necessary light. Tracery was, in con-
sequence, practically non-existent as a northern architect would
understand it. The churches depend largely for light on the ring
of windows at the base of the dome, or in the "
drum," or circular
base on which the dome is sometimes raised (No. 86), and on
openings grouped in the gable ends (No. 80 A). Such windows,
grouped in tiers within the semicircular arch beneath the dome,
are a great feature in the style.
Portions of the windows are occasionally filled with thin slabs
of translucent marble (No. 89 G).
D. Roofs. The method of roofing these buildings was by
a series of domes formed in brick, stone, or concrete, with fre-
quently no further external covering. In S. Sophia the vaults
are covered with sheets of lead, a quarter of an inch thick, fastened
to wood laths, resting on the vaults without any wood roofing
(No. 80 B). Hollow earthenware was used in order to reduce the
thrust on the supporting walls (No. 83 D).
The Byzantines introduced the dome placed over a square or
octagonal plan by means of pendentives (No. 79 j),
a type not
found in Roman architecture.
In early examples the pendentives were part of one sphere.
A good idea of this type is obtained by halving an orange, cutting
off four slices, each at right angles to the last, to represent the
four arches, and then scooping out the interior ;
the portion
above the crown of these semicircles is the dome, and the inter-
vening triangles are the pendentives. Such domes are rare,
however, perhaps the only example in Europe being that over
the tomb of Galla Placidia(No. 73 H, j, K), already described
(page 187). In the later type the dome is not part of the same
sphere as the pendentives, but rises independently from their
summits (Nos. SOB, in c). The early domes were very flat;
in later times they were raised on a drum or cylinder.

E. Columns. In the earlier buildings, these were taken from
ancient structures, which not being so numerous in the East as in
the neighbourhood of Rome, the supply was sooner exhausted ;
and thus there was an incentive to design fresh ones. Capitals
sometimes took a form derived from the Roman Ionic (No. 89 c)
or Corinthian types (Nos. 88 and 89 D), or consisted in the lower
portion of a cube block with rounded corners, over which was
placed a deep abacus block, sometimes called a "dosseret"
(No. 89 D, E). This represented the disused Classic architrave,
and aided in supporting the springing of" the arch, which was
larger in area than the shaft of the column. Further, an altered
shape of capital was required to support the arch, a convex
form being best adapted. The surfaces of these capitals were
carved with incised foliage of sharp outline, having drilled eyes
(No. 88) between the leaves. Several other types are shown in
No. 89.
Columns were used constructively, but were always subordinate
features, and often only introduced to support galleries, the massive
piers alone supporting the superstructure.
F. Mouldings. These were unimportant, their place being
taken by broad flat expanses of wall surfaces. Internally, the
decorative lining of marble and mosaic in panels was sometimes
framed in billet mouldings, probably derived from the Classic dentils,
and flat splays enriched by incised ornamentation were used.
Externally, the simple treatment of the elevations in flat expanses
of brickwork, with occasional stone banded courses, did not leave
the same scope for mouldings as in other styles.
G. Ornament. The scheme of ornamentation was elaborate
in the extreme, the walls being lined with costly marbles with the
veining carefully arranged so as to form patterns, and the vaults
and upper part of walls with glass mosaic having symbolic figures,
groups of saints and representations of the peacock (the emblem
of immortal life), the whole forming a striking contrast to the less
permanent painted frescoes usually adopted in the Western
Romanesque churches (page 227).
Mosaic thus was used in a broad way as a complete lining to a
rough structure, and architectural lines were replaced by deco-
rative bands in the mosaic. One surface melts into another as
the mosaic sheet creeps from wall, arch, and pendentive up to
the dome, and the gold surfaces being continued as a background
to the figures, unity of surface is always maintained.
Greek rather than Roman technique was followed in the
carving, due to the origin of the craftsmen. The carving was
mainly executed in low relief, and effect was frequently obtained
by sinking portions of the surfaces. A special character of the
carving was due to the use of the drill instead of the chisel (No. 88).
The acanthus leaf, deeply channelled, and of V-shaped section, is

BYZANTINE ORNAMENT.
2/6'
IJTZAtfriNE CORINTHIAN ft!W) * ^SKET CAPITAL 5IRR CORINTHIAN CAPITAL
^ 50PHH CONTTANTlNOfLE

2l6 COMPARATIVE ARCHITECTURE.
adopted from the Greek variety, but became more conventional,
with acute-pointed leaves, drilled at the several springings of
the teeth with deep holes.
The great characteristic of Byzantine ornament as compared
with Classical, is that the pattern is incised instead of seeming
to be applied, for the surface always remained flat, the pattern
being cut into it without breaking its outline.
Grecian and Asiatic feeling strongly pervades Byzantine
ornamentation, and this is accounted for by the fact that
Constantinople was a Greek city, and in clos6 contact with the
East, and Oriental methods.
Note. A good general idea of the exterior of a church in this
style is to be gained from the Greek Church in the Moscow
Road, Bayswater, erected by Oldrid Scott, as also the new
Roman Catholic Cathedral at Westminster by the late John
F. Bentley. The mosaics and casts in the Victoria and Albert
Museum should also be inspected.
5. REFERENCE BOOKS.
Choisy (A.). "L'Art de Batir chez les Byzantins." Folio. Paris, 1883.
Didron (A. N.). "Christian Iconography." 2 vols., 8vo. 1886.
Knight (H. G.).
" Ecclesiastical Architecture of Italy." 2 vols., folio.
1842-1843.
Lethaby (W. R.) and Swainson (H.).
"
Church of Sancta Sophia,
Constantinople." 8vo. 1894.
Milligen (A. van).
"
Byzantine Constantinople." 8vo. 1899.
" Saint Mark's, Venice." A large and beautiful monograph in several
vols., 4to and folio, published by Signer Ongania. Venice, 1881.
Salzenburg (W.).
"
Alt-Christliche Baudenkmale von Constantinopel."
2 vols., folio and 4to. Berlin, 1854-1855.
Schultz (R. W.) and Barnsley (S. H.). "The Monastery of St. Luke
of Stiris in Phocis." Folio. 1901.
Texier (C.) and Pullan (R. P.)." Byzantine Architecture." Folio.
1864.
Scott (Sir W.) "Count Robert of Paris." (Historical Novel.)
L.

a/?
.COLOGNE/
ROUEN EMPIRE V
CflLIPHflTE -
OF THE
ROMANESQUE ARCHITECTURE
EUROPE.
IN
GENERAL INTRODUCTION.i
i. INFLUENCES.
i. Geographical. The style which grew up on the decay
of the Roman empire, and is known as Romanesque, was
carried on throughout practically the whole of the Western
empire that is, in those countries which had been directly under
the rule of Rome. The position of each country will be slightly
touched upon under its own heading. The influence of Byzan-
tine art brought through Ravenna and Venice also influenced the
Italian Romanesque in Lombardy and Europe generally.
1
Before treating of the development of the style peculiar to each country, a
general outline sketch is given.

2l8 COMPARATIVE ARCHITECTURE.
ii. Geological. In these early times a rough use of the
material at hand characterizes the style in each country, and will
be referred to under the same.
iii. Climate. Local styles were favoured by the variations
of climate north and south of the Alps, as referred to in each
country.
iv. Religion. The Christian Church, which was the civilizing
and educating agency of the period, was striving to extend its
boundaries in Northern Europe, and the erection of a church
was often the foundation of a city. The nlonastic communities,
with the encouragement and aid of Charlemagne, came into
existence. The papacy had been rising to great power and
influence, and, directed with skill, it rivalled or controlled such
civil government as existed. The Pragmatic Sanction (A.D. 554)
had already conferred authority on the Bishops over the provincial
and municipal governments, thus increasing the power of the
Church, with which now often rested the nomination of public
functionaries and judges. As East and West drifted apart their
architecture developed on opposite lines, but architecture of
Western Europe due to Eastern influence is classed as Byzantine.
The different countries looked to Rome until each developed its
own style. Religious enthusiasm and zeal prevailed, and was
manifested in magnificent edifices, and in creed warfare, so that
when the Turks overran Palestine, the loss of the Holy Places
resulted in the long warfare known as the Crusades (1096-1270)
between the Christians of the West and the Mahometans of the
East.
Until the middle of the twelfth century science, letters, art
and enlightenment generally were the monopoly of religious
bodies, and pupils of monks afterwards became the designers
of many of the great Gothic Cathedrals.
The feudal rank of bishops and abbots made them in some sense
military chiefs, occasionally taking the field in person. Schools
attached to certain monasteries discharged to some extent the
functions of universities, as those at S. Gall, Tours, and Rheims,
and the aid thus rendered by monastic institutions to archi-
tecture was therefore important. Down to the thirteenth century,
architecture was practised largely by the clergy and came to be
regarded as a sacred science, as stated by Albert Lenoir in
" 1'Architecture Monastique." Dr. Jessop's "Daily Life of an
English Monastery" is interesting as showing the life led by the
monks, and may be studied with advantage. (For a description
of the typical plan of a monastery see page 276).
Among the chief monastic orders were the following :
(i.) The Benedictine order, founded in the South of Italy in the
sixth century by S. Benedict, by whose decree architecture,
painting, mosaic and all branches of art were taught. All the

ROMANESQUE ARCHITECTURE IN EUROPE. 2IQ
older monasteries in England belonged to this order, Canterbury
(No. 118 B) and Westminster Abbey (No. 127) being the chief
establishments.
The usual arrangement consisted of a square cloister having on
one side a church of cruciform plan with aisles, the transept
forming a part of one side of the cloisters. The refectory was
usually parallel to the nave, on the opposite side of the cloister.
The dormitory was generally placed on another side with a stair-
case in connection with the church for night services.
The manuscript plan existing in the Library of the monastery
of S. Gall, in Switzerland, is interesting as showing what was
considered a typical plan of the buildings of this order (page 261).
(2.) The Cluniac order was founded in A.D. 909, the celebrated
Abbey at Cluny being the headquarters. The plan was especially
notable for double transepts, a feature which was adopted
in many English Cathedrals, as at Lincoln (No. 117 F) and
Salisbury (No. 117 E).
(3.) The Cistercian order was founded in A.D. 1098, at Citeaux,
in Burgundy. In plan, the typical church was divided into
three parts transversely by screens, walls, or steps. There were
frequently no aisles. The transepts were short, as also was the
eastern arm of the cross, and the choir extended westward of the
transepts. There was an absence of towers and painted glass.
The influence of the Cistercian foundation extended to various
countries of Europe. In England the most important were
Furness, Fountains, Roche, and Kirkstall Abbeys.
(4.) The Augustinian order differed little from the Benedictine.
It was introduced into England in A.D. 1105, and Bristol, Carlisle,
and Oxford Cathedrals were founded by this order.
(5.) The Premonstratensian order was instituted at Premontre, in
Picardy, in A.D. 1119, and Castle Acre Priory in England is an
example.
(6.) The Carthusian order was founded by S. Bruno, about
A.D. 1080, the chief French establishment being the Grande
Chartreuse, near Grenoble, others being Vauvert, Clermont in
Auvergne, Villefranche de Rouergue, and Montrieux. Two
churches were preferred, one for the monks and the other for
the people. In plan the typical feature was the great rectangular
cloister, surrounded by an arcade on which the monks' cells
opened, each being self-contained and with its own garden. By
the rules of the order, speech was interdicted, and the Carthusian
must work, eat and drink in solitude. Such a regime explains
the extreme severity of their architecture. In Italy the establish-
ments at Florence and the Certosa near Pavia, and in England,
the Charterhouse, London, were the most important.
(7.) The military orders included the Knights Templars and
Hospitallers. The churches of the Templars were circular

in plan, as in the Temple Church, London, and those at
Cambridge, Little Maplestead, and Northampton. It is supposed
they were erected in imitation of the Rotonda of the Holy
Sepulchre at Jerusalem.
(8.) The Friars, of which there were several orders, were founded
at a later period. Their churches were large, plain, and without
aisles, being designed for preaching purposes.
(#.) The Dominicans (preaching or black Friars) were founded
by S. Dominic about A.D. 1170, anjd later held a high
place in Christian art, Fra Angelico freing the best known
member of the order. They came to England about
A.D. 1217.
(&.) The Franciscans (mendicant or grey Friars) were founded
by S. Francis of Assisi, in A.D. 1209, and were distinguished
for intellectual capacity, Roger Bacon being one of the
most distinguished members. They first came to England
in A.D. 1216.
(c.) The Carmelites (or white Friars), were driven out from
Mount Carmel by the Saracens, in A.D. 1098. They came
to England in A.D. 1229.
(d.) The Austin Friars (or Hermits).
(<?.)
Friars of the Holy Trinity, instituted in A.D. 1197.
(/.) Crutched (or crouched) Friars, instituted in Bologna, in
A.D. 1169.
(9.) The Jesuits were established in order to crush the
Reformation, and first came to England in A.D. 1538.
v. Social and Political. The system of feudal tenure, or the
holding of land on condition of military service, was growing up,
and caused important changes in the social and political organiza-
tion of states. While through its operation the class of actual
slaves died out, still the poorer freemen gradually came to be
serfs, bound to the land and passing with it, on a change of
ownership.
The growth of the towns as civilization advanced is notice-
able, and the privileges which they acquired, amounting almost
to independence, rapidly gave them importance.
Constant warfare rendered the condition of the people unsettled
during this period, and skill in craftsmanship was at the lowest
ebb. Christianity and civilization gradually extended from
southern to western Europe. The clergy the scholars of the
period directed the building of the churches, while the influence
of the freemasons produced important results.
vi. Historical. In the year A.D. 799 the Roman Empire in
the West practically passed from the hands of the Romans, by
the election of the first FVankish King, Charlemagne, whose
election is a convenient date to mark the end of the Roman
Empire as such. Till the time of Charlemagne very little

ROMANESQUE ARCHITECTURE IN EUROPE. 221
building was done, hut he in a great measure restored the arts
and civilization to Western Europe before his death in A.D. 814.
Before the year A.D. 1000, when it was popularly supposed that
the world would come to an end, little building was carried out, but
after the millennium had passed, buildings sprang up in all parts,
with many local peculiarities, which will be noticed under each
country; but the change was slow, traditional forms being firstly
transformed in general design and detail, and then new features
created.
Nearly all the nations of Europe had at this time come into
existence ; France, Germany, and Spain, were becoming powerful
and tending to set aside the rule of the Holy Roman Empire,
which now had become only a title. In northern Europe, Den-
mark, Sweden, and Norway were distinct kingdoms, and England
had become welded into one by the Norman kings at the end of
the eleventh century.
The term Romanesque may be said to include all those
phases of Western European architecture which were more or
less based on Roman art, and which were being carried out, in
a rough and ready way, in various parts of Europe, from the
departure of the Romans up to the introduction of the pointed arch
in the thirteenth century.
The general architectural character is sober and dignified,
while picturesqueness is obtained by the grouping of the towers,
and projection of the transepts and choir.
As helping towards the appreciation of the character of
Romanesque architecture, imagine an ancient civilization of
vast extent, devoid of physical force, and recognisable only by
the multitude of its monuments, some intact, others injured or
partially destroyed, all unguarded, and most of them disused a
calamity which happens in due course to every great nation or
group of peoples ;
and further suppose that the civilization is
represented by a man, dormant, but who slowly, and with many
a contortion, and many a yawn, threw off the sleep of ages and
awakened to a sense of the treasure he possessed, of the wants he
began to understand, of the means to the ends he would attain.
In his midst were ruins of vast edifices, some still standing among
heaps of stones hewn and carved, of sculptured capitals and friezes,
of monoliths of porphyry and marble, while his own shelter afforded
him little protection either from heat or cold. What happened ?
As time went on he gathered up the smaller fragments and arranged
them perhaps upon the foundations, still intact, of an ancient
building, and as he gradually acquired a knowledge of the uses
to which he might apply this and that fragment, he insensibly

ROMANESQUE ARCHITECTURE JN EUROPE. 223
produced a new art founded on the old. This explains the birth of
Romanesque, for on the collapse of the Western Roman Empire,
the quarry of the ruins of ancient buildings largely influenced the
work done, both in construction and decorative treatment, for
the earlier buildings of the period were often built from the
remains of ancient Roman buildings in the vicinity. In the
course of time, however, a new style was evolved, for, putting
aside spasmodic efforts, the period of the tenth to the twelfth
centuries is remarkable for the tentative employment of a new
constructive principle and a new use of material. The first was(
the principle of equilibrium which succeeded that of inert
stability as used by the Romans, and the second was the employ- )
ment of dressed stonework in comparatively small pieces, con
nected with mortar beds of considerable thickness. This was a
method not before attempted, because the materials in use up to
that time had not demanded it. By this new employment of
materials, the whole current of architecture was turned to a
constructive system which should answer to its needs, and which,
after many tentative experiments, was to lead to the next glorious
period of architecture the thirteenth century in which elasticity
of structure was joined to the principle of equilibrium.
In Italy (page 228) there were various early Christian edifices
erected at Ravenna from the fifth to the seventh centuries, for
Ravenna was the principal city in Italy during this period, being
the seat of the Exarch or representative of the Byzantine
Emperor in the western part of his dominions. These buildings
partake, naturally, of the elements of the fully developed Byzantine
style, in the same way in which S. Mark, Venice, and S. Front,
Perigueux, was the result of the close connection of these centres
with the trade and commerce of the East (No. 84).
In France (page 246), especially in the Western and Northern
Provinces, the old traditional basilican plan was preferred and
adhered to during the eleventh and twelfth centuries, with certain ,
exceptions, notably S. Front, but the dome raised on pendentives
became the common kind of vaulting, in the South, in conjunction
with the aisleless nave. It is worthy of note also that the use of
the pointed arch occurred in the South of France sooner than in
the North, and it is considered by some, but with apparently little
foundation, to have been derived from contact with the Saracens,
who invaded this portion of France from 719-732. Further, the
development of monasteries in the eleventh century gave a great
impulse to civilization and agriculture, and exercised considerable
influence on architecture. Provence was, moreover, in the twelfth
and thirteenth centuries the chief centre of the growing traffic from
the East, and the highway by which artistic and other products of
the Levant were dispersed through France and the North of
Europe. Similarly, the development from Roman to Gothic art was

accomplished through the ordeal of the destructive, yet purifying
dissolution . of the Dark Ages, whence the true spirit of Roman
construction emerged, cleared to a great extent of the extraneous
elements with which it had been so long encrusted. '
Up to the
end of the twelfth century the Provengal architects had led the
way, but at this period the lay architects of the North, seizing on
the Proven9al principle of the Pointed arch, soon developed from
it the magnificent Gothic system of the perfected architecture of
the thirteenth century.
/
Romanesque Vaulting.
The Roman system of plain cross vaulting (No%
in A),
as used in Europe
4
up to the twelfth century, when it
began
to be superseded by the "groin-rib" type of vaulting, in which
a framework of ribs supported vaulting surfaces of thinner stone,
known as "
severies," or "
in-filling." This method introduced
a new principle in vaulting, viz., designing the profile of the
groin ribs and leaving the form of the vaulting surfaces to
adapt themselves to them ;
whereas in Roman architecture the
vaulting surface was first settled, and the profile of the groins
followed as a matter of course. It was therefore necessary
for the Romanesque architects to find the profile of the ribs,
and especially that of the diagonal rib, which had previously
been settled without design, as mentioned above, by the inter-
section of the two vaulting surfaces meeting at right angles.
If the vaulting surfaces were semi-cylindrical the diagonal groin
was of necessity a semi-ellipse, but the use of ordinates, as shown
in No. in E, does not appear to have been employed by the
Romanesque architects, who surmounted the difficulty arismg
from the difference of span of the diagonal and transverse ribs as
follows :
(fl.)
On the Continent, especially in Germany and
France, the vaulting ribs were usually portions of circular curves
of similar curvature starting from the same level, thus the diagonal
rib, having the longest span, rose to a greater height than the
transverse and longitudinal ribs (No. 112, D3
).
The panelling was
then filled in on the top of these ribs, and in consequence the
structure was highly domical. (&.) In England, however, where
the vaults were generally constructed with level ridges, this
domical form was not used, the difference in height between the
diagonal and the transverse ribs being equalized by stilting the
latter (No. 112 B, D5
, G) or else by forming the diagonal rib as a
segment of a circle, the longitudinal and transverse ribs becoming
semicircular (No. 112 D2
).
In vaulting an oblong compartment the
difference between the heights of the diagonal and wall ribs was
still greater and produced an awkward waving line of the groins
on plan (Nos. in B and 112 c).
In. the" vaulting of the naves of the Romanesque churches in

Germany, as at Worms (No. 105 G), Mayence and Spires;
in France, as at the Abbaye-aux-Hommes (No. 112 E, F), and
Abbaye-aux-Dames at Caen, and Notre Dame, Paris (No. 157);
and in England, as at Canterbury ;
the difficulty of spanning oblong
compartments was surmounted by including two of them in
one square bay of vaulting, each main bay corresponding with
two square compartments of the side aisles (Nos. 94 A, B, E
and 105). In some instances the intermediate pier was carried
up as a .vaulting shaft and formed the vaulting compartment into
six parts on plan, which was then known as "
sexpartite
"
(six part) vaulting (Nos. 100 c, 105 B and 112 F). The weight
of the vaulting in this case was therefore supported by alternate
piers, which were accordingly strengthened (No. 105 c). During
the following centuries this principle of rib design became more
"complex by the multiplication of the frame-work of ribs described
under Gothic vaulting (page 272). It will also be found that all
these difficulties of accommodating the heights of ribs of different
spans, especially in oblong compartments, were surmounted by
the introduction of the pointed arch (No. HID and 112 D).
3. EXAMPLES (refer to each country).
4. COMPARATIVE.
A. Plans. In church architecture further developments from
the type of the Early Christian Church took place. Charlemagne
gathered around him artists and skilled workmen, and calling
architecture out of its sleep, took the Roman basilica as a model
for the new churches. Transepts were usually added, and the
chancel prolonged further east than in the basilicas, the church
partaking more and more of a well-defined cross on plan, as
at S. Michele, Pavia (Nos. 94 and 95). The transepts were the
,same breadth as the nave, which was usually twice the width of
the aisles. The choir was raised considerably by means of steps,
and underneath, supported on piers, was formed a vaulted crypt
as at S. Miniato, Florence (No. 93) and S. Michele, Pavia (No. 94),
in which the saints and martyrs were buried. The earlier examples
have choirs without aisles, the latter, however, being continued
round in later examples.
The cloisters in connection with the churches are often of
great beauty and have capitals and other features elaborately
carved.
The towers are special features, and of great prominence in
the design, as at the Church of the Apostles at Cologne (Nos. 10^
F.A. Q

and 105 c). They are either square, octagonal, or circular, with
well-marked stories, having windows to each, and are placed at
the west and east ends and the crossing of nave and transepts.
B. "Walls. Roman work and precedent, of course, influenced
all constructive art in Europe, although technical skill was at a
very low ebb during this period. Walls were in general coarsely
built, having on the exterior, buttresses formed as pilaster strips
of slight projection, connected at the top by horizontal mouldings,
or by a row of semicircular arches resting on a corbel table
projecting from the wall. Semicircular arxphes, resting on rudely
formed capitals, also occur. Other peculiarities are referred to
in the comparative table of each country.
c. Openings. The door and window openings are very
characteristic. The principle upon which the jambs were formed
was in receding planes, or rectangular recesses, known as
"
orders," in which were placed circular columns or shafts.
The arches followed the same method, being built in concentric
rings (No. 94 F, H, j).
A continuous abacus often occurs over
these columns, and the profile of the jamb is carried round the
semicircular portion of the arch in southern examples.
The principal doorways are usually placed in the transepts.
The characteristic rose (or wheel) window occurred over the
principal door of the church in the west front, as at IfHey Church,
Oxon (No. 138) ;
also in Southern Italian examples, as at Palermo.
D. Roofs. The general employment of vaulting, especially
over the side aisles in the eleventh century, was due to the desire
of fire-proofing the building, but the central nave was still often
covered with a plain wooden roof.
The form of arch universally employed was semicircular
(No. 94 A), often raised, i.e. t
stilted (No. 112 D5
, G).
In early examples rib mouldings were not used in the vaulting,
but when introduced, about noo A.D., were at first plain, and
afterwards moulded in a simple manner (No. 94). Intersecting
barrel vaults (No. 112 G) were usual, and the difficulty in con-
structing these in oblong bays led to the use of pointed arches
in later times. When the crossing was crowned by an octa-
gonal dome, four of the sides were carried on "
squinch
"
arches
(Nos. 94 and 105). The Romanesque architects used "
flying
buttresses" under the aisle roof, in the case where the thrust of
a vaulted roof had to be met (Nos. 94 and 100); but it was left
for the Gothic architects of the thirteenth century to place them
above the aisle roof and weight them with pinnacles.
.E. Columns. The shafts of .the columns have a variety of
treatments, flutings being used (Nos. 98 B, 107 L), of vertical,
spiral, or trellis work form, or the whole shaft is sometimes covered
with sculptured ornaments. In early examples forms of the
inthian or Ionic capitals occur as in the third column from

the right in S. John's Chapel, Tower of London (No. 135), where
Classic influence is apparent. Also see Nos. 98 j, K, L, M, and
103 D, E.
The capital in later times was often of a cushion (cubiform)
shape, as in S. John's Chapel, Tower of London (No. 135), with
lower corners rounded off and no carving, or is sometimes richly
carved and scolloped (Nos. 146 and 148 B, c).
F. Mouldings. These were often carved elaborately, as will
be referred to in English Romanesque (Norman) architecture
(No. 139).
The abacus over the capital (Nos. 98, j, M, 103, 107 and 146) is
always distinctive in form ;
it is higher, but projects less than in
the Classical style, and is moulded with alternate fillets and
hollows. The base to the column (Nos. 107 D, H, and 146) is
generally an adaptation of the old Classical form, or Attic base,
resting on a square plinth, at the 'angles of which flowers or animals
were occasionally carved to fill
up the triangular part, and the lower
circular moulding often overhangs the plinth.
G. Ornament. The carving and ornaments were derived from
many types of the vegetable and animal kingdom and treated
in a conventional way, often but rudely carved (No. 139). In
the interiors fresco is more commonly used than mosaic, which
required great technical skill. Early stained glass was influenced
by Byzantine mosaic.
Note. The above are the principal characteristics of the style
as a whole. Local influences of taste, climate, geography
and geological formations were instrumental in producing the
different characteristics of each country.
Q 2

ITALIAN ROMANESQUE.1
CENTRAL ITALY.
" In Middle Rome there was in stone working
The Church of Mary painted royally ..
The chapels of it were some two or three
In each of them her tabernacle was
And a wide window of six feet in glass
Coloured with ail her works in red and gold."
I. INFLUENCES.
i. Geographical. The boundaries of Central Italy extended
to Florence and Pisa on the north and west, and to Naples on
the south. Pisa was by position a maritime power, while
Florence lay on the great route from south to north, commanding
the passage of the Arno.
ii. Geological. Tuscany possessed greater mineral wealth
than any other part of Italy, and building stone was abundant.
The ordinary building materials of Rome were bricks, local
volcanic stone (tufa or peperino), and Travertine stone from
Tivoli, a few miles off. Marble was obtained from Carrara, or
Paros and the other Greek isles.
. iti. Climate. (See Roman architecture, page 112.)
iv. Religion. It was during this period that, although the
Popes had only small temporal dominions, they began to make
their power felt in civil government, and the disputes with the
emperors began. Pippin, king of the Franks, asked by the Pope
(Stephen II.), defended the latter from the Lombards and gave
him the lands they had seized and also the chief city of the
Exarchate (Ravenna), which the Pope accepted in the name
of S. Peter. Thus in 755 Central Italy severed its connection
with the Empire and became independent, thereby inaugurating
the temporal power of the papacy. Charlemagne, invited by Pope
Adrian I.
(772-779), advanced into Italy in 773, and, after defeating
the Lombards, entered Rome for the first time in 774. He gave the
1
The style is divided into three central, north, and south. The comparative
table of the three together is given on page 242.

Dukedom of Spoleto and other concessions to Adrian, thus adding
to his temporal power, and from this period connection with
Byzantium was broken off. Gregory VII. -ruled that the clergy
should not marry, and that no temporal prince should bestow any
ecclesiastical benefice, decisions which resulted in the struggles
between the Guelphs and Ghibellines (page 405).
v. Social and Political. In Italy, especially in Tuscany,
an artistic movement, in which architecture was most prominent,
took place in the eleventh century, the daughter arts of painting
and sculpture being in a state of inaction/
7
The growth of an
industrial population, the increase of commerce and the indepen-
dent views caused by education, were important factors in the rise
of Naples, Pisa and Amain and other cities for self-defence,
owing to insufficient protection from Constantinople.
vi. Historical. Genoa, Pisa, and Amalfi sent merchant
fleets to the ports of the Holy Land for the Eastern Fair
at Jerusalem, and thus were brought in contact with Eastern
art. At the commencement of the eleventh century, Pisa, the
rival of Venice and Genoa, was the great commercial and naval
power in the Mediterranean, and took the lead in- the wars against
the infidels, defeating the Saracens in A.D. 1025, 1030, and 1089 at
Tunis. The Pisans were defeated by the Genoese in 1284, which
led to their decline.
'
The rise of Florence dates from 1125, when,
owing to the destruction of Fiesole, the inhabitants of this latter
city moved there, and in the following century its growing commerce
caused it to rival Pisa.
Lucca was an important city at this period, being also a
republic, -and its architecture was influenced by that of Pisa. It
was rent by the feuds of the two parties, the Guelphs and Ghibel-
lines, the former supporting the-power of the Popes and the latter
that of the Emperors.
ITALIAN (CENTRAL)
'
^Q&THERN EUROPEAN
ROMANESQUE.
^
ROMANESQUE.
New ideas rarely found. Con- The principal aim is perfection
structive boldness not sought after, in the construction of vaulting,
less departure being made from which influenced the whole design
the ancient Basilican type. The as in Normandy and the Rhine
Italians have always possessed a provinces, where vaulting was now
greater capacity for beauty in being developed. Such treatment
detail, than for developing a bold caused the introduction of many
and novel construction into a new constructive ideas.
complete style.
The Byzantine influence was strong, especially in several
districts, as Venice, Ravenna, and Pisa, which latter city in
particular possesses a distinct style of its own.

ITALIAN (CENTRAL) ROMANESQUE. 231
'
.
3. EXAMPLES.
Pisa Cathedral (A.D. 1063-1092) is a fine example of the style
(Nos. 91 and 92), the interior, with rows of columns and flat ceiling
recalling the Early Christian Basilican church, but the transepts
with segmerital apse at each end were an advance on the Basilican
plan. Over the crossing or intersection of nave and transepts
is an elliptical dome of later date. Externally, blind arcades,
built in stripes of red and white marble, ornament the fa9ades,
which also have small open arcades, one above the other, producing
a fine impression (No. 91).
The building depends for its artistic effect upon the beauty and
interest of its ornamental features rather than the promise of logical
development mto a new style which a northern example possesses.
The Campanile (Bell Tower), Pisa (A.D. 1172), is a circular
structure 52 feet in diameter, ornamented with eight stories of
arcades (No. 91). During its erection the foundations gave way,
thus causing the tower to lean about 1 1 feet from the vertical.
The Baptistery, Pisa (Nos. 70 G and 91), designed by Dioti
Salvi in A.D. 1153, is circular, 129 feet in diameter, with encircling
aisle in two stories. Built of marble, it is surrounded externally
on the lower story by half columns, connected by semicircular
arches, above which is an open arcade in two heights, supported on
small detached shafts. It was not completed till A.D. 1278, and has
Gothic additions of the fourteenth century, in consequence of which
it is not easy to ascertain what the original external design really
was. The structure is crowned by an outer hemispherical dome,
through which penetrates a conical dome 60 feet in diameter over
the central space, and supported on four piers and eight columns.
Thus, if there were another internal hemispherical cupola, it
would resemble the constructive scheme of S. Paul, London
(No. 253 B). This Baptistery bears remarkable similarity to the
church of S. Donate (ninth century) at Zara, in Dalmatia, which,
however, has a space only 30 feet in diameter.
S. Michele, Lucca (A.D. 1188, facade 1288), and S. Martino,
Lucca (A.D. 1060-1070, fa$ade 1204), bear considerable similarity
to the architecture of Pisa, the reason being that Lucca belonged
to that city when most of its churches were erected.
Pistoia Cathedral (twelfth century A.D.), resembles these
churches.
Rome. In the Romanesque period, i.e., from 600-1200,
while the architecture of the rest of Europe was slowly developing
towards the Gothic style, that of Rome was still composed of
Classic columns and other features taken from ancient buildings.
During this period a series of towers were also erected in the
imperial city. The origin of these is not clear, as the custom of

bell ringing was not then in existence, but they may be regarded
as prototypes of the mediaeval towers and spires.
The Cloisters of S.John Lateran, Rome (A.D. 1234), and of
S. Paul beyond the walls, Rome (A.D. 1241) (No. 98 B) are of
extreme interest. They are formed in square bays, the vault
arches inclosing the arcades in groups of five or more openings.
The special feature of the cloisters consists of the small twisted
columns inlaid with glass mosaic in patterns of great beauty, and
forming an evidence of the patient skill of the craftsman.
S. Miniato, Florence (No. 93), is a leading example of the
Central Italian style. The length of the church is divided into
three main compartments, and the raised eastern portion, under
which is a crypt, .is open to the nave. This division of the church
by piers seems a prelude to the idea of vaulting in compartments,
and is an evident departure from the basilican type of long unbroken
ranges of columns or arcades. The marble panelling, and banding
in black and white marble of the exterior and interior, were carried
to a further extent in the Gothic period. Very notable is the open
timber roof with its decoration, recently restored, in bright coloring
of gold, green, blue and red.
For the Comparative table of Italian Romanesque, see page
242.
NORTH ITALY.
i. INFLUENCES.
i. Geographical. Milan, the capital of Lombardy, always
had a high degree of prosperity, on account of its favourable
situation in the centre of that state, and its proximity to several of
the Alpine passes. The city is surrounded by rich plains, and the
cultivation of the mulberry (for the silkworm), and the vine, adds
to the general prosperity of the district.
Ravenna and Venice, as trade connecting links with the Eastern
Empire, reflect the culture and architectural forms derived
therefrom.
ii. Geological. Brick is the great building material of the
plains of Lombardy, and the local architecture shows the influence
of this material.
iii. Climate. North Italy has a climate resembling that
of Central Europe, i.e., a climate of extremes. Milan is near
enough to the Alps to experience cold in winter, while in summer
the heat is often excessive.
iv. Religion. At the end of the fourth century, Theodosius,
the great emperor, had been forced to do penance on account of a
massacre in Thessalonica, S. Ambrose, Bishop of Milan (374-398),
closing the doors of the Church against him. This is an instance

ITALIAN (CENTRAL) ROMANEsguE. .
93- S. MINIATO, FLORENCE.

of the great power the Church had acquired. S. Ambrose's fame
and influence maintained the Ambrosian rite, which differed in
some points of ritual, such as side altars not being used (cf.
Milan Cathedral, page 408).
v. Social and Political. The devastating wars in the North
Italian plains led to the gradual rise of the Venetian state,
the first form of government being republican, but an oligarchy
in which a Duke, or Doge, was invested with supreme authority
gradually grew up. Italy itself consisted of a number of separate
cities which were independent commonwealths.
vi. Historical. Venice from the first kept up a close alliance
with Constantinople, by means of which both the naval import-
ance and commerce of the little state continually increased,
especially after the eleventh century, by which time commercial
relations had extended to the Black Sea and the coast of the
Mediterranean, including Dalmatia, Croatia, and Istria. The
barbarians who occupied the valleys of the Rhine and Po pursued
a similar development in spite of the intervening Alps, Milan
being as much German as Italian. In Italy, the old Roman
population eventually caused barbarian influence to wane, but
until this had come to pass little building was done. The eleventh
and twelfth centuries were the great building epochs in Lombardy.
NORTH ITALIAN ROMANESQUE. CENTRAL ITALIAN ROMANESQUE.
Arcades restricted to top of Arcades in several stories were
gables and apses. The character employed as an ornament to the
is less refined owing to the use of faades (No. 91). Marble facing
stone and brick rather than marble. was carried to such an extent as to
Wide, flat, and severe facades form a style in that material. The
are typical, covering the whole Basilican type was closely adhered
church, without marking in any to, and beauty and delicacy of detail
wav the difference of nave and were preferred to the invention of
aisles. A rose window (No. 96) fresh architectural forms produced
and a porch resting on lions are by a new system of construction,
often the chief relief. Details show Detail much affected by Classic
a breaking away from Classic prece- remains and traditions, which re-
dent. In sculpture, hunting and suited in the production of carving
other scenes reflecting the life of and ornament of great refinement,
the northern invaders are frequent, At Pisa ancient sarcophagi richly
and in these a grotesque element sculptured with figures existed, by
is prominent. whose study the Pisani were in-
The churches were of the Basi- fluenced.
lican type, and were nearly all The churches were mostly roofed
vaulted and roofed. Side aisles with plain open-timbered roofs, the
are often in two stories, the cleres- members of which were orn;
tory is omitted, the walls between mented with bright coloring,
the side chapels forming buttresses.

ITALIAN ROMANESQUE EXAMPLES.
T!@1M TO RECEIVE
MR
94-

ITALIAN (NORTH) ROMANESQUE. 237
3. EXAMPLES.
S. Antonio, Piacenza (A.D. 1122), S. Ambrogio, Milan
(A.D. 1
140), and S. Michele, Pavia (A.D. 1
188), are good examples.
The latter (Nos. 94 and 95) is vaulted in square bays, with side
aisles in two stories, and piers of clustered section.
S. Zenone, Verona (A.D. 1139) (No. 96), is an important
example, having, under the slope of the gable, arcaded corbels,
which are characteristic of the work in this district ; also the
great western rose (wheel) window, and the projecting porch to
the main doorway, with columns supporting arches, and resting on
the backs of crouching lions (No. 98 G).
The origin of the arcaded galleries in many of the more impor-
tant churches of the period (Nos. 91 and 95), is
interesting, as
illustrating how such architectural features have had, originally,
a constructive meaning. Thus, when a wooden roof was placed over
a circular vault, the external walls did not need to be continued
solid above the springing of the vault, as the ends of the rafters
exerted little thrust ;
hence this portion was arcaded, the arches
being connected with the extrados of the vault, giving a deep
shadow in an appropriate position (Nos. 104 and 105 B). This
arcading, from being used merely in this position, came to be
employed, in every possible part of the building, as a decorative
feature, so that it even entirely covered the western facade.
Similarly in the later Gothic periods in England, the battlemented
parapet, primarily of use for defence at the top of the building, was
employed as a decorative feature on window transoms and other
positions.
The Palazzi Farsetti and Loredan, and the Fondaco dei
Turchi, a great warehouse on the Grand Canal, used in the Eastern
trade, are well-known examples at Venice, in which are found
the characteristic cubiform capital, carrying semicircular arches
which are often stilted.
The Campanili, or bell towers, are .important features of the
period. They were not joined structurally with the church to which
they belonged, as in England, France, and Germany, but were
placed at some little distance, and sometimes connected with the
main building by cloisters (No. 96).
These campanili occur in most of the North Italian towns, and
in many cases are rather civic monuments than integral portions
of the churches near which they are situated, as that of S. Mark,
Venice. In these cases they were erected as symbols of power,
or commemorative monuments, being similar in purpose to the
civic towers of Belgium (page 390).
In plan they are always square, and have no projecting but-
tresses, as in countries north of the Alps, being treated as plainly
as possible, without breaks, and with only sufficient windows to

ITALIAN (SOUTHERN) ROMANESQUE. 239
admit light to the internal staircase, or sloping way ; the windows
increase in number from one in the lowest story to five or more
in the uppermost story, which is thus practically an open loggia,
and the whole is generally crowned with a pyramidal shaped
roof, as is the Campanile of S. Zenone, Verona, which is typical
(No. 96).
For comparative table of Italian Romanesque, see page 242.
SOUTHERN ITALY AND SICILY.
" Therein be neither stones nor sticks,
Neither red nor white bricks ;
But for cubits five or six,
There is most goodly sardonyx,
And amber laid in rows."
i. INFLUENCES.
i. Geographical. Being situated centrally in the Mediter-
ranean sea, and being of triangular form, Sicily presents one side
to Greece, another to Italy, and the third to North Africa, and
its history is a record of the successive influences of the powers
to whom these countries belonged.
ii. Geological. The deposits of sulphur contributed to the
wealth and prosperity of the island, while the mountains afforded
an abundant supply of a calcareous and shelly limestone, which
influenced its architectural character.
iii. Climate. The climate of South Italy and Sicily is almost
sub-tropical, for palms grow in the open air, and there are cele-
brated orange and lemon groves near Palermo. On the south-
eastern coast of Italy the towns have the general characteristics
of Oriental cities, the buildings having flat roofs and other Eastern
features.
iv. Religion. In Sicily, owing to Mahometan influence, the
fa9ades were ornamented with intricate geometrical patterns, which
were invented because the Mahometan religion forbade the
representation of the human figure (page 654).
v. Social and Political. The Mahometans introduced into
Sicily valuable commercial products, such as grain and cotton.
Their civilization was, howr
ever, considerably aided by the previous
Byzantine influences. Southern Italy has always maintained a
close connection with Sicily, and has yet to be fully explored for
traces of its architectural development.
vi. Historical. In A.D. 827 the Mahometans landed in Sicily,
~:icl
gradually overran the whole island, and the latter part of the
tenth century was the most prosperous period of their sway.
Sanguinary struggles amongst certain sects led to the insurrec-
on of several cities, and hastened the downfall of the Mahometan
/nasty. From 1061-1090 the Normans, under Robert and

ITALIAN (SOUTH) ROMANESQUE. 24!
Roger de Hauteville, conquered the island, and a descendant of
the latter was crowned at Palermo, 1 1
30. During this period Sicily
prospered, and her fleet defeated the Arabs and Greeks, but civil
wars as to the right of succession led to the island passing in
1268 to Louis of Anjou.
The change from the Byzantine to the Mahometan dominion,
and from the latter to the Nvrman in the eleventh century is
traceable. Byzantine influence is shown in the plans of certain
churches, as in the Church of the Martorana at Palermo, where
a square space is covered by a dome supported on Four free-
standing columns.
Mahometan influence is evident, particularly in the decorative
parts of churches, as mentioned above.
Architecture developed considerably under the Norman rule by
the erection of cathedrals, and a school of mosaic was maintained
in the Royal Palace during this period.
The churches have either wooden roofs, or a Byzantine dome,
but are hardly ever vaulted. Dark and light stone was used in
courses externally, and rich mosaics and colored marbles were
employed as a facing internally. The architectural features of
the interiors, of which Monreale Cathedral (No. 97) has typical
examples, were subordinate to the mosaic decorations which
clothe the walls.
3. EXAMPLES.
Monreale Cathedral (begun 1174, No. 97), on the high
ground to the south-west of Palermo, illustrates mixed Byzantine
and Mahometan influences. In plan it resembles a Roman basilica,
with apses at the eastern end of nave and aisles^ the choir being
raised above the nave. The nave columns have, well carved
capitals of Byzantine form, supporting pointed arches, which are
square in section, and not in recessed planes as in northern
work. Pointed windows without tracery occur in the aisles.
The walls are ornamented with mosaics in color, representing
scenes from biblical history, surrounded by arabesque borders.
A dado, about 12 feet high, of slabs of white marble, is bordered
by inlaid patterns in colored porphyries. The open timber roofs,
intricate in design, are decorated in color in the Mahometan
style. The interior is solemn and grand, the decoration being
marked by severity, and by great richness in the material
employed. The low, oblong, crowning lantern, the early bronze
-^ors, and rich cloisters, are notable.
The Capella Palatina, Palermo (1132) (in the Royal Palace),
F.A. R

was the model for Monreale Cathedral, and though of small size, is
unrivalled for richness of the effect of the mosaics. It has a
richly treated ceiling of stalactite forms.
S. Giovanni degli Eremiti (1132) and the Martorana
Church (1113-1143) are other examples at Palermo which show
the blending of Saracenic and Byzantine ideas,
S. Nicolo, Bari (1197), is a good and typical example of the
churches of Southern Italy which are small in comparison with
their northern contemporaries. The entrance front is always
distinguished by a projecting porch, with
7
the columns resting
on lions' backs, supporting a projecting roof, above which is the
characteristic wheel-window. The detail of these buildings is
always refined and graceful, which may be due to some extent to
the Greek descent of the inhabitants of this part of Italy. The
crypts are a special feature, that at Otranto being noteworthy for
the numerous points of support employed to carry the choir.
4. COMPARATIVE.
CENTRAL, NORTH, AND SOUTH.
A. Plans . The plans of most of the churches were substantially
the same as the basilicas, more especially in Central Italy ;
in the
North the churches are mostly vaulted, modifications being intro-
duced on the lines of German work ;
in the South, the low lanterns
at the crossing, oblong in plan, are marked features, as at
Monreale Cathedral (No. 97). The choir was occasionally raised
to admit of a crypt beneath, reached by steps from the nave.
A number of circular examples were built mainly as baptisteries,
that at Novara being connected to the cathedral by an atrium.
There is a fine atrium at S. Ambrogio, Milan. In the North
the open arcades of the apses seen in conjunction with
the usual arcaded octagonal lantern at the crossing, constitute
the charm of the style. Projecting porches were preferred to
recessed doorways, and are bold open-arched structures, often of
two stories, resting on isolated columns, and placed on huge
semi-grotesque lions, having a symbolic character. Towers, as at
Piacenza and S. Zenone, Verona (No. 96), are detached, being
straight shafts without buttresses or spires, which, when occurring,
can be traced to German influence.
B. Walls. The flat blind arcades of the northern style were
developed by the Pisan (Central) architects in their galleried
facades. The west front, including the aisles, was carried up to
a flat gable, with arcading following the rake, and other arcades
carried across in bands. The Northern fa9ades are flatter, anri
sometimes have a large circular window to light the nave. I
the South this feature is highly elaborated with wheel tracery, i

ITALIAN ROMANESQUE ORNAMENT.
R 2

in the churches at Palermo. Flank walls are occasionally
decorated by flat pilaster strips, connected horizontally by small
arches, springing from corbels (No. 98 c).
c. Openings. In consequence of the bright climate the
openings are small (No. 98 A), and opaque decoration was
preferred to translucent. Window tracery was not developed.
The wheel windows (No. 96) just described are only rudimentary
in pattern, attention being chiefly bestowed upon their decoration,
as in the rich carving of the Palermo examples.
D. Roofs. Where round-arched cross/ vaulting, or simple
barrel vaults, were not employed, the timber roofs of the basilican
style often effectively decorated with color were used. In the
southern examples, domes rather than vaults were attempted, but
timber roofs are the rule in Palermo and Monreale (No. 97), and,
owing to Mahometan influence, great richness in timber ceilings
was attained.
The nave roofs of Italian churches continued to be constructed
of wood with flat ceilings till the thirteenth century. Plain
groined vaults of small span were common and divided into
compartments by flat bands, a practice which was continued in
the Gothic period.
E. Columns. Piers with half shafts were employed rather than
columns, especially in the North, where vaulting was more in
use, but coupled and grouped shafts were seldom properly
developed in relation to the vaulting ribs. Buttressing was
obtained by means of the division walls between an outer range
of chapels, more often than not unmarked on the exterior. In
Central Italy, as at Toscanella, rude Corinthian columns carry
a round-arched arcade, above which the plain walls are pierced,
by the small arched openings of the clerestory, while the roof is
of the simple basilican type. No. 98 j M, show typical capitals.
F. Mouldings. Flat bands are characteristic of the Northern
style. Strings were formed by small arches, connecting one
pilaster strip to another. Rude imitations of old Classical detail
are met with. Southern work is far superior in detail, often
possessing good outline, grace, and elegance. Richness and
elaboration were attempted in the doorways (No. 94 H, j).
G. Ornament (No. 98). Roughly carved grotesques of men
and animals (No. 98 E, F), vigorous hunting scenes, and incidents
of daily life are found in Northern sculpture. In Central Italy
greater elegance is
displayed, and Classic models were copied.
The rows of apostles on the lintels of the doorways, as at Pistoia,
are similar in treatment to Byzantine ivories.
In Southern examples, bronze doors are a feature, as at Monreale
Cathedral. Elaborate decoration in mosaic exists as in the
Palermo churches and elsewhere (No. 98 H), and the use of color
was the main object in the design of the interiors.

ITALIAN ROMANESQUE. 245
5. REFERENCE BOOKS.
Cattaneo (R.).
"
Architecture in Italy from the Vlth to the Xlth
Centuries." Translated from the Italian. 1896.-
Cresy and Taylor." Pisa." 410. 1829.
Dartein (F. de).
"
Etude sur 1' Architecture Lombarde." 2 vols., folio.
Paris, 1865-1882.
Delhi (A. J.) and Chamberlin (G. H.). "Norman Antiquities of
Palermo and Environs." Folio. Boston, 1892.
Gravina (D. D. B.).
"
II Duomo di Monreale." 2 vols., large folio.
Palermo, 1859.
Griiner (L.).
"
Terra-Cotta Architecture of North Italy." 410. 1867.
Hittorff (J. I.) et Zanth (C. L. W.).
"
Architecture Antique de la
Sicile." Folio. Paris, 1827.
Knight." Normans in Sicily." 8vo. 1838.
Knight (H. G.).
"
Saracenic and Norman Remains to Illustrate the
Normans in Sicily." Folio. 1830.
Rohault de Fleury. "Monuments de Pise au Moyen Age." 2 vols.,
folio and 4to. Paris, 1866.
Osten (F.).
"
Die Bauvverke in der Lombardei vom 7 bis 14
Jahrhunderts.'
;
Folio. Darmstadt, 1846-1854.
Salazaro (D.).
"
Studi sui Monument! della Italia meridioni dal IVe
al
XIII6
Secolo." 2 vols., folio. Napoli, 1871-1877.
Schulz (H. W.)
"
Denkmaeler der Kunst des Mittelalters in Unter-
italien." 3 vols., folio and 4to. Dresden, 1860.
Street (G. E.).
"
Brick and Marble Architecture of North Italy." 8vo.
1874.
"Harrison (F.).
"
Theophano." (Historical Novel).

FRENCH ROMANESQUE.
How reverend is the face of this tall pile,
Whose ancient pillars rear their marble heads
To bear aloft its arched and ponderous roof,
By its own weight made steadfast and immoveable
Looking tranquillity. It strikes an awe
And terror on the aching sight." CONGREVE.
i. INFLUENCES.
i. Geographical. France is practically on the high road
between the south and north of Europe, and the relative position
of each district influenced the various prevailing types of archi-
tecture. When Rome was a great power it was by way of Provence
and the Rhone valley that civilization spread ;
hence the strong
classical element which is there prevalent. The trade with
Venice and the East introduced to the district of Perigueux a
version of the Byzantine style in stone.
ii. Geological. France is exceedingly rich in building
materials, especially stone, of which most of the towns are built.
The soft, fine-grained stone of Caen, used throughout N.ormandy,
was also exported to England. In the volcanic district of
Auvergne walling was executed in a curious inlay of colored
material.
iii. Climate. I-n France there are three climates (a.) the
north resembles that of the south of England ; (b.) the west on
the Atlantic coasts is warmer, owing to the Gulf Stream and warm
S.W. winds ; (c.) the south, on the Mediterranean, with a landscape
almost African in its aspect, is sub-tropical.
iv. Religion. Christianity, when introduced, took a strong
hold in the Rhone Valley, Lyons contributing martyrs to the
cause. In this district the most interesting event was the rise of
the Cistercians (page 219), the severity of whose rules as to
church building, caused a reaction from the decorative character
of the later Romanesque, as in the fa9ades of S. Gilles, and
of S. Trophime, Aries. Attention was then concentrated upon

FRENCH ROMANESQUE. 347
the means of producing grand and severe effects, and the change
to the pointed style was promoted, by the effort to solve the
problems of vaulting.
v. Social and Political. Hugh Capet ascended the Prankish
throne towards the close of the tenth century, Paris being made
the capital of the kingdom. At this period the greater part of the
country was held by independent lords, and the authority of the
king extended little beyond Paris and Orleans. Lawlessness
and bloodshed were rife throughout the century, hence archi-
tectural progress was impossible until a more settled state of
society was established.
vi. Historical. On the death of Charlemagne, Northern
France was invaded by the Northmen, from whom Normandy
was named, and their ruler Rollo was the ancestor of the Norman
kings of England. The conquest of England in 1066 marked the
transference of the most vigorous of the Normans to England,
Normandy becoming an English province until the time of King
John.
The hold, however, which they retained on their possessions
in France was the cause of continual invasions and wars in the
two countries, until the complete fusion of races in both was
marked by the loss of the English possessions in France.
The southern style is remarkable for its rich decorative facades
and graceful cloisters, the buildings of Provence being a new
version of old Roman features, which seem to have aojuiivd a
fresh significance.
In Aquitania and Anjou the vast interiors in one span, supported
by the massive walls of the recessed chapels, are impressive, and
seem to revive the great halls of the Roman Thermae. In the
north the style is the promising commencement of a new epoch,
having the first tentative essays of a new system. The interiors
were close set with pier and pillar, and heavily roofed with
ponderous arching, forming a link to the marvellous structures of
the next three centuries, where matter is lost in the emotions
expressed.
The plain thick walls, usually with flat external buttresses in
the north or internal buttresses in the south, emphasized the rich-
ness of the west fronts of the churches in both districts.
The development of vaulting, which was different in the north
and south (page 223), made much progress, especially along the
Loire Valley. In the_ south, naves were covered with barrel vaults,
whose thrust was resisted by half barrel vaults, .over-two-storied
aisles (No. 100 B), thus suppressing the clerestory, _as at N6ti
Dame du Port, Clermont-Ferrand.
In the north, naves were covered by groined vaults, often in

square compartments and covered with sexpartite vaulting, the
groined ribs being constructed independently and supporting the
infilling or " severies."
3. EXAMPLES.
France exhibits several varieties of the Romanesque style, in
which different peculiarities are traceable, and for this reason
it may be divided into southern and northern provinces, the
main dividing line being the Loire.
The influence of Roman remains was naturally greatest in the
parts where they more particularly occur, as at Nimes, Aries,
and Orange, and other places in the Rhone Valley.
The South of France may be roughly divided into the provinces
of Aquitania, Auvergne, Provence, Anjou an,d Burgundy.
Aquitania has two distinct styles, the 'first having, round-
arched tunnel-vaults, and the second having domes spheroidal in
shape, elongated upwards and supported on pointed arches, indi-
cating an eastern
influence.^
5. Sernin, Toulouse, is an example of the
first type. S. Front, Pmgueux (A.D. 1120) (No. 84), an example
of the second type, is due to a large trade with Byzantium.
It is a Greek cross on plan, and closely resembles S. Mark,
Venice (page 208). The illustration (No. 84 B) shows the
arches supporting the domes as pointed, but they have latterly
been made semicircular. Attached to the church is a magnificent
campanile in stone, consisting of a square shaft, surmounted by
a circular ring of columns, carrying a conical dome. S. Front
acted as a prototype of churches with cupolas in France.
Angouleme Cathedral (No. 100 E, F, G) is of the second type,
but has a long aisleless nave with transepts provided with lateral
chapels ancT an apsidal choir with four chapels, forming a Latin
cross on plan. The nave is covered with four stone domes, that
over the crossing being carried above the roof and having
a stone lantern. Both transepts were originally crowned with
towers, but the southern one was destroyed in 1568.
Cahors Cathedral (A.D. 1050-1100) is an imitation of S. Irene
at Constantinople (page 204).
Auvergne being a volcanic district, the geological influence is
frequently apparent, the buildings having a local character
imparted to them by the inlaid decoration formed of different
colored lavas, as at Notre Dame dn Port, Clermont-Ferrand, and the
Church at Issoire.
Provence has numerous remains of the eleventh and twelfth
centuries, in many of which pointed tunnel-vaults were used, all
showing Classical influence, as at Notre Dame, Avignon. The
portals of S. Trophime, Aries (No. 102), and the Church at
5. Gilles, exhibit great richness of effect and beauty of detail.
The cloisters, consisting of columns, used in
couples in the depth

FRENCH ROMANESQUE. 249
of the wall, and carrying semicircular arches, are specially
interesting. The columns have deep capitals sculptured with
sharp and distinctive foliage (No. 103 D, E) and support semi-
circular arches, which are left entirely open, no attempt at tracery
filling being made.
Anjou has many examples rich in decorative treatment, as
Notre Dame la Grande, Poitiers. The Abbey of Fontevrault
(A.D. 1101-1119) resembled Angouleme Cathedral in its aisleless
nave and general arrangement.
Burgundy was specially rich in monastic establishments
which influenced the architectural treatment of the churches,
many~ot "whicfi- faave been destroyed. The great Abbey-Church of
Cluny (1089-1131) was the most famous in this province and was
the longest in 1< ranee, with double side aisles to the main body of
the church, and a chevet of five apsidal chapels. The pointed
arch was employed in the arcade of the nave, which was covered
with a great barrel-vault, and the aisles probably had groined
vaulting.
Autun .Cathedral ( i OQO- 1 1 3 2
s
) is an example of the aisleless
churches which are found in various parts of France.
The Church at Vezelay (A.D. noo), and that at Vienne are other
interesting examples, the former having a groined vault instead of
the longitudinal barrel-vault.
Toiirnus Abbey Church is an interesting example in which arches
spanning the nave from pier to pier support transverse vaults,
under which windows were formed in the nave walls.
The North of France comprises the provinces of Central France,
with Paris as the radiating centre, and the provinces of Normandy
and Brittany.
Normandy possesses many fine examples of this period
owing to its prosperity and the power of the Norman dukes.
These examples are of the vaulted basilican type, which was being
developed towards the complete Gothic of the thirteenth century.
The city of Caen possesses a number of examples illustrating
the difficulties of vaulting, which ultimately led to the introduction
of the pointed arch.
The Abbaye-aux-Hommes (S. Etienne), Caen (Nos. 100-101),
commenced A.D. 1066 by William the Conqueror, in expiation
of having married Matilda in spite of their close relationship,
is the best known example. The plan seems to have been
founded on the Romanesque church of Spires (Germany). It
had originally an eastern apse, but this was superseded later by
the characteristic chevet (No. 101). The west end is flanked by
two square towers crowned by octagonal spires with angle
pinnacles, this fa9ade being a prototype of the Gothic schemes to
follow. The vaulting illustrates the difficulties of spanning oblong
:ompartments without the aid of the pointed arch. Two bays

of the nave are comprised under one vaulting compartment,
which thus being approximately square, the rise of the transverse-,
diagonal, and wall ribs is nearly equal. )
This resulted in a
system known as sexpartite vaulting (page 225) (Nos. 100 c, D,
112 E, F), which, however, was superseded immediately on the
introduction of the pointed arch, when each compartment, what-
ever its shape, could be vaulted without reference to the neigh-
bouring one, because the difference between the width of the nave
and the distance longitudinally between the piers could be easily
surmounted by pointed arches of different radius manipulated so
as to equalize the height of the ribs.
The Abbaye-aux-Dames (La Trinite), Caen (A.D. 1083) (No. 99),
in which the progress of intersecting vaulting is seen, the Church
of S. Nicholas, Caen (A.D. 1084), and the Abbey Church of Mont
S. Michel (since restored), are notable examples.
The Abbey of S. Denis, near Paris, was erected by the great
building abbot, Abbe Suger, in 1144, and the choir and west front
still remain as left by him, although a fourteenth century nave Has
been wedged between them.
4. COMPARATIVE.
A. Plans. In the south, internal buttresses, inclosing the
outer range of chapels, were preferred, as at Vienne cathedral.
Round churches are rare in this district. Towers are detached,
resembling Italian Gampanili. Cloisters were treated with the
utmost elaboration^and jricjmess, usually having double columns
with magnificent capitals- which receive the round arches of the
narrow bays, and were left entirely open, as glazing or tracery
were not required by the climate.
In the north, the increasing demand for vaulted interiors
modified the planning, and the vaulting ribs were provided
with individual shafts, which developed the pier plans. In the
setting out of the bays important changes were introduced,
thus in early plans the naves were vaulted in square bays com-
prising two aisle bays longitudinally (No. 100), but on the intro-
duction of the pointed arch each oblong bay of the nave formed a
vaulting compartment corresponding in length to each aisle bay.
B. "Walls. Massiveness is the characteristic of all the early
work. Walls were of rubble with facing stones. Elaboration was
reserved for doorways in the arcaded lower portion of the fa9ades,
which are often models of simplicity and richness. Buttresses
are often mere strips of slight projection (No. 99), and the fa9ades
were arranged in stories, with window lights in pairs or groups.
Flying buttresses, admitting of high clerestories with windows
lighting the nave, were introduced between A.D. 1150-1200. Th
towers are mostly square with pyramidal roofs (Nos. 99 and'ioi

FRENCH ROMANESQUE EXAMPLES.
ttOION
100.

FRENCH (NORTH) ROMANESQUE.
joi. THE ABBAYE-AUX-HOMMES (S. ETIENNE), CAEN,
View of East End.

c. Openings. The earlier vaulted churches have no clerestory.
In the south, narrow openings with wide splays to admit light
sufficed, while in the north a commencement in grouping was
made, more especially in the direction of filling in the vault
spandrels of the clerestory with arrangements of three and five
light openings. The ante-chapels at the Church at Vezelay
(1130) are generally referred to as having the earliest pointed
vaults in France. Imposing western entrances are characteristic
of this period.
D. Roofs. In the south, the early treatment was a tunnel vault
to the nave, buttressed by half tunnels oyer the aisles, often in
two stories, thus not admitting of a clerestory. The pointed
section was sometimes used, doubtless to lessen the thrust upon
the walls, and in order that the roofing slabs of stone might be
carried direct upon the extrados of the vault. In the north,
clerestories of increased height were obtained by means of the
intersecting nave vaults (No. 100), with .groin ribs (introduced
in the twelfth century), whose thrust was taken by buttress arches
concealed in the aisle roofs a step towards the later flying but-
tresses. The vault in the southern examples frequently supports
the roofing slabs direct, while in the northern examples above the
stone vault were constructed wooden roofs, which supported the
covering independent of the vault.
E. Columns. In nave arcades, either square piers, recessed
in planes, and having upon their faces half round shafts carried
up to the vaulting ribs (No. 103 M-P), were employed, or columns,
circular or octagonal, and reminiscent of Roman times, were
used, and then the vaulting shafts start awkwardly from the
abacus of their huge' capitals (No. 103 D, E), imitated from the
Corinthian order. The carrying up of the vaulting shafts
emphasizes the division of the nave into bays.
F. Mouldings. In the south, the elegance due to classic
tradition contrasts with the rough axed decoration cut upon the
structural features of the Norman work. In the latter, arched
jambs are formed in recessed planes (No: 102), with nook shafts
plainly fluted, or cut with zigzags. Capitals are cubical blocks,
either plain or carved with copies of acanthus leaves from old
Roman examples (No. 103). Corbel tables, supported by plain
blocks or grotesque heads, form the cornices of the walls
(No. 103 B, G, j).
G. Ornament. Painted glass was not favoured in southern
examples, small, clear-glazed openings being employed to set off
the opaque color decoration of the walls. Stained glass favouring
large openings was gradually developed in the north. The diaper
work so common in the spandrels of arches, in northern work is
supposed to have arisen from the imitation, in carving, of the
color pattern work, or draperies that originally occupied the

FRENCH ROMANESQUE ORNAMENT.
|S
FROM FRIEZE :
flpac.
103.

FRENCH ROMANESQUE.
same positions. Figure sculpture was more frequently employed
in the southern buildings (No. 102).
The West Fronts of the churches of the Charente District in
Aquitania were elaborately treated with carved ornament repre-
senting foliage or figures of men and animals. On the ground
story the capitals so treated, were often continued as a rich, broad
frieze.
5. REFERENCE BOOKS.
McGibbon (D.). "The Architecture of Provence and the Riviera.'*
8vo. 1888.
Pugin (A. W.) and Le Keux. "Architectural Antiquities of Normandy.*'
4to. 1828.
Ramee (D.).
"
Histoire de 1
;
Architecture." 2 vols., 8vo. Paris, 1870.
Revoil (H.).
"
Architecture Romane du Midi de la France." 3 vols.,
Ruprich-Robert (V.).
"
L' Architecture Normande aux Xle et XI le
siecles." 2 vols., folio. Paris, 1885-1887.
Sharpe (Edmund). "The Domed Churches of Charente." 410. 1882.
Spiers (R. Phene). "Saint Front of Perigueux and the Domed
Churches of Perigord and La Charente." R.I.B.A. Journal, February 20,
1896.
Thiollier (N. and F.).
"
L'architecture religieuse a 1'epoque romane
dans Tancien diocese du Puy." Folio. Le Puy, 1900.
Verneilh (F. de).
"
L'Architecture Byzantin en France." 4to. Paris,
1851.
Viollet-le-Duc.
" Dictionnaire de 1' Architecture." 10 vols., Svo.
Paris, 1859. A translation of the article "Construction" has been
published under the title of
"
Rational Building," by G. M. Huss. 8vo.
New York, 1895.
Yonge (C. M.)" Richard the Fearless" (Historical Novel).
F.A

GERMAN ROMANESQUE.
" Both the Castell and the Toure
And eke the hall and every boure,
Without peeces or joynings,
But many subtle compassings
As babeuries and pinnacles
Imageries and tabernacles
I saw, and eke full of windows
As flakes fallen in great snowes." CHAUCER.
i. INFLUENCES.
i. Geographical. On the banks of the Rhine, and in the
south, cities had been established during the Roman occupation,
and it was in these parts that Christianity took root, while, in
the north and east, paganism still existed.
ii. Geological. The existence of stone in the Rhine valley
facilitated the erection in this material of churches, rendered
permanent and fireproof by the early introduction of vaulting.
No stone being found on the sandy plains of Northern Germany,
brick was there employed, and the style of that district is conse-
quently varied from that of the Rhine valley.
iii. Climate. The average temperature of Central Germany
may be said to be the same as Southern England, but with wider
extremes, as the heat in the summer is ten degrees higher, and
in the winter correspondingly lower, so that carriages in Berlin
are converted into sledges.
iv. Religion. In the early period the Germans looked much
to Rome, and Charlemagne, being a strong supporter of Christi-
anity, forced the people of Saxony to embrace that religion. The
plan of a typical church of this period is peculiar in having
eastern and western apses. There are also a number of import-
ant circular churches, built as tombs, or more especially as
baptisteries, the conversion of the tribes giving great importance
to that ceremony.
v. Social and Political. Germany united under Charle-
magne afterwards split up into small principalities, whereas
France, originally divided into many distinct nationalities,
became fused into an absolute monarchy and has remained, in

GERMAN ROMANESQUE. 259
.spite of all changes, the most united of continental powers. In
the later portion of this period, Germany was troubled by the
dissensions of the two rival parties, the Guelphs and Ghibellines,
the one supporting the Church and municipal rights, and the
other representing the Imperial authority, but the conflict between
the two took place mainly in North Italy (page 405).
vi. Historical. Charlemagne (A.D. 768-814), the first Prankish
king who became Roman Emperor, was crowned by the Pope at
Rome, and ruled over the land of the Franks, which included all
Central Germany and Northern Gaul. In addition he established
the Prankish dominion over Southern Gaul and Northern Italy
(No. 90). In a great measure, he restored the arts and civiliza-
tion to Western Europe, resulting in the erection of many
important buildings in his dominions.
On Charlemagne's death in A.D. 814 this empire crumbled to
pieces through internal wars, and in the unsettled state of the
country, the German princes pushed themselves into prominence
by demanding the right to elect their own sovereign Conrad
the First, reigning as King of Germany at the beginning of the
tenth century. His successor, Otho, extending the boundary of
the German Empire southwards into Lombardy, was crowned
Emperor of the West at Rome, an event which shows the leading
position of the Prankish emperors at the period, and was not
without its influence on the architecture of these regions. The
political relations of the Hohenstaufen (or Swabian) Emperors
(A.D. 1138-1273) with Lombardy, is evidenced in the similarity
of the architecture of the two countries. The house of Hapsburg
succeeded the Hohenstaufen dynasty in 1273, when French Gothic
architecture was introduced, and henceforth copied.
The style bears a strong resemblance to North Italian
Romanesque, due to certain influences dealt with previously
(page 234 and above).
The Rhine districts possess the most fully-developed Roman-
esque architecture, and the style lias_fe_wejl local -^axieiies than
that_pf France. The plans of the churches are peculiar in having
western and eastern apses, and no great western entrance as in
France. The general architectural character is rich in the multi-
plication of circular and octagonal turrets, in conjunction with
polygonal domes, and the use of arcaded galleries under the_eayes.
The mosFncKIy" ornamented parts are the doorways_aiid_capitals,
which are bold and effective in execution.
Vaulting appears to have been first adopted in the Rhenish
churches some fifty years after its general adoption in France.
s 2

GERMAN ROMANESQUE.
104. CHURCH OF THE APOSTLES, COLOGNE.
View of Apse.

GERMAN ROMANESgUE. 261
The Germans may claim to be the inventors of the Lombardian
or North Italian Romanesque, and their round arched style lasted
till about 1268.
3. EXAMPLES.
Saxony and the Rhine valley are specially rich in Romanesque
examples, and few works of importance were erected elsewhere
till the Gothic period. Gernrode Abbey Church (958-1050),
and S. Godehard, HiMesKeim (1133), are of the basITican
type with triple eastern apses.
The Monastery of S. Gall (circa A.D. 820) in Switzerland
(page 276), of which a complete plan was found in the seventeenth
century, is an interesting and typical example of a German
Benedictine monastery of the period. It appears to have been
prepared by Eginhard, Charlemagne's architect, and consisted of a
double-apse church and cloister, abbot's lodging, school, refectory,
dormitory, guest-house, dispensary, infirmary, orchard, cemetery,
granaries, and bakehouses.
The Church of the Apostles, Cologne (A.D. 1220-1250) is
one of a series in that city which possesses characteristic features
(Nos. 104 and 105 A, B, c). In plan it consists of a broad nave,
and of aisles half the width of the nave. The eastern portion has
three apses, opening from three sides of the central space, crowned
by a low octagonal tower, giving richness and importance to this
portion of the church. The grouping externally is effective, the
face of the wall being divided up by arcading, and crowned with
the characteristic row of small arches under the eaves of the roof.
The bold dignity of this church may be compared with the con-
fused effect of the French chevet, as S. Etienne, Caen (No. 101).
S. Maria im Capitol (ninth century), S. Martin (A.D. 1150-
1170), and S. Cunibert, are other examples of triapsal churches
for which the city of Cologne is famous.
Worms Cathedral (1110-1200) (Nos. 105 and 106) vies with
those of Mayence (A.D. 1036), Treves (A.D. 1047), and Spires
(A.D. 1030), as the representative cathedral of this period. As
usual (Nos. 105 D, E, F, G), the vaulting of one bay of the nave
corresponds with two of the aisles, both being covered with cross
vaults. Twin circular towers flank the eastern and western apses,
and the crossing of the nave and transept is covered with a low
octagonal tower, having a pointed roof. The entrances were placed
at the side, a position which found favour in Germany as well
as in England. The fa9ades have semicircular headed windows,
framed in with flat pilaster strips as buttresses.
Aix-la-Chapelle Cathedral (No. 83 E, F), built A.D. 768-814
by the Emperor Charlemagne as a royal tomb-house for
himself, is interesting as resembling S. Vitale, Ravenna

GERMAN ROMANESQUE EXAMPLES.
mmLONcrruDrai ELECTION
TEMNSEPTS
PfDOTQH TRMRMLIN
TKTOE A WWiWK>TEUfl
105.

(No. 83 c, D). A short description is given on No. 83. The
building has been much altered since the time of Charlemagne,
for the Gothic choir was added in 1353 to 1413, and the gables and
roof of the octagon are of the thirteenth and seventeenth centuries.
The chapels surrounding the structure are of the fourteenth and
fifteenth centuries, and the western tower has been added in
recent years. The building is of interest, historically, as the
crowning place of the Western Emperors.
Laach Abbey Church (A.D. 1093-1156) is a Benedictine
example built completely in this style. On/either side of the
western apse, which is used as a tomb-house, are the principal
entrances from the western atrium, and there are three eastern
apses. The vaulting-bays of the nave and aisles are of similar
width.
Lubeck Cathedral (A.D. 1173), is a type of brick architecture
peculiar to North Germany ;
but the choir and aisles were not
added till A.D. 1335 (page 398).
Germany is remarkable for a series of double or two-storied
churches, generally attached to castles, as at Nuremberg, Lands-
berg, and Steinfurt. In these it is held that the upper chapel was
used by the Prince and his personal retinue, and the lower by his
retainers, but in some instances the upper church would appear
to have been provided in case of floods.
4. COMPARATIVE.
A. Plans. The naves and aisles are vaulted in square bays,
one vaulting bay of the nave being equal to two of the aisles, as
in the plan of Worms Cathedral (No. 105 G), arid the Church of
the Apostles, Cologne (No. 105 c).
The choir is always apsidal, and often raised, as in Lombardy,
to admit of cry_pts jbeneath. Western as well as eastern transepts
occur, contrasting in this respect with Italian examples, and over
the crossing a tower, sometimes octagonal (No. 106), is
generally
found. Western apses are frequent (No. 105 G), as at Treves
and the Abbey Church at Laach, and apses also occur at the
ends of transepts, as in the Church of the Apostles at Cologne
(No. 105 c).
Numerous towers, either square, circular, or polygonal, pro-
ducing a rich and varied outline, were employed, two being usually
at the east end flanking the apse, and two at the west end, con-
nected by a gallery (Nos. 106 and 107 G). The towers rise in
successive stories,- and a characteristic finish consists of four
gables and a steep roof, a hip rafter rising from each gable top
(No. 107 G).
B. Walls. The blank walls are cut up by flat pilaster strips,
connected horizontally by ranges of small arches springing from

GERMAN ROMANESQUE ORNAMENT.
SHOVING CHflRflCTERl5T 1C TOWER ROOP3 E
107.

corbels (Nos. 105 D and 107 E). Owing to the smallness of scale
this favourite feature may be considered as a string course or
cornice.
Open arcades, the origin of which have already been dealt
with (page 237), occur under the eaves of roofs, especially round
the apses (Nos. 104 and 106). The churches have sometimes a
triforium and always a clerestory.
c. Openings. No tendency towards tracery is found. The
windows are usually single, being rarely grouped (No. 106).
The doorways (Nos. 105 and 107 N) are placed at the side, rarely
in the west front or transept ends.
D. Roofs. In the Rhine district a central semicircular barrel
vault was supported by half-barrel vaults over the aisles, a system
which led by degrees to complete Gothic vaulting. Timber roofs
were also employed for large spans. Tower roofs, and spires of
curious form, are a special feature of the style. A gable on each
tower face, with high pitched intersecting roofs (No. 107 G), is
common, the latter being formed by the intersections of the planes
between the adjacent sides of adjoining gables forming a pyramid,
being a step in the evolution of spire growth.
E. Columns. The nave arcades were generally constructed of
square piers, with half columns attached, and the alternation of
piers and columns is a favourite German feature. The capitals
(No. 107 c, D, F, H), though bold in execution, are well designed,
being superior to the later Gothic examples.
F. Mouldings (see Walls). These are as a rule of indifferent
design, but the capitals and bases take a distinctive form, leading
from Roman through Romanesque to Gothic.
G. Ornament. Internally the flat plain surfaces were occa-
sionally decorated in fresco, and the traditions and examples of
the early Christian and Byzantine mosaic decorations, were
carried on in color. In the north colored bricks were used, and
were unsuitable for rich decoration, thus accounting for the
absence of sculptured foliage.
5. REFERENCE BOOKS.
Boisseree (S.).
"
Denkmale der Baukunst am Nieder-Rhein." Folio.
Munich, 1844.
Moller (G.).
<;
Denkmaeler der Deutschen Baukunst." Folio. Leipzig,
1852.
Hardy (A. S.).
"
Passe Rose "
(Historical Novel).

PIM01
13 CENTURY
108.
GOTHIC ARCHITECTURE IN
EUROPE.
GENERAL INTRODUCTION. 1
i. INFLUENCES.
i. Geographical. The nations of Western Europe had come
into existence. Germany was the centre of the Western Empire
and the Kingdoms of France, Italy and Spain were also becoming
strong united states. Russia, Sweden and Norway had little to
do with Western Europe. England had become thoroughly united
under the Norman Kings. The map (No. 108) gives the general
distribution of the various countries in the thirteenth century.
ii. Geological. Refer to each country.
iii. Climate. Refer to each country. It has been pointed
out that the sun, in Northern Europe, is more suitable for Gothic
than Classic Architecture, for it is a sun wheeling somewhat low on
an average round the sky, and shadows are better caught by out-
standing buttresses and the flying lateral members of a Gothic
1
Before treating of the development of the style peculiar to each country, a
general outline sketch is given.

facade, than by the level lines of the heavy horizontal Classic
cornices, which are more effective, under the Grecian or Italian
sun, which moves higher in the firmament.
Snow and inclement weather were responsible for the high
pitched Gothic roof of Northern Europe.
iv. Religion. Introductory remarks and a description of the
various order of monks are given on page 218. The immense
power of the Popes, which was probably at its height in the
thirteenth century, was evidenced in the way they made and
unmade Emperors and Kings and disposed of their dominions.
The clergy, in consequence of their learning, also took a pro^
minent part in temporal affairs, and by so doing attracted wealtri"
and power to their orders. Jn Germany, many of the Abbots
and Bishops were princes of the Empire, and the Archbishops
of Cologne, Treves, and Mayence were among the Electors of
the Emperor. The worship of relics, and of local saints (as S. Hugh
at Lincoln, S. Thomas at Canterbury, S. Swithun at Winchester),
the periodical pilgrimages, the-adoration of the Virgin Mary and
other forms of ritual, also had their influence on the monuments.
Msriokbtry was responsible for the addition of' lady chapels either
laterally, as at Ely (No. 117 A), or at the eastern extremity, as
at Salisbury (No. 117 E). The demand for chapels dedicated to
particular saints, for an ambulatory to be used for processional
purposes, and the foundation of chantry chapels where masses
for the dead could be repeated, also affected the general plan of
many buildings.
v. Social and Political. -- Refer to each country. The
growth of towns which developed into important cities brought
.about an increase of riches and the erection of magnificent'build-
ings owing to municipal rivalries. In Italy, the country was
divided into different portions belonging to the larger towns,
which afterwards became principalities, whereas in Germany,
towns joined together for mutual defence, amongst the most
famous being those forming the Hanseatic league. ".
*
vi. Historical. Refer to each country.
The principles and character of Gothic architecture were'similar
throughout Western Europe, and are indicated on No. 109. The
fully-developed Gothic art of the thirteenth century was the style
which had been slowly developing itself throughout Europe as
a necessary sequence of Romanesque art, and is mainly recog-
nized because of the introduction and use in door and window
openings, arcades, vaulting and ornamentation of the pointed arch

GOTHIC ARCHITECTURE IN EUROPE. 269
which, indeed, is so characteristic as to give a suggestion of height
coinciding with the aspiring tendency of the style and its connection
with the religious enthusiasm of the period.
In the thirteenth, fourteenth, and fifteenth centuries the Gothic
masons carried to the utmost the use of stone as a building
material, heaping it up in towers that rose on open archways
v
through the lofty roofs of the naves and transepts, and .tapered
away in shell-like spires embroidered in all the fretwork of lace-
like tracery. They hung it aloft in ponderous vaults treated by
art to seem the gossamer web of nature, scarce capable of bearing
the stalactite pendants in which the fancy of the fifteenth century^
found its expression, and eventually pushing their practice to
the furthest boundaries, they cut the granular stone to the thin-
ness of fibrous wood or iron, and revelled in tricks of construction
and marvels of workmanship.
The Gothic architects, developing still further the principles of
Romanesque architecture (page 221), had to employ the materials
at hand according to their nature, and to seek for those laws of'
elasticity and equilibrium whidi were substituted for those of
inert "stability as practised by the Greeks and Romans. This
elasticity was obtained by the employment of stone laid in
narrow courses with tolerably th;ck mortar joints.
Every vertical support in Gothic architecture depended for its
stability on being stayed by a buttress, which in its turn was weighted
by a pinnacle ;
and every arch-thrust met another which counter-
acted it. In the case of the nave vaults, the collected pressures of
the vaulting and roof were counteracted by arches, called flying
buttresses, leaning against the nave wall and supported at some
distance by massive piers, weighted with tall pinnacles (Nos.
109 A, 141 F, G, H, and 153 A). Walls became mere enclosures,
and the entire structure consisted of a framework of piers, but-
tresses, arches, and ribbed vaulting held in equilibrium by the
combination of oblique forces neutralizing each other (No. 141).
Even the .walls themselves were occupied principally by glazed
windows, divided by stone mullions, having their upper parts
designed with combinations of curves of great variety. No such
system of construction, it is evident, could have been developed
without the employment of such a material as stone, laid in
tolerably small courses with mortar joints, which gave the necessary
elasticity to the various pressures.
These principles led to the introduction of much novelty in
mouldings, capitals and piers, for the numerous vaulting ribs
being collected at intervals were supported on capitals of a shape
formed to fit them, and these were provided with shafts, some-
times carried on corbels and sometimes continued to the ground,
influencing very largely the form of the nave piers.
Further, the comparative scarcity of materials taught the Gothic

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109.

architects to practise economy in their use, the characteristic
mouldings of the Mediaeval period exhibiting much less waste of
material than those common in Classic times.
In the Middle Ages it was the constructional features them-
selves to which an attractive form was given, and in this
particular, the architecture of this period stands in close relation
to Greek art.
The same principle of truth was upheld, but the form had
changed, and it was no longer the self-contained Greek temple, re-
poseful in the severity of horizontal lines, but a complex, restless
structure whose aspiring tendencies found expression in vertical
grouping, unity being obtained by the exact and necessary
correlation between all the parts.
Although many, if not most, of the architectural features were
founded primarily on structural necessity, yet others were the
expression of artistic invention and of aesthetic requirements.
Form, in the best types of architecture, is not the result of
caprice, but is only the expression of the structural necessities.
If the column is a real support and has an expanded capital it is
for the purpose of supporting a particular load ;
if the mouldings
and ornaments have particular developments it is because they
are necessary, and if the vaults are divided by ribs it is because
they are so many sinews performing a necessary function. The
spire was evolved from no utilitarian requirements, but was a
sign of the communal spirit and an indication of municipal
prosperity, of which it formed an outward and visible
expression.
The architecture was adapted to a structure of small stones
with thick mortar joints, and was a compromise between the
concrete walling and the jointed stones (without mortar)
of the Romans. The military organization, which had helped
to mould the Roman style, was wanting in the Gothic period,
stone having to be sought in various quarries from different
proprietors and transported by voluntary aid, or by workmen who
were forced labourers, doing as little as possible, and taken away,
ever and anon, to fight in their owners' battles. As to the
material at hand, the Gothic architects of Western Europe
possessed stone which was strong and hard, and could be split
into thin pieces, but had not at their disposal either the marble of
Pentelicus or the blocks of granite which the Romans procured
from Corsica, the Alps, and the East ;
thus they were absolutely
compelled to erect considerable buildings with thin courses of
stone, whereas the Greeks erected small buildings with enormous
blocks of marble, conditions naturally influencing the forms of
each style of architecture. Romanesque architecture con-
sisted of walling formed of a rubble core between two faces of
stonework, but at the beginning of the thirteenth century, loftier

and more extensive edifices being built, a new method was
gradually evolved. In seeking to diminish the size of the piers
and thickness of the walls, it was necessary for the archi-
tects of this period to find a mode of construction more homo-
geneous and more capable of resistance, and to avoid the expense
of labour which the carrying of material of large size involved.
The walls, therefore, became of secondary importance, their
place being occupied by stained glass windows, and the support of
the structure was effected entirely by means of buttresses or short
walls placed so as best to resist the thrust of thje vaulting.
Vaulting. The method was an extension of the Roman-
esque system, which was evolved from that of the Romans
(page 224) and consisted of a framework of independent ribs,
which were first constructed and which supported thin panels of
stone. The difficulties of vaulting oblong compartments, were
now overcome by the introduction of the pointed arch, which was
used to cover the shorter spans, while the semicircular arch was
still used for some time for the diagonal ribs. The ribs became
permanent centres on which the panels or "infilling" of thin
stone could rest, and enabled the building to be erected all at
once or in parts without disadvantage to the solidity of the edifice.
As indicated on Nos. 109 and 141, the pressures of the vaults were
transmitted to the angles of each compartment by the diagonal
ribs. Such pressures are of two kinds : outwards by the nature of
the arch, and downwards by the weight of the material, the
resultant of the two being in an oblique direction. The increase
of the number and variety of ribs and the consequent form of
the vaults (No. in D) during the three centuries of Gothic
architecture is one of the most fascinating studies of the
style.
The invention of painted glass was an important factor in the
development of the style, for traceried windows came to be looked
upon merely as frames in which to exhibit painted transparent
pictures displaying the incidents of Bible History. Neither
the painted sculpture and hieroglyphics of the Egyptian temples,
the colored and sculptured slabs of the Assyrian palaces, the
paintings of the Greek temples, nor the mosaics and frescoes
of the Byzantine and Romanesque periods produced color effects
that can be compared with the brilliancy and the many-tinted
splendours of the transparent walls of a Gothic cathedral.
In the north and west of Europe, where painted glass was the
principal mode of decoration, the walls were kept internally
as flat as possible, so as to allow the windows to be seen
internally in every direction, all the mechanical expedients of
buttresses and pinnacles being placed externally. Further,
when by the grouping of windows and the subsequent forma-
tion of mullions and tracery, the entire screen wall between

the piers came to be occupied by bright colored windows, these
of necessity took the pointed form of the vault, originally adopted
for constructive reasons arising from the progress of the art of
vaulting, which was further influenced by the desire for lofty
windows to act as frames for the glass.
3. EXAMPLES.
BUILDINGS ERECTED DURING THE
MIDDLE AGES.
CATHEDRALS AND CHURCHES.
The construction of these buildings, many of which were
founded in the eleventh and twelfth centuries, was carried on from
generation to generation.
The place in the national life which the mediaeval cathedrals
occupied was an important one, and must be realized in order to
understand how they were regarded. Cathedrals were erected
and decorated partly as a means of popular education, and they
were the history books of the period, taking the place in the social
state since occupied, to a large extent, by such modern institutions
as the Board School, Free Library, Museum, Picture Gallery and
Concert Hall. The sculpture and the painted glass reflected the
incidents of Bible History from the creation to the redemption
of mankind, the sculptured forms and brilliant coloring being
easily understood by the people. The virtues and vices, with their
symbols, were there displayed, either in glass or statuary, along
with their reward or punishment ;
saints and angels told of the
better life, and the various handicrafts, both of peace and war,
were mirrored in imperishable stone or colored glass.
Architecture then as now was also the grand chronicle of
secular history, past and present, in which Kings, Nobles and
Knights were represented.
The plans in all parts of Europe, as may be seen on referring
to those of England (Nos. 117, 118, 119, 120 and 127), France
(Nos. 155 and 159), Belgium (No. 167), Germany (Nos. 170
and 172), and Italy (Nos. 176 and 179), are generally in the form
of a Latin cross, the short arms, north and south, forming the
transepts. The cruciform ground plan is considered by some as
a development from the early Christian basilicas, such as Old
S. Peter, Rome (page 182), and by others, as evolved from the
cruciform buildings erected for sepulchral purposes as early as
the period of Constantine. A tower, sometimes crowned with a
spire, was generally erected over the crossing or at the west end.
s a rule the nave is the portion to the westward, and the choir,
F.A. T

containing the bishop and clergy, is that to the eastward of the
crossing.
~
Each of these divisions is further divided into a central nave
and side aisles, separated by columns or piers. The principal
entrance, often richly ornamented, is at the west end, or by a
porch on the south or north sides.
The columns or piers support arches (the nave arcade), which
carry the main walls, rising above the aisle roof (Nos. 109 A
and 141 G). Above this arcade are a series of small arches,
opening into a dark space caused by the height of the sloping
roof of the aisle ;
this is called the triforium, or " blind story."
Above Hhe triforium is a range of windows in the main wall,
admitting light into the upper part of the nave ;
this division
is called the clerestory, or "clear story," probably derived from
the French word clair, light being admitted by the windows in
this portion of the nave wall. The head of these windows is
generally the level of the ridge of the stone vault of the nave,
which is covered by a high pitched wooden roof.
The east ends or choirs, usually square-ended in England
(Nos. 117, 118, 119 and 120) are generally richer than the
remainder of the church, and the floor is raised above the nave
level by steps.
The east ends of Norwich (No. 118 D), Gloucester (No. 118 c),
Peterborough (No. 117 D), Lichfield (No. 120 j),
and Canterbury
(No. 118 B), all of Norman origin, were circular, while West-
minster Abbey has a ring of chapels or chevet (No. 127).
The lady-chapel is placed beyond the choir at the extreme east
end, as at Norwich, Peterborough, and Salisbury (No. 117 E), or
on one side, as at Ely (No. 117 A).
The cloisters attached to so many of the English cathedrals,
forming part of the original monastic buildings, were probably
derived from the atrium of the Early Christian period (page 180).
They are generally, but not invariably, south and west of the tran-
sept, in the warmest and most sheltered position, forming the
centre of the secular affairs of the monastery, and a means of
communication between different parts of the Abbey,
Such is the general distribution of the parts of a cathedral or
large church, from which, naturally, there are many deviations,
such as, for instance, the position and number of transepts
(Nos. 117, 118, 119, 120, 155, 159, 167 and 187).
Great length, and central towers (see Chichester, Durham,
Worcester, Rochester, Oxford, York, Chester, Gloucester and
Wells), are features of English cathedrals ;
western towers also
occur in many examples, as at Lichfield (with spires), Durham,
Canterbury, York, Wells, Lincoln and Ripon. Compared with such
long, low, and highly grouped examples, Continental cathedrals
seem short, high, and often shapeless, owing to the intricacy and
T 2

profusion of their buttressing (Nos. 109, 153, 154). In churches,
a single western tower is an English characteristic (No. 130).
The interior of a Gothic cathedral has been thus described :
" The tall shafts that mount in massy pride,
Their mingling branches shoot from side to side ;
Where elfin sculptors with fantastic clue
O'er the long roof their wild embroidery drew ;
When superstition, with capricious hand,
In many a maze, the wreathed window planned,
With hues romantic tinged the gorgeous pane,
To fill with holy light the wondrous fane,
To aid the builder's model, richly rude,
By no Vitruvian symmetry subdued."
The English Cathedrals, as a general rule, owe much of their
beauty to the fact that they are generally placed in a large open
space called the Close, as at Canterbury, Lincoln (No. i25) >
and
Salisbury (No. 121)
"The ranged ramparts bright
From level meadow-bases of deep grass
Suddenly sealed the light
"
or are situated picturesquely on the banks of a river, as at
Worcester, or Durham, described by Scott as,
" Grand and vast that stands above the Wear ;
"
or, as Milton so descriptively has it, are
"
Bosom'd high 'mid tufted trees."
The French Cathedrals, on the other hand, are often completely
surrounded by houses and shops (page 368), which in many
cases were actually built against the wall of the church itself
(No. 162). For comparison of English and French Cathedrals,
see page 378.
MONASTERIES.
These were amongst the most important structures erected in
the middle ages, and were important factors in the development
of mediaeval architecture. They were erected by the various
religious orders already referred to (page 218).
The monks according to their several orders favoured different
pursuits. The Benedictine was the chronicler and most learned
of monks, and his dress was adopted by University students ;
the
Augustinian favoured preaching and disputations ;
the Cistercian
1
was the recluse, the friend of the poor, interested in agriculture
and industrial pursuits ;
the Cluniac was the student and artist ;
the Carthusian the ascetic ;
and the Friars the missionary
preachers of the period.
A complete monastery, of which S. Gall (page 261) and
Westminster Abbey (No. 127) are good examples, included

beside the church :
(a.) A Cloister Court, off which were placed
the Chapter House, with the Sacristy between it and the church,
and the dormitory adjoining the church, approached by a separate
staircase. The cellarage for beer, wine and oil, was often
placed under the dormitory. On the opposite side to the church
were the refectory (dining hall) and kitchens, thus placed to
keep away noise and smell. The lavatory was usually placed
in the south cloister walk as at Westminster, Wells, Chester,
Peterborough and Gloucester, (b.) An Inner Court, with infir-
mary, guest house, kitchen, servants' hall, library and scriptorium
(the writing and illuminating room for making copies of books).
(0.)
A Common Court, with double gateway for carts, surrounded
by granaries, bakehouses, stables, store rooms, servants' rooms,
tribunal, prison, abbot's lodging, and barn, (d} The Church
Court or Close, open to the public, (e.) Mills, workshops, gardens,
orchards, and fishponds.
Monasteries answered the purpose of inns in little frequented
places, as is the case to this day on the continent.
SECULAR ARCHITECTURE.
Examples of secular work, such as castles and residences of the
nobles, the dwellings of the people, hospitals, and other civil and
domestic work are referred to under each country.
4. COMPARATIVE.
The comparative analysis of each country is given separately,
and a comparative table of the underlying differences between
the Gothic and Renaissance styles is given on page 442.
5. REFERENCE BOOKS.
Lists are given with each country.

ENGLISH ARCHITECTURE.

ANGLO-SAXON, ROMANESQUE (NORMAN),
AND GOTHIC.
" Diffused in every part,
Spirit divine through forms of human art,
Faith had her arch, her arch when winds blew loud,
Into the consciousness of safety thrill'd ;
And Love her tower-; of dread foundation, laid
Under the grave of things. Hope had her spire
Star high, and pointing still to something higher." WORDSWORTH.
i. INFLUENCES.
i. Geographical. The position of England may well be
considered unique.
"
England, bound in with the triumphant sea,
Who.se rocky shore beats back the envious siege.
This fortress built by nature for herself
Against infection and the hand of war;
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat, defensive to a house,
Against the envy of less happier lands."
SHAKESPEARE, Richard II.
England being an island with natural harbours, and lying
opposite the rich and populous plains of Europe, owed much
of her development to the intercourse effected by her ships.
Isolation by the sea has had two alternating influences, for
it has assisted in the development of purely national characteristics,
and by giving rise to an incurable habit of travelling, has led
to the importation of continental ideas in architecture.
ii. Geological. The geology of the country is, in some way,
responsible for the special character of the buildings in different
parts of England, thus the transport of stone by sea was an

ENGLISH ARCHITECTURE. 279
important reason for its use in some districts, but in the Fen
districts, in the absence of good roads, material was conveyed on
horseback.
The granites of Cornwall and Devonshire, the limestones of Port-
land, and the oolitic formations, such as the Bath stones, have all
affected the districts in which they are found, although, of course,
as transport became easier, there was a tendency for these
local distinctions to disappear. Even in the Middle Ages
stone was brought from a distance, Caen stone from Normandy
being used in the erection of Canterbury Cathedral and other
churches.
Brickwork of modern type came into general use in England
about A.D. 1300, after being comparatively unused since the
departure of the Romans, Little Wenham Hall (A.D. 1260), in
Suffolk, being probably the earliest brick building existing in
England.
During the reigns of William and Mary and Queen Anne,
brickwork was largely used in house construction by Sir Christo-
pher Wren and others. Hampton Court contains good examples
of sixteenth and seventeenth century brickwork.
In chalk districts the characteristic flint work of Norfolk, Suffolk,
and parts of the south coast, gives a special character to the
architecture of these districts.
Terra-cotta was also employed, as at Layer Marney Towers,
Essex (1500-1525), and in parts of Hampton Court Palace.
Where forests afforded abundant material, as in Lancashire,
Cheshire and- elsewhere, half-timbered houses were erected, chiefly
during the fourteenth, fifteenth, and sixteenth centuries (Nos. 132 j,
150, and 247).
iii. Climate. The climate is cool, temperate, mild, and moist,
and is adapted for almost continuous work, during every season,
but cold, damp, and high winds with much rain necessitate con-
stant forethought in building to exclude the weather. The deep
porches and small entrances of English cathedrals are in contrast
with continental entrances, and are directly influenced by the
climate.
iv. Religion. The conversion to Christianity of the Kentish
King ^Ethelbert was effected by S. Augustine in A.D. 597. By the
end of the tenth century the greater part of Europe had embraced
Christianity. The power of the papacy had steadily grown, and
was at its height from the eleventh to the thirteenth century,
during which period several popes succeeded in overruling the
civil power.
In England, attempts at the assertion of national independence
were continuous, but not pushed to extremes until a later date.
The distinction between the regular and secular clergy was fully
established, and the different orders of monks had come into

existence, their buildings exhibiting characteristic points of differ-
ence (page 2 1
8). The Crusades, indicating the religious zeal of
the period, are referred to on pages 218, 283, 363.
John Wycliffe (d. 1384) asserted the freedom of religious
thought, and protested against the dogmas of the papacy.
Many of the cathedrals formed part of monastic foundations
(page 294), which accounts for peculiarities of plan differentiating
them from French Examples.
The dissolution of the monasteries in the reign of Henry VIII.
provided funds for the erection of new mansions.
v. Social and Political. Britain, as a Roman colony, was
divided into five provinces, and progress was made in agricul-
ture, building, and mining, the Roman dress and language being
adopted by the British higher classes.
The Roman settlements in this country were, many of them,
provided with basilicas or halls of justice, baths, markets, temples,
and villas as at Bath, Bignor in Sussex, Darenth in Kent,
and Fifehead-Neville in Dorset.
The remains of this epoch consist chiefly of castles, such as
those at Colchester, York, Lincoln, Richborough, and Burgh
Castle (near Yarmouth).
The word "Chester," as an affix, is derived from the Latin
word castra = camp, and signifies a Roman settlement in this
country, as at Winchester, Leicester, Silchester, and Chester.
The excavations at Silchester revealed the remains of a very
fine basilica.
The civilizing power of the Roman roads was of importance
in opening out the country. The four great roads in England
were :
(a.) Wailing Street, London to Wroxeter, near Shrewsbury.
(b.) Ermine Street, London to Lincoln via Colchester and
Cambridge.
(.) Fosse Way, Cornwall to Lincoln.
(d.) Icknield Street, Bury St. Edmunds to Salisbury and
Southampton.
A.D. 81. Agricola built his forts from the Clyde to the Forth.
A.D. 1 20. Hadrian's wall built from the Tyne to the Solway.
A.D. 210. The Emperor Severus strengthened Agricola's forts.
After the departure of the Romans in A.D. 420, the remains
of Roman work were largely destroyed by the barbarians who
succeeded them, but the influence of their architecture continued
for a considerable period.
A.D. 449-547. The arrival of the Angles and Saxons did not
improve matters, as they were especially ignorant in all matters
of art. We are indebted to the Venerable Bede (A.D. 731) for
most of the information regarding this period, and from him is
learnt that a stone church was a rarity. A.D. 650 seems to be

ENGLISH ARCHITECTURE. 281
about the date at which stone churches were first built, and in
some of these it has been suggested that the timber forms of the
earlier ones were executed in stone (No. 134).
A.D. 603. See of London revived.
A.D. 604. See of Rochester founded.
A.D. 656. Monastery of Peterborough founded.
A.D. 681. Benedict Biscop flourished as a church-builder.
A.D. 871-901. King Alfred erected, or rebuilt, many of the ruined
cities or monasteries, but most of these appear to have been built
of wood, and covered with thatch.
A.D. 1017-1035. King Cnut founded Bury St. Edmunds mon-
astery.
A.D. 1061. Harold's Collegiate Church at Waltham conse-
crated.
A.D. 1042-1066. Edward the Confessor's religious enthusiasm,
and his work at Westminster Abbey (consecrated 1065).
A.D. 1066. The conquest of England by the Normans, and the
building operations of Bishop Gundulf, at Rochester Castle, the
Tower of London, and elsewhere, influenced the construction of
strongholds, by which the invaders secured their position in the
newly-conquered country.
A.D. 1174. William of Sens built the choir of Canterbury
Cathedral.
The boroughs led the way in self-government, free speech,
and justice; and the formation of towns, around the abbeys or
castles, took place, though the process was slow and difficult.
A.D. 1154-1216. During this period the fusion of the native
English and Norman settlers was effected, in order to withstand
the strangers whom the Angevin kings were constantly bringing
into England.
The Association of Freemasons, founded early in the thirteenth
century, assisted materially in forwarding the technical progress
of the new buildings.
A.D. 1215. The Magna Charta freed the Church, and remedied
abuses.
A.D. 1265. Leicester's Parliament, to which burgesses were first
summoned from cities and boroughs, was called.
A.D. 1265-1284. The conquest of Wales led to further develop-
ment in the planning and design of castles.
A.D. 1272-1307. Edward I. abandoned his foreign dominions,
and attempted to consolidate Great Britain.
The framework of modern political institutions began to develop,
and peace and prosperity in commerce gave importance to a
middle class.
A.D. 1362. The English language was ordered to be used in
the law courts.
A.D. 1349-1381. The rise of the farmer class and free labourer,

owing to the Black Death, which swept away half the population
of England.
The poet Chaucer (1340-1400) fought in the army of
Edward III. against France, his employment on diplomatic
services, in Italy and Flanders, exercising a marked influence on
his writings.
William of Wykeham (d. 1404), one of the greatest Gothic
builders, carried out a large number of building operations at
Winchester, including the college and refacing of the cathedral,
and many other buildings.
A.D. 1455-1471. The Wars of the Roses, between the rival
Houses of York and Lancaster, distracted England at this period.
A.D. 1476. The introduction of printing by Caxton, a press

being established by him in the Almonry at Westminster.
A.D, 1485. Accession of Henry VII. united the Houses, of
York and Lancaster, when a great impulse was given to the
development of political institutions. The Lady Margaret,
Countess of Richmond, as the foundress of colleges, developed
education, and influenced art.
The condition of the English people, which can hardly be
considered apart from the architecture which they produced, is
well treated in "A Short History of the English People,"
by J. R. Green, LL.D. ;
and should be referred to by the student.
vi. Historical.
B.C. 55. Julius Caesar's first expedition into Britain.
A.D. 43. Expedition of the Emperor Claudius into Britain.
A.D. 84. Final conquest of Britain by Agricola, the General of
Domitian.
A.D. 420. The Roman troops withdrawn from Britain.
A.D. 449-547. The English (the Low Dutch tribes known as
Angles, Saxons and Jutes) conquest of Britain.
A.D. 450-550. Destruction of British churches by heathen
invaders.
A.D. 597-681. Augustine landed in England and the conversion
to Christianity commenced.
A.D. 802-837. Egbert (a friend of Charlemagne), King of the
West Saxons, gradually brought the other English kingdoms and
the Welsh into subjection.
A.D. 924. King Edward received the homage of all Britain.
A.D. 1066. The conquest of England by the Normans caused
a social and political revolution, the manners and government of
the English being transformed, and the' military organization of
feudalism introduced. French traders at the same time came
to reside in London and the large towns, thus bringing over
Continental ideas.

ENGLISH GOTHIC. 283
A.D. 1095-1254. The Crusades, which brought about the con-
tact of East and West, aided in the formation of the great
universities, which had a direct influence on feudalism and the
Church.
A.D. 1338-1453. The wars with France, known as the " Hundred
Years' War."
A.D. 1360. Edward the Black Prince ruled at Bordeaux, as
Prince of Aquitaine.
A.D. 1431. Henry VI. of England crowned King of France at
Paris.
c. A.D. 1500. The introduction of gunpowder ruined feudalism,
fortresses which were impregnable against the bow of the
yeoman and retainer, crumbling before the new artillery which
lay at the entire disposal of King Henry VII. Houses were
henceforward constructed, riot as castles or places of defence,
but as residences, and from this period modern ideas of domestic
economy gradually transformed house planning. Sutton Place
(A.D. 1521-1527), near Guildford, is one of the earliest examples
of a non-castellated domestic residence (page 322).
A.D. 1520. Henry VIII. visited the French King, Francis I., on
the Field of the Cloth of Gold ;
the King and the many knights
who followed in his train returning imbued with the newly intro-
duced Renaissance style as practised in France. Girolamo da
Trevigi,an Italian, was appointed Court Architect, and Henry VIII.
encouraged other foreign artists, amongst whom was Hans
Holbein, an accomplished painter of portraits and designer of
goldsmiths' work and woodwork.
These and various other causes led to the great Renaissance
movement, which is referred to on page 547.
The architectural character of Gothic architecture in Europe
has already been referred to on page 268.
The development of mediaeval architecture in England from the
departure of the Romans till the sixteenth century, has a more
complete sequence of style than in other countries. It is usually
divided into periods having special characteristics and known as
Anglo-Saxon (page 327), Norman (page 328), Early English
(page 335), Decorated (page 341), Perpendicular (page 349), and
Tudor (page 356), and a comparative table showing the approximate
period covered by each is given on page 327.
Gothic Vaulting in England.
The problems of vaulting during the Romanesque period have
been already explained on page 224, where the essential differences
between Roman and Mediaeval vaulting are compared. The first

ENGLISH GOTHIC EXAMPLES. I
112.

consisted entirely in the design of the vaulting planes or surfaces
without reference to their meeting lines or groins, whereas
mediaeval vaulting consisted in profiling the groins which were
erected first and supporting the vaulting surfaces which were made
to adapt themselves to them.
The problem for the mediaeval architects was to vault, in stone,
the nave of a church of the basilican type, and at the same time
to provide for the lighting of the building by means of clerestory
windows in the nave walls above the aisle roofs. The church
was thus crowned with a fire-resisting covering over which a
wooden roof was placed in order to protect it from the weather.
The evolution of vaulting in England, as on the Continent,
involved the solution of a group of constructive problems which
have been already hinted at on page 272. Thus it was in con-
nection with the necessity for counteracting the thrust of the nave
vaults brought down on piers that the greater part of the evolution
of the constructive side of the style took place.
The following may be taken as the main features of vaulting in
each period, and are indicated in Nos. in and 112.
Norman. The Roman system was in vogue up to the twelfth
century, but the introduction of transverse and diagonal ribs in
this period rendered temporary centering necessary for these.
In England the raising of the diagonal rib, which produced the
domical vault employed on the Continent, seems to have been
but little used, and the method was either (a) to make diagonal
ribs segmental, as in the aisles at Peterborough Cathedral
(No. 112 D, G); or (&) to make the diagonal ribs semicircular and
stilt the springing of the transverse and longitudinal ribs. A
great advance was made by the introduction of the pointed arch,
which was used firstly for the transverse and wall ribs only, the
diagonal ribs (i.e.
those with the longest span) remaining semi-
circular. Norman vaulting was either (a) cylindrical or barrel
vaulting, as at the Tower of London (No. 135) ; (b) groined cross
vaulting in square bays (No. 112 A) ; (c) other shapes in which
the narrower vaulting arches were stilted (No. 112 B, c), or, in
the later period, were pointed ;
(d) Sexpartite (six part) vaulting
as in the choir at Canterbury Cathedral, rebuilt by William of
Sens in A.D. 1174. Two views of this type of vaulting at the
Abbaye-aux-Hommes at Caen are shown in No. 112 E, F.
Early English (Thirteenth Century). The pointed arch
became permanently established, surmounting all the difficulties of
difference in span, and enabling vaults of varying sizes to intersect
without stilting or other contrivances, as shown in Nos. in D
and 112 j, L.
The cells, also known as " severies
"
or "
infilling
"
were quite
subordinate to the ribs and were of clunch or light stone in thin beds,
resting upon the back of the ribs. These severies were of arched

ENGLISH GOTHIC. 287
form, but often had winding surfaces, and were constructed so that
their pressure was directed towards the piers and not the wall rib.
The "ploughshare twist," so called from its resemblance to a
ploughshare, was produced by stilting or raising the springing of
the wall rib, when forming the window arch bordering on a vaulting
compartment, above that of the diagonal and transverse ribs
(No. 109 A.) This was a common arrangement, and was necessary
in order to obtain greater height for the clerestory windows.
The geometry of the Gothic system was a rough use of mathe-
matical truths in which beauty was sought for, and not a strict
regard for the exactitude of scientific demonstration. The curva-
ture of the ribs was obtained from arcs struck from one or more
centres, and designed without reference to the curvature of
adjoining ones, as is seen in the setting out of Gothic vaulting
compartment (No. in D). In this lies the wT
hole difference
between the Roman and mediaeval systems, for in the former
the vaulting surface is everywhere level in a direction parallel to
the axis of the vault, and any horizontal section of a spandrel or
meeting of two cross vaults would be a rectangle. In the ribbed
Gothic vault, however, the plan thus formed would have as many
angles as ribs, varying according to the curve of the latter.
The plain four-part (quadripartite) ribbed vault, primarily
constructed as a skeleton framework of diagonal and transverse ribs,
was chiefly used in this period, as in the naves of Durham,
Salisbury (No. 112 j, L), and Gloucester, and the aisles of
Peterborough.
Later in the century intermediate ribs, known as tiercerons, were
introduced between the transverse and diagonal ribs as in the
vaulting of the nave of Westminster Abbey (No. 112 K, M),
and were especially needed to strengthen the vaulting surfaces
by decreasing the space between the ribs. In such cases ridge ribs
were introduced in order to take the thrust of the tiercerons which
abut at their summit at an angle, and would have a tendency to
fall towards the centre of the compartment unless resisted by
the ridge rib. In continental examples the ridge rib is often not
continuous, but only extends to the last pair of arches which abut
against it obliquely.
Ridge ribs are generally horizontal in England and arched on
the Continent, the "infilling
"
or "severy" having its courses
meeting at the ridge in zigzag lines as in the nave of Westminster
Abbey (No. 127 c), and the naves and choirs of Lincoln, Exeter
and Lichfield Cathedrals, and as found in the churches of South-
West France.
A wall-rib, called a "
formeret," because forming a boundary for
each compartment, was also introduced.
Decorated (Fourteenth Century). -During this period
there was an increase and elaboration of intermediate ribs

(tiercerons), ridge ribs, and a new set of ribs known as Lierne ribs,
from the French lien to bind or hold. The name "lierne" is
applied to any rib, except a ridge rib, not springing from an abacus.
In the early plain -ribbed vaulting each rib marked a groin, i.e.,
a change in the direction of the vaulting surface, but lierne ribs
were merely ribs lying in a vaulting surface, their form being
determined independently of such surface, which, however,
regulated their curvature.
These liernes, by their number and disposition, often give an
elaborate or intricate appearance to a really simple vault (No. 112,
N, o, P, Q), and in consequence of the star-shaped pattern produced
by the plan of such vaults, it is often called " Stellar" vaulting (No.
ii2 Q). Examples of this type exist in the choirs of Gloucester
(A.D. 1337-1377), Wells, Ely (No. 137 F), Tewkesbury Abbey
nave, Bristol (No. 112 N, o), and the vaulting of Winchester
Cathedral (No. 124 E, F), as carried out (A.D. 1390) by William
of Wykeham.
The vaulting of this period therefore consisted of transverse,
diagonal, intermediate, ridge and lierne ribs in fact, a vault of
numerous ribs, and of panels which became smaller and smaller
until a single stone frequently spanned the space from rib to rib,
known as " rib and panel
"
vaulting.
Perpendicular (Fifteenth Century). The complicated
"stellar" vaulting of the late fourteenth and early fifteenth centuries
(No. 112 P, Q) led, by a succession of trials and phases, to a
peculiarly English type of vaulting in this century known as fan,
palm or conoidal vaulting, in which the main ribs, forming equal
angles with each other and being all the same curvature, are
formed on the surface of an inverted concave cone, and connected
at different heights by horizontal lierne ribs.
The development was somewhat as follows: In the thirteenth
century the form of an inverted four-sided hollow rectangular
pyramid was the shape given to the vault. In the fourteenth
century the masons converted this shape, by the introduction of
more ribs, into a polygonal (hexagonal) pyramid, as in S. Sepulchre,
Holborn, and elsewhere. In the fifteenth century the setting out
of the vault was much simplified by the introduction of what
is generally known as "Fan "
vaulting, described above (No.
112 R, s;.
Owing to the reduction of the size of panels, due to the increase
in the number of the ribs, a return was made to the Roman method
of vault construction, for in fan vaulting the whole vault was often
constructed in jointed masonry, the panels being sunk in the soffit
of the stone forming the vault instead of being separate stones
resting on the backs of the ribs. The solid method seems to have
been adopted first in the crown of the vaults where the ribs were
most numerous. In some "perpendicular" vaults the two

ENGLISH GOTHIC. 289
systems are found, as at King's College Chapel, Cambridge ;
in others, as Henry VII. 's Chapel, Westminster, the whole vault
is of jointed masonry.
The difficulty of supporting the flat lozenge-shaped space in the
top portion of the vault surrounded by the upper boundaries of
the hollow cones was comparatively easy in the cloisters, where
this type of vaulting was first introduced, because the vaulting
spaces to be roofed were square or nearly so, but when it was
attempted to apply it to the bays of the nave, which were
generally twice as long transversely as longitudinally, difficulties
occurred. In King's College Chapel (A.D. 1513) the conoid was
continued to the centre, but the sides were cut off, thus forming an
awkward junction transversely. In the nave of Henry VII.'s
Chapel pendants supported by internal arches were placed away
from the walls and the conoids supported on these, thus reducing
the size of the flat central space, and changing it from an oblong
to a square on plan. At Oxford Cathedral a somewhat similar
method was adopted, the pendants also placed some distance from
the wall, being supported on an upper arch, and a polygonal form
of ribs adhered to.
Fan vaulting is confined to England, and other examples
beyond those already mentioned are in the Divinity Schools,
Oxford; Trinity Church, Ely; Gloucester Cathedral (No. 112
R, s) ;
S. George's Chapel, Windsor ;
the retro-choir, Peter-
borough, and elsewhere.
The depressed four-centred arch (No. 299 M) is typical of the
architecture of the Tudor period, although it seems to have been
used in the vaulting of earlier churches (No. in D). It is not
found out of England, and appears to have been first used largely
JLD &*l Vaulting, to which the reason for its adoption is held to be
due. For example, if the diagonal rib is to be a pointed two-
centred arch, each portion must obviously be less than a quadrant,
and the transverse and wall ribs, being shorter, must be con-
siderably less than quadrants, especially if the compartment is
oblong, and this would m'ake the window arch in the nave wall
of acute lancet form ;
but the window arch was made equilateral
or even less in height compared to its span in this period, and so
the segments of a diagonal arch of two centres preserving the
same curvature would not meet at their summit without becoming
horizontal or possibly bending downwards to each other. To
obviate this the transverse and diagonal ribs in an oblong com-
partment were sometimes made as four-centred arches, all the
ribs starting with the same curvature, but at a certain height the
portions above this level were drawn with a longer radius in order
that they might meet the ribs from the opposite side of the vault at
the required height. These four-centred arches were afterwards
applied to other parts of the buildings in England, as in arches to
F.A. U

doors and windows, and tracery work in panelling, possibly with
a desire to harmonize with the important superstructure of vaulting.
The special forms of vault used in Chapter Houses are referred
to on page 299.
" Pendant
"
vaulting is a later form often used in connection with
fan vaulting, in which pendants as elongated voussoirs are dropped
from a constructive pointed arch, concealed above the vaulting,
and form abutments to support the pendant conoids. Henry
VII. 's Chapel and Oxford Cathedral are examples of this method
of vaulting.
Examples of "
pendant
"
but not of " fan
"
vaulting are frequent
in the Flamboyant period (fifteenth century) in France, as at
Caudebec, and other places.
Bosses. The bosses, or ornamental keystones, which form such
decorative features in Gothic vaulting, were a constructive
necessity, primarily used to cover the awkward junction "of the
various ribs meeting at all angles, in order that the awkward
mitres of the rib mouldings might be hidden behind the ornament
of the boss.
Open Timber Roofs of the Middle Ages.
The open timber roofs of the Middle Ages are a special
English feature and may be classed in the following five divisions,
being illustrated on No. 113 :
(i.) Tie-beam Roofs.
(2.) Trussed rafter or single-framed Roofs.
(3.) Hammer-beam Roofs of various forms.
(4.) Collar-braced Roofs, including arch-braced roofs.
(5.) Aisle Roofs of several forms.
(i.) The "Tie-beam Roof" is the earliest form of which
there is any record, and the simplest in construction, being
merely two rafters pitching one against another with the tie-
beam inserted, holding their lower portions to counteract the
outward thrust on the walls. This was probably the only form
known at the Norman period, and it was never entirely discarded
by mediaeval builders, being used in every succeeding style
(No. 113 A, B). In the early examples, the beam is merely
pinned to the wall-plate at either end and unconnected with the
rafters. Various methods were afterwards adopted in order to
make the truss harmonize well with other features. The tie
beam was rarely straight, being cambered or curved ;
in the
later examples this camber governed the pitch of the roof, the
purlins resting immediately on it, as at Wellingborough Church.
Curved braces were often inserted, connecting the tie-beam with
wall-pieces (No. 113 B), the whole being framed together and

ENGLISH GOTHIC. 2QI
giving the favourite form of the arch, as at Outwell Church. In
roofs of steeper pitch the open space above the tie-beam was
filled in with perpendicular strutting or carved open work, as at
Outwell Church, Norfolk. A pillar or king-post and struts were
often supported on the tie-beam to strengthen the rafters, which
gave a pleasing effect, as at Swardstone Church and also as
shown in No. 1 13 A, B. This is an inversion of the use of king-post
and tie-beam as adopted in modern roofs, in which the former acts
as a suspending piece. A timber arch was sometimes introduced,
springing from a wall-piece below the tie-beam, but as the tie-beam
always intersected this the result, as seen at Morton Church, Lin-
colnshire, and elsewhere, was not satisfactory.
(2.) The "Trussed Rafter or Single-framed Roof," of
which there are many examples, was probably chosen in order
to form a space for the pointed vaults, and having once been
used the superiority of its construction and appearance led to
its being largely substituted for the tie-beam form. In roofs of
large span each rafter had a collar stiffened by braces, which
were sometimes passed through the collar, as at Lympenhoe
Church, Norfolk, and sometimes stopped on the underside,
as at Stowe Bardolph Church (No. 113 A). This type of
roof was often boarded on its underside, forming a pentagonal
ceiling ornamented with ribs and bosses, as at S. Mary,
Wimbotsham, Norfolk. The timbers are halved and held
together with wooden pins. As the rafters pitched on the
outside of the wall a ledge was left on the inside, and to
remove this hollow and unsightly appearance an upright strut
was introduced, forming a triangular foot (No. 113 A). This
greatly added to the stability of the roof, and is held to be the
origin of the hammer-beam roof (No. 113 j). The arched form
was obtained by the use of curved braces fixed to the rafters and
collar, as at Solihull Church.
(3.) The "Hammer-beam Roof" is, as stated, considered
to be a natural evolution of the triangular framing adopted at
the foot of the trussed rafter roof (No. 113 A), and consists
generally of hammer-beam, struts, collars and curved braces, as
shown in No. 113 D, E, H, j. The hammer-beam is merely the
lengthening and thickening of the "
sole-piece
"
at the foot of
the trussed rafter (No. 113 j), the principal rafter being strutted,
and the weight of the roof carried lower down the wall by means
of a curved brace tenoned into the hammer-beam and wall-piece.
Being thus strengthened, it forms a truss which, repeated at
intervals of 10 feet or more, supports the intermediate rafters of
the bay.
It has been supposed by some that the hammer-beam arose
from the cutting away of the tie-beam in the centre when a
curved brace is used beneath the tie-beam. It is improbable,
U 2

ENGLISH GOTHIC EXAMPLES. II.
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ENGLISH GOTHIC. 293
however, that this was the origin, and there is little more
resemblance between a hammer-beam roof and a tie-beam roof
than consists in their both being double framed, i.e., both having
principals or trusses placed at regular intervals, as opposed to the
trussed rafter type, which has no principal. Moreover, the tie-
beam was used in all types of roof, even in conjunction with the
hammer-beam itself, as at Outwell, where the intermediate
principals are supplied with hammer-beams ;
this is a late
example, and was probably constructed after the hammer-beam
type had attained perfection. Hammer-beams were not con-
structed until the end of the fourteenth century, and were not in
general use until the fifteenth century. Westminster Hall is the
earliest recorded example, A.D. 1399 (No. 113 H).
There are many varieties of this form of roof :
(a.) Those with hammer-beams, struts, collars and curved
braces, as Little Welnetham Church, Suffolk. (#.) Those in
which the collar-beam is omitted and curved braces carried to the
ridge, the apex being framed into a wedge-shaped strut, as at
Trunch Church, Norfolk (No. 113 D). (c.} Those with collar-
beams and no struts but curved braces, in which a shorter hammer-
beam is used, as at Capel S. Mary, Suffolk, (d.) Those with no
collars and no struts, curved braces only being used from ridge
to hammer-beam, as at Palgrave Church, Suffolk. The arch-
braced roof is the outcome of this latter form, (e.) Those with a
main arched rib springing from wall-piece and reaching to a collar,
forming a rigid chief support, as at Westminster (No. 113 H) and
Eltham.
Double hammer-beam roofs have two ranges of hammer-
beams, as at S. Margaret, Ipswich, and Middle Temple Hall
(No. 113 E), the object of the second range being to further
stiffen the principals and convey the weight on to the first range
and thence to the wall. They usually occur when the pitch is
flatter, but the effect is more complicated and less pleasing.
These are the main divisions, but there are various minor
modifications of the type.
(4.) "Collar-braced Roofs" are a simplification of the
hammer-beam form, and include arch-braced roofs, so called
when the collar is omitted and the arched brace carried up to the
ridge. This form is very like that constructed nearly a century
earlier, as at Tunstead Church, but with the important difference
that at Tunstead the braces are of the same thickness as and
appear to form part of the principal rafters, whereas the collar-
braced kind are not more than 4 inches thick, while the
principals may be about 10 inches. Pulham Church, Norfolk
(No. 113 c), is an example of this collar-braced form. Brinton
Church is another example of the arch-braced type. The curved
braces answer the double purpose of strengthening the principals

2Q4 COMPARATIVE ARCHITECTURE.
and carrying the weight lower down the wall, which they also help
to steady.
(5.) Aisle Roofs in the early period were merely a continua-
tion of the rafters of the nave. At North Walsham, Norfolk
(a tie-beam roof), the tie-beam of the aisle is carried through the
wall, forming a corbel for the wall-piece of the nave roof, thus
binding the whole together. Aisle roofs were usually simple,
intermediate trusses being introduced to strengthen the purlins.
When they were gabled they were usually of low pitch, and the
hammer-beam was rarely introduced for these. New Walsingham
Church (No. 113 G) and Ixworth Church (No. 113 F) are good
types of aisle roofs.
3. EXAMPLES.
The student is referred to Gothic Architecture in Europe
(page 273) for the different types of buildings erected during the
Middle Ages which are here further enlarged upon. As mentioned
in architectural character (page 283), these buildings were mostly
erected in the styles known as Norman, Early English, Decorated,
and Perpendicular.
CATHEDRALS.
Refer to the General Introduction to Gothic Architecture
(page 273).
The constitution and foundation of English Cathedrals is
important and is largely responsible for their monastic character
and general arrangement.
They may be divided into three classes :
(a.) Cathedrals of the Old Foundation.
(&.) Cathedrals of the Monastic Foundation.
(c.) Cathedrals of the New Foundation.
(a.) The Cathedrals of the old foundation are those which,
being served by secular clergy, were not affected by the reforms
of Henry VIII. The following is a list : The Cathedrals of
York, Lichfield, Wells, Exeter, Salisbury, Chichester, Lincoln,
Hereford, S. Paul, London, and the Welsh Cathedrals of
Llandaff, Bangor, S. David's, and S. Asaph.
(b.) The Cathedrals of the monastic foundation are those which
were originally served by regular clergy or monks, and which were
reconstituted at the dissolution of the monasteries as chapters
of secular canons. The following is a list : The Cathedrals of
Canterbury, Durham, Rochester, Winchester, Worcester, Nor-
wich, Ely, Carlisle, Peterborough, Gloucester, Chester, Oxford,
and Bristol. Westminster Abbey was a Cathedral Church from
A.D. 1540-1545.
When the change in these monastic establishments was

ENGLISH GOTHIC.
A. CHICHESTER. B. DURHAM.
c. ELY. D. WORCESTER.
E. ROCHESTER. F. OXFORD.
G. CARLISLE. H, BRISTOL.
(Nave added, 1868.)
COMPARATIVE VIEWS OF MODELS OF ENGLISH CATHEDRALS,
114.

ENGLISH GOTHIC.
A. YORK.
c. PETERBOROUGH.
E. WINCHESTER.
B. CHESTER.
D. EXETER.
F. HEREFORD.
G. WKLLS, H. GLOUCESTER.
COMPARATIVE VIEWS OF MOPELS OF ENGLISH CATHEDRALS,
U5.

ENGLISH GOTHIC.
A. SALISBURY. B. LINCOLN.
c. CANTERBURY. D. NORWICH.
E. RlPON. F. LlCHFIELD.
COMPARATIVE VIEWS OF MODELS OF ENGLISH CATHEDRALS,

2g8 COMPARATIVE ARCHITECTURE.
made the abbot became the bishop, the prior the dean, and the
monks became canons and choristers ;
the personnel generally
remaining the same.
(.) The Cathedrals of the new foundation are those to which
bishops have been appointed, viz., Ripon and Southwell, which are
old Collegiate Churches, and the following Parochial Churches :
S. Albans, Newcastle, Wakefield, Manchester, and Truro.
Diversity of style in each building was caused by the fact that
with the single exception of Salisbury (page 309) many were
erected in all periods, thus presenting a complete history of the
evolution of Gothic Architecture.
Most of the English Cathedrals were founded or remodelled
after the Conquest, including many which formerly served as
churches of the great monastic institutions of the period.
The character which each Cathedral possesses generally indi-
cates its original purpose.
Monastic Cathedrals are almost peculiar to England and
Germany. In these countries a large proportion of the Cathedral
Churches formed part of monastic establishments in which are
found cloisters, refectories, dormitories, chapter houses, scrip-
torium, library, guest hall, infirmary, prison, wine cellars, mills,
workshops, and gardens (cf. Monastery of S. Gall, page 261).
Cloisters were required in monastic establishments from necessity,
as they formed a covered way for the use of monks, round which
the various buildings enumerated above were grouped. They
were also frequently planned as an ornamental adjunct to
cathedrals of the old foundation which were not part of monastic
establishments, but were served by secular clergy, as at Salisbury
and Wells.
The Collegiate Churches of Lichfield, Ripon, Southwell, York
and Manchester, and the Irish, Scotch and Welsh Cathedrals
(S. Davids excepted) have no cloisters.
The French Cathedrals were mostly erected in the thirteenth
century by funds provided by the laity, and therefore do not
form part of monastic establishments, differing in not being
provided with the buildings enumerated above.
The English Cathedrals are thus peculiar in retaining many of
the conventual features. The plans are long and narrow, and
the choir is often of nearly the same length as the nave. The
extreme length is often as much as six times, whereas in France
it is seldom more than four times the width.
The absence of double side aisles (Chichester and Manchester
excepted) and side chapels tends to show that worship was more
congregational in form than on the Continent, especially in France,
where they are frequently found.
The buildings founded by the Norman prelates, as Norwich,
Canterbury, and others, were provided with the apsidal easte

ENGLISH GOTHIC. 2QQ
termination, sometimes developed into a chevet, but the English
type evolved through Durham to Lincoln had square eastern
terminations from the Saxon prototype (page 327), which produced
a very different external effect. The transepts project considerably,
and there are occasionally secondary transepts, as at Salisbury,
Canterbury, Lincoln, Wells and Worcester.
The Chapel of the Nine Altars at Durham (A.D. 1242-1290) is
in reality an eastern transept.
The main entrance was frequently by a south-western porch,
acting as a screen against the cold winds, and in contrast to the
large western porches of the French Cathedrals.
The English Cathedrals, in striking contrast with the French
examples, owe their internal effect to their enormous length,
which is further emphasized by the comparative lowness of the
nave vault.
The exteriors are in direct contrast to Continental examples, for
the buildings, being mostly situated in a quiet
" close
" " far from
the madding crowd," and seen in conjunction with cloisters,
refectory and outbuildings, form a part only of the entire
composition (page 276).
The characteristic high central tower, as at Lincoln, York, Ely,
Gloucester, Canterbury and Durham, is rendered very effective in
contrast with the low nave. The central tower is generally
accompanied by two western towers, and is sometimes crowned
with a high tapering spire, as at Salisbury and Norwich, while at
Lichfield (No. 116) all three towers are crowned with spires.
Flying buttresses are not nearly so common as in France,
owing to the comparative lowness of the nave vault. In France
the flying buttresses to the chevet end of the building produce a
confused, restless effect (cf. No. 101) absent in the English
buildings.
Chapter houses were required for the transaction of business by
the chapter or bishop's council. They were originally square in
plan, as at Bristol (A.D. 1142-1170), but the example at Durham
(A.D. 1093-1140) is apsidal, and that at Worcester (A.D. 1084
1 1
60) is circular internally.
The normal type is octagonal with a central pillar to support
the vaulting, as at Lincoln (1225), Westminster (1250), Salisbury
(1250), and Wells (1292) (No. 70 K), all of which have vaults
supported by a central pillar and the surrounding walls. York
(1280-1330) is also octagonal, but has no central pillar, being
covered with a sham wooden vault 57 feet in diameter.
Note. See Nos. 114, 115 and 116 for comparative views of models
of the Cathedrals, and Nos. 117-120 for the plans.
The characteristics peculiar to the leading cathedrals are here indicated,
and/or the sake ofbrevity the Early English, Decorated, and Perpendicular

ENGLISH GOTHIC EXAMPLES IV,
LADY
CHAPEL
NORMAN CHAPIER-
vm CENTRAL
mm.ROUND
-
ARCHEb VAULTINGS
PERPENDICULAR
WlND'W TRACERY .
6CALE
50
400 500 rr
118.

ENGLISH GOTHIC EXAMPLES. V.
SCALE
119.

ENGLISH GOTHIC EXAMPLES. VI.
120.

304 COMPARATIVE ARCHITECTURE'.
styles are denoted E.E., Dec., and Perp. respectively. Those which were
the churches of Benedictine monasteries (page 218) are distinguished by
an asterisk *.
1. Bangor (No. 119 D). Repeatedly destroyed. Present church is Dec. and
Perp., but suffered much in the civil wars. In 1866 thoroughly restored by Sir G.
Scott.
2. Bristol (Nos. 114 H, 120 K). An Augustinian monastery. Rectangular
Norman vaulted chapter house. E.E. "Elder Lady Chapel." Dec. choir,
A. D. 1306-1332, and modern nave in imitation thereof, by Street. Peculiar
in having nave and aisles of nearly equal height, with lofty aisle windows, as in
some German churches (cf. No. 172). There is thus an absence of the usual
triforium and clerestory. Remarkable canopied wall recesses for monuments.
3. "Canterbury (Nos. 116 c, 118 B). A choir of singular interest, erected by
William of Sens, in a style after French models, on the destruction of Anselm's
Norman choir in 1170. On his death the work proceeded under William the
Englishman. The singular contraction of the width of the choir, in order to
preserve two ancient Norman chapels, is worthy of notice. In plan thjs choir
resembled that of the Cathedral at Sens.
At the extreme east is the curious chapel called
" Becket's Crown." Extensive
crypts are under all the eastern portion. There are double transepts, the original
Norman work being of singular interest. The splendid central tower, 229 feet
high, is in the Late Perp. style. The nave, also late, is of lesser interest, and
the west front and towers are unimportant, except in the general picturesqueness
of the group. The chapter house is
oblong, with fine wooden ceiling. The
Perp. cloisters, on the north side, are of great beauty. A large number of side
chapels resembling Continental Cathedrals.
4. Carlisle (No. 114 G, 120 B). An Augustinian Abbey. The east end a fine
composition, containing the most perfect of tracery windows.
5. "Chester (Nos. 115 B, 120 F). Originally the church of the Benedictine
order of S. Werburgh. Built of red sandstone. Perp. central and lower portion
of south-western towers. Cloisters on the north. Lady chapel at the east end.
6. Chichester (No. 114 A, 119 G). The chief example of double aisles,
really caused by the formation of lateral chapels. Fine central spire. Norman
nave. The Bell Tower is the only example of its kind belonging to an English
Cathedral.
7. "Durham (No. 114 B, 118 E). Norman work (1096-1133). An eastern
transept called the "Chapel of the Nine Altars," in massive E. E. (1242-
1290), and a central Perp. tower, 216 feet in height, help to form a group
which for strength of outline and dignity have few, if any, rivals. Internally, the
special point is the massive arcade of the Norman nave, A.D. 1099-1128, the
finest in England, the pillars about the same width as. the openings, and quaintly
channelled with characteristic spirals and flutes. The nave was vaulted in
A.D. 1133 and is said to be the earliest example of a Norman vault in England.
8. "Ely (Nos. 1140, 117 A, 136 A, Band 137 F). Norman nave and transepts,
with timber roof and modern paintings. Choir remarkable for splendid carving.
Most noted feature is the unique octagon, 70 feet in diameter, by Alan of Wal-
singham, in 1322, replacing a lallen central tower. It. has a rich vault of wood
only, reaching to a central octagonal lantern. The sides of the octagon are unequal,
being alternately 20 feet and 35 feet. The plan influenced that of S. Paul,
London (No. 253), which it
inspired. Exceptional lady chapel, ico feet by 46 feet,
by 60 feet high ; compare chapter house, Canterbury. The, west front is an
imposing composition (180 feet wide), owing to the bold tower, the same width
as the nave and 215 feet high, flanked originally with bold north and south
transeptal projections, ended by big octagonal turrets.
In front of the tower projects the E.E. (1198-1215) Galilee porch, two square
bays in plan, vaulted and elaborately arcaded.

ENGLISH GOTHIC. 305
g. Exeter (Nos. 115 D, 119 E). Unique in having twin towers placed over the
north and south transepts (cf. S. Stephen, Vienna, page 396). It is the best
specimen of the Dec. style, and is exceptionally rich in varied tracery and carved
wood and stonework.
10. *Gloucester (Nos. 115 H, 118 c). Very rich in Early Perp. vaulting
(No. 112 R, s). Norman choir cased with Perp. work, as at Winchester. Perp.
cloisters of singular completeness, on the north side of Cathedral. Central tower,
225 feet high.
11. Hereford (Nos. 115 F, 120 H). Norman nave and choir, E.E. lady
chapel and Dec. central tower.
12. Lichfield (Nos. 116 F, 120 j, 124 A, B, C, 137 E). Situated on slightly
sloping ground and built of reddish stone. The nave, transepts, chapter house and
W. front are in the E.E. style. The Dec. central and two western spires of rich
and graceful character form the only example of the triple combination in England.
The clerestory windows of spherical triangular form. No cloisters.
13. Lincoln (Nos. n6B, 117 F, 125, 126). Rebuilt 1185-1200. Situated on
the ridge of a steep hill dominating the town, in general outline resembling
Canterbury, and having also double transepts and central and western towers, the
former (271 feet high) being the highest in England, excluding spires.
" National
Lincoln" sums up its greatest glory, and the student acquainted with Canterbury
choir will see how the French feeling is here departed from. E.E. nave, transepts
and choir, and Dec. "Angel choir," 1256-1314. The cloisters are on the north
side.
The E.E. decagonal chapter house, vaulted to central pillar, is surrounded by a
ring of flying buttresses.
The west front is unusual, consisting of a screen wall behind which rise the two
western towers, whose lower parts are therefore invisible.
14. Llandaff (No. 120 c). A long low building, without transepts or side
chapels, situated at the foot of a hill. Two western towers. The nave is much
restored. No triforium. Square chapter house with central pillar. No cloisters.
15. Manchester (No. 119 B). Perp. (A.D. 1422-1520). Remarkable for
having double aisles, obtained as at Chichester by the inclusion of side chapels.
Fine stalls.
16. Newcastle. Late Dec. in style. Perp. tower (A.D. 1474), with spire
resting on crown of arches, similar to S. Giles, Edinburgh, King's College,
Aberdeen, and S. Dunstan in the East, London. Fine modern stalls.
17. *Norwich (Nos. 116 D, 118 D). The long, narrow nave, aisleless transepts
and choir with apsidal chapels, are Norman (A. D. 1096-1 145). The choir clerestory,
the windows beneath clerestory on south side of nave, and the vaulting throughout
are Perp. The easternmost apsidal chapel, removed in the thirteenth century for
an oblong lady chapel, since destroyed. Bold central Perp. spire. Chapter House,
resembling that of Durham, destroyed.
18. Oxford (No. 114 F, 119 c). Originally the church of a priory or
Augustinian monks. The nave and choir are Norman (1158-1180), and the
chapter house and lady chapel are E.E. Pillars of nave, alternately circular and
polygonal, supporting Norman arches, beneath which is the triforium gallery,
forming quite an unusual arrangement in order to gain height. Norman central
tower having E.E. upper part and short spire. Nave shortened by Card. Wolsey
when building his college of Christchurch, forms, as it were, a vestibule to choir,
which has splendid fan vaulting with pendants.
19. *Peterborough (Nos. 115 c, 117 D, 122 A, B, C, D, 136 B). A Norman
Cathedral built between A.D. 1117 and 1190. The interior is considered to be
the finest in the Norman style next to Durham. The nave is covered with a painted
wooden ceiling of lozenge-shaped compartments, ornamenting what is probably
the oldest wooden roof in England. The nave aisles only are vaulted (cf. Ely).
The apsidal choir is inclosed in a square chapel of Late Perp., fan vaulted, as at
King's College, Cambridge.
The grand western facade, 158 feet wide, constructed in A.D 1233, consists of
F.A. X

30-?
ENGLISH GOTHIC EXAMPLES. VII.
122.
X 2

ENGLISH GOTHIC.
I2 3 .
SALISBURY CATHEDRAL.
Nave, looking East.

ENGLISH GOTHIC. 309
a portico of three gigantic arches, the full height of the Cathedral. A gable
crowns each arch, and the end abutments are carried up as small towers crowned
with spires. Other towers rise from behind over the end bays of the aisles, though
some uncertainty exists as to the intended grouping. A two-storied porch of the
Perp. period has been built in the central archway.
20. Ripon (Nos. 116 E, 120 G, 1360). Central and two western towers. Rich
choir stalls and tabernacle work. Perfect western facade in E.E. style (restored by
Scott).
21. *Rochester (Nos. 114 E, 119 H). Norman nave. E.E. walled-in choir
and transepts. The clerestory to nave and wooden roof are Perp. Fine western
Norman doorways.
22. *S. Albans (No. 119 F). Much destroyed and altered in recent years.
Norman nave, the longest in England (284 feet), transepts and choir. Western
portion of nave is E.E. Dec. marble shrine of S. Alban, recovered and re-
erected by Sir Gilbert Scott.
23. S. Asaph (No. 119 A). Rebuilt in the Dec. style. Rcof and choir stalls
are Perp. Restored by Sir G. Scott.
24. S. Davids (No. 120 E). Situated in a valley, beside the river Alan, and
close by the sea. Central tower. Two-storied south porch. The nave arches
support a carved oak roof of late (1508) design. Dec. rood-screen at entrance
to choir.
25. Salisbury (Nos. 116 A, 117 E, 121, 122 E, F, o, 123 and 140 D). Erected
on a level site, surrounded by the green sward of a wide close, broken only by a
few elm trees. Constructed almost entirely A.I). 1220-1258 in the E.E. style,
forming the type of English, as Amiens is of French Gothic. See Nos. 154 A,
159 B, 1 60. The plan has double transepts, central tower, and splendid Dec.
spire, 404 feet high, being the loftiest in England. The west facade is weak, but
there is a fine north porch, boldly projecting and vaulted internally. The cloister
is Dec.
26. Southwell (No. 119 K). Norman nave, transepts and towers. E.E.
choir. Dec. octagonal chapter house, the chief glory of the Cathedral, has no
central pillar, and is believed to have been the model for that at York. Carving
very rich and well preserved. No cloisters.
27. Wells (Nos. 115 G, 119;) (1214-1465). -The nave, transeptsand western
bays of choir are E.E. .
The E.E. west front, 150 feet wide, including buttresses,
is arcaded and enriched with sculpture the highest development of a type of
fa?ade found in English Gothic. Double transepts, eastern lady chapel, and
three towers. The triforium, of close set openings with capitals, is unique. As
illustrating the comparative height to width of the naves of English and French
Cathedrals it has been shown that whereas Wells is 32 feet wide and 67 feet high
(two to one), Amiens is 46 feet wide and 140 feet high (three to one).
28. *Westminster (Nos. 127, 128, 129). A Benedictine monastery founded
by Dunstan ; betrays French influence in its polygonal chevet and chapels, internal
loftiness (having the highest nave in England), and strongly marked flying buttresses.
The plan consists of a nave and aisles, transepts with aisles, and eastern chevet,
surrounded originally by five aps
:
dal chapels, the only complete example of this
feature in England. Of the present structure the eastern portion was erected by
Henry III. in A.D. 1220-1260. During 1260-1269 the four bays west of the transept
were constructed. The nave was completed in ihe fifteenth century in imitation
of the older work, but with Perp. mouldings. The western towers were completed
in A.D. 1722-1740, by Wren and Hawksmoor, and Henry VII. 's Chapel was
added by Henry VII. in place of the former lady chapel, and is remarkable for
its elaborate fan vault. The shrines, chantry chapels, tombs, and monuments are
exceptionally fine. The cloisters, in the usual position to the south of nave, have
open tracery and elaborate vaulting of the E.E., Dec. and Perp. periods.
29. *Winchester (Nos. 115 E, 117 C, 124 D, E, F, 137 G). It has the greatest
total length (560 feet) of any mediaeval Cathedral in Europe. Norman transepts
and tower, 1070-1107. The Norman nave and choir (1079-1093) were transformed

ENGLISH GOTHIC EXAMPLES. VIII
EXTERIOR IftY
<D
/pTWlM$VEMB
K> .. 3 9 10
IWTSRMR M5Y
50 i,Q RET
124.

ENGLISH GOTHIC EXAMPLES. IX.
STMIMSTEP AlPftPYsj JL i Mil kJ> li ILdM* ynllPOlLd II
^EITEEMLEAY......^Vf*y NODTH SIHF ^-flLE TOIO 5^S INUKIH JIUL <!FrTinM5, ^ttjSECTIONS FfrT
,
IMTEEML MY
NORTH SIDE
A 5
T
ANDREW E S
T
JOHN BAPTIST J 5
T
BENEDICT
B S
T
MICHEL T ST
PAUL K 5
T
BLAIZE
C 5
T
JOHN EVANGELIST G 5
T
NICOLAS L 5
T
FAITH
D ISLIP'S CHflPEL H 5
T
EDMUND
MONUMENTS
I. THE CONFESSORS SHRINE 1066 J EDWARD ffl 1377
2. HENRY 1 1272 6 HENRY I QUEEN 1503
ELEANOR I2SO 7 MARY QUEEN 1 5COT5 587
WARD I
I307J8.QUEEN ELIZABETH 1603
9. WILLIAM m 8. MAW 1694-5
^ ?B B B B--B 3 B ^iA-a/W"'!
OFF FCTrtDV VFI I ']i
REFECTORY "*
s
& t1
SCALE Cf FEET FOR PLAN
SAXON % NORMAN B55-H50
EARLY ENGLISH IZ20-I260
EARLY ENGLISH 1260-1269
DECORATED 1330-1350
(PERPENDICULAR BUT IN SB
[CENTURY STYLE I350-W-2C
ES3 LATE PERPENDICULAR I500H5I2
' ;
% WESTERN TOWERS BYSKHBISTOPHER
WREN ( HAWK5MOOR . I722-I74Q
NORTH TRANSEPT REFACED BY S!3
GILBERT SCOTT, 1880 -1892.
I2 7.

ENGLISH GOTHIC.
128. HENRY VII. 's CHAPEL, WESTMINSTER ABBEY.

by William of Wykeham and his successors (1394-1486) with a veneer of Perp. on
the Norman core and crowned with a vaulted roof, E.E. rectro choir, the largest
in England, and Dec. stalls. Compare Gloucester. Tombs and chantries. Wood
vaulting to choir.
30.
*
Worcester (Nos. 114 D, 118 A). A level situation on the banks of
the River Severn. Norman crypt, north and south transepts and circular chapter
house, the only one in England. E.E. choir. Dec. and Perp. nave, cloisters and
central tower (196 feet high). Interesting monuments. The Royal chantries of
King John and Prince Arthur (No. 145) are fine specimens.
31. York (Nos. 115 A, 117 B). The E.E. transepts are remarkable for the
" classic beauty of their mouldings
"
(Street). The five sisters a name given to the
lancet windows of the north transept are each 50 feet high and 5 feet wide.
The nave and the octagonal chapter house, without central column and covered
with a wooden roof, of Edwardian Gothic (Dec., 1261-1324). Perp. tower. No
cloisters. It is notable as the largest in area and width (being no less than
106 feet within the walls) of any English cathedral. The height of the nave is
second only to that of Westminster Abbey. The nave and choir are covered with
a wooden imitation of a stone vault. The west front is of the French type. In
spite of the size of the cathedral it
compares unfavourably with Durham for
grandeur, strength of outline, and grouping.
(For a description of S. Paul's Cathedral, London, see page 571.)
Notf.oi a comparison between English and French cathedrals, which will
enable their various characteristics to be understood, see page 378.
MONASTERIES.
(See page 276.)
PARISH CHURCHES.
" The portals of the sacred pile
Stood open, and we entered. On my frame
At such transition from the fervid air,
A grateful coolness fell, that served to strike
The heart, in concert with the temperate awe
And natural reverence that the place inspired :
Not raised in nice proportions was the pile,
But large and massy, for duration built ;
With pillars crowded, and the roof upheld
By naked rafters, intricately cross' d
Like leafless
unclerboughs, mid some thick grove,All withered by the depth of shade above.
*****The floor
Jf nave and aisle in
unpretending guise
Was occupied by oaken benches, ranged
In seemly rows ;
*
And marble monuments were here display'd
hrongmg the walls ; and on the floor beneath
Sepulchral stones appeared, with emblems gravenAnd footworn epitaphs ; and some with small
Inning effigies of brass inlaid."-WORDSWORTH

3/1
ENGLISH GOTHIC EXAMPLES. X.
WlTH-
DEEP CHflNCEL-
W-TcWER- THE.
NOTflTYPOU*
FEATURE- THE-
/IMPLE5 (TOBLY
BEING WITHUT 1W
g
130.

with aisles, clerestory with windows, and a long and narrow
chancel without aisles. There was generally a single western
tower, finished with crenellated battlements, but in some of the
larger Parish Churches, which are cruciform on plan, the tower
is over the "crossing." Where a spire occurs it is usually
octagonal on plan, and the change from the square to the octagon
was effected in the thirteenth century by means of a "broach "
(No. 140 A) resting on angle squinch arches (No. 130 B), while in
the following centuries, parapets with elaborate corner pinnacles
(No. 140 c, E) and flying buttresses were employed to connect the
tower and base of the spire (No. 140 G, H).
The principal entrance was by a porch, sometimes of two
stories, on the south side, near the west end, although occasionally
the western tower emphasized the main entrance. A large number
were erected during the fourteenth and fifteenth centuries.
The typical English Church differs from the French in not
being vaulted, and there is, therefore, an absence of flying
buttresses. The English developed the "
open-timbered
"
roof,
and elaborate specimens of constructive art were indulged in,
'
various types being shown on No. 113, culminating in the
"hammer-beam" variety of the fifteenth century. These were
often painted with rich colors, and the counties of Norfolk and
Suffolk have examples specially famous in this respect.
THE CASTLES OF THE NOBLES.
These form an important part of the architecture of the Middle
Ages, and were fortified up to the end of the fourteenth century.
They were generally residences as well as military posts ; thus,
while complying with the ideas of defence, the planning also
illustrates the relation of the vassal to his lord, who, while exacting
the former's service, was theoretically bound to maintain him.
In the twelfth century, military structures were all-important,
over 1,100 castles being constructed during the reign of Stephen
alone. These consisted of (a.) an outer "
bailey
"
or court, (b.) an
inner bailey, and (c.) the donjon or keep, several stories in height ;
all being surrounded by a lofty wall with ramparts and parapet
and a deep moat, as in the Tower of London (A.D. 1081-1090)
(No. 131 A), and Kenilworth Castle (No. 131 c).
' '
The battled towers, the donjon keep,
The loophole grates where captives weep." SCOTT.
In the thirteenth century these castles were further enlarged
by additional buildings, clustering round the keep, the hall still
remaining the principal feature. Large hooded fireplaces and
chimneys became general. The castles were less strongly
'
fortified, as the growth of the royal power suppressed petty wars
between rival nobles, while the invention of gunpowder (A.D. 1500)

ENGLISH GOTHIC EXAMPLES. XI.
lrlSf||i
muffle'
(
TIMERS
(tASTIH A=NORMANKE[PII20, 'B-MNQOETINC HALL I3<32 >^*
TOWER I2I2 ~'*
'
C -MERVYN'3 TOWER, D -WHITEHALL E -PRBENtf CHAMBER I392
F- HEN RYMDING5 1520, G-LEICE5TER
f
5 5UILDING5 1571
UTTLE PARLOUR
LATER ADDITIONS ^
(DOTTED) FORMING THE
PLAN INTO AN IRREGULAR
PENTAGON x=x
fflE MOUSE
(D
V13ITOR3 WING

made the moat comparatively useless, and soon rendered quite
obsolete the older systems of defence (page 549).
In the fourteenth century an increased desire for privacy
arose, and the highest development of the Hall was attained, as in
Westminster Hall, a royal palace ; Ightham Mote and Hever Hall,
Kent, moated manor houses ;
Cranbourne Manor, Dorset, and Crosby
Hall, London, an example of a merchant's home, referred to in
Shakespeare's Richard III. as Crosby Place.
Penshurst Place, Kent (No. 132 A, B, c, D, E, F) (A.D. 1335), is a
good example of a nobleman's house. The plan (No. 132 F)
indicates that, as in all domestic buildings of the fourteenth
century, the Hall was the feature of primary importance. In this
case it is 68 feet by 38 feet 8 inches and 48 feet high, with a
raised dais at one end and a screen at the other. An external
elevation is given in No. 132 A. The roof (No. 132 B, E) is a fine
example of a typical open timbered type, and the original "louvre"
or opening for the escape of smoke from the central fire still exists.
A characteristic house of the period consisted of a quadrangular
plan with central courtyard. On the side away from the entrance
was the Hall, the whole height of the house, the kitchen being
adjacent. The fire was in the centre of the Hall on "
dogs," the
smoke being carried away by the " louvre
"
in the roof, as at
Penshurst, or by a wall fireplace with a hooded canopy.
The porch or doorway led to the entry which, by a panelled
partition or screen, was separated as a vestibule from the Hall
itself. Over this entry was the minstrels' gallery, while at the
further end of the Hall was the raised "
dais," for the seats of
the master and his principal guests, and sometimes, a large bay
window gave external and internal importance to that end.
The main body of the Hall was occupied by the servants and
retainers. The walls were hung with tapestry and with trophies
of the chase, and the floor was often only strewn with rushes and
still formed, as in the earlier periods, the sleeping-room for the
retainers, though they were sometimes lodged in dormitories in
the wings. The "solar," or withdrawing-room, was often at
right angles to the Hall.
The great banqueting-hall gradually ceased to be used as the
common sleeping-room on the introduction of the withdrawing-
room, and the fourteenth century house may be taken as the
prototype of the modern country house, which in its highest
development is an expression of the wants, inclinations, and
habits of the country gentleman of to-day, as was the mediaeval
castle of the feudal baron.
In the fifteenth century the central fireplace was moved to
the side wall, becoming a distinctive feature, and the sleeping
accommodation was much improved, as at Oxburgh Hall (No
131 B).

ENGLISH GOTHIC EXAMPLES. XI
MIRTH iramm of crat ma
fl.D.1300-1650.
'91...? ...? '9'
z.
3, ^PFEET
132.
F.A.

In the sixteenth century the typical Tudor house consisted
of buildings grouped around a quadrangular court,- as at Layer
Marney (A.D. 1520), Compton Wynyates (A.D. 1520) (No. 150),
and Sutton Place (A.D. 1521-1527). The entrance was in the
centre of one side under a gatehouse, which gave it prominence;
on the opposite side were the hall and offices, the living and
sleeping-rooms being ranged along the other two sides, and such
rooms were usually
"
thoroughfare
"
rooms or, in some cases,
only entered from the courtyard.
In the latter part of the century the common dining-hall began
to decline in importance, owing to modern ideas of privacy being
introduced ;
but the salient characteristics of the Elizabethan
house are dealt with in English Renaissance, page 553.
THE DWELLINGS OF THE PEOPLE.
The formation of towns was often due to considerations of
safety, as when traders and others grouped themselves around
the castles of the great nobles, or formed a dependency to a
monastery ; and thus afterwards arose in many towns two rival
authorities, viz., ecclesiastical and secular. In the absence of
effective police, and in the consequent insecurity against lawless
vagabonds, every city was more or less fortified.
The undeveloped state of the towns is accountable for the
absence of town halls, in contrast with France, Belgium, Italy,
and Germany, where many such buildings exist.
. In towns the dwellings often consisted of a shop on the ground
floor, in which the trade of the owner was carried on, light being
obtained by a wide opening fronting the street. Behind the shop
were the kitchen and living-room, and an external door led to a
staircase, which gave access to the sleeping-rooms oil the first
floor. The " Butcher Row "
at Shrewsbury, of the fifteenth
century, has ground floor shops,
" solar
"
above, and dormitories
in the upper story.
The architecture was more or less developed, in .
proportion
to the condition of the owner, the materials at hand, and other
local causes. In this respect the passage way on the first
floor to the houses at Chester is a notable example. Houses of
half timber and brick with overhanging upper stories abounded,
while the Jew's house at Lincoln is a fine specimen of an early
stone residence.
CHAPELS.
There were different varieties of these, viz., those forming apart-
ments in palaces or other dwellings, or attached to convents and
monasteries, those forming portions of larger churches, sepulchral

chapels, those attached to colleges and other educational institu-
tions and those erected on bridges the germ of all these being a
large apartment to which aisles came to be added.
The following are a few examples of different types :
S. John's Chapel, Tower of London (No. 135) ;
Lambeth
Palace Chapel (No. 132) (A.D. 1250), with the later addition of
the Lollard's tower (1424-1445); Merton College Chapel,
Oxford (1274-1277), with later additions; the Chantry Chapel
(fourteenth century), on the Bridge at Wakefield ; S.
Stephen's Chapel, Westminster (1349-1364), since destroyed
to make way for Westminster Palace ; King's College Chapel,
Cambridge (A.D. 1440), of which there is a model in the Guild-
hall Museum, London ;
S. George's Chapel, Windsor
(No. 133). (1480-1508); and Henry VII. 's Chapel, West-
minster" (Nos. 127, 128, 129) (1500-1512).
COLLEGES AND SCHOOLS.
From the time of Alfred onward there existed a number of
grammar schools connected with churches, monasteries, and
cathedrals. Colleges resembled the monastic establishments of
earlier times and were modelled on them in many ways. The
hall was the principal apartment, and this and the other rooms
were grouped around a quadrangle, as in the mediaeval house.
Winchester College (1387-1393) was built by William of
Vykeham, and Eton College (1442) was founded by Henry VI.
(1422-1461). The rise of Oxford dates from about 1167, and that
of Cambridge from about 1209, and many of the principal colleges
at these Universities were erected as follows : At Oxford : the
colleges of Merton, 1263-1264; Worcester, 1289; Exeter, 1314;
Oriel, 1326; Queen's, 1340; New College, 1379; Lincoln, 1427;
All Souls, 1437 ; Magdalen, 1458; Brasenose, 1509 ;
Corpus Christi,
1516; Christ Church, 1524; Trinity, 1554; and S.John's, 1555.
At Cambridge: the colleges of Peterhouse, 1284; Clare, 1326;
Pembroke, 1347; Gonville, 1348; Trinity Hall, 1350; Corpus
Christi, 1352; King's, 1441 ; Queens', 1448; Jesus, 1497; Christ's,
1505 ; S. John's, 1511 ; Magdalen, 1542 ; and Trinity, 1546.
BRIDGES.
These formed important means of communication, and in many
instances possessed a semi-religious character. A few representa-
tive examples may be mentioned. Old London Bridge, com-
menced in 1176, was built by the religious confraternity known as
the "Prates Pontis." The "
Triangular
"
Bridge at Croyland,
Lincolnshire, still exists, having three pointed arches with abut-
ments at the angles of an equilateral triangle and having three

ENGLISH GOTHIC. 325
roadways and three waterways. The Bridge at Warkworth,
Northumberland, is in good preservation.
HOSPITALS, ALMSHOUSES AND BEDE HOUSES.
Many of these, principally dating from the fifteenth century,
were founded by charitable people, and form interesting examples
of semi-domestic character. 5. Mary's Hospital, Chichester, (No.
132 L, M, N) is mainly of the fourteenth century, although
belonging to a very early foundation, and has bedrooms and
sitting-rooms for the inmates opening on to the central hall, at
the end of which is the chapel. Other examples are S. Cross,
Winchester ;
Ford's Hospital, Coventry ; S. John's Hospital,
Northampton ;
the Bede House, Stamford, and almshouses at
Cobham, Kent, and elsewhere.
ANCIENT TIMBER HOUSES.
These are still numerous, and the example from Chiddingstone
(No. 132 j), dating about 1637, will give an idea of the appearance
of these old timber houses, of which many towns, such as Chester,
and numerous villages throughout the country, can still boast
a number.
MINOR MONUMENTS.
In the cathedrals and churches, the choir screens, tombs, wall
tablets, and chantries are specially notable. Many of these are
worthy of careful study.
4. COMPARATIVE.
PREFATORY NOTE.
The architecture of England during the Middle Ages can be
divided into centuries corresponding to the principal developments,
which have their specially denned characteristics, and each period
is now treated in a comparative way in a somewhat different
manner to the method adopted in othsr styles, the architectural
character and examples in each period being given.
There have been various systems of classification adopted by
different writers, but those by Rickman and Sharpe are the best
known. Rickman's divisions are made to include periods corre-
sponding to the reigns of English sovereigns, which are given
under each style later, whereas Sharpe's divisions are governed by
the character of the window tracery in each period.

ENGLISH ARCHITECTURE (ANGLO-SAXON STYLE). 327
A comparative table showing the approximate period covered by
each is given :
Dates, Rickman. Sharpe.
A. D. 449 (arrival of Anglo-Saxons) to the Con-
quest in 1066 ............... Saxon, Saxon.
1066-1189 (i.e. to the end of I2th cent.) Norman. /Norman.
| Transition.
1189-1307 (i.e. the 1 3th cent.) ......... Early English. } f^
Lance
^'
1307-1377 (i.e. the I 4th cent.) ......... Decorated,
1377-1485 (i>e. the I5th cent.) ......... Perpendicular, Rectilinear.
1485-1558 (i.e. the first half i6th cent.) ...... Tudor. Tudor.
Although the period of each style is thus defined, it must be
remembered that the transition from one style to the next was
slow and gradual, and can often hardly be traced, so minute are the
differences. It is only for convenience in alluding to the different
stages that the division is made, for it must not be forgotten that
the mediaeval architecture of England is one continuous style.
ANGLO-SAXON STYLE (A.D. 449 to 1066).
The buildings are sometimes composed of the fragments of
Roman architecture in Britain, or of rude copies, but the scanty
remains of this period render it difficult to estimate the character
of the buildings. It is probable that timber was the material
mostly employed in all classes of buildings, and that the great
development in timber work of the later Gothic styles was due
to this early use. The masonry work is considered to show signs
of the influence of wood architecture, as in the "long and short"
work, the triangular-headed openings, the pilaster strips, and the
baluster mullions (No. 134), but these features are more likely
rule attempts to copy the contemporary Romanesque work of
Ravenna and other Italian towns.
The following are a few of the examples of this period :
Worth Church, Barnack Church, Brixworth (Northants), Dover
Castle and Church, Earl's Barton (No. 134 A, B, D), Sompting
(Sussex) (No. 134 H), Wickham (No. 134 F), Deerhurst (Glouces-
tershire) (No. 134 c), Greensted Church (Essex), and the crypt
at Ripon Cathedral.
A. Plans. Churches seem to have been planned as two simple
oblongs, joined by a small chancel arch, the chancel being square-
ended (borrowed from the Keltic type), lower and smaller than
the nave, and distinctly marked as such externally and internally.
There was often a descent of a few steps from the nave into the
chancel. Another type of plan is that of the Roman basilican
form, as Sv Martin, Canterbury, and Brixworth.
Towers, of which Earl's Barton, Northants (No. 134), is an
example, are without buttresses.

B. Walls. These were mostly formed of rough rubble work
with ashlar masonry at the angles formed in "
long .and short"
courses, as at Earl's Barton (No. 134 A).
The pilaster strips
mentioned above are also features.
c. Openings. These are round or triangular-headed, and
have square jambs, as at Deerhurst Church (No. 134 c), and are
sometimes divided by a baluster, as at Wickham (No. 134 F).
D. Roofs. There are no means of knowing exactly how these
were treated,. as none exist, but they were probably either of
timber or composed of loose stones in horizontal layers approach-
ing each other till they met at the apex, as in early Irish
examples. Manuscripts represent buildings as covered by slates
or shingles.
E. Columns. The roughly formed balusters, that occur in
belfry windows, have been mentioned above, and appear to have
been worked by a lathe. Piers in churches are short, stumpy
cylinders crowned with square blocks of stone in the place of
moulded capitals (No. 134 E, G).
F. Mouldings. These were few in number and consisted of
simple ovolos and hollows coarsely axed. Ttfbls were few, hence
the use of the axe in roughly finishing the contours.
G. Ornament. This was probably scanty, in the absence of
technical ability, hangings being probably in use.
NORMAN ARCHITECTURE,
also known as the English Romanesque or Twelfth Century style,
comprises the reigns of William I., 1066-1087, William II., 1087-
iioo, Henry I., 1100-1135, Stephen, 1135-1154, Henry II., 1154-
1189.
The general appearance is bold and massive, and presents
many similarities with the architecture of Normandy, from
whence it was introduced during the reign of William I. It
is well described by Sir Walter Scott :
" In Norman strength, that abbey frown'd
With massive arches broad and round,
That rose alternate row on row
On ponderous columns, short and low ;
Built ere the art was known,
By pointed aisle and shafted stalk
The arcades of an alley'd walk
To emulate in stone "...
In London, the principal examples are :
The keep and S. John's Chapel in the Tower of London
(Nos. 131 A and 135). The round portion of the Temple Church
(Transitional). S. Bartholomew's the Great, Smithfield.

ENGLISH GOTHIC EXAMPLES. XIII
9WMKH CfflHB
5eDTE& PROJECTION Of BUT- | BUTTKSSD A&OUT [QUAL IN
MJOONT9 WIDTHJ
NTWfiUOION Of POINTED^ WATHKCD 5TAG[S,WNDOWS
JSLD AT flKT IN CONJUNG
ION WITH SEfKIGCUtAIL
AW8&WISHCK4/iCAttB,WHSt5
AIN ( OTT[N BATTHrt[NT[D WITH (DBC15 UNDQ MUMS NA^
Wf XnKCOAAK HtAOtD < GWUPtD WITH AKADIN6 IN CLFJOTD
WK HKilVt WITH MT5 PLACLD IN UGANGULAI^ 2taB OBNA
ftNTAL
nOULNN6S>ZI6-ZA3,BILLET,CONi:S, 4 NA1LHEAD5
'
136.

ENGLISH GOTHIC EXAMPLES. XIV.
SHANE.
LAKE.DNIDCD Bf HULLION5 INTO-TWO OB IW LIGHTy.TEAC
DEVELOPS RAPIDLY, fIBT Of CitMWAL DESIGN AND LATCH
ROWING rom: BUTTKKE^ INCECA^ IN IMPOETANCE. HAVING
OEMS IN STAGES, <f
IN LAM EXAHPII5 ORNAHtNTED WITH
NICHES 4 CROCKtTTtD CANOPIES <J flNIAL5: PICK RJ05ED Of ENGAGED
5H/FT3 ^OrifN DIAHOND 5HAPED ON PLAN:
5 OVERED WITH PANELLING: BUTTRESSES Of
DEPTH, 4 CROWNED Bf FINALS RICH-
LY OWW1ENTED:WONS5TS Of /VUION5 f
TlNUED VERTICALLY THE W/iOLE HEI6HT Of NINDW.
5TRENQTHENED Bf HORIZONTAL T^NSOHD: TOUI
aNTKD AKH TYPI(AL:TR]fOBIUn

In the Provinces, the principal examples are :
The ^reater portion of the Cathedrals of Norwich, Durham,
Oxford,* Gloucester, Exeter, Ely, Hereford, Peterborough,
Winchester, S. Albans, Chichester, Waltham, and Tewkesbury
Abbey. Barfreston Church, Kent, and Iffley Church, Oxon
(No. 138), are good examples of small Norman churches.
A. Plans. The nave was considerably lengthened from the
Saxon period, and transepts were employed, with usually a tower
at the crossing. Most of the cathedrals date from this period,
and the general type of plan laid down was developed rather than
changed, great length being aimed at, as at Norwich, Durham,
Ely, S. Albans, and Winchester. The chapel of the Tower of
Lo'ndon (No. 135) is a type of a small chapel in the style.
The towers are square and massive, as at S. Alban's Abbey
and Iffley Church (No. 138).
In Norfolk and Suffolk are some fifty churches, having at
their west end round towers supposed to be due to Scandinavian
influence, but probably owing to these being more readily con-
structed, in the absence of suitable stone to form square angles.
Castles, owing to the recent conquest, were numerous and
important, commanding fords on the rivers, high roads, and
other strategic points. The Tower of London gives a good idea
of the system of defence adopted (No. 131 A).
B. Walls. These are very thick, and frequently arcaded in
later work, but are often constructed with defective masonry, the
core being imperfectly bonded with the facing.
The interiors have nearly an equal height assigned to nave
arcade, triforium, and clerestory, and a passage was often formed
tetween the clerestory window and the triple arch carrying the
inside of the wall, a method also adopted in the churches at Caen.
Buttresses are broad and flat, with little projection (No. 141 A),
and often flush with the corbel table, which supports a plain
parapet (No. 136 A, B).
c. Openings. These were frequently formed with square re-
cesses, known as "orders," to their jambs. The windows are
isually small, narrow and deeply splayed, with semicircular heads.
They are in single lights, but double windows divided by a shaft
-equently occur in towers. Three openings, of which the centre
:st, are sometimes grouped together.
Doorways are deeply recessed and richly ornamented with the
ornament and beak-head, as at Iffley Church, Oxon
0e Omt ^^ whh s
,n scul Ptural
with
a^l)^
Wa^ n-
beaded >
or intersecting
The roof-trusses were of open timber, chiefly of king-post form,

ENGLISH ARCHITECTURE (THE NORMAN STYLE)
138. IFFLEY CHURCH, NEAR OXFORD,
West Front.

ENGLISH ARCHITECTURE (THE NORMAN STYLE).
, UNCOLSHIRE 112.0 CHDmOM,STCOHTE8TCAEri
BILLET, WINCHESTER 1090
CHEVR1,WE5TninSTERI09
T.ABBAYE-AUX-DAME3
aTPETERS T-COWT3 IFTLEY.OXOM
rv) EMBATTLED
139.

ENGLISH ARCHITECTURE (THE NORMAN STYLE). 335
and having an inclination of forty-five degrees, the covering
being of lead or shingles. The simple framing is either left
exposed, or has a flat ceiling boarded and decorated. In fact, all
the existing cathedrals or abbeys of this period had originally
wooden ceilings, but were vaulted later, as at Gloucester, Exeter,
and Durham.
E. Columns. These are low, massive, and either polygonal
or circular (No. 135), as at Gloucester, Bristol, and Exeter, while
at Durham fluting and zigzag channellings were worked on the
columns, without regard to the courses. Clustered piers, as at
Peterborough (No. 122), with rectangular recesses, were also used,
often in conjunction with round piers, as at Durham and Waltham.
The small shafts occurring in the recessed orders of doorways
and windows were sometimes richly ornamented.
Capitals (Nos. 146 and 148), are usually of the cushion form,
being sometimes carved and scolloped, but occasionally forms
reminiscent of Roman architecture occur, as the Ionic example,
in the White Tower, London (No. 135). The Corinthian type
frequently met with in France is rare.
F. Mouldings. -The ornamented mouldings, as the chevron
or zigzag, billet, beak-head, nail-head, bowtel, or roll moulding,
are shown on Nos. 139 and 146, and form a most important
decorative element in the style.
Corbel tables, supported by corbels or grotesques, constitute
crowning features on walls and towers.
G. Ornament. The plain treatment of the earlier period was
succeeded by the highly decorated work of the late period, which
was richly carved with nail-head, corbel, billet, and other orna-
mented mouldings (No. 139).
Wall arcades of intersecting arches (No. 1366), along the lower
part of the aisle walls, constituted an effective dado decoration.
It is probable that hangings were employed in interiors.
Rudimentary decoration, consisting of black and white, or simple
colors in stripes, forming lozenge-shaped and other figures
roughly executed in distemper, produced a bold and not un-
pleasing effect, as in the roof at Peterborough. Late in the period
stained glass began to be employed, the glass, in small pieces, being
chiefly white, leaded together to form patterns, with the addition
of brown lines.
A Norman font, piscina and sedilia are shown on No. 144.
THE EARLY ENGLISH STYLE.
Also known as Lancet, First Pointed, Early Plantagenet, or
Thirteen Century Style, comprises the reigns of Richard I., 1189-
1199; John, 1199-1216; Henry III., 1216-1272; Edward I.,
1272-1307.
The style of this period, shaking itself free from the massive

Norman, is magnificent and rich, strong in its dependence upon
proportion, well-defined outline, and simplicity in decoration.
The long trails of dog-tooth ornament lurking in the dark furrow
of the channelled recesses, the foliaged capitals and bosses intrud-
ing their luxuriance upon the mouldings and hollows, and the
knots of pierced and hanging leaves, extending like some petrified
garland or bower of filigree work round the arch, almost impart
life and vegetation to the very stones of these door and window
openings. The tall and narrow lancet openings give an upward
tendency to the design, and the boldly projecting buttresses and
pinnacles, and steeply pitched roofs, mark the exteriors. Inter-
nally, in place of the massive Norman pillar, slender groups of shafts
occur connected by bands to the piers. The pointed arch vaults
are bolder, more elegant, and used more frequently (page 286).
In London the principal examples are :
The round portion of the Temple Church, which may be called
Transitional, between Norman and Early English. The Eastern
portion of the Temple Church. The choir, transepts, and first
four bays of the nave of Westminster Abbey (1220-1269), a portion
of the Cloisters, and the Chapter House, restored (No. 127).
The Chapel of Lambeth Palace (No. 132 G, H, K). The Choir,
Lady Chapel, and nave (restored) of S. Mary Overie (S.
Saviour), Southwark.
In the Provinces the principal examples are :
Salisbury Cathedral (Nos. 121, 122, and 140 D), York (tran-
septs) (No. 117 B), Lincoln (nave) (No. 117 F), Rochester (choir
and transepts), Wells (nave and west front), Lichfield, Ely (choir
transepts and Gallilee Porch, 1198-1218) (No. 136 D), Worcester
(choir), Bristol (the Elder Lady Chapel).
A. Plans (No. 117 E). These varied but little from the
The vaulting as it advanced modified the planning,
as, when pointed arches were finally adopted, nave compart-
ments were made oblong in place of the former square divisions.
Flying buttresses were introduced.
The "broach
"
spire (No. 140 A, B), in which the upper portions mn the square tower without a parapet, is characteristic.
B. Walls. These retain the massiveness characteristic of
man work but more cut stonework was employed, and less
We filling the concentration of the weight of the roof and
iTir
On e buttresses leading to the gradual treatment of
J between as a mere screen. The proportion of opening1S often excellent ' as in the
Pronounced than in the Norman period,
equal in projection to their width, in order to
' lateral outward pressure of the pointed vaults, and

ENGLISH GOTHIC (EARLY ENGLISH STYLE). 337
were formed into stages by weathered set-offs (Nos. 127 A, B, and
141 B). Their arrises were often chamfered, and the different
stages were frequently gabled. Flying or arched buttresses (No.
141 E) were first utilized in this period, but were not of common
occurrence till a later period.
In the interiors the nave arcade usually occupies the lower half
of the height, the upper half being divided equally between
triforium and clerestory, as at the choir of Ely, the naves of
Lichfield (No. 124 c), and Lincoln ;
but sometimes, the triforium
was diminished in order to provide a larger display of glass, as at
Westminster (No. 127 c) and Salisbury (No. 122 G).
c. Openings. Proportions, generally, are more slender than
in Norman work, and pointed arches came into general use for
constructive reasons, at first in connection with vaulting, then
gradually throughout the whole building.
The doorways are often richly treated, and ornamented with
carved foliage (No. 143 A).
Windows (Nos. 122, 136 D, and 142 A, B, c, E, F, G) are of
lancet form, and tracery was developed, especially the early form
known as "plate" tracery (No. 142 A, B), so-called because the
openings were cut through a flat plate of stone.
Cusps or projecting points of Gothic tracery were introduced in
the latter part of the Early English style, being let into the soffit
of the arches in separate small pieces and entirely independent of
the mouldings. This form of detached cusping is found generally
in the circular lights, the heads of windows having cusps forming
part of the tracery itself. The spaces between the cusps are
known as foils (Lat. folium =a leaf) being trefoil, quatrefoil or
cinquefoil when having three, four or five openings.
Narrow lancet windows are grouped in two, three, or even
five lights, as in the " Five Sisters" in the north transept, York
(page 316), the glass being usually kept near the exterior of the
wall, making the inside jamb very deep.
D. Roofs. These are steeper than in the last period, approach-
ing the shape of an equilateral triangle, i.e., sixty degrees. The
framing was exposed where there was no vaulted ceiling. The
braces were used to form a waggon shape, or semicircular ribs were
employed, when the close setting of the flat rafters produces the effect
of barrel vaulting. (Vaulting, see page 286, and Nos. 1 1 1 and 112.)
E. Columns. Piers consist of a central circular, or octagonal
shaft, surrounded by smaller detached columns (No. 146), often
of polished Purbeck marble, held in place by bands at intervals,
as at Salisbury (No. 123) and Westminster Abbey.
Capitals were frequently moulded, so as to produce fine bold
shadows (No. 146), or carved with conventional foliage (No. 148),
placed on the bell or lower portion of the capital. The normal
abacus is circular on plan.
F.A. Z

ENGLISH GOTHIC EXAMPLES. XV.
TteEVOLOTMNf
Sr PETER STWmiFMM SALISBURY
teAMTMM,LlMCa tATMEPR*L
, WILTS.
ANGLE TURRETS & CROCKETS PARAPET DOUBLL ANGLE TURRETS *>
140.

ENGLISH GOTHIC EXAMPLES. XVI.
:ADII/D MiwsiEirgjzio. &BRBS
S^NSTRKTME
PlfflCIFLE OTTHE
A5INCLE AISLE EXAMPLE
IN TWO TlfRS, WEIGHTED
WITH PINNACLE!.
J
4 I,
SHLWNG POINTED CROSS PIBBED VAULT HICHABOVE GROUND- VERINC ABWLO-
ING or MSILON PttK 6 PROTECTED ASAINhTrnt WEATHER BT AWOEN mt THIS
MT EXERTED OBLIQUE THRUSTS WHICH WERE OPPO'JED BrBl/TrKEÊ'5.THE CLERE5W
mHoffiÊR COULD NOT BE STRENGTHENED w BUTTREÊ^ &M WUSB "F WE NAVE VAULT
ABE THEREFORE TKAN5MITTID ACROSS THE AI5LE OR AISLED nrfiYlNG BUTTRE55C3
SPRINGING FROM PIERS &LEANING AGAINSTWEHdVt WALLS .SUCH PIERS ARE WEIGHTED
BY PINNACLES INORDER To RESIST THI3
GAISE)
A DcXJBLE AM EXAMPLE
IN TffOSTCRLYS WEIGHTED
WiTH PINNACLE5651ATUARY
INORDER to COUNTERACT
THE OBLJQUE THRUST
OF HAVE VAULT.
Z 2

ENGLISH GOTHIC EXAMPLES. XVII.
I
4 2.

ENGLISH GOTHIC (EARLY ENGLISH STYLE). 341
F. Mouldings. These are bold, deeply undercut, and often of
pear-shaped section, following the outline of the rectangular
recesses (No. 146). The chiselled dog-tooth succeeded the axed
nailhead decoration of the Norman period.
G. Ornament. The most characteristic ornament is the dog-
tooth, which was generally placed in hollow mouldings, and was
used in great profusion (Nos. 143 and 147). The chisel was
generally used, taking the place of the axe in the Early Norman
period.
Carved foliage is conventional, and crisp and fine in treatment
(No. 147), typical examples consisting of convex curling masses,
known as " stiff leaf foliage."
Flat surfaces are often richly diapered (see Glossary, page 691),
as in Westminster Abbey (No. 127).
Sculptured figures of large size were used, and placed in niches
with canopies over them. The west front of Wells (1206-1242)
has 300 statues, being a grand composition where sculpture is
fully combined with architecture.
In regard to color work, it has been suggested that the carved
diapers of this and the next period are copies in stone of the hang-
ings or painted decorations of the previous period. There is
ground for believing that such carved diapers were colored, as
was the case with Greek and Roman ornament.
Stained glass rapidly increased in importance, the pieces
being small and leaded up in patterns so as almost to suggest
the cubic formation of mosaic. A general tone of color pervades
the windows, and an unrivalled deep and violet-like blue was a
favourite tint, as in the fine thirteenth century glass at Canterbury
Cathedral.
Examples of an Early English font, piscina, sedilia, and taber-
nacle are shown on No. 144, and a gable cross, finial, sculptured
vaulting bosses, and carved bracket on No. 149.
In the Early English and following periods, exquisite decora-
tive art was produced in such works as the Psalters, Missals,
Books of Hours and Chronicles, in which the huntsman, fisher-
man, shepherd, labourer, scribe, saint, king, knight and monk
were represented, forming a valuable record of contemporary
life. The Mediaeval Room at the British Museum contains
examples of armour metalwork, ivory and woodcarving, caskets,
rings and utensils, illustrative of the ornamental art of the
periods.
THE DECORATED STYLE,
also known as the Geometrical and Curvilinear, Middle Pointed,
Edwardian, Later Plantagenet, or Fourteenth Century Style,
comprises the reigns of Edward II., 1307-1327, Edward III.,
I
3 2 7- I
377-

ENGLISH GOTHIC EXAMPLES. XVI
or
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S^HULDS
WOTTED UNE
NORFOLK
WESTERN B80B
SHEWIMC, ENtftCr
ED SHrtFTS.
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1012 545 6 7 g 9fEET
SUttnjiBMRCH MOULDS
1 2FET

ENGLISH GOTHIC (THE DECORATED STYLE). 343
The general appearance, although there is an increasing rich-
ness of ornamentation, is simple, from, the small number of parts,
and magnificent, from the size of the windows filled in with
geometrical and flowing tracery. Clerestories were enlarged at
the expense of the triforium. Vaulting ribs were more numerous
and complex than in the previous style, the vault becoming a main
feature in the effect of the interiors.
Westminster Abbey (three bays of the eastern cloister walk
and the polygonal chapter house) ;
the Chapel of S. Etheldreda,
Ely Place, Holborn, and the Dutch Church, Austin Friars.
In the Provinces the principal examples are :
Lincoln Cathedral (nave and east end, including angel choir,
1260-1280), Ely Cathedral (the eastern portion), York
Cathedral (the choir, west front and chapter house), Exeter
and Lichfield Cathedrals (naves), S. Albans (choir), Salisbury,
Wells, and Southwell (the polygonal chapter houses), Stone
Church, Kent, and the Eleanor Crosses.
A. Plans. The new plans were set out with a wider spacing
in the bays, more noticeable in parish churches than in cathedrals
already started in earlier periods. The progress of vaulting
regulated the planning of the piers, and was in itself strongly
influenced by the increased size of the openings required to
exhibit stained glass. In domestic architecture the " Hall" was
highly developed, as at Westminster and Penshurst (No. 132).
Several of the great central towers were now carried up, as
Salisbury (Nos. IIOA, 121 and 140 D), Lincoln (Nos. 116 Band 125).
and Lichfield (No. 116 F).
Spires, usually octagonal, are lofty, and the "broach" form,
characteristic of the thirteenth century, gradually gave way to
parapets with angle pinnacles (No. 140 c, D, E). Spire-lights are
ornamented with crockets (No. 147 K), and ribs occur on the angles
of the tapering spires.
B. Walls. The increased size of the traceried windows, and
the importance of the buttresses are characteristic of the style,
and the extension of tracery to the walls in the shape of panelling
was now introduced.
Buttresses occur with offsets in stages, and in later periods are
ornamented with niches (No. 141 c) and crocketed canopies, as
in the exterior of Lincoln (No. 125). Angle buttresses, set
diagonally, were introduced in this period.
Parapets were often pierced with flowing tracery (No. 147 N),
but this was especially a French feature, the English generally
keeping to the battlemented form (No. 147 M).
c. Openings. The proportions of height to width are less
lofty than in the Early English period.

ENGLISH GOTHIC EXAMPLES. XIX.
R$EMUA: S
T
MARVS . LUCESTER.
144.

ENGLISH GOTHIC EXAMPLES. XX.
F, STEEPLE ASTON, OXON. FULFIT (EXTERNAL)
MAGDALENE Cot- OXFORD,
,WOLVERCOT,OXON. ACLE LECTON,
UPWELL S
T
PETERS, NORFOLK
, HANDBOROUGH, OXFORDSHIRL
AROODLOFT WAS A GALLERY
OVER THE SCREEN SEPARATING
THE CHOIR OR CHANCEL FROM THE
NAVE. IT WAS CONVENIENT FOR
LIGHTING CANDLES. ETC., IN CON-
NECTION WITH THE IMAGES ^3
WHICH BELONGED TO IT. NOT MUCH
IN USE BEFORf THE I4
T-"
CEN
T
-<
ACHAMTEY.WASA
CHAPEL OR SEPARATE PART OF
A CHURCH ENDOWED FDR THE
PURPOSE. OF THE DAILY OR
FREQUENT SAYING OF MASS ON
BEHALF OF THE FOOTER AND
THOSE WHOM HE MIGHT NAME.
4T WAS OFTEN ONE OR MORE
BAYS OF AN AISLE ENCLOSED
BY A SCREW: ABOUT THE MID-
DLE OF THE IZ* CEN1? IT WAS
CUSTOMARY TO ENDOWS
CHANTRIES AT PARTICULAR
ALTARS. THE FOUNDING A'riD
ENDOWING 01- PRIVATE CHANTF,/
CHAPELS WAS A COMMONS
PRACTICE AMONG THE WEALTHY
CLASSES PREVIOUS TO THE
REFORMATION'. THEY WERE a
MOST NUMEROUS IN
^^ABBEYS &CATHED- (
RALS, WHERE IT WAS
A PRIVILEGE TO K. KJRIED, h
H5-
, GEDDINGTON CH.,NORTHANTS.
A PARCLOSE WAS AN ENCLOS-
URE, SCREEN, OR RAILING TO*
PROTECT A TOMB, TO SEPARATE
A CHAPEL FROM THE MAIN BODY
OF A CHURCH, OR TO FORM THF.
FRONT OF A GALLERY. ETC.
CHANTRY(CONTINUED)
WHERE INTERMENT WAS NOT EASILY
OBTAINED EXCEPT BY SOME BENE-
FICIAL OFFERING. IN MOST ENGL-
ISH CATHEDRALS MANY CHANTRY
CHAPELS WERE ACTUALLY EXTER-
NAL ADDITIONS TO THE ORIGINAL"*
BUILDING; OTHERS WERE INDE-
PENDENT STRUCTURES WITHIN*
THE EDIFICE.
THE CHANTRY CHAPEL 2r SEPUL-
CHRAL MONUMENT TO ARTHUR
TUDOR, PRINCE OF WALES.SON
OF HENRY VII (&. I486, D.I502)
IS AN EXAMPLE Of THE LAST
MENTIONED. IT WAS ERECTED IN
1504. THE WHOLE SURFACED
EXTERNALLY & INTERNALLY, IS
COVERED WITH TRACERY & SCULP-
TURED ORNAMENTS, 8, THE ROOF
BAFINESPECrjiOFFANYAUQIHG
[FFIGY OF BISHOP GIFFARD. ENTRANCE POORS
"
CHAMTIY,
FEMALE EFFIGY
WORCESTER CATHEDRAL.

ENGLISH GOTHIC ORNAMENT. I.
DECORATED.
146.

ENGLISH GOTHIC (THE DECORATED STYLE). 347
Windows (Nos. 137 and 142) are large, and divided by mullions
into two or more lights. Tracery at first consisted of geometric
forms, as in the cloisters of Salisbury, the choir clerestories of
Ely, Lincoln, and Lichfield, and the nave of York. In the latter
part of the period it was "
flowing
"
in character as in the choirs
of Ely (No. 137 F) and Wells.
The cusps, which in the Early English style were often planted
on, in this period were cut out of the stone forming the tracery.
Doorways (No. 143) are ornamented with engaged shafts, and
have jambs of less depth than in the Early English style.
Arches were formed by being struck from the points of equilateral
triangles, or even of lower proportion (No. 299 i).
The ogee arch
(No. 299 v) was also used.
The enlargement of clerestory windows proceeded pan passu
with the diminution in height of the triforium (No. 137 F).
D. Roofs. These are of moderate pitch, and sometimes have
open framing, of which Eltham Palace and S. Etheldreda, Ely
Place, Holborn, are good examples. (Vaulting, see page 287 and
No. 112.)
E. Columns. Piers are sometimes diamond-shaped on plan,
with engaged shafts (No. 146). Small shafts, surrounding and
attached to a central column, were a development from the Early
English.
The capitals, when moulded, are similar to those in the Early
English style, but not so deeply undercut (No. 146). W'hen
carved, the foliage is more naturalistic, and resembles the leaves
of the oak, ivy, maple, or vine (No. 148 G).
F. Mouldings. Hollow mouldings are ornamented with the
ball-flower (No. 147 c), which is specially characteristic of the
style, other mouldings being shown on Nos. 143 and 146.
Cornices and dripstones often have their deep hollows filled
with foliage and carving, and are ornamented with crockets
(No. 147 K).
Dripstones are finished with carved heads or grotesques, as at
Cley Church, Norfolk (No. 143).
"The carved angels, ever eager eyed
Stared, where upon their heads the cornice rests,
With hair blown back, and wings put crosswise on their breasiS."
KEATS.
Base mouldings to walls are strongly marked, as seen in the
exterior of Lincoln (No. 125).
G. Ornament. Carved .foliage in this period is generally
naturalistic, and consists of seaweed, ivy, oak, and vine leaves,
and the well-known tablet flower (Nos. 147 and 148).
Stained glass led to a great extension of window openings, and
the development of tracery. In itself it lost the mosaic character

ENGLISH GOTHIC ORNAMENT. II
_S32
:5fi:n?1
^

ENGLISH GOTHIC (THE PERPENDICULAR STYLE). 349
and became more translucent, the pieces being larger, and lighter
in tone. The subjects portrayed became of more importance,
and there was a loss in the general decorative effect of the interior,
but the glass in itself gained in value and expression.
"The deep-set windows, stained and traced,
Would seem slow-flaming crimson fires."
Fittings, more especially in wood, as screens, choir stalls, pews,
and pulpits, "began to acquire character and importance.
Shrines and tombs in masonry are elaborate and beautiful
adjuncts to the interiors of the cathedrals and large churches,
and the crockets and finials to pinnacles and canopies increased
in importance and gave additional richness to buildings of this
period (Nos. 143 D, 147 K).
Examples of a decorated font, piscina, tabernacle and sedilia,
are shown on No. 144, a brass eagle lectern on No. 145, and a
gable cross, finial and boss on No. 149.
THE PERPENDICULAR STYLE,
also known as the Rectilinear, Late Pointed, Lancastrian or
Fifteenth Century Style, comprises the reigns of Richard II.,
I 377- I
399 Henry IV., 1399-1413, Henry V., 1413-1422,
Henry VI., 1422-1461, Edward IV., 1461-1483, Edward V.,
1483, Richard III., 1483-1485, Henry VII., 1485-1509,
Henry VIII., 1509-1547, Edward VI., 1547-1553, Mary, 1553-
1558.
. The general appearance varies much in earlier and later work,
the latter being overladen with panelling, the main lines in a
perpendicular direction predominating.
The windows, owing to their immense size, were strengthened
by transoms in tiers (Nos. 1370 and 142), by primary and secondary
mullions, and, in some great east end windows, by an inner structure
forming a gallery across the window, as at York. The triforium
practically disappeared owing to height of nave arcade and flat-
ness of aisle roofs, the clerestory and aisle windows being of
great size.
The architecture of the last four reigns is frequently known as
" Tudor" architecture (page 356).
Henry VII. 's Chapel
(Nos. 127, 128 and 129) (a most perfect example), the southern
and western portion of the cloisters of Westminster Abbey, .S.
Margaret, Westminster, Porch (with vaulting) S. Sepulchre's
Church, Holborn, the Savoy Chapel in the Strand, Westminster
Hall, and Crosby Hall, London.

ENGLISH GOTHIC ORNAMENT. III.
COMPARATIVE EXAMPLES OF ENGLISH
GOTHIC CARVED FOLIAGE.'

In the Provinces the principal examples are : The west fronts
of Winchester, Gloucester, and Beverley ; S. George's Chapel,
Windsor (Nos. 70 L and 133), Sherborne Minster, and King's
College Chapel, Cambridge (No. 70 M).
" This immense and glorious work of fine intelligence."
WORDSWORTH.
Other examples are in the Cathedrals of Canterbury (nave),
York (choir), Gloucester (transept, choir, and cloisters), Win-
chester (nave remodelled) (Nos. 124, 137 G), and the Beauchamp
Chapel at Warwick ;
towers at Gloucester and Canterbury, and
many of the colleges of Oxford and Cambridge (page 324), and
numerous mansions throughout the country.
A. Plans. Owing to the great building era that had preceded
this period, ecclesiastical work consisted mostly of restorations or
additions. In church planning there was a decrease in the size
of the piers, and a tendency to throw all pressures upon the
buttresses, which have often great depth.
Towers are numerous and important, and were generally
erected without a spire, as the Bell Tower, Evesham (1533).
When a spire occurs, it rises behind a parapet, as at S. Peter,
Kettering, Northants (No. 140 F).
(The plans of castles and houses have been referred to on
pages 318 and 322).
B. Walls. These were profusely ornamented with panelling
(Nos. 128, 137 G), resembling tracery of windows, as at
Henry VII. 's Chapel, which may be taken as the most elaborate
specimen of the style.
The use of flint as a wall facing, for panels in conjunction
with stone tracery, in the counties of Norfolk and Suffolk, was
common.
Parapets are embattled or panelled (No. 147), and often very
rich, as at Merton College, Oxford.
Buttresses project boldly, being sometimes deep enough in pro-
jection to allow of a chapel being placed between, as at King's
College, Cambridge. They are also panelled with tracery, as
at Henry VII. 's Chapel (No. 128), and are crowned with finials
(Nos. 124 D, E, and 128), which are often richly ornamented with
crockets.
Flying buttresses are common and are often pierced, as at
Henry VII.'s Chapel (No. 128).
c. Openings. Arches in the early period inclose an equi-
lateral triangle (No. 299) ; they were afterwards obtusely pointed,
or struck from four centres (Nos. 133 and 299), sometimes
inclosed in a square hood-moulding above the head (No. 143),

ENGLISH GOTHIC ORNAMENT. IV.
ELE.HKHAM FHBHB D. HASUNGFIELB CH.
-^ ~ ^ELMCOLN CATH. EVESTMINSTEEA.
149.

the spandrels thus formed being filled with tracery or carving
(No. 148 M, N).
Windows consist mainly of mullions producing a perpendicular
effect, hence the name of the period. The earliest are probably
those at Winchester Cathedral (No. 124), executed under William
of Wykeham, and having mullions continued vertically their
whole height (Nos. 137 G and 142), stopping against the main
arch, and strengthened by horizontal transoms. In many cases
they are of enormous size, converting the west end into a wall of
glass, as at S. George's Chapel, Windsor (No. 133), the east
window at Gloucester (38 feet wide by 72 feet high), and King's
College Chapel (No. 142 o),
Doorways were generally finished with a square label over the
arch, and the spandrel filled with ornament, as shown in the
doorway of Merton College, Oxford (No. 143 j).
Lofty clerestories are general, and the space of the triforium
(Nos. 124 F and 137 G) is occupied by panels, as at S. George's
Chapel, Windsor, or by niches for statuary, as at Henry VII.'s
Chapel.
D. Roofs. Open timber roofs of low pitch and of the hammer-
beam construction abound ; they were often richly ornamented
with carved figures of angels, and with pierced tracery (No. 113),
many examples existing in Norfolk. The roof of Westminster
Hall (No. 113 H), erected in 1399, covers an area of nearly half
an acre, being one of the largest roofs unsupported by pillars in
the world. The later roofs in the style became nearly flat
(Nos. 70 j and 133).
Fan vaulting (No. 112) is characteristic of the later periods
(page 288), Henry VII.'s Chapel (No. 129), King's College
Chapel, Cambridge, and S. George's Chapel, Windsor, as well
as the vaults of the central towers of Canterbury and Gloucester
Cathedrals, are well-known examples.
E. Columns. Piers (No. 146) are generally oblong on plan,
and placed diagonally with their greater dimension north and
south, caused by the vaulting shaft being taken up from the
ground, on the front of the pier and not between the arches.
The characteristic pier consists of four circular shafts connected
by hollows, and with two fillets, these mouldings being carried
round the arch.
Capitals are sometimes polygonal on plan, and few have the
abacus and bell perfectly defined, the mouldings being weaker
and less effective (No. 146). Carved capitals have foliage of
conventional character, shallow and square in outline (No. 148 L).
Bases to piers are often polygonal on plan and a typical
moulding is the "bracket" mould (No. i^.6
42
}.
F. Mouldings. These were arranged on diagonal planes
(No. 146), being wide and shallow, and often large and coarse.
F.A. A A ,

Pier mouldings are often continued up from the base, and
round the arch without the intervention of capitals.
Crestings occur along the top of cornice mouldings (No. 147),
and diminutive battlements along the transoms of windows.
G. Ornament. Canopies are often of ogee character, enriched
with crockets (No. 128).
Ornaments and sculptured foliage, usually conventional in
character, are shown in Nos. 147 and 148. The special orna-
ments of the period are the Tudor rose, the portcullis, and the
fleur-de-lis, all of which were used unsparingly (see Henry VII. 's
Chapel) (No. 128), especially as ornaments in square panels.
Wooden chancel screens are very numerous, the upper part
being divided by mullions.
supporting tracery^ and the whole was
elaborately treated with panelling, niches, statues, and pinnacles ;
also with the Tudor flower cresting (No. 147 G).
The misereres under the choir-stalls of the period were carved
with delicate foliage, grotesques, and flowers, and the bench ends
with poppy-heads (No. 149 o, p).
The tendency was to obtain ornamental motifs in decoration, by
the application of features on a small scale, the tracery of windows
being repeated on the walls as blank panelling (Nos. 128, 133, and
137 G), and battlements being carved along the cornices. The
golden tinge produced by silver stain, used along with white glass,
gave contrast to the painted canopies of architectural character
usually inclosing single figures. In very late examples, as at
King's College, Cambridge, gorgeousness of coloring exists with
great confusion of form and subject, the general design becoming
more pictorial, and perspective being introduced, thus breaking
away from the conditions imposed by the material. This return
to color, however, prevented any such completeness of one tone
effect, as in the early work. Color decoration was freely employed
on roofs, screens, pulpits, and other fittings, as in the churches
of Norfolk, Suffolk and elsewhere.
Examples of a Perpendicular font, piscina and sedilia are shown
on No. 144; a pew-end, pulpits, a rood-loft, parclose-screen and
chantry on No. 145; and a gable cross, sanctus bell, finial,
pendant, boss, and poppy-heads on No. 149.
CONCLUSION.
The various phases of English architecture from the time of
the Romans to the reign of Henry VII. have been dealt with.
In the fifteenth century the Renaissance of literature in Italy
was taking place, and it became the fashion to read the Latin
authors. Architecture, painting, and sculpture followed in the
tram of literature, and the generation that wrote and spoke
the Latin tongue desired to build in the style of ancient

Rome. The Revived style naturally originated in Italy,
because there the Gothic style had never, at any time, taken a
very firm hold, and because of the precedent afforded by the
numerous Roman ruins. From Italy it spread to France and
England; and the special forms it took, in these countries,
will be considered under the head of Renaissance architecture.
It is exemplified in the more or less debased but picturesque
styles of each country, effected by Renaissance details being
grafted on to the native Gothic style. Tudor architecture
(page 349) is the style prevalent during the reigns of Henry VII.,
Henry VIII., Edward VI. and Mary, in which the influence
of the Renaissance movement is noticeable, for it is the work of
those trained in Gothic art, but probably under the direction of
a designer familiar with the new features of the Renaissance, and
in some examples the designs for the details and mouldings would
seem to have been made by a foreign artist. The Tudor style
was followed by the Elizabethan and Jacobean styles,
described under English Renaissance (page 551), in which may
be traced the increased influence of the old Roman architecture,
until the Early Renaissance architecture, finally shaking itself
clear of incongruities, developed into the Anglo-Classic or Later
Renaissance of Inigo Jones, and Sir Christopher Wren. The
process, however, was slow, and Gothic structures, more or less
debased, were erected late into the sixteenth century.
5. REFERENCE BOOKS.
Addy (S. O.). "The Evolution of the English House." 8vo. 1899.
Bloxam (M. H.).
"
Principles of Gothic Ecclesiastical Architecture."
3 vols., 8vo. 1882.
Bowman (H.) and Crowther (T. S.)." Churches of the Middle Ages."
2 vols., folio. 1857.
Brandon (R. and J. A.)." Analysis of Gothic Architecture." 1847.
3ra*idon. "
Open Timber Roofs of the Middle Ages." 4to. 1860.
-"
Parish Churches." 2 vols., 410. 1858.
Britton (JO-
"
Cathedral Antiquities." 13 vols. in 6, 410. 1814-1835."
Architectural Antiquities." 5 vols., Ato. 1807-1826.
Brown (Prof. G. Baldwin).-" The Arts in Early England." 2 vols,
1903- Vol. 2 deals with Ecclesiastical Architecture from the
Conversion of the Saxons to the Norman Conquest.
:S(J
'^)>
7:
"RetailsofGothicArchitecture -"
2v61s., 4to. 1846.Co ings.-" Gothic Ornaments." 2 vols., 4to.
1848-1850.
Collmgs, English Mediaeval Foliage and Colour Decoration." 4to.
s' Elevations, and Details of the Interior of
nlm IV
lSter- 2 VOls., follO. 1822.
2 vols., 4*0. 1*86
"alysis f Ancient Domestic Architecture."
(A'
)- Churches of Nene

Neale (J. P.)." History and Antiquities of the Abbey Church of
St. Peter, Westminster." 2 vols., 4to. 1818.
Neale (J.).
"
The Abbey Church of St. Alban, Hertfordshire." 1877.
Paley (E. G.). "Gothic Mouldings." 8vo. 1891.
Parker (J. H.). "Glossary of Terms used in Gothic Architecture."
3 vols., 8vo. 1830.
Parker.
"
Introduction to the Study of Gothic Architecture." 1900.
Prior (E. S.). "A History of Gothic Art in England." 8vo.- 1900.
Pugin (A. and A. W.).
"
Examples of Gothic Architecture." 1838.
Pugin (A.). "Specimens of Gothic Architecture." 2 vols., 4to. 1821.
Rickman (T.)." Gothic Architecture." 8vo. 1881.
Scott (Sir G. Gilbert).
"
Lectures on Mediaeval Architecture." 1879.
Scott (G. G.).
" An Essay on the History of English Church Architec-
ture." 410. 1 88 1.
Sharpe (E.).
" Seven Periods of English Architecture." 8vo. 1870.
Sharpe.
"
Architectural Parallels." Large folio. 1848.
Sharpe.
"
Mouldings ofthe Six Periods of British Architecture." 187 1-74.
Sharpe. "A Treatise on the Rise and Progress of Window Tracery in
England." 2 vols., 8vo. 1849.
Statham (H. H.), Editor." Cathedrals of England and Wales." (The
'Builder" Series.) Folio. 1898. This work is specially valuable on
account of its splendid series of plans to a large scale.
Turner (T. H.) and Parker (J. H.).
"
Some Account of the Domestic
Architecture in England during the Middle Ages." 3 vols., 8vo. 1859-1877.
Walcott (M. E. C.).
" Church and Conventual Arrangement." 1860.
Wickes (C.).
"
Spires and Towers of the Mediaeval Churches of Eng-
land." 3 vols., folio. 1853-1859.
Willis (R.).
"
Vaults of the Middle Ages." (Trans. R.I.B.A.) 1842.
Historical Novels :
Roman Occupation. Cutts (E. L.).
"
The Villa of Claudius."
Anglo-Saxon. Creswick (P.).
"
Under the Black Raven."
Norman (nth Cent.}. Blake (M. M.). "The Siege of Norwich Castle."
Norman (2tk Cent.}. Scott (Sir W.).
"
Ivanhoe."
Early English (i$th Cent.}. Green (E. E.)
" A Clerk of Oxford."
Decorated (itfh Cettt.}. Fairless (M.). "The Gathering of Brother
Hilarius."
Perpendicular (i$th Cent.}. Lytton.
"
The Last of the Barons."
Perpendicular (bth Cent., st half). Ainsworth (H.). "Windsor
Castle."
Note. A careful study of the buildings themselves is necessary
to appreciate thoroughly the progress of the style, and many
being within the reach of the student, measured drawings
and sketches should be made of these, which will impress
the different features on the mind more thoroughly than study
solely from books.
In London, besides the examples already mentioned after
each period, an important collection of architectural casts of
each period can be seen at the Royal Architectural Museum,
Tufton Street, Westminster, the Victoria and Albert Museum,
and the Crystal Palace.

EXAMPLES OF SCOTTISH ARCHITECTURE
*
ODltuloTHESAy CASTLE
HOSFTCAL, GLAMIS CASTLE. VIEW THE SOUTH-WEST
STlRUNG. GROUND FLOOR PLAN.
^*
CJWia HEUOTlS HOSPrrAL,rj)t(BuRwi. ^JiH@SPlTAL, ENTRANCE GWEWAY. iAfiSEiAMS,Bo'NL-S5
TH Sltti Of CA5HIS t HANSONS * SCOTUU0, rWM THE iy? TO THL 17" OS A WING ADDED AT ONL ANGLL. FORMING L-PLAN, & THIS MODIFIED BY HOT
own rone AH KKFOCW CMATTLR M T* COOAL HISTORV of *. WG u THE RE-ENTLRING ANGLE A TOWER CONTAINING A STAIRCASE IN LARGE
wt STYH ms A NATIONAL CNUKTER or us OWN & MAMY CASTLES THE BUILDINGS WERE ARRANGED ROUND WALL OF ENCEINTE TOWING
CHttOUStC flAIUttS IT 6 DMO M MACQWOJI KliOSS KTO 4 rtBOK- COUKTYAW) II CUITRL MORL WNAMLNT THAN IN PREVIOUS PERIOD.
nBTfEMOKO^ OHTT) CASTU5 WEKL EttCTED ON THE NORMAN ^ FOURTH PKIOD (1542-1700) ANCIENT FORMS OF CONSTRUCTION FOR DEFEN
ma urn urn wui of ucum U.T OF STOK * nonAK USIA SIVE PURPOSES MOWFIED & TRANSFORMED WTO ORNAMENTAL FEATURES INCH) o
w cr in ruwtST Ksorroi w TOWOZ TO nn TH CUCTAKS. ING LLABORATL CORBELUNGS, ANGLF. TURRLTS WITH.CONICAL TOPS, LOFTY ROOFS
tmairnro'irrrri nc CASTUS iwi A TOWER smj* TO TIC ^ WITH DORMERS, FINALS & ausTERED CHIMNEYS. RENAISSANCE FEATURES AND
IODWI tUt WT* A INJW (COURTYATO) SUWOUNtCD VflW A VML AnACH ORNAMENT GRADUALLY SUPERSEDED THOSE OF THE NATIVE STYLE. WT THE TW
D nurro. T* L-fiAn nor HTHHTO. CNCLOSKG WALL SMALLER & ITIONAL PLANS WERE ADHERED TO. THE COURT
uss txToaw. im B^ cucrr. CWMWIAL FIATURES WKE YARD PLAH MORE FREQUENTLY USED. IN SMALLM
TWO PEUOO ( WOO -
642) Tit ttlf. PLAN STU U5CD. M MANY N5M- IUK5.TIC mf. L.Z.T * E PLAMS JTTd ;XWE

SCOTTISH ARCHITECTURE.
Architecture in Scotland followed on much the same lines as
in England, until the middle of the fifteenth century, when it
took a more national turn. Inspiration was largely drawn from
abroad, especially from France, with which country there was a
close political connection, causing a picturesque and interesting
development on French lines, especially after Robert Bruce
(A.D. 1306-1329) finally secured the independence of Scotland.
In Melrose Abbey is to be seen the influence of French and
Spanish Art, while in Rosslyn Chapel Portuguese influence is
apparent, for it is very similar in detail to the Church of Belem
near Lisbon, ^he most important Cathedrals are those -of
Edinburgh (S. Giles), Glasgow (No. 120 D) (having no transepts
but a famous crypt), S. Andrew, Kirkwall, Dunblane, Aberdeen
and Elgin, and the Abbeys of Kelso, Melrose, Dunfermline, Holy-
rood and Dryburgh are the best known. In these the lancet
window, either singly or in groups, was used long after it had
been discontinued in England, while in the later period the
Flamboyant tracery of French Gothic was followed in preference
to the Perpendicular style of English Gothic.
The Pele or bastle houses were of the tower class, with pro-
jecting turrets at angles, and consisted of single rooms one over
the other, accessible by
"
turnpike" or winding stairs.
The "corbie" or "crow-stepped" gable was used in prefer-
ence to the straight-sided gable of England. In vaulted roofs
a continuous barrel vault with surface ribs- was occasionally
employed.
Scotland is specially rich in castles and mansions of the Gothic
period, which possess distinctive character, and in which stone
was almost universally employed. In these a picturesque use of
circular towers, vast height of walls, treated in a simple, and
almost bare, manner, and the planning of the buildings at different
angles, are characteristic.
On No. 151 is given a series of plans and sketches of different
types of buildings showing the national character of Scottish
Architecture.
REFERENCE BOOKS.
Billings (R. W.).
"
Baronial and Ecclesiastical Antiquities of
Scotland.'' 4 vols., 410. 1848.
MacGibbon (D). and Ross (T.).
"
The Castellated and Domestic
Architecture of Scotland." 5 vols., 8vo. 1887.
MacGibbon (D.) and Ross (T.).
"
Ecclesiastical Architecture of
Scotland." 3 vols., 8vo. 1896.
'Edinburgh Architectural Association, Sketch Book." 1878-1894.
"Glasgow Architectural Association, Sketch Book." 3 vols. 1885.
Pinches (F.).
"
The Abbey Church of Melrose." Folio. 1879.

IRISH ARCHITECTURE.
Celtic Architecture. The chief interest lies in the remains
of the Celtic Architecture erected from the sixth century to the
English Conquest in 1169.
The early Churches were extremely small, and appear to have
been used principally as oratories, where the priest could officiate,
and to which a small square chancel was attached. The naves
were covered with barrel vaults, over which was a hollow chamber
called an "
overcroft," covered by a steep pitched roof, generally
of stone, as at Cormac's Chapel, Cashel (A.D. 1127-1134) (No. 152),
probably the finest example in Ireland, S. Kevin's Kitchen,
Glendalough, and other places. Windows appear to have been
unglazed.
The Monasteries form another class of building, and the
Rev. Prof. Stokes refers to a group of seven small churches
found at Inchleraun, similar to some in Asia Minor and elsewhere.
The monastic cells at the Skellings are peculiar, being of beehive
form, with domed stone roofs in horizontal courses, as in the early
work in Greece at Mycenae (No. 15) and elsewhere.
The Round Towers generally detached and placed near the
Church, have been a subject of much controversy, but the
generally accepted view, originated by Mr. George Petrie, is that
they were used as treasure houses, refuges, bell towers, and for
displaying lamps at night time, or were probably erected as
symbols of power. They taper slightly towards the summit and
are crowned with either a conical (No. 152 G) or battlemented
covering (No. 152 j). The entrance doorway was several feet
from the ground.
Mediaeval Architecture. Within the English domain the
influence of Continental art was felt
during the Middle Ages, but
few monuments of importance were erected. The Cathedrals of
Dublin (No. 120 A), Kildare and Cashel, were the most important,
but the absence of parish churches is remarkable. The Monas-
teries and Friaries (principally Franciscan) are small, usually
having a nave and choir, probably some time divided by a wooden
screen, a transept and southern aisle, cloisters, and a tower, which
was added in the fifteenth century. The best known are those
at Cashel, Kilconnel, and Muckross.
Owing to the disturbances in Elizabethan times there is no
domestic architecture of note, but the earlier castles built by the
Chieftains are interesting.
REFERENCE BOOKS.
2"n /TT1 (
S1
Of)'~
V
N tes on Irish Architecture." 187^-1877.
Monographs on Ardfert Cathedral, Co. Kerry.'"'
Ecclesiastical Architecture of Ireland." 8vo. 1845.>tokes (M.).- Early Christian Architecture in Ireland." 8vo. 1878

EXAMPLES OF IRISH ARCHITECTURE.
COIMAC'S CHAPEL,VICW or NORTH
!, DEVENISH. WTWEH,
KILREE . KILKENNY.
152.

FRENCH GOTHIC.
(See page 246 for French Romanesque.)
"
Graceful, grotesque,
with ever new surprise
Of hazardous caprices sure to please,
Heavy as nightmare, airy, light as fern,
Imagination's very self in stone." LOWELL.
i. INFLUENCES.
i. Geographical. France may be divided architecturally,
into North and South, by the River Loire, to the north of which
were settled the Franks, while to the south were settled the
Romance race. (See page 248.)
ii. Geological. The excellent building stone found near Caen
aided in the development of the northern Gothic style, and in the
mountainous districts of Auvergne the use of colored volcanic
material gave a decorative character to the buildings of that
district. (See pages 246, 248.)
iii. Climate. (See page 246 in French Romanesque.)
iv. Religion. Religious zeal, which resulted in the erection
of so many grand cathedrals, was manifested also in the
Crusades, Louis IX. leading the fourth (1248-1254). The clergy
as a corporate body reached the summit of their power and
influence, such being largely due to their championship of justice
and their adhesion to the royal cause. The Abbe Suger, the
minister of Louis V II. (i 137-1 180), who may be styled the Cardinal
Wolsey of the period, exercised much influence on church build-
ing. Rome remained the controlling spirit, though local liberties
were not all swallowed up in centralization. The introduction
of various special cults gave fame to certain chapels and shrines,
which as pilgrimage centres acquired both wealth and importance,
which are expressed in the richness of their architectural treatment.
The zeal with which the urban populations set about building
cathedrals has been compared by Viollet-le-Duc to the commercial
movement which has covered Europe with railways.

FRENCH GOTHIC. 363
The crusade against the Albigenses (see below) was a move-
ment against Christians who had been declared by the Pope to be
heretics, and the next stage was to carry on a religious war
against all who were considered to be enemies of the Papacy.
v. Social and Political. Previous to the commencement of
this period (A.D. 987), France was inhabited by races of people
who, widely differing from each other, and governed by different
rulers, were at constant war.
In continuation of the Romanesque style, the Gothic archi-
tecture of France, varies considerably in different parts of
the country, such being due to political, environment, to the
separation of the various parts by different languages and customs,
and to the Roman remains, which naturally gave a classical tone
to any new architectural development in the southern districts
where they were principally found.
vi. Historical. The real beginning of the modern kingdom
of France may be said to commence with Hugh Capet, who was
chosen king in 987, with the title
"
King of the French."
Philip Augustus (1180-1223) after declaring John, King of
England, to have forfeited all the fiefs he held of the French crown,
proceeded to conquer Normandy, and all
John's possessions in
Northern Gaul, with the exception of Aquitaine. Philip next
defeated the combined forces of English, Germans, and Flemings
at the Battle of Bovines in 1214. Owing to the power of France
at this time, the English barons offered the crown of England
to Philip's eldest son Louis, to whom, as Louis VIII., the French
crown afterwards passed. Louis IX., called S. Louis on
account of his goodness, largely increased the power of the crown,
but died at Tunis in 1270, when setting out on his last crusade.
As a consequence of the crusade preached against the
Albigenses by Pope Innocent, the dominions of the Counts of
Toulouse were conquered by S. Louis in 1229, France thus
obtaining a sea-board on three seas, viz : the Mediterranean,
Atlantic, and the English Channel.
The development and consolidation of the French kingdom
thus corresponds with the great cathedral- building epoch of the
thirteenth century.
The main idea or prevailing principle of Gothic architecture
in France was the same as in other parts of Europe (page 268),
the vertical and aspiring tendency being accentuated by great
internal height, high-pitched roofs, numerous spires (with crockets),
pinnacles, flying buttresses, and the long lines of the tall traceried
windows (Nos. 154, 158, 160, 161 and 162).

Sfri'
FRENCH GOTHIC.
COMPARATIVE VIEWS
OF MODELS OF
CONTINENTAL CATHEDRALS.
A. AMIENS.
B. ROUEN.
c. ANTWERP.
D. NOTRE DAME,
PARIS.
E. STRASBURG. F. BEAUVAIS.

FRENCH GOTHIC EXAMPLES. II
155-
*9
I5 go
kftE Of HRiKP:!? 94^789 p

FRENCH GOTHIC.
156. NOTRE DAME, PARIS.
West Front.

The style is divided by M. de Caumont into :
(i ) Primary (Gothique) or thirteenth century.
(2.) Secondary (Rayonnant, from the characteristic wheel
tracery of the rose windows) or fourteenth century.
(3.) Tertiary (Flamboyant) or fifteenth century.
It is proposed, however, on account of space, to consider the
subject as one continuous development as, in fact, it really was
and to compare it where necessary with English Gothic.
3. EXAMPLES.
ECCLESIASTICAL ARCHITECTURE.
CATHEDRALS.
All the great cathedrals, numbering about 150, were erected in
the first half of the thirteenth century, principally by funds
provided by the laity, and not as parts of monastic establishments,
and in consequence vary considerably in plan and arrangement
from English cathedrals.
The French cathedrals, in situation and surroundings, are also
in marked contrast (page 299) with English examples (Nos. 121
and 162), and are referred to by Browning, who talks of that
" Grim town,
Whose cramp'd, ill-featured streets huddled about
The minster for protection, never out
Of its black belfry's shade and its bells' roar."
Notre Dame, Paris, 1163-1214 (Nos. 153 B, 154 D, 156, 157
and 158), is one of the oldest of French Gothic cathedrals. The
plan is typical in having a wide central nave with double aisles,
transepts of small projection (being practically in a line with
the side aisles), and the chevet arrangement with its double aisles
and exterior chapels. The west front (No. 156) is the grandest
composition in France, the western gable to the nave being
hidden by a pierced screen, connecting the two western towers,
The three deeply recessed western portals, the range of statues in
niches, and the circular wheel window, are all characteristic
features.
The lateral fa9ades are spoilt by chapels having been placed
between the buttresses.
Bourges Cathedral (commenced A.D. 1190) is chiefly remark-
ble as possessing no transepts, for its shortness in comparison5
width, and its general resemblance in plan to Notre
Dame Paris. It has five aisles, in three different heights, the
central being 117 feet, resembling Milan Cathedral (No. 176),
though in a different gradation. The vast nave of extreme
icight and with length unbroken by projecting transepts,
presents an imposing appearance. The view westwards from

FRENCH GOTHIC EXAMPLES.
H
MYE FINISHED, .o
WEST fRONT Ab I2M-.
CHOIR .TRANSEPTS .
.
^NDTv/OB/lYSCOM-,
{[PLfTEDBr/qD 1196
j
I
57-
F.A. B B

FRENCH GOTHIC,
I
58. NOTRE DAME, PARIS
Interior, looking East,

FRENCH GOTHIC.
160. AMIENS CATHEDRAL.

FRENCH GOTHIC. 373
the east end is striking, owing to the picturesque confusion of
innumerable flying buttresses, pinnacles, and other features.
Chartres Cathedral (i 194-1260) (Nos. 1 10 E and 155 K) has a
plan peculiar in having strongly marked transepts, each crowned
with two towers, which with the two western and two contem-
plated eastern towers would have made eight. The cathedral is
remarkable for the fine statuary to the north and south porches
(No. 165 A), the rose window to the northern transept, and the
flying buttresses of three arches one above the other, the two
lower being connected by radiating balusters resembling the spokes
of a wheel.
Rheims Cathedral (1212-1241) (Nos. 155 and 161) has a fine
plan, the west front having three deeply recessed portals richly
ornamented with sculpture, and enclosed with richly ornamented
gables. The upper portion has a row of statues in tabernacles
carried between the two towers instead of the open tracery arrange-
ment seen in Notre Dame. The flying buttresses (No. 141 H)
show the arrangement adopted over a double aisle, in which the
thrust of the nave vault is transmitted by arches to piers weighted
by pinnacles and statuary.
Amiens Cathedral (1220-1288) (Nos. 154, 159 and 1
60) is gene-
rally referred to as having the typical French Cathedral plan, but the
side chapels to the nave placed between the buttresses are a later
addition. The interior is 140 feet high to the stone vaulting, and
the roof of the nave is over 200 feet in height. The western
facade somewhat resembles Notre Dame and Rheims. The great
central fleche of timber and lead is shown on No. 165.
Bayeux Cathedral (twelfth century) is remarkable for its
twenty-two chapels and immense crypt under the sanctuary, dating
from the eighth to the eleventh century.
Coutances Cathedral (No. 162) was erected A.D. 1254-1274,
and is specially famous for the excellent design of the two western
towers and spires, and the octagonal lantern over the crossing of
nave and transepts.
Noyon Cathedral (1157-1228) with a peculiar plan resem-
bling a combination of the German triapsal plan, and the French
chevet ; Troyes Cathedral (12 ^-fifteenth century), a fine five-
aisled example with eastern chevet and rich western facade ;
Soissons Cathedral (1160-1212); La'on Cathedral (1150-
1200), exceptional in having an English type of plan and group
of six towers; and Rouen Cathedral (1202-1220), with rich
western towers of a later period and iron central spire, are other
well-known early examples.
The Sainte Chapelle, Paris (1244-1247), built by S. Louis,
in which the space between the buttresses is occupied by windows
15 feet wide and 50 feet high, is often quoted as a typical Gothic
structure. The plan (No. 155 H; was in size similar to that of

FRENCH GOTHIC.
161, RHEIMS CATHEDRAL.
West Front.

FRENCH GOTHIC,
162. COUTANCES CATHEDRAL.
West Front.

S Stephen, Westminster (No. 119 L), since destroyed for the
rebuilding of Westminster Palace. It has a richly vaulted
crypt, and such characteristic French features as the apsidal
termination and the high stone-vaulted roof.
Among later examples in the north of France, mostly in the
Flamboyant style, are :
S. Ouen, Rouen (1318-1515), the choir (1318-1339) being
contemporary with that of Cologne, S. Maclou, Rouen (1432-
1500), probably the richest Flamboyant example in France,
S. Jacques, Dieppe (1350-1440), and S. Wulfrand, Abbe-
ville (1488-1534).
In the south of France many buildings were erected during the
Middle Ages, differing from these northern cathedrals in plan and
design owing to the proximity of Roman buildings.
Albi Cathedral (1282-1512), a fortress church, consists of a
large impressive vaulted hall with an apsidal end, and having a
series of flanking chapels separated by internal buttresses. It
possesses an unrivalled fifteenth century rood screen.
Beauvais Cathedral was originally built 1225-1272, but was
partly reconstructed 1337-1347, the transepts being added in the
fifteenth and sixteenth centuries. This building was never com-
pleted beyond the choir and chevet and the transepts. It has the
highest nave vault in France, being 160 feet, and has a nave
width of 47 feet from centre to centre of piers.
The Church of the Cordeliers, Toulouse (fourteenth
century), which was partially destroyed in 1871, was another
example of this type, and has some similarity in plan with
that of King's College Chapel, Cambridge.
S. Sernin, Toulouse, commenced in 1096 (referred to on
page 248), is a five-aisled example, the western portion and many-
storied octagonal tower belonging to this period.
France is
especially rich in domestic architecture, and through-
out the country are to be found castles, town halls, hospitals,
nouses, barns, farmhouses, granaries, and other buildings, in which
the principles of the Gothic style can be studied.
The House of Jacques Cceur, Bourges (1443), is a fine
example of the house of a great merchant prince of the period.It is
partly built on the town ramparts and has a central courtyard
(ISO. 163), possessing a fine staircase tower.
Palais de Justice, Rouen (1499-1508) (No. 164), is an
exceedingly rich specimen of French municipal architecture. The
mSSS it Plerrefon <*s, restored by Viollet-le-Duc, MontS. Michel (Normandy;, and the Chateau de Blois (east wing)
,1498-1515), are examples of
military architecture

FRENCH GOTHIC.
163. HOUSE OF JACQUES CCEUR, BOURGES.

The south of France has many examples of stone houses, and
throughout the country half-timbered houses with plaster filling
are still to be seen, as at Rouen, although fire and decay have
naturally reduced their number.
Students are often inclined to think that Gothic architecture
was confined to ecclesiastical work, but it should be remembered
that the style was employed in every building of the period.
4. COMPARATIVE.
FRENCH GOTHIC.
A. Plans (No. 159). Short,
wide, and high. Length about four
times the width.
Cloisters rare, except in the south,
where richly designed examples are
met with.
Transepts have slight projec-
tion, as may be seen in the sheet
of comparative plans (No. 155).
Side chapels numerous, due to
the popular character of the Cathe-
dral for the worship of saints and
saying of masses. *
The apsidal east end developed
into the chevet by addition of pro-
cessional aisle and chapels, but
Laon, Dol, and Poitiers are excep-
tions.
The aisles are sometimes double,
as at Notre Dame, Paris (No.
157), Amiens, Bourges, Rheims and
Chartres.
Two western towers (Nos. 154,
161 and 162) characteristic, the
probable reason being that the
great height of nave prevented
a central tower being effective.
A woodeny&V//^ often constructed
over the crossing, as at Amiens
(422 feet high) (No. 165 B).
Central spires are common in
Normandy.
Towers sometimes attempted in
groups by placing four at the
angles formed by the junction of
ic nave and transepts, and two at
the west end, with central flf-che
only, as at Laon.
Arcading
'
widely spaced and
jencral largeness ot parts. Chap-ter houses never polygonal.
ENGLISH GOTHIC.
A. Plans (No. 159). Long,
narrow, and low. Length about
six times the width.
Cloisters frequent, owing to
monastic foundation, and charac-
teristic of English Cathedrals.
Transepts have bold projection,
and a second eastern transept is
found, as at Salisbury and Lincoln.
Side chapels seldom met with,
due to the fact that the principal
cathedrals were churches belonging
to monastic foundations.
The square east end charac-
teristic. The u
Nine Altars
"
at
Durham as an east end transept
is remarkable.
The aisles are nearly always
single, Chichester (No. 119 G)
and Manchester (No. 119 B) being
the only exceptions (page 305).
The central tower the most
successful and predominant feature,
as at Gloucester (No. 1 1
5 H), Here-
ford (No. 115 F), Rochester (No.
114 E), Salisbury (with spire). (No.
n6A), and Norwich (with spire)
(No. 1160); or combined with one
western tower,as at Ely ( No. 1140).
A single western tower is charac-
teristic of parish churches.
Towers frequently arranged as
a group of three, viz., two western
and one central, as at Lincoln
(No. 1 1 6 B), Canterbury (No. I
i6c),
Durham (No. ii4B) and York (No.
115 A).
Arcading closely spaced and
general smallness of parts. Chap-ter houses are often polygonal.

i8o
COMPARATIVE ARCHITECTURE,
FRENCH GOTHIC.
B. Walls. Early buttresses
were a development from the slight
projections of the Romanesque
period, or were sometimes semi-
circular, especially
in the apses of
churches. Later buttresses of deep
projection have chapels between
them (No. 157).
The weatherings to offsets of
buttresses are flatter the higher
they occur.
Buttresses often nearly vertical,
without offsets (No. 153).
Flying buttresses largely em-
ployed, being necessary on account
of height and width of aisles and
naves. They were used with special
effect at the east end.
Interiors owe their effect largely
to their great height, otherwise
they are considerably less ornate
than the English examples.
Open tracery parapets are typi-
cal (Nos. 164 and 165 c, D).
The characteristic west front is
Notre Dame, Paris (No. 156).
c. Openings.
-
Doorways
elaborate and rich, larger and finer
than in England, and deeply set
in west fronts, as at Notre Dame,
Paris, Rheims, and Coutances
(Nos. 156, 161 and 162).
Windows have much "plate"
tracery, the final development
in the later period being
*
flam-
boyant
"
tracery.
There is an absence of cusps in
late French tracery.
Circular windows in west fronts
(Nos. 156 and 161) and transept
ends (No. 153 B), ith intricate
tracery, are special features.
D. Roofs. These are always
steep and ornamented with metal
ridges and finials (Nos. 154 and
164).
They are constructed with double
timbers of special type to surmount
high vaults.
Wooden roofs, treated ornament-
ENGLISH GOTHIC.
B. Walls. Early buttresses
are flat projections. Later ones
are much pronounced, and strongly
marked with offsets and pinnacles,
and were highly ornamented with
niches and panelling. Transitional
buttresses may be seen at Salis-
bury with curious weathering.
The weatherings to offsets of
buttresses are steeper the higher
they occur.
Buttresses usually formed with
offsets (No. 141).
Flying buttresses are not so
prominent a feature because the
clerestory is comparatively low, and
there are seldom double -aisles or
chevet.
Interiors owe much to the elabo-
ration of triforium, complex piers,
variety of clerestories and richness
of vaulting.
Battlemented parapets are typical
(No. 147 M).
The characteristic west front is
Wells Cathedral (No. 1150).
c. Openings. -
Doorways
often placed laterally, and provided
with a projecting porch, as at Glou-
cester, Canterbury, and Salisbury
(Nos. 115 H, 116 C, 121).
Windows develop on the same
lines, but
"
plate
"
tracery was
seldom used, the final develop-
ment, specially characteristic of
English work, being
"
Perpendicu-
lar" tracery.
Circular windows are not much
used in England, although found
at Chichester, Westminster Abbey,
Durham, and elsewhere.
D. Roofs. These are of
moderate pitch, approaching to
flalness in later periods (Nos. 113,
/22, 133).
Carpentry was more advanced,
and single-framed timbers were
used.
Wooden roofs of an ornamental

FRENCH GOTHIC. 381
FRENCH GOTHIC.
ally, not much developed as part
of design of interiors.
Coverings of slates were often
employed.
Vaults were specially character-
istic of the style.
These vaults are usually domical
and ridge ribs were rarely employed,
very slight development taking
place, and intermediate and lierne
ribs seldom used (page 288) (Nos.
109 and 112), great height being a
characteristic.
Pendants are frequently used in
the
"
flamboyant
"
period.
The joints of the severies are at
right angles or parallel to the wall
ribs (No. 158).
E. Columns. Plain circular
nave colums are characteristic, as
in Notre Dame, Paris (No. 165 H).
and are due to Roman tradition.
There was a difficulty in bringing
down the lines' of the vaulting with
this type, and clumsy expedients
were in use, as when the shafts
started just above the square abacus
of the arcade columns (No. 1
58).
In the south is found the square
pier with attached three-quarter
columns (No. 165, J, K, L).
The mouldings of the pier arches
sometimes die into the pillars with-
out capitals.
Capitals with foliage of the
Corinthian type lasted well into the
style, besides an early application of
stiff leaf foliage, and the crocket
capital (No. 165 P, Q) was charac-
teristic.
Moulded "
bell
"
capitals without
foliage rarely met with, except in
Normandy.
The square abacus (No. 165 G, H)
derived from the classical feature
was preferred.
F. Mouldings. The^e are
larger in size, of less variety, and not2ss variety,
A
ENGLISH GOTHIC.
character, as part of design of
interiors, highly developed.
Coverings of lead were generally
employed.
Vaults were used more in the
cathedrals than in parish churches.
The vaults have level ridges and
have longitudinal and transverse
ridge ribs, which, being of large
section, probably due to the in-
fluence of carpentry, gave a strong
backbone to the vaulting (No. 1 1 1).
Vaults, sometimes of wood, as at
York and the Cloisters of Lincoln.
Fan tracery vaulting (Nos. 112
and 129) was peculiar to England.
The joints of the severies are
parallel to the wall rib, or placed
diagonally (No. in D).
E. Columns. The clustered
shaft is a special feature, as in
Salisbury Cathedral (No. 122), and
was preferred to circular columns.
The early adoption of attenuated
shafts as a continuation of the
vaulting ribs being taken as the
basis of the pier formation avoided
any such difficulty as was met with
in France.
The development of moulded
piers was characteristic, and their
evolution in each period is shown
on No. 146.
Capitals of a classic type were
only occasionally employed, as in
the S. John's Chapel, Tower of
London (No. 135), early carved
capitals usually having "stiff leaf"
foliage.
Moulded "bell" capitals were
often employed in all periods, and
have bold projection, especially in
the Early English period (No. 146).
The round abacus (No. 1480, F,K)
was much used, and also the octa-
gonal or polygonal (No. 148 G).
F. Mouldings. These were
bold, rich, and of great variety, and

FRENCH GOTHIC.
so rich as in England, and often
were kept some distance from
window openings.
Features and details are coarser,
less attention being given to these
on account of the largeness of
scale.
G. Ornament. Decorative
figure sculpture of the highest type
was attained, and is particularly
seen in the great doorways of the
west fronts of Notre Dame (No.
156), Amiens, Rheims (No. 161),
and in the north and south porticos
of Chartres, where they are inclosed
in niches or tabernacles surround-
ing the arch in successive tiers.
The carving of such features as
gargoyles, finials, crockets and cor-
bels was either of floral forms or of
animals and birds,andwas of great
refinement (No. 165), especially in
the South of France.
Stained glass was much developed,
and Chartres possesses examples
which, in a prevailing tone of blue
tending to violet, give an idea of
the general effect of an interior,
according to the intent of the artists
of the epoch. Much of the best
stained glass has, however, been
destroyed.
Color decoration in frescoes and
as applied to sculpture seems to
have been fully developed, and it
would appear that hangings were
imitated in painted wall decora-
tions.
ENGLISH GOTHIC.
applied to capitals and pier arches
as well as to door and window
openings.
Features and details are of great
refinement, much attention being
given owing to the smallness of
scale.
G. Ornament. Decorative
figure sculpture was not carried out
so extensively as in France, but the
Cathedrals of Wells and Lichfield,
and Westminster Abbey, are rich in
this respect, the west front of the
former being the most complete.
The "
dog-tooth
"
ornament
(No. 147 A) is common. in early
examples of the style.
The carving varies considerably
in each of the periods, being con-
ventional in the Early English,
naturalesque in the Decorated and
again conventional in the Perpen-
dicular.
Stained glass was developed on
similar lines as in France, the
earlier examples, as at Canterbury,
being in small pieces heavily leaded,
whereas the later examples consist
of large figures surrounded with
representations of the niches and
crocketed canopies as executed by
the sculptors.
Color decoration to wall surfaces
and sculpture was much employed.
The painted roofs and screens of
the Perpendicular period are
notable.
5. REFERENCE BOOKS.
"Archives de la Commission des Monuments Historiques." 4 vols
folio. Pans, 1850-1872.
Baudot (A de)
-" La Sculpture Francaise." Large folio. Paris, 1884.
liurges (W.).
"
Architectural Drawings." Folio 1870
Cathedrales de la France." 1
50 collotypes, folio. Paris, 1899
-"Abecedaire, ou Rudiment d'Archeologie." 3 vols.,
Corroyer (E.).
"
Gothic Architecture." 8vo. 1893
,902
"
Manueld'Arche-ologieFran9aise." 2 vols., 8vo. Paris,

FRENCH GOTHIC ORNAMENT.
A-4L,
165.

Gailhabaud (].)" L'Architecture du V. au XVI. Siecle." i
vol.,
royal folio, and 4 vols., 410. Paris, 1869-1872.
Gonse (L.).
"
L'Art Gothique." 4to. Paris.
Johnson (R. J.).
"
Specimens of Early French Architecture." Large
folio. Newcastle, 1864.
Lassus (J. B. A.).
"
Monographic de la Cathedrale de Chartres." Folio,
and 410 text. Paris, 1867-1881.
Lassus (J. B. A.) et Viollet-le-Duc (E. E.).
"
Monographic de Notre
Dame de Paris." Folio. Paris, 186-?.
Lenoir. (A. A.). "Architecture Monastique." 2 vols. Paris, 1852-6.
MacGibbon (D.).
"
The Architecture of Provence and the Riviera."
8vo. Edinburgh, 1888.
Male (K.).
" L'Art Religieux du XII e
Siecle en France." 410 Paris,
1902.
Moore (C. H.).
"
Development and Character of Gothic Architecture."
New York. 8vo. 1899.
Nestield (E.). "Specimens of Medieval Architecture." Folio. 1862.
Pugin (A.).
"
Architectural Antiquities of Normandy." 410. 1828.
Ruprich-Robert (V. M. C.).
"
L'Architecture Normande aiix Xle
et
XI I
c
Siecles." 2 vols, folio. Paris, 1889.
Shaw (R. Norman). "Architectural Sketches on the Continent."
Folio. 1858.
Verdier (A.) et Cattois (F. P.).- "Architecture Civile et Domestique
au Moyen Age, et de la Renaissance." 2 vols., 410. Paris, 1858.
Viollet-le-Duc (E. E.).
"
Dictionnaire Raisonne de 1'Architecture
Franchise." 10 vols., 8vo. Paris, 1859. A translation of the article
"Construction" has been issued under the title of "
Rational Buildin-"
By G. M. Huss. 8vo. New York, 1895.
Lang (A.).-" A Monk of Fife."
James (G. P. R.).-" Philip Augustus." Historical Novels.
Blisset (X. K.).
"
The most famous Loba."

BELGIAN AND DUTCH GOTHIC.
" The darkened roof rose high aloof,
On pillars lofty and light and small ;
The keystone that locked each ribbed aisle
Was a fleur-de-lis or a quatre-feuille ;
The corbels were carved, grotesque and grim,
And the pillars with clustered shafts so trim,
With base and with capital flourished around
Seemed bundles of lances which garlands had bound." SCOTT.
i. INFLUENCES.
i. Geographical. The country of the Netherlands lies wedged
in, as it were, between the Germanic and Romanic races of the
European peoples, thus accounting for the dual influences found
in its architectural development, Belgium being under French,
and Holland under German influence.
ii. Geological. The district abounds with clay suitable for
the making of bricks, and the consequent effect upon the archi-
tecture was considerable, being specially noticeable in domestic
work, as in the small house facades in the towns.
Stone was used in Brussels Cathedral and other examples, and
granite was also available, the cathedral at Tournai being wholly
of that material.
iii. Climate. This is similar to that of England, but has
greater extremes of heat and cold.
iv. Religion. This was greatly influenced by the religions
of France, Germany, and Spain, under whose dominion the
Netherlands were at different times.
v. Social and Political. The mediaeval architecture of these
countries developed with the social progress of the people, the
towns with independent municipalities rivalling each other in the
arts of war and peace. Many buildings, notably Guildhalls and
Town Halls, large in conception and rich in detail, were erected,
reflecting the wealth and prosperity of the merchants and weavers
of Antwerp, Louvain, Ghent, and other cities.
vi. Historical. Flanders, as a fief of France, became united
to Burgundy by the marriage of the first Duke of Valois to
Margaret, the heiress of Flanders. The whole of the Netherlands
F.A. c c

were brought together under the rule of the Dukes of Valois,
descendants of the French kings. Early in the sixteenth century
the Netherlands belonged to Charles V.
(15197.1555)? During the
Middle Ages the cities of the Low Countries were the richest
and most powerful in Europe, and were constantly at war with
one another.
The architecture of Belgium during this period was of two main
types, that of the hilly part partaking of German, and that of the
level part (Flanders) partaking of French character. A mixture
of Spanish features is observable in many of the domestic build-
ings, but in the Town Halls a national style of architecture was
evolved, which for this class of buildings is unequalled in other
countries. Dutch architecture, although somewhat resembling
German, has a national character of its own. Much of the orna-
ment in many of the fine, large, and lofty churches of the fifteenth
century has, however, been destroyed, owing to iconoclastic zeal.
The Dutch character of simplicity is translated into the
barn-like churches, and for this reason the architecture of Holland
is of less interest than that of Belgium.
3. EXAMPLES.
The cathedrals show a general inclination to French ideas in
the general disposition of their plans.
Tournai Cathedral (A.D. 1146-1338) is a good example,
illustrating the styles of three -successive periods. The nave is
Romanesque ;
the circular-ended .transepts" with four towers and
a lantern are of the Transition period, and the choir, with complete
chevet, fully developed Gothic, very light and elegant in character.
Brussels Cathedral (A.D. 1226-1280) (No. 167) is one of the
finest examples, the choir (1226) being generally considered the
Gothic work in
Belgium. The eastern termination has a
half-developed chevit, and the choir has large side chapels The
vaulting and nave windows date from 1350-14^0
Antwerp Cathedral (A.D. 1352-1411) (Nos'. 154 c, 167) is
r
h
l ne
.
S Ch"r(* B
f
el
^um' and is remarkable for nave and
le aisles, the latterof equal heights, and narrow aisleless tran-
The west front
1422-1518), with its
single western towerg
,
Baying the
^111 ' Ut
iM
Cht' Dordrech*> Ypres, and Ghentare other well-known examples.

BELGIAN AND DUTCH GOTHIC.
166. ANTWERP CATHEDRAL.
c c 2

BELGIAN AND DUTCH GOTHIC,
168. THE HALLES, BRUGES.

'
This reflects the independent and prosperous condition of the
medieval towns. The possession of a "beffroi" (belfry) attached
to the town hall was an important privilege granted by charter,
and the lower portion, which was of massive construction, was
frequently used as a record office. The beffroi at Bruges, 352
feet high (No. 168), is one of the most picturesque of these towers,
and forms a landmark for many miles round, its chequered history
being referred to by Longfellow :
" In the market-place of Bruges
Stands the belfry old and brown ;
Thrice consumed and thrice rebuilded,
Still it watches o'er the town."
The Town Halls are exceptionally fine ;
those at 'Brussels
(1401-1455), Bruges (1377) (No. 168), Louvain (1448-1463), and
Ghent (1481) (No. 169) being the more important. Many were
designed on the same lines, and are several stories in height,
surmounted by a high roof with dormer windows in tiers, the central
portion being carried up as a tower, the upper octagonal portion
of which is richly ornamented (No. 168).
The Town Hall at Ghent (No. 169), built in two distinct styles, is
a somewhat striking example of comparative architecture, the
Gothic fa9ade(i5i8-i533) contrasting with the Renaissance facade
(1595-1622).
The Trade Halls for buying and selling merchandize, especially
cloth, for which the country was renowned at this period, are also
very characteristic, the Cloth Hall at Ypres (1200-1304) being
exceptionally fine.
The Guildhalls were also built as meeting- places for the
separate trades or guilds, which were very powerful, and there
are several examples in the market-place of Brussels.
4. COMPARATIVE.
A. Plans. Short and wide plans after French models were
adopted in the cathedrals, that at Antwerp having seven aisles
(No. 167 F). The French chevet was also adopted.
B. Walls. In domestic work the long, unbroken fa9ades and
greater symmetry and regularity of the scheme are characteristic,
being regarded in other countries as non-Gothic in design.
These, along with the trade halls and guildhalls of which Ypresis
probably the finest example, form a class of building suited to
the needs of the community, and their free and open appearance
may be compared with the halls of Florence and Siena.
c. Openings. The windows are richly ornamented with

sculpture, tracery, and panelling, and bear a similarity and
regularity in position which are marked features in these large
buildings.
D. Roofs. In domestic work roofs have steep pitches, and are
either hipped (No. 169) or ended by crow-stepped and traceried
gables of picturesque outline. Numerous turrets, and bold
chimney stacks, combine with the tiers of dormers to complete
the rich profusion of the walls below.
E. Columns. The use of round pillars in the nave, instead of
clustered piers, is well exemplified at S. Gudule, Brussels (No.
167 B, c, D). A peculiar feature is noticeable in some town hall
arcades, where a column is omitted by hanging up any two arches
by means of a long keystone from a concealed arch, as at Liege.
F. Mouldings. Coarse profusion is characteristic of Belgian
Gothic, possessing neither the vigour of French, nor the grace of
English, mouldings.
c. Ornament. In S. Waudru, at Mons, blue stone is com-
bined with a red brick filling-in of the vault, in a scheme of
permanent decoration, and S. Jacques at Liege is fully decorated
with paintings of a rather later date.
5. REFERENCE BOOKS.
Goctghebuer (P. J.).
"
Choix des Monumens des Pays-Bas." Folio.
Ghent, 1827.
Haghe (L.).
"
Sketches in Belgium and Germany." 3 vols., folio.
1840-1850.
King (T. H.). "Study Book of Mediaeval Architecture and Art."
4 vols., 410. 1858-1868.
Stroobant (F.)." Monuments d'Architecture et de Sculpture en
Belgique." Folio. Brussels, 1878.
Verschelde (C.).
"
The Ancient Domestic Edifices of Bruges." Bruges,
1075.
Ysendyck (J J. Van).
"
Documents Classes de 1'Art dans les Pavs-
Jas." 5 vols., folio.
Antwerp, 1880-1889."
Mary of Burgundy." (Historical Novel.)

GERMAN GOTHIC.
(See page 258 for German Romanesque.)
" Some roods away, a lordly house there was,
Cool with broad courts, and latticed passage wet
From rush flowers and lilies ripe to set,
Sown close among the strewings of the floor ;
And either wall of the slow corridor
Was dim with deep device of gracious things ;
Some angels' steady mouth and weight of wings
Shut to the side ;
or Peter with straight stole
And beard cut black against the aureole
That spanned his head from nape to crown ; these
Mary's gold hair, thick to the girdle tie
Wherein was bound a child with tender feet ;
Or the broad cross with blood nigh brown on it."
i. INFLUENCES.
i. Geographical. Germany was flanked on the east, west
and south by large and warlike empires having strong racial
differences. Owing to this situation it had direct communication
with all the great European States. The River Rhine was an
important factor in the rise of cities founded in the earlier period.
ii. Geological. The plains of Northern and North Eastern
Germany produce no building material but brick, which has a
great influence on the architecture in these regions. Stone was
found in the centre and south, and timber in Hanover and the
north-west.
iii. Climate. (See page 258 in German Romanesque).
iv. Religion. The most interesting feature in the religious
life of Germany, prior to the Reformation, was the civil, as well as
ecclesiastical, rule of many of the bishops. Some of these episcopal
principalities were not finally abolished until the period of the
French Revolution.
v. Social and Political. Trade guilds acquired great
importance during this period, that of the Freemasons (cf. page 281)
having been credited with much influence in the design and
working out of the Gothic style. In the absence of records,
the truth as to the individuality of the architects will not easily
be made out.

vi. Historical. In the twelfth and thirteenth centuries
Germany was the heart and centre of the Western Empire.
Under the Swabian Emperors long wars occurred with the
Lombard league of the north Italian towns (cf. page 234). The
years 1254-1274, known as the "great interregnum," because no
king was universally acknowledged by all Germany, were times of
great confusion and lawlessness, until the house of Hapsburg
came into power in 1273.
The " Hanseatic league," an alliance of the great commercial
towns of North Germany, exercised considerable influence on the
peaceful arts.
The Gothic architecture of Germany was borrowed directly
from France, and was not a pure development of the Romanesque,
as in the latter country. This may be ascribed to the monu-
mental character of buildings in the Romanesque style, which had
been developed to a greater extent than in other countries, no
Gothic building being erected in Germany before the thirteenth
century.
Gothic was, therefore, reluctantly adopted at the time when it
was attaining its great perfection in France, but the Romanesque
precedents were long adhered to.
In Northern Germany, in the valley of the Elbe, 'a brick
architecture was developed, as at Lubeck and the neighbouring
cities, which, although not equalling that in the valley of the Po,
has that special character belonging properly to the material,
although expressed in a somewhat meagre manner.
3. EXAMPLES.
Cologne Cathedral (Nos. no c and 170) may be regardedas the great cathedral in this style. It resembles Amiens
dimensi
9 B) '
'
6aStern Portion being a di rect copy in plan and
cathedral of North Europe, having an extreme
a width of 275 feet, giving a superficial
Th!
C m e
,
nced
f
in
u "7?, and the choir was completed in
'.
remainder of the bmlding being completed according to
the original design in the nineteenth century
The clear width of nave between piers is 41 feet 6 inches and' " "

GERMAN GOTHIC EXAMPLES. I.
512-8.
HIKHrC.1fWER 35?
SBifl. 9MCfOff
HYlHMTHWR.

The western towers have open-work spires,
characteristic of
wall. The cathedral was built by
" A great master of his craft,
Erwin von Steinbach ;
but not he alone,
For many generations labour'd with him.
Children that came to see these saints in stone,
As day by day out of the blocks they rose,
Grew old and died, and still the work went on,
And on and on and is not yet completed.
. . . The architect
Built bis great heart into these sculptured stones,
And with him toiled his children, and their lives
Were builded with his own into the walls
As offerings to God." LONGFELLOW.
S. Lambert, Hildesheim, has aisles and nave of the same
height, being therefore a " Hall Church," as are also S. Stephen,
Vienna, and S. Quintin, Mayence.
Freiburg Cathedral (1283-1330) has a spire similar to that
of Cologne, but with a total height of 385 feet.
Ratisbon Cathedral (1275-1534) (No. 171), has a regular
plan, octagonal apse without ambulatory, and western towers,
with
open-work spires added in 1859-1869. The small triangular
porch is a peculiar feature.
Ulm Cathedral (A.D. 1377-1477) is spacious and lofty, being
notable for the small ratio of support in regard to its floor space,
and a polygonal eastern apse without ambulatory. The western
tower is 529 feet in height. It has an arcaded gallery to the
eaves, a remnant from Romanesque traditions, and fine choir
stalls.
S. Elizabeth, Marburg (1235-1283) (No. 172), is the
typical form, known as the " Hall Church." The result of
raising the side aisles to the same height as the nave, was to
abolish the triforium and clerestory, to reduce the importance of
the nave, and to do away with the necessity for flying buttresses,
while rendering the interior more spacious.
Munich Cathedral, S. Barbara, Kuttenberg, and S.
Martin, Landshut (1404), are other examples of this type.
S. Stephen, Vienna (1300-1510) (Nos. no D, 172 and
173), .is characteristic in having no clerestory or triforium, the
three aisles nearly equal in width and height, and one great roof

GERMAN GOTHIC.
171 RATISBON CATHEDRAL.
West Front.

covering the church in one span. Tower porches occupy the
positions of transepts ; only one of which is completed and has
a splendid spire, less open than usual in German work. The
vaults are traceried, and the original stained glass exists.
Lubeck Cathedral (choir and aisles) and the Marien Kirche,
Lubeck, are types of the brick architecture of North Germany,
and express the possibilities of design in that material.
Castles were erected in goodly numbers, as at Marienburg
(1280), Heilberg (1350), and Meissen in Saxony (1471-1483).
Town Halls (Rathhaus) at Brunswick, Hildesheim,
Halberstadt, Miinster and Ratisbon are the best known.
The Rathhaus at Liibeck and other cities, and the town gates of
the Baltic provinces, are evidences of the prosperity of the
inhabitants of these times.
In the domestic architecture the roof was a large and important
feature, and frequently contained more stories than the walls
supporting it, being used as a "
drying ground
"
for the large
monthly wash, and planned with windows to get a through current
of air.
The planning of the roof-ridge parallel, or at right angles, to
the street in towns influenced the design considerably (see
page 536 in German Renaissance), thus in Nuremberg the
ridge is generally parallel to the street, and dormer windows
are plentiful, the party walls being apparent, and artistically
treated, while at Landshut and elsewhere, the ridge being
generally at right angles to the street, gables are the result, and
these exhibit great variety of design in scrolls and other features.
The dwelling-houses of early date in Cologne, with their
stepped gables, are notable.
4. COMPARATIVE.
A. Plans. These were based upon (a.) the round-arched
German style and (b.) the French plan. Apses often semi-
octagonal, found at end of transepts, and at east and west ends
of churches, as at Naumburg.
The chevet is uncommon, although it occurs at Cologne (No. 170),
Magdeburg (1208-1211), Lubeck, Freiburg, and Prague.
Triapsal plans are frequent (No. 172 D), and a square outline
to the general plan is not uncommon.
Twin towers occur at west end of Ratisbon Cathedral (No. 171).
In later work, sometimes only one central tower occurs, as in
some English cathedrals.
Entrances are often on north or south, instead of being at the

GERMAN GOTHIC EXAMPLES.
n siWHHt vn
172.

GERMAN GOTHIC. 401
west end. They sometimes have towers over them, and take
the place of transepts (No. 173).
Towers with spires were much used, but the junction of the
spire was often insufficiently marked, the outline, though orna-
mented, being weak. Open-work tracery spires indicate the same
liking for this feature which is seen in the Rhenish Romanesque
churches. The typical examples are Strasburg (1429) (No. 154 E),
Freiburg (1300), Ratisbon (No. 171), Cologne (No. no c), and
Vienna (No. 173) Cathedrals.
B. Walls. The apsidal galleries of the Romanesque style were
simply copied, without reference to their origin and meaning.
Tracery was employed on the outer and inner wall surfaces, the
mullions being often cut across the openings behind.
Lubeck in the north is the centre of a brick district, and
churches of this material abound, as also in Bavaria and at
Munich.
c. Openings (No. 174 E, F). Tracery was elaborated, double
tracery windows being used in later examples.
Excessive height is a characteristic, and the use of two tiers of
windows was due to the lofty aisles (No. 172). In the north the
clerestories are excessive in size, starting as low down as possible,
to provide a great expanse of stained glass.
D. Roofs. Churches were nearly always vaulted, but were
sometimes covered only, with a wooden roof.
Great attention was paid to the vaulting, both as regards its
size and excellence of construction.
Square vaulting bays to the nave were often adhered to,
corresponding with two aisle bays, but vaulting in oblong bays
afterwards became general, as at Freiburg, Ratisbon, Cologne,
Oppenheim, and elsewhere.
The special German feature is the immense roof, covering nave
and aisle in one span (No. 172), which was due to the side aisle
being made nearly as high as the nave, and when the aisles are
equal in height to the nave it is the recognized German type
known as the "Hall Church" (No. 172 F). Tower roofs of the
Romanesque form were still used.
E. Columns. Piers usual in naves (Nos. 170 and 172) and
not the columns found in early French Gothic, the tendency being
to make them lofty posts carrying the. roof, owing to the height
of the aisles.
F. Mouldings. Complexity rather than simplicity was
striven after; thus interpenetvation of mouldings (fifteenth century)
was a very characteristic treatment, consisting of two different
sets of mouldings, appearing and disappearing in and out of the
same stone, each being provided with its own base and capital.
The resulting complicated intersections required great skill in the
geometrical setting out and execution.
F.A. D D

Features such as pinnacles are larger the higher they occur,
and therefore scale is destroyed, as at Cologne, whereas in
English and French work the features do not increase in size.
G. Ornament (No. 174). Foliage was treated in a naturalesque
manner, and the interlacing of boughs and branches is a common
feature (No. 174 A, c, j). In general, the carving was superior
to the design, the tracery of later windows sometimes repre-
senting the branches of trees ("branch tracery "), in which technical
display was more considered than grace of outline.
The Tabernacles or Sacrament Houses were developed in this
period, being placed at one side and forming a lofty and tower-
like structure, tapering upwards in many stages. They form an
important feature of German decorative art, dating from the time
that the consecrated Host above the altar went out of use. They
are of stone or wood, and either placed against a wall or isolated ;
and were used to keep the "
pyx
"
with the eucharist, the -shrine
itself being closed by a pierced iron grating. They usually
represented a Gothic spire with its traceried windows, pinnacles,
statuary decoration, and canopies, all erected in minature.
Examples are found throughout Germany, and they are some-
times of great height, as at Ratisbon (52 feet), Ulm (90 feet), and
the Lorenz Kirche, Nuremburg (64 feet).
Stained glass and ironwork were well treated, and in many cases
were most elaborate.
The enforced use of brick in the north was unsuitable for the
employment of sculptured work, and in its place moulded and
colored brickwork was used as a means of decoration, and the
interiors are plain and bare in character.
5. REFERENCE BOOKS.
Boisseree (S.).
"
Histoire et description de la Cathedrale de Cologne."
4to and folio. Munich, 1843.
Foerster (E. J.).
"
Denkmaeler Deutscher Baukunst." 12 vols., folio.
Leipzig, 1855-1869.
Hartel (A.).
"
Architektonische Detaile und Ornamente der Kirchlichen
Baukunst." 2 vols., folio. Berlin, 1891.
King (T. H.).
"
Study-Book of Mediaeval Architecture and Art."
4 vols., 4to. 1858-1868.
Lubke (W.).
"
Ecclesiastical Art in Germany." 8vo. 1873.
Moller (G.). Denkmaeler der Deutschen Baukunst." Folio
Leipzig, 1852.
Puttrich (L.).
"
Denkmaeler der Baukunst der Mittelalters in Sachsen."
4 vols., folio.
Leipzig, 1836-1850.
Whewell (W).-" Architectural Notes on German Churches." 1842.
Scott (Sir Walter)." Anne of Gierstein." (Historical Novel.)

GERMAN GOTHIC ORNAMENT
MONK (g)
174.
D D 2

ITALIAN GOTHIC.
(See page 228 for Italian Romanesque.)
" I will give thee twelve royal images
Cut in glad gold, with marvels of wrought stone
For thy sweet priests to lean and pray upon
Jasper and hyacinth and chrysopas,
And the strange Asian thalamite that was
Hidden twelve ages under the heavy sea,
Among the little sleepy pearls to be
A shrine lit over with soft candle flame.
"
i. INFLUENCES.
i. Geographical. German influence in Lombardy was
effected through the connection of this part of Italy and
Germany geographically by the Brenner Pass. The work at
Venice was similarly influenced by an oversea trade connection
with the East.
ii. Geological. The influence of materials in the develop-
ment of this style was important. The colored marbles of
Northern and Central Italy supplied abundant and beautiful
material for the elaboration of plain wall treatment, as in
Florence (No. 181), Siena (No. 182), Genoa, Orvieto, Lucca, and
other places. Red, black, and white marbles were used in stripes,
and also in panels, the architect relying much for effect upon
their color and disposition.
The brick and terra-cotta of Northern Italy has left a decided
impress on the architecture of that district, many large buildings,
such as the Hospital at Milan and the Certosa at Pavia, having
been erected in these materials.
iii. Climate. The influence of the climate and brilliant
atmosphere is apparent in the small windows, which, with thick
walls, were necessary to keep out the glare and heat of the Italian
sun, factors which also hindered the development of tracery.
The preference for opaque treatment, such as mosaic work and
fresco decoration, was inherited from the Romans, while the
climate counteracted effectually any desire the Italians might
have had for the suppression of the walls by the employment of
large windows of stained glass, for the reasons mentioned above.

ITALIAN GOTHIC. 405
iv. Religion. The real power of the Pope as head of the
Western Church died with Gregory X. (1271-1276). The
succeeding Popes were under the influence of the King of France,
and for nearly seventy years (1309-1376) resided at Avignon, losing
authority and influence during their absence from Rome. Rival
Popes existed until a settlement was arrived at by the Council
of Constance, in 1415. The factions of the Guelphs and Ghibel-
lines (pages 230, 259) distracted Italy from 1250 to 1409, a sub-
ject dealt with by Mr. Oscar Browning in his " Mediaeval Italy."
v. Social and Political. Italy at this period was cut up
into small principalities and commonwealths, in which political
life was full of rivalry and activity, and small wars were of
constant occurrence. The erection of the Cathedrals of Siena,
Orvieto, Florence, Milan and Lucca was largely due to the civic
pride of the various rival cities, while the numerous Town Halls
attest the growth of municipal institutions. Tasso has a line to
the effect that each holiday they blew trumpets, and proceeded
to sack the adjoining town. Yet other countries looked to Italy
as the head in arts, learning and commerce. The poet Dante
(1265-1321) has in his great poem presented a summarized picture
of the age.
The revival of learning took place in Italy nearly a century in
advance of northern Europe.
vi. Historical. To the Latin conquest of Constantinople, in
1203, is mainly attributed the sudden development of the formative
arts in the thirteenth century in Europe, for the citizens being
dispersed during the sixty years of Latin occupation, all commerce
was transferred to the cities of Italy, and many Greek artists were
established at Venice, Pisa, Siena and Florence. In the thirteenth
century successive members of the Visconti family ruled as
Dukes of Milan, and were very powerful in consequence of the
wealth and industry of the cities over which they held sway. The
maritime commonwealth of Genoa considerably reduced the power
of Pisa in 1284, and the latter was conquered by Florence in
1406. Florence became one of the chief states of Italy under
the powerful family of the Medici (page 447).
The influence of Roman tradition, as shown in the Classic forms
of construction and decoration, was^so great that the verticality
which marks the Gothic architecture in the north of Europe does
not pervade the Italian examples to the same extent.
The churches are especially noticeable externally for (a.) the
flatness of the roofs (Nos. 181, 182) ; (b.) the tendency to mask the
aisle roofs by a mere screen wall forming the west facade, without

ITALIAN (NORTH) GOTHIC.
I
75- MILAN CATHEDRAL.
East End.

ITALIAN GOTHIC. 407
reference to the slope of the roofs behind (No. 182); (c.) the
great central circular window in the west front lighting the nave ;
(d.) the flatness and comparative unimportance of the mouldings,
cheir place being more than taken by the beautiful colored
marbles with which the facades were faced, and the broad
surfaces covered with fresco decorations.
There is an absence of pinnacles due to the unimportance or
the buttresses, but the crowning cornice (No. 181), and the
employment of elaborately carved projecting porches at the west
end, the columns of which often rest on the backs of lions and
other animals, are characteristic features.
" Stern and sad (so rare the smiles
Of sunlight) looked the Lombard piles ;
Porch pillars on the lion resting,
And sombre, old, colonnaded aisles." TENNYSON.
Sculpture partakes of classical purity, and is in this respect
superior to that exhibited in northern examples, but it enters far
less into the general composition and meaning of the architecture.
Corinthian capitals of modified form and the Roman acanthus
were constantly used in Gothic buildings (No. 184).
Mosaic was used externally in panels, in continuation of early
ideas and practice.
Terra-cotta and brickwork, in their plastic state rendered much
ornament easy of application, and a smallness in detail followed,
which was eminently suited to the material, as, for example, at
the Frari Church at Venice and elsewhere.
The treatment of moulded brickwork has never been carried
to greater perfection than in North Italy during the Gothic and
Early Renaissance period, especially in civic buildings, although
the effect of sublimity is perhaps not to be obtained in so small a
material unless used in the broad massive manner of the Romans.
On the other hand, there is no beauty of detail or of design on a
small scale that may not be obtained by the use of moulded
bricks, which, if carefully burnt, are as durable as most kinds
of stone.
The Italian use' of brickwork was essentially the right one ;
the details were small and designed with taste, and the effect of
variegated color was relied on instead of depth of shadow a
perfectly legitimate and expressive use of material where small
and colored units are used. Stone of different color was also
carried systematically in patterns through the design, giving a
special character, as at Verona. A flatness and want of shadow^
is necessarily characteristic of brick buildings, sufficient projection
not being obtainable for cornices, and this was always tolerated
by the Italians, who allowed the material to express its own
capabilities without trying to disturb its architectural function.

3. EXAMPLES.
NORTH ITALY.
Milan Cathedral (A.D. 1385-1418) (Nos. 175, 176 A, B, c, 177),
erected by the first Duke of Milan, is the most important work of
this period, and there is a marked German influence, both in
character and details. It is the largest mediaeval cathedral, with
the exception of Seville, and is built entirely of white marble.
The roof is very flat in pitch, being constructed of massive
marble slabs, laid upon the upper surface of the vaulting.
In plan it consists of a nave with a very small clerestory,
and double aisles of extreme height, the nave terminating with
a circlet of columns in the French manner, but inclosed in a
German polygonal apse. To the Ambrosian ritual is due the
absence of side-chapels in the original scheme. At the crossing
of the nave and aisles is a vault crowned with a marble 'spire,
designed by Brunelleschi in A.D. 1440. The feature of the
interior is the range of immense shafts to the nave (No. 177),
whose summits are treated with canopied niches, filled with
statues, in the place of the ordinary capitals. Externally, the
character of the whole design is expressive of richness and lace-
like intricacy, which is aided in effect by the numerous pinnacles
of glittering marble (No. 175).
" O Milan, O, the chanting quires ;
The giant windows' blazon'd fires ;
The height, the space, the gloom, the glory !
A mount of marble, a hundred spires." TENNYSON.
S. Petronio, Bologna, commenced in 1390, in emulation of
Florence Cathedral, would, if
completed, have been one of the
largest churches of this period. It was to have consisted of a
nave and aisles and outer chapels on either side, and resembled
in section the Cathedral of Milan (No. 176 B, c). Many archi-
tects, including Palladio, have produced designs for the unfinished
west front.
The Certosa, Pavia, commenced in 1396, having a central
lantern in stages, crowning an internal dome, and the great
Hospital, Milan, where terra-cotta was largely used, exemplifythe influence of brick and terra-cotta on the architecture of the
district.
The churches and palaces at Bologna, Vicenza, Padua, Verona,
Cremona, and Genoa contain specimens of brick architecture with
pleasing moulded details.
S. Antonip, Padua (1237-1307) is a remarkable design,
closely resembling S. Mark in plan (page 208), but with seven
domes instead of five, and the front porch omitted. The domes
were added in 1475.

ITALIAN (NORTH) GOTHIC.
177. MILAN CATHEDRAL.
Interior, looking East.

ITALIAN GOTHIC. 411
Venice is remarkable for the civic and domestic architecture
of this period, and it must be remembered that the Venetian
state occupied a prominent position as a great trading centre
in the Middle Ages, her power and richness being due to the
supremacy of her navy.
" Where Venice sate in state, throned on her hundred isles."
S. Giovanni e Paolo (1260-1400), a Dominican church, and
S. Maria Gloriosa dei Frari (1250- 1280), a Franciscan church,
are magnificent examples, showing the influence of the Monastic
orders. The latter by Niccolo Pisano, is of the Basilican type,
with six eastern chapels, and has a fine campanile adjoining
the church (cf. Siena, No. 182).
-
S. Anastasia, Verona (1261), and S. Andrea, Vercelli
(1219), are notable examples, the latter being peculiar in having
two western towers, and an English type of plan.
The Doges' Palace, Venice (Nos. 178 and 179 B) (facade
A.D. 1424-1442, by G. and B. Buon) is the grandest effort in
civic architecture of the period. Each facade consisted of an
open arcade of two stories, one originally advanced in front and
surrounding the main building. The latter was partly destroyed
by fire in the sixteenth century, but was rebuilt and extended
over the double arcade in the Venetian style, with rose-colored
and white marble, in imitation of bricks, arranged in patterns,
the otherwise blank walls being broken by a few large and richly
ornamented windows. The lower columns seem to rise out of
the ground, having no bases, and the solid and connected character
of the tracery gives some stability to the design, so heavily loaded
above. The delicate and light carving in low relief which occurs in
the capitals of the arcades is justly celebrated, the excellence of
marble as a material for carving being largely responsible for the
refinement of execution in this example.
The Ca d' Oro Palace, Venice (Nos. 179 A and 180),
also by the Brothers Buon, is another fine specimen of the
domestic work with which Venice abounds. The tracery
especially is Venetian in character, as is also the grouping of
the windows towards the centre of the facade, the extremities
of the design being left comparatively solid, thus producing the
effect of a central feature inclosed by wings.
The Ponte alle Grazie (1237) and tne Ponte Vecchio
(1362), both at Florence ;
the Bridge over the Adda at Trezzo,
constructed in the fourteenth century and afterwards destroyed ;
and the Bridge over the Ticino, Pavia, are other examples of
the secular architecture of the period.
The Palazzi Foscari, Contarini-Fasan, Pisani (No. 179 c),
and Cavalli are other well-known examples. A general idea of

ITALIAN GOTHIC EXAMPLES. II.
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SCALE
5Q. . . . Q 100 ft
179.

ITALIAN GOTHIC. 417
Venetian Gothic is obtained from the old front of S. James's
Hall, Piccadilly, and the building in Lothbury, opposite the
Bank of England.
CENTRAL ITALY.
Florence Cathedral (Sta. Maria dei Fion) (1294-1462)
(No. 176), is chiefly remarkable for the wide spacing (55 feet) of
the nave arcades, the nave itself, the absence of a triforium,
buttresses arid pinnacles (No. 181), and for the marble facades
in colored panelling. The cathedral was erected from the designs
of Arnolfo di Cambio, and the octagonal dome, 138 feet 6 inches
in diameter, was added in 1420 by Brunelleschi, while the facade
was completed in 1887. Internally the fine effect promised by
the plan is not realized, vast masses of grey pietra serena stone,
in piers and arches, being contrasted by blank white-washed
Spandrels. The Baptistery (originally the Cathedral), erected in
the tenth century, but remodelled by Arnolfo in A.D. 1294, is an
octagonal structure faced with pilasters and richly colored orna-
mentation, being further remarkable for the fifteenth century
bronze doors by Ghiberti.
The Campanile (Nos. 176 D and 181), adjoining, by Giotto
(A.D. 1324), is square on plan, 292 feet high, in four stories of
increasing height, and is built in red and white marble. Tracery
of an elementary character is introduced into the windows in this
example, as in the adjoining cathedral, and inserted in the solidly
designed lower story are sculptured panels of great interest and
beauty. Below the present tile roof the start of the intended
spire can be traced.
S. Maria Novella, Florence (A.D. 1278), is an imposing
example erected by the Dominicans, and S. Croce, Florence
(1294), is a well-known example of the same type.
The Palazzo Vecchio, Florence (1298), by Arnolfo di Cambio
(with its remarkable tower), the Palazzo Publico, Siena, and
the Loggia dei Lanzi, Florence (1376), are examples of the
vigorous secular architecture of the period.
Siena Cathedral (A.D. 1243-1284) (No. 182) is remarkable in
having a dome, 58 feet in diameter, covering an irregular hexa-
gonal space at the crossing (No. 179 D), and for its facade in black
and white stripes, with three portals of equal size, and charac-
teristic rose window. The ground falling towards the east end,
allowed of a cry.pt being formed under the sanctuary, which is
used as a baptistery. The unfinished elevation of this east end
is a grand design.
The Campo Santo, Pisa (1278-1283) (No. 91), is a well-
known example, having an unusual development of open tracery
in the arches (No. 184 c).
Orvieto Cathedral (A.D. 1290) resembles that of Siena, but is
F.A. E E

ITALIAN GOTHIC. 419
imbued more considerably with Northern Gothic feeling. It is
mainly of one period, the facade dating from 1310, and is more
harmonious in design than the Siena example. The nave is now
restored with an open timber roof of the Basilican type.
S. Francis, Assisi (A.D. 1228-1253), is an example which was
from the designs of a German, Jacobus of Meruan. It consists
of an upper and lower church, and is very northern in detail,
depending much more on its frescoed interior than upon the
architecture proper for its magnificence and character. Both
churches are vaulted, built of brick and plastered, and received a
complete treatment in painted decoration by Cimabue and Giotto.
In Rome, churches of the Basilican type were erected through-
out the Middle Ages, S. Maria sopra Minerva (1280) being
quoted as the only Gothic church in Rome.

SOUTHERN ITALY AND SICILY.
The influences at work in these districts have already been
referred to in Romanesque (page 239). The style has been
described as " Greek in essence, Roman in form, and Saracenic
in decoration."
Messina and Palermo Cathedrals have plans founded on
the Roman basilican type, the naves having timber roofs of great
elaboration and intricate construction, resembling in their effect
the honeycomb work of Saracenic art. The pointed arch was
used, but without mouldings or even receding planes (No. 183).
The main idea striven after in these churches was the unfettered
display of mosaic decoration, in which the principal personages
of the Bible are rendered in a stiff archaic style, with borders of
arabesques in gold and color, while the lower parts of the walls
have a high dado of white marble, with a border introducing green
and purple porphyry in patterns.
Palermo Cathedral is a remarkable example of external
architectural decoration in stones of two colors, the apses in
particular being very fine. At the west end is a group consisting
of a central and two lower towers, with detail of an arbitrary
style, but suggesting Northern Gothic in its vigour of skyline.
4. COMPARATIVE.
NORTH, CENTRAL, AND SOUTH.
A. Plans. The endeavour to create a great central space in
the churches, as at Florence (No. 176) and Siena Cathedrals
(No. 179 D), shows the influence of Etruscan and Roman models.
E E 2

The widely-spaced nave arcades are characteristic, the triforium
being usually omitted, as at Florence and Milan (No. 176), and
the clerestory reduced to the unimportance of a vault spandrel,
pierced by a small, and generally circular, window. These lofty
arcades practically include the aisles and nave in one composition
and give the effect of a single hall.
The nave vaulting is frequently set out in square compart-
ments, as at Florence Cathedral (No. 176 D) and the Certosa,
Pavia, the side aisles having oblong ones, thus reversing the
Northern Gothic practice.
Towers, usually isolated, have square shafts without buttresses,
sometimes beautifully decorated, continuing the Romanesque tra-
dition, and developing no spire growth, like northern examples.
The best known are at Florence (No. 181), Siena (No. 182),
Lucca, Verona (No. 184 K), Mantua and Pistoja.
The most imposing external feature was frequently a dome, as
at Siena (No. 182) and Florence (No. 181).
The central lantern tower, in diminishing stages, as at Chiara-
valle, the Certosa at Pavia, and Milan Cathedral (No. 176), are
an advance on the Romanesque lanterns at the crossing, and may
be compared with English work.
B. Walls. The absence of large windows obviated the
necessity for projecting buttresses, the high and flat walls being
usually comparatively solid throughout their length, and able
themselves to withstand the pressure of a vault (Nos. 181 and 182).
From the absence of vertical features and shadows in the facade,
flatness is the predominant characteristic of the style.
Facades are treated independently as decorative compositions,
and often have no relation to the structure or roofs behind
(No. 182). These facades are often incomplete, being composi-
tions in marble facing, in many cases not finished on the
score of expense. The marble was used in bands of two colors
at Siena (No. 182) and Orvieto, each having three high gables,
and in panelling at Florence (No. 181). This surface treat-
ment was borrowed from the Saracens, and may be compared
with northern methods, in which effect is obtained by deeply-
moulded string courses, projecting buttresses, and lofty pinnacles.
c. Openings. The windows are often semicircular headed,
and have shafts with square capitals of Corinthian type, instead
of the moulded mullions of northern Gothic examples (No. 1840).
These slender shafts are often twisted, and even inlaid with glass
mosaic known as "cosmato" work, from the family of that name,
while the capitals are richly sculptured.
Venetian tracery is a special form of geometrical combinations
(No. 178).
A moulded keystone is often provided to pointed arches, which
are frequently inclosed by square lines as a frame.

ITALIAN GOTHIC. 421
D. Roofs. These are of low pitch, and of small importance
in the design, being scarcely visible from below (Nos. 179 and 180).
They are often in contradiction to the steep gables of the facades,
borrowed from northern Europe, and treated solely as a field for
mosaic and other elaborate decoration. Iron tie-rods r
-were often
used to prevent the spread of roof timbers owing to insufficient
buttressing.
E. Columns. The piers of the arcades in the churches are
at times surprisingly clumsy in plan, four pilasters combined
back to back being a common section. Round piers, with
capitals and bases, recalling Roman work, were also used, but
the continuous sequence in the design of such features, as may
be traced north of the Alps, is not observable.
In Milan Cathedral the circular moulded piers, by their
height and size, and peculiar treatment of tabernacle capitals,
produce the effect of a columnar interior (No. 177).
F. Mouldings. These have a flatness and squareness often
little changed from Roman work, and the section of an arch mould
is often identical with that of the jamb, although there may be
capitals at the impost. Mouldings are throughout subordinate
to surface decoration, the most interesting being those due to
the use of brickwork in the facades.
G. Ornament (No. 184). Opaque decoration was preferred
to translucent ;
the art of fresco, by constant exercise upon the
noblest subjects in the grandest buildings, leading up to the golden
age of Michael Angelo and Raphael. Some buildings, such as
Giotto's chapel at Padua, and the Sistine chapel at Rome, are
shells for painted decoration, almost devoid of architectural
features. In carving (Nos. 184 A, B, E, F, G, H, L) and sculpture
Classic tradition led to a refinement and an elegance which
contrasts with the grotesque element found in northern work,
but on the other hand, the general design is often neglected in
the attention bestowed upon accessories. It is in the carving
and mosaics to the sumptuous altars and canopy tombs, the
pulpits (No. 184 B), pavements and choir stalls, and in the
veneering of the facades with colored marbles, that the decorative
character of the style is best seen.
The Tomb of the Scaligers, Verona (.1329-1380), is an examp'e
of rich decoration, and many of the churches at Rome have
elaborate inlay mosaic work of " cosmato
"
design on their arches
and twisted columns.
5. REFERENCE BOOKS.
Anderson (R.). "Examples of the Municipal, Commercial and
Street Architecture of France and Italy." Folio. 1877.
Cummings (C.A.).
"
A History of Architecture in Italy from the Time

ITALIAN GOTHIC ORNAMENT.
KUPU,liTtt[ P^OfPpfl.

ITALIAN GOTHIC. 423
of Constantine to the Dawn of the Renaissance." 2 vols., 8vo. Boston,
1901.
Griiner(L.). "Terra-Cotta Architecture of North Italy." 4to. 1867.
Hittorff (J. I.) et Zanth (C. L. W.).
"
Architecture Moderne de la
Sicile." Folio. Paris, 1835.
Knight (H. G.).
"
Ecclesiastical Architecture of Italy." 2 vols.
1842-1844.
Nesfield (E.).
"
Specimens of Mediaeval Architecture." Folio. 1862.
Rohault-de-Fleury (G.).
"
La Toscane au Moyen Age." 2 vols.,
folio. Paris, 1874.
Ruskin (J.). "Stones of Venice." 3 vols., 8vo. 1886.
Schulz (H. W.).
"
Denkmaeler der Kunst des Mittelalters in
Unter-Italien." Folio atlas of plates, and text in 2 vols., 4to.
Dresden, 1860.
Strack (H.).
"
Ziegelbauwerke des Mittelalters und der Renaissance
in Italien." Folio. Berlin, 1889.
Street (G. E.).
"
Brick and Marble in the Middle Ages." 8vo. 1874.
Waring (J. B.) and Macquoid (T. R.).
' ;
Examples of Architectural
Art in Italy and Spain." Folio. 1850.
Henty (G. H.). "The Lion of S. Mark." (Historical Novel.)

SPANISH GOTHIC.
1
Oft let me range the gloomy aisles alone
(Sad luxury ! to vulgar mind unknown)
Along the walls where speaking marbles show
What wor hies foim the hallowed mould below ;
Proud names, who once the reins of Empire held ;
In arms who triumphed, or in arts excelled ;
Chiefs, graced with scars, and prodigal of blood ;
Stern patriots, who for sacred freedom stood;
Just men, by whom impartial laws were given ;
And saints, who taught, and led the way to heaven." TICKELL.
i. INFLUENCES.
i. Geographical. Spanish architecture cannot be under-
stood without a knowledge of the geography of the country.
The existence of rival races and kingdoms within the peninsula
was rendered possible by the mountainous character of some parts,
and the subdivision of the country by sierras, or chains of low
rocky hills. The kingdom of Granada, where the Moors held
out until the close of the Gothic period, was surrounded by
mountains which inclosed a fertile plain, the finest in the country.
ii. Geological. Stone was the material generally employed,
but granite and some of the semi-marbles, which the country
throughout possesses, were used in places. Rubble-work, with
brick bonding courses and quoins, was used under Moorish
influence with much taste and success, as in the towers and gates
of the city of Toledo.
iii. Climate. This varies with the structure of the country,
which is that of a series of table-lands of varying elevations,
divided by sierras. Burgos, in the north, 3;ooo feet above the
sea, is cold, and exposed to keen winds even in the summer,
while in the south the climate is sub-tropical.
iv. Religion. Constant warfare with the Moors gave a certain
unity to Spain, the struggle being a war of religions as well as of
races. Allegiance to the Papacy has been a characteristic of
Spain, and Santiago was a pilgrimage centre of more than national
importance. The arrangement of the choirs and the size and

SPANISH GOTHIC. 425
importance of the chapels attached to the cathedrals were due
to the ritual.
v. Social and Political. In the Spanish peninsula, the
Christian states of Castile, Leon, Navarre, Aragon, and Portugal
were all growing up and gradually driving the Mahometans into
the southern part called Andalusia. After many intermittent
successes, as the capture of Toledo (1084) by Alfonso VI., the
battle of Tolosa (1212), gained by the Christians, was the turning
point, after which Mahometan influence gradually declined. It
was during the reign of S. Ferdinand (1217-1252), who united
Castile and Leon, and won back Seville and Cordova, that Gothic
art took root, sown by the spirit of conquest and aided by the
wealth of the conquered Moors. James, called the Conqueror
(1213-1276), King of Aragon, pressed into the east of Spain
until the kingdom of Granada was the only portion left to the
Mahometans.
vi. Historical. The study of the history of a country, always
necessary in order to properly understand the development of its
architecture, is specially required in the case of Spain, which has
been occupied at different times by peoples of various races.
After the Romans left Spam the Vandals and Visigoths took
possession, after which, A.D. 710-713 (page 655), the country was
invaded by the Moors from North Africa, and for 800 years
their influence was continuous. The evidence of this is to be
seen in the stronghold of their power the south of Spain
where the curious construction, the richness of the architecture,
and the exuberance of intricate, and lace-like, detail are every-
where apparent. This influence occasionally reached far into the
north, owing to the superior education and ability of Moorish
workmen, for although Toledo was captured by the Christians in
1085, the Spanish conquests were gradual, and the final expulsion
of the Moors did not take place till 1492.
In the south, as already mentioned, there was always more or
less of Moorish influence, and from Toledo, the Moorish capital,
this influence made itself felt in Saracenic features, such as the
horseshoe arch, and, in later times, the pierced stonework tracery
of Moorish design.
'
These fretwork screens occupy the whole
window, and are rich in detail. Elsewhere buildings, under
Moorish influence, were covered with intricate geometrical and
flowing patterns and rich surface decorations, for which the
Saracenic art is everywhere remarkable, as in the Jews' syna-
gogue at Toledo.
The curious early churches of the Spanish conquerors seem to
have been executed by the aid of Moorish workmen.

The Gothic style was best developed in Catalonia, where,
though on French lines, as in most parts of Spain, it has a special
character, owing to the grand scale of the single-span vaulted
interiors. Leon Cathedral goes beyond its French original at
Amiens, in the expanse of window opening and tenuity of its
supports. The exteriors usually are flat in appearance, owing
to the space between buttresses being utilized internally for
chapels, and generally, it
may be said that a liking for excessive
ornamentation without any regard to its constructive character
is apparent. Contrary to Northern Gothic, broad wall surfaces
and horizontal lines are special features of the style.
The cloisters of many of the cathedrals, as Barcelona, Toledo,
and Lerida, are characteristic.
In the later period, the grafting of classical details on to Gothic
forms produced some of the most picturesque features imaginable.
3. EXAMPLES.
S. Isidore, Leon (completed 1149), and old Salamanca
Cathedral (A.D. 1120-1178), which has a dome over the crossing
of nave and transepts, were both influenced by the Southern
French Romanesque models of Aquitaine and Anjou.
Santiago de Compostela Cathedral (A.D. 1078), on the
other hand, is an example of a building with nave, transepts and
a complete chevet, due to the influence of Northern French
Romanesque. In this church the nave is covered with a barrel
vault and the side aisles with cross vaults.
Burgos Cathedral (A.D. 1230) is
irregular in plan (No. 190 L).
It has two towers to the western fa9ade, which, with their open-
work spires (No. 185), recall Cologne, and a richly-treated lantern
over the crossing which was completed in 1567. The lantern
(known as the "cimborio "), and the peculiar treatment of the
interior is shown m No. 186. The "coro" or choir is in the usual
position to the westward of the crossing, the nave being reduced
to a mere vestibule, while the
extraordinary size and importanceof the side chapels are striking, as that of the Capilla del Con-
destable (AD. 1487), which is
octagonal, over 50 feet in diameter,
detail*
remarkable for the beauty and richness of its late
Toledo Cathedral (A.D. 1227) (No. 187 D), is a five-aisled
church and resembles Bourges (page 368) in general idea. It is
about the same length, but nearly 50 feet wider, and has the
choir mclosure west of the crossing, with a singularly shallow

SPANISH GOTHIC.
BURGOS CATHEDRAL.
View from N.W.

SPANISH GOTHIC.
BURGOS CATHEDRAL.
View of Choir.

SPANISH GOTHIC EXAMPLES.
jflfME fflHM
H-
T
. SLIGHTLY PROJECTING IHHSEPB WH
MRS OVER flS /IT EXETER, THE YflULTlNG B EXPOSED Gffi&CHEYErfl.D. lOB-li
EXRRNflL^&flCTS fl ft ROOF. THRUST ?HUDS COONIR^ g!458.5IDE CHflPEL
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BY INTERNAL BUTTRE55E5 ENC105ING KRWL CHflFEL^. flND EXTREME WIDTH (F WYE.
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EATERNflLROOTS OF STONE.

apsidal sanctuary, in which is placed an immense retdblo or reredos
of wood, flanked by tiers of arcaded statuary upon the sanctuary
S. Gregorio, Valladolid (No. 189) shows the lace-like
character of detail derived from Moorish influence.
Barcelona Cathedral (A.D. 1298) (No. 187 B), is remarkable
in that the thrust of the vaults is taken by buttresses, which are
internal features, as at Albi in the south of France, the space
between being used as chapels.
Gerona Cathedral is a further development (No. 187 c), but
there are no aisles, the nave being one vaulted hall, 73 feet in
width, in four compartments. The Central Hall of the Law
Courts, although only 48 feet in width, will give an idea of this
interior.
S. Maria del Mar, Barcelona (A.D. 1328-1383) (No. 187 A),
is a splendid example of a town church. The vaults rest upon
octagonal piers of granite about 4 feet in diameter, the spacing
being wide, and the aisles and nave of great height. There is
no triforium, and only small clerestory windows in the spandrels
of the vaults. Severe simplicity is the characteristic of the
church ;
both inside and out there are no features but a few
well-studied mouldings.
Seville Cathedral (1401-1520), erected on the site of a
mosque of the same size, is the largest mediaeval cathedral in any
country. It bears a considerable resemblance to Milan Cathe-
dral, but is less fanciful in detail, or, as some would prefer to say,
of a purer Gothic style. The vaulting is rich, loaded with bosses
in places, but confused and weak in its lines. Externally there is
a certain shapelessness and absence of sky-line. The parroquia
(parish) church is separate, but included within the cathedral area.
The peculiarity of plan, having a nave, double aisles, and side
chapels, was no doubt caused by the structure being made to
fill
up the space occupied previously by a mosque. It is typically
Spanish in having a rectangular outline, but it differs from most
of the great C atinental churches in having a square east end,
and small apse. As show:
ng the extraordinary size of this
cathedral it
may be pointed out that each of the four side aisles
of Seville is practically equal both in height and width to the
nave of Westminster Abbey (page 309), while the nave arcades
have twice the span, although the total length of Seville is little
more than that of -the Abbey. Thus one aisle of Seville represents
the size of the nave and choir of the abbey, and is repeated four
times ;
in addition to which there is the great nave, 55 feet wide
from centre to centre of piers, and 130 feet high. Surrounding the
church, and of the same depth as the aisles, are the chapels. From
these comparisons an idea can be obtained of the immense size of
this Spanish cathedral.

SPANISH GOTHIC.
188. S. JUAN DE LOS REYES, TOLEDO,
Interior, showing Octagonal Dome.

SPANISH GOTHIC.
S. GREGORIO, VALLADOLID

SPANISH GOTHIC. 433
S. Juan de los Reyes, Toledo, A.D. 1476 (No. 188), is a rich
example of a sepulchral chapel, erected by Ferdinand and Isabella,
comparing in its intended purpose with Henry VI I. 's
Chapel at
Westminster.
Valencia (A.D. 1262), Leon (A.D. 1260), and Barcelona
(A.D. 1298) Cathedrals, all showing French influence, and
Lerida Cathedral (No. 187 E), externally roofed with stone, are
other examples of early date.
In domestic work the best examples are to be found in Cata-
lonia, as seen in Barcelona municipal buildings, and Valencia
town hall.
4. COMPARATIVE.
A. Plans. In regard to the plan of the cathedrals, the great
width and comparative shortness (No. 187) of many of the
naves is a prominent characteristic. The position of the choir is
generally to the west of the crossing of nave and transepts,
as at Burgos (No. 190 L), an arrangement probably derived from
the Early Christian basilicas, as S. Clemente, Rome (No. 73 B),
and also seen at Westminster Abbey (No. 127), and Norwich
Cathedral (No. 118). Chapels are numerous and large, and the
parish church is often included in the area of the cathedral, 'as
at Seville.
Thecimborio, or dome (Nos. 186 and 188), at the crossing of the
nave and transepts, is similar in treatment to examples in the
south of France. S. Sernin, Toulouse, and Burgos Cathedral
resemble each other in plan, and Valencia and S. Ouen, Rouen,
in design. Internally octagonal vaults, which are intricate in
design and ingenious in construction, are characteristic, and were
probably inspired by Moorish work.
B. "Walls. In design French models were favoured, the
later work being characterized by extreme, and even wild,
ornamentation. There is much flatness and absence of sky-
line in the exteriors, Burgos having in place of gables effective
horizontal arcades, on the lines of the facade of Notre Dame
at Paris. Traceried open-work spires, as in Germany, were
favoured, those at Burgos being worthy of attention (No. 185).
c. Openings. These were carried to excess in Leon Cathedral,
which has not only a glazed triforium, but also a large part of
the wall surface of the clerestory glazed as well. Even in the
south, as at Seville, openings are of large size, stained glass
being much used.
D. Roofs. Vaulting was used freely, but developed in decora-
tion, rather than in construction, such features as tracery, bosses,
and ribs producing a rich effect, although the lines are not always
F.A. F F

good, and nothing to compare in interest with English vaulting
was accomplished.
In the south, wide interiors, in one span, were successfully
vaulted in a simple style, that at Gerona (No. 187 c) being no less
than 73 feet span, and having a total length of 270 feet, including
duvet. The boldest and most original vaults are the great flat
arches, that form galleries across the western ends of the churches,
extending through nave and aisles in three spans. Their rich
soffits attract attention on entering, and their curves frame the
view of, and give scale to, the interior of the church beyond.
E. Columns. The favourite feature of a lantern at the
crossing gives importance to the central piers, which at Burgos
(No. 1
86) are circular in plan (rebuilt 1567), and contrast with
the great octagonal piers at S. Sernin, Toulouse.
In Seville Cathedral great column-like piers are employed for
all the arcades, similar in effect to those of Milan, but without
the tabernacle capitals. Carved capitals of characteristic form
are indicated in No. 190 E, j.
F. Mouldings. Refinement is not the usual characteristic
of Spanish art. Original and arbitrary forms were mingled
with features borrowed from France. In Catalonia the best and
most artistic work was produced in a restrained manner. In
S. Maria del Mar, Barcelona (page 430), every moulding has
its purpose and expression, but this is far from being the character
of other more numerous examples in Spain.
G. Ornament (No. 190). The most decorative feature in
Spanish churches is the vast retablo (reredos), which is often as
wide as the nave, and reaches up to the vaulting. This feature
is usually constructed of wood, stone, or alabaster, and is crowded
with niches, figures, canopies and panelling (No. 190 c, F, K).
Those at Toledo and Seville, resembling the great English
altar screens, notably that at Christchurch, Hants, are probably
the richest specimens of mediaeval woodwork in existence.
Painting and gilding were used to heighten the effect, the former
naturalistic, and the latter of such solidity that the effect of
metal is obtained.
Sculpture in stone or marble is often life-size, naturalistic, and
expressive (No. 190 H, M, N), and however deficient in other
qualities, it combines in producing the notoriously impressive,
if sensational, interiors of Spanish churches.
Stained glass was used, as at Seville, Oviedo, and elsewhere,
being usually Flemish in style, heavy in outline, and strong to
gaudiness in coloring.
'Rejas,' or rich and lofty grilles (Nos. 186 and 190 H), in
hammered and chiselled iron, are also characteristic, the formality
of the long and vertical bars being relieved by figures beaten in
repousse, or in duplicates attached back to back, and by freely

SPANISH GOTHIC ORNAMENT.
F F 2

employed crestings and traceries adapted to the material. Few
things in Spain are more original and artistic than these Rejas.
Magnificent stalls, each provided with a separate canopy and
crowned with a tall spire, are common, Barcelona Cathedral
having some resembling those at Chester, while bishops' thrones,
pulpits, lecterns and choir desks were also elaborately treated.
5. REFERENCE BOOKS.
"
Monumentos Arquitectonicos de Espana" (a magnificent work issued
under the auspices of the Spanish Government). 89 parts, atlas folio
(not completed). Madrid, 1859-1879.
Street (G. E.).
"
Account of Gothic Architecture in Spain." 8vo. 1874.
Villa-Amil (G. P. de).
"
Espana Artistica y Monumental/' 3 vols.,
Waring (J. BA - "
Architectural Studies in Burgos." Folio. 1852.
Waring (J. B.) and Macquoid (T. R.).
' ;
Examples of Architectural
Roulet (M. F. N.).
"
God the King, My Brother." (Historical Novel.)

RENAISSANCE ARCHITECTURE IN
EUROPE.
" New structures, that inordinately glow,
Subdued, brought back to harmony, made ripe
By many a relic of ihe archetype
Extant for wonder ;
every upstart church,
That hoped to leave eld temples in the lurch,
Corrected by the theatre forlorn
That as a mundane shell, its world late born,
Lay, and o'ershadowed it." BROWNING.
THE causes which led to the re-introduction, or re-birth
(Renaissance), of Classic Architecture in Europe at the beginning
of the fifteenth century, are instructive, and must be grasped in
order fully to understand so great a change.
In this section the Renaissance movement as affecting the
whole of Europe will be dealt with.
i. INFLUENCES.
i. Geographical. The Renaissance movement, arising in
Italy in the fifteenth century, spread from thence to France,
Germany, and England, and over the whole of Western Europe
over what had been the Roman empire in the West. The Eastern
empire did not come under its influence, for the Greeks in the East,
who had been the most civilized people in Europe, were now
falling before the Turks.
!h.
<
cSea1
-!
^to each country.
iv. Religion. The invention of printing, which aided the
spread of knowledge, the spirit of inquiry, and the diffusion of
freedom of thought, led, among the Teutonic races, to a desire to
break away from Romish influence. This desire was originally
fostered by Wycliffe in England (A.D. 1377), and by Martin

Luther in Germany (A.D. 1517), in which countries Reformation
in religion proceeded side by side with Renaissance in architecture.
This renewed vigour in thought and literature was accompanied
by a fresh building era in northern Europe. In England, civil
and domestic architecture received a special impulse from the
diffusion among laymen of the wealth and lands of the monasteries
dissolved by Henry VIII.
In Italy, on the other hand, where the Reformation took no
hold, and where comparatively few churches had been built in
the Gothic manner during the Middle Ages, a revival of eccle-
siastical architecture took place, and in every important town
Renaissance churches were carried out on a grand scale and in
a most complete manner. The Jesuits who headed the counter-
reformation carried the style into all parts, at the same time
giving it a special character (page 496).
v. Social and Political. A new intellectual movement
manifests itself sooner in literature than in architecture, and thus
the former influences the public taste. Dante (1265-1321),
Petrarch (1304-1374), and Boccaccio (1313-1375) aided in the
spread of the newly-discovered classic literature, which caused a
revolt against mediaeval art, and the subsequent fall of Constanti-
nople in A.D. 1453 caused an influx of Greek scholars into Italy,
whose learning was an important influence in an age which was ripe
for a great intellectual change. Thus a revival of classic literature
produced a desire for the revival of Roman architecture.
Again, among the MSS. of Greek and Latin authors brought
to light about this time, was Vitruvius' book of Architecture,
written in B.C. 50, which was translated into Italian in A.D.
1521.
Erasmus (1467-1536), one of the few Greek scholars of the
period, worked hard to direct the public attention to the original
text of the New Testament, and to the Greek classics, as a set-off
to the writings of the mediaeval philosophers, whose authority had
for so long borne an exclusive sway.
Italian architecture was naturally the first to be affected,
because the Gothic style had never taken a firm hold on the
Italians, who had at hand the ancient Roman remains, such as
the Pantheon, the Basilica of Maxentius, the Colosseum, the
remains of the great baths, and the Roman fora. In Italy,
therefore, where feudalism had never fully established itself, and
where the municipalities had developed a spirit of municipal
enterprise, practically a direct return was made to Roman
forms.
vi. Historical. At the beginning of the sixteenth century
there was a general grouping together of the smaller states into
independent kingdoms, under powerful rulers, who governed with
authority, and kept large standing armies. Three great inventions

RENAISSANCE ARCHITECTURE IN EUROPE. 439
had an important influence gunpowder, which had changed the
whole method of warfare ;
the mariner's compass, which led to
the discovery of the West Indies (1492) and America, and the
foundation of colonies by European states ; and, lastly, printing,
which favoured that stirring of men's minds which caused the
reformation in religion, and the revival of learning. Copper-
plate engraving was discovered in the third quarter of the fifteenth
century.
Galileo (1564-1642) proved that the earth was not the centre
of the universe, but merely a minute planet in the solar system.
The Renaissance of the fifteenth century in Italy, and of the
sixteenth century in other parts of Western Europe, was a break
in that orderly evolution of architecture which is based on the
nature and necessities of materials.
In place of such evolution there was the worship of style, that
is, of the past results of the nature of materials as formulated into
systems. Such results were worshipped for their own sake, and
often to a great extent applied regardless of the materials of their
execution.
The main features in the style were the Classic orders (Nos. 38,
262), viz., the Doric, Ionic, and Corinthian, which were often used
decoratively, as by the Romans, and at other times with their
true constructive significance. Buildings designed for more
modern wants were clothed in the classic garb of ancient Rome,
but it must not be supposed that in this development no advance
was made. It is true that Roman precedent was the basis, but
columns and pilasters, whether plain, fluted or panelled, with
entablature and details, were applied in many novel and pleasing
forms, a system in their application being gradually evolved,
and a style built up which has become the basis of all modern
styles.
Italy, the headquarters of the new movement, in the fifteenth
century possessed skilful jewellers and excellent medallists, and
it was by their help that the Renaissance commenced and
expanded. From their well-known good taste, architects con-
sulted them, and often, indeed, were their pupils, as Ghiberti,
Donatello, and Brunelleschi. Men, therefore, who were at once
painters, sculptors, architects, silversmiths, jewellers, and gold-
smiths somewhat naturally only looked at the finished results
as the goal to be aimed at, and were not troubled about the
means to such an end. The development of the schools of
painting also had their influence on architecture, and aided the
tendency which caused structures to be looked upon as works of

art, instead of being dependent mainly for their form and effect
on structural necessities. For the same reasons, the period may
be looked upon as the age of accessories, in which iron, gold and
silver work, and tombs, monuments, altars, fonts, and fountains,
were designed in great numbers, and, by the whim and fanciful-
ness of the designer, were special features of the style.
Architecture ceased to a certain extent to be subject to the
considerations of use, becoming largely independent of construc-
tive exigencies, and to a greater extent an art of free expression
in which beauty of design was sought for.
Speaking generally, there was an endeavour to reconcile the
Gothic and the Roman methods of construction, i.e., the body
and facing were one and the same thing constructively, because
the architects of the period, attracted by the mere external
appearance of ancient Roman art, but perceiving that this form
was merely an envelope, continued in the matter of construction
to a large extent to follow the traditions of the Middle Ages,
which did not separate the structure from the decoration.
Owing, therefore, to ignorance of Roman methods, the Roman
manner of forming the main walling of concrete and casing it with
marble, stone, or brick was not followed.
In the Gothic period each stone was finished, moulded, and
sculptured in the workshops before being laid a method which
produced skilful and intelligent masons and stone dressers, and
obliged the sculptor to make the decoration suit each piece of
stone. In the Renaissance period the new mouldings and carvings
could be executed with more exactitude and less expense in situ,
and thenceforward the necessity of making the jointing accord
with the various architectural features being no longer imperi-
ously felt, a want of harmony between the jointing and the
architectural features often resulted.
A building, it will be observed, was regarded rather as a picture
with pleasing combinations of lines and masses than as a struc-
ture of utility, being often designed by men trained as painters,
sculptors, or goldsmiths. Such structures often have a princely
dignity, as in many of the Roman palaces (No. 197), where the
column, pilaster, frieze, and cornice were employed as elements of
composition with special regard to the artistic result and with
considerable originality. The wide and narrow spacing of the
pilasters in the Palazzo Giraud is a novel form (No. 195).
It would be a great mistake, therefore, to state that Renaissance
architecture was solely imitative, for new and delightful combina-
tions of features were introduced, and architecture became to a
great extent a personal art due to the fancy of individual architects,
many of whom founded schools of design, in which their principles
were followed by their pupils and followers.
In the decorative detail, also, an advance was made. In

metal work the bronze baptistery gates at Florence were won
in competition by the sculptor Ghiberti, in 1404, and are the
finest examples of a class of work for which these craftsmen-
architects were famous. These accessories of architecture were
erected, or added to many old buildings, both in Italy and
elsewhere.
The Renaissance architects followed the Byzantine treatment
of the Dome, but increased it in importance by lifting it
boldly
from its substructure and placing it on a "
drum," in which
windows were formed, thus making it a great external dominating
feature (Nos. 202, 212, 254).
Likewise, they were the first to introduce as an architectural
"motif" the wall of massive rusticated masonry with arched
openings, as in the Palazzo Riccardi, Florence (Nos. 191 and
192), the Palazzo Pesaro, Venice (No. 209), and elsewhere, in
Which buildings the wall was frankly treated as architecture, and
was in no way imitative of ancient Roman buildings.
Renaissance Vaulting. In the beginning of the fifteenth
century the Gothic principles of ribbed vaulting were abandoned,
giving place to the revival of the Classic method of solid semicir-
cular vaulting (page 117). This type of vaulting was much used
in the halls, passages, and staircases of Renaissance palaces and
churches, and was besides frequently built of wooden framing,
plastered and painted with colored decoration, often of remark-
able richness and beauty, as at the Vatican palace by
Raphael. In cases of cross-vaulting with narrow and wide
spans, it
appears that the groins were now formed by means
of l *
ordinates
"
(No. in E), with elliptical soffits, groins forming
a straight line on plan instead of the wavy line produced by
the intersection of a semicircular vault with one stilted above its
springing.
Note. Having now taken a rapid survey of the causes which
led to the revival of Classic architecture throughout Europe,
and before proceeding to consider the development in each
country, a comparison of a few of the more prominent charac-
teristics of the style with the treatment which obtained in Gothic
architecture is given.
3. EXAMPLES (refer to each country).
Although important types of church design were evolved, yet
in the main the most characteristic monuments were the
municipal buildings, palaces, country houses and elaborate
facades to town buildings. In addition, chapels, tombs, gates,
oratories and public fountains were special creations.

442
COMPARATIVE ARCHITECTURE,
4. COMPARATIVE.
RENAISSANCE.
A. Plans. Symmetry and pro-
portion of part to part carefully
studied (Nos. 198, 203, 213, 223,
252).
Grandeur gained by simplicity
(Nos. 200, 20 1, 2 54). Fewness and
largeness of parts have a ten-
dency to make the building appear
less in size than it really is.
Towers are sparingly used, and
when they occur are symmetri-
cally placed. In England those
at S. Paul (No. 254), and Bow
Church (No. 255), are exceed-
ingly fine. The dome is a pre-
dominant feature (Nos. 181, 205,
212, 223 and 254).
Interiors of churches were planned
on Roman principles (Nos. 193,
199 and 203), and covered with
domes and pendentives. The
parts are few, the nave being
divided into three or four com-
partments (No. 253), by which
a general effect of grandeur is
produced.
Compare S. Paul, London (No.
213).
B. Walls. These were con-
structed in ashlar masonry of
smooth-faced walling, which, in
the lower stories, was occasionally
heavily rusticated (No. 192).
Materials are large, and carry
out the Classic idea of fewness
of parts. Stucco or plaster were
often used as a facing material
where stone was unobtainable.
The use of the material accord-
ing to its nature was lost, the
design being paramount.
Angles of buildings often rusti-
cated, i.e., built in blocks of un-
smoothed stone, as in Florence, or
carefully indented with patterns
(No. 197).
GOTHIC.
A. Plans. Picturesqueness and
beauty of individual features
more particularly sought after
(Nos. 117, 155, 159 and 187).
Grandeur gained by multiplicity
(Nos. 162, 175 and 189). In
consequence of the large number
of parts, the building appears
larger than it really is.
Towers are a general feature, and
are often crowned with a spire
(Nos. no, 114, 115, 116, 121, 140
and 154). Small towers, turrets,
and finials help to emphasize the
vertical tendency (Nos. 125, 128
and 173). The tower and spire
are predominant features.
Interiors are more irregular, and
are covered with stone vaulting
(Nos. 112, 123), or open-tim-
bered roofs (No. 113). The
parts are many, a nave of the
same length as a Renaissance
church probably divided into
twice as many compartments.
Compare Cologne Cathedral (No.
213).
K. Walls. These were often con-
structed of uncoursed rubble or
small stones (No. 136), not built
in horizontal layers ; also of brick
and rough flint work. Materials
are small in size, and carry out
the Gothic idea of multiplicity.
Masonry was worked according
to the nature of the material to
a new and significant extent. It
is not too much to say that, as
in a mosaic, each piece in a wall
has its value in this style.
Angles of buildings often of ashlar
masonry or smooth-faced stone,
the rest of the walling being of
rough materials, as rubble or
flint.

RENAISSANCE.
Gable ends of churches and build-
ings generally were formed as
pediments, with a low pitch
(Nos. 193 and 211 K) or of semi-
circular form (No. 211 A.)
Simplicity of treatment and breadth
of mass are prominent charac-
teristics (Nos. 193, 197 and 200}
of the style.
GOTHIC.
Gable ends are steep, occupied by
windows, and crowned either
with sloping parapet or orna-
mented timber barge boards
(Nos. 125, 132 j, 138 and 150).
Boldness and richness of sky-line
and intricacy of mass are pro-
minent characteristics (Nos. 121,
125, 161, 162, 164 and 173).
C. Openings. Door and win-
dow openings are semicircular
(
Nos. 206 D and 2 1
4 C), or square-
headed (Nos 194 E and 206 A).
The influence of climate on these
was important. In Italy, with a
1
bright atmosphere, the windows
are small. In northern Europe,
with a dull climate, windows of
the earlier period are large, and
often have stone mullions or
solid uprights dividing the
window space vertically (No.
246). Openings generally come
over one another, and are sym-
metrically disposed with reference
to fagade.
The Classic system of moulded
architrave (No. 94 K) projecting
from the wall face was revived.
Doorways and other openings
are surrounded by such archi-
traves, often richly carved.
C. Openings. Door and window
openings usually pointed (Nos.
142, 143, 156 and 161), and of
considerable size, are divided
by mullions, though not neces-
sarily so. This treatment was for
the introduction of painted glass,
the use or non-use of which
means of decoration influenced
the size and number of the
openings. Often little attention
was paid to the centre lines, i.e.,
the placing of openings over one
another. Windows and doors
were placed where wanted, with-
out much regard to symmetry of
composition.
Openings formed in receding
planes (Nos. 94 F j and 143),
with mouldings of great rich-
ness, were often provided with
small circular shafts and carved
capitals.
D. Roofs. Vaults are of simple
Roman form without ribs.
Domes have usually an internal
plaster soffit or ceiling, and are
painted in colored fresco, upon
which they depend for their
beauty. The dome over a large
space was generally constructed
with an inner and outer covering,
as S. Paul, London (No. 253).
Open-timbered roofs occur, as
in the Jacobean halls, but the
tendency was gradually to plaster
them up (Nos. 242 and 243). All
roofs other than domes were
hidden in Italy, but were made
much of in France and Germany.
D. Roofs .
Vaulting was develop-
ed by means of the pointed arch,
and depends for effect on the
richness of the carved bosses,
on the setting out of the ribs on
which the severy of the vaulting
rests, and on the grace and
beauty of these curves (Nos. 109
and 112). Open-timbered roofs
are a beautiful feature of the
style, the most perfect specimen
in England being Westminster
Hall (No. 113 H). Externally
roofing is an important element
in the design, and in conjunction
with chimneys, must be reckoned
as a means of effect.

RENAISSANCE.
E. Columns. -
The Classic
columns and orders were revived
and used decoratively in fa9ades,
asintheRomanmanner(Nos.i95,
196 197, 200, 205, 219 and 248),
and structurally as for porticos
(Nos. 193 A, K, 198 G, H and 254).
The shafts were often rusticated,
fluted spirally, or wreathed with
bands of foliage and fruit.
"
I, from no building, gay or solemn,
Can spare the shapely Grecian
column."
F. Mouldings. The principal
cornice plays an important part
in the style, and in the Floren-
tine palaces is bold and impres-
sive (Nos. 191, 192 and 198).
Cornices, however, often mark
each story (Nos. 207, 209, 210
and 215).
The contours of mouldings follow
on Roman lines, as may be seen
in the architrave (Nos. 194, 206,
214 and 218), but many new
combinations of mouldings were
designed.
Cornices and other features of
Classic origin (Nos. 191, 192,
197, 198, 207, 209, 210 and 212)
occur in every building, and are
beautifully carved, refinement
being an essential quality.
Cornices, balconies, string bands,
and horizontal features generally
(Nos. 197 and 209) are strongly
pronounced, and by their fre-
quency and importance produce
an effect of horizonta/ity.
G. Ornament. The human
figure abandoned as a scale,
statuary being often much larger
than life-size (Nos. 200, 204, 205
and 254)
Stained glass was little used, all the
best efforts at color being obtained
by means of opaque decoration,
as fresco or mosaic, which was
lavishly applied to interiors, as
GOTHIC.
E. Columns. Where used, they
were entirely structural, or ex-
pressive of pressures upon the
piers to which, sometimes, they
were attached (Nos. 123, 158, 160
and 177). The relative pro-
portion of height to diameter
does not exist, and the capitals
and bases were either heavily
moulded or carved with con-
ventional foliage.
F. Mouldings. The parapet,
often battlemented, or pierced
with open tracery (Nos. 128,
133 and 147), took the place of
a cornice, and was less strongly
marked than the boldly project-
ing Classic cornice.
The contours and mouldings are
portions of circles joined by
fillets, inclosed in rectangular
recesses in the early peiiods, or
in later times based on a diagonal
splay (No. 146).
Tablets and string courses of
carved ornament occur (No. 147),
varying in outline and treatment
in different centuries. Mould-
ings depend chiefly for effect
upon light and shadow.
Vertical features, such as buttresses
casting a deep shadow, numerous
pinnacles, turrets (Nos. 153, 154,
162 and 185), high roofs, with
towers and spires, produce an
effect of verticality.
G. Ornament. The human
figure adhered to as a scale, 'thus
helping in giving relative value
to parts (Nos. 145 G, 156, 161,
164, 165 A, and 177).
Stained glass was extensively used,
being the chief glory of internal
decoration, and partly the raison
d'etre of the immense traceried
windows, which acted as a frame

RENAISSANCE. GOTHIC.
in the Sistine Chapel, Rome, by for its reception (Nos. 124 E, 133,
Michael Angelo. 153 B and 175).
"
Sgraffito
"
decoration, i.e., Color for exteriors was dependent
scratched and colored plaster, on the actual material, as in
was sometimes applied to the colored marbles of central
exteriors, as in the Palazzo del Italy (see No. 181, Florence
Consiglio by Fra Giocondo Cathedral),
(page 490) at Verona.
Great efficiency in the crafts is Carving was often grotesque and
noticeable in the work of the rudely executed (Nos. 165, 174
early Renaissance architects and 190),but in the best examples,
(Nos. 194, 206, 214 and 218), possesses a decorative character
who were often painters and in harmony with the architecture,
sculptors, e.g., Donatello, Ghi- This was effected by the construc-
berti, and Delia Robbia, examples tive features, such as pinnacles,
of their work being in the buttresses, and arches, them-

Victoria and Albert Museum. selves being enriched.
5. REFERENCE BOOKS (refer to each style).
Note. It is now necessary to glance briefly through the chief
peculiarities of the Renaissance style or manner in each
country, noticing the influence of climate and race, and,
where possible, the social and political causes which were at
work.
As about this period the names of architects begin to be
prominently mentioned in connection with their own designs,
it will sometimes be convenient to group them into schools
for that purpose. In this respect much information may be
derived from reading
" The History of the Lives and Works
of the most celebrated Architects," by Quatremere de Quincy,
and the biographies of G. Vasari, Milizia, and others, transla-
tions of which are published, and will be found in the
R.I.B.A. Library. Interest in their works will be much
increased by reading of the influences which directed these
master-minds, and the various incidents in their lives which
tended to influence their work.
The student should study many excellent examples which
have been collected in the architectural courts of the Crystal
Palace, the Victoria and Albert Museum, and elsewhere,
for it is only by a close study of the details themselves that
the style can be thoroughly grasped.

ITALIAN RENAISSANCE. 1
(See page 227 for Italian Romanesque.)
(See page 404 for Italian Gothic.)
"
Come, leave your Gothic, worn-out story.
They love not fancies just betrayed,
And artful tricks of light and shade,
But pure form nakedly displayed^.
And all things absolutely made." C LOUGH
THE Renaissance of Italy varies considerably in the chief centres
of the great revival, namely, Florence, Rome, and Venice,
and this was due to various social and political causes, which will
be enumerated shortly.
THE FLORENTINE SCHOOL.
"Florence at peace, and the calm, studious heads
Come out again, the penetrating eyes ;
As if a spell broke, all resumed, each art
You boast, more vivid that it
slept awhile
'Gainst the glad heaven, o'er the white palace front
The interrupted scaffold climbs anew ;
The walls are peopled by the painter's brush,
The statue to its niche ascends to dwell." BROWNING.
i. INFLUENCES (see page 437).
i. Geographical. It must be remembered that Florence was
more than a city, being, in fact, one of the powers of Italy,
although its dominions included only a small part of Central Italy.
The activity and influence of the Florentines caused a Pope to
declare that they were the fifth element.
ii. Geological. The quarries of Tuscany supplied large
blocks of stone and marble, which, being near the surface, were
easily obtained for building purposes, and the monumental
character and massiveness of these materials considerably
influenced the style of the architecture.

ITALIAN (FLORENTINE) RENAISSANCE. 447
iii. Climate. Among other causes which affected the
development of the style, the bright and sunny climate rendered
large openings for light unnecessary. The character of the
climate is well indicated by Tennyson :
' '
In bright vignettes, and each complete
Of tower or duomo, sunny-sweet,
Or palace how the city glittered
Through cypress avenues, at our feet."
iv. Religion. At this period Florence produced the great
Dominican preacher, Savonarola, whose reforming energy divided
the city, and swayed its policy. He looked to the French king
to call a general council
'
to reform the Church. In art he
tended to the Puritan theory, and although suppressed by the
Pope, his influence on the minds of his generation was not lost,
the Sistine frescoes bearing witness to his power over Michael
Angelo.
v. Social and Political. In Italy generally there was a
wave of national enthusiasm and patriotic feeling and an
endeavour to assimilate the old Roman magnificence in art.
The Medici dynasty, so intimately connected with the rise of
Florentine art, was founded by John of Medici (died 1429), who
took the popular side against the nobles, gradually usurping
supreme authority over the State. His son Cosimo (died
1464) employed his wealth liberally in the advancement of art.
He founded the Medici Library and Platonic Academy, and was
the patron of Brunelleschi, Donatello, Michelozzo, Lippi, Masaccio,
and others. Pietro and Lorenzo Medici succeeded Cosimo, and
Florence "the Athens of the Renaissance" became the centre
of the revival in art and literature.
The artists of the period were often at the same time sculptors,
painters, and architects, and among these were : Luca .della
Robbia (1400-1482), famous for glazed reliefs in terra-cotta,
some of which are in the Victoria and Albert Museum ;
Lorenzo
Ghiberti (1378-1455), the sculptor of the bronze gates to the
Baptistery, reproductions also being in the same Museum;
Donatello (1386-1466); Mino da Fiesole (A.D. 1431-1484), and
Benedetto da Majano (A.D. 1442-1497), famous for his bas-reliefs
and statues at Florence and elsewhere. As showing the com-
mercial prosperity of Florence, it is worthy of note that the
golden florin was first coined in that city in 1252, and soon became
the general standard of value in Europe.
As rival parties in the city were engaged in constant hostilities,
safety and defence were primary motives in building, the palaces
being in reality semi -fortresses.
vi. Historical. Florence commenced to grow in importance
on the removal of the inhabitants of Fiesole to the banks of the
Arno in 1125.

The grouping together of the independent commonwealths of
Italy is a feature of this period, and, as in ancient Greece, one
city bore rule over another. Pisa became subject to Florence in
1406, and the latter gradually became the chief power in
Italy, and also in the fourteenth century the artistic capital.
During this period the nobles were at constant feuds with each
other, being divided into the hostile camps of Guelphs and
Ghibellines (pp. 230, 259), the former being generally successful.
Dante Alighieri (1265-1321) took part in these conflicts, but
eventually the wealthy family of the Medici became the ruling
power in the State (see above). In 1494 Charles VIII. of France
occupied Florence, during his brief invasion of Italy, which arose
from his claims on the kingdom of Naples. The short-lived
republic of Savonarola (see above) followed, but the Medici,
in spite of successive banishments, were finally reinstated by
the Emperor Charles V., who, acting on behalf of the- Ghibel-
lines, took the town in 1530. During a siege of eleven months,
Michael Angelo acted as the engineer of the republic. The
suppression of political liberty followed, especially under Cosimo I.
(1537-1564), who, however, greatly extended the Florentine
dominions, Siena being ceded to him in 1557 by the Emperor.
His successors, the Grand Dukes of Florence, followed, until in
1737, the House of Medici becoming extinct, the Duchy passed
into the hands of Austria. In 1801, as the Republic, and
afterwards as the Kingdom of Etruria, it
enjoyed political freedom
with the exception of the years 1807-1814, during which time it
was incorporated with France, but in 1860 it was united to the
Kingdom of Italy.
The massive blocks of rusticated masonry in the lower stories
(No. 192) of the Florentine palaces give to these buildings that
character of solidity and ruggedness for which they are remark-
able. The palaces were all built round interior courts, possibly
derived from the arcaded cloister of the mediaeval monastery, the
walls resting on columnar arcades (No. 191). The general
absence of pilasters, as decorative features, is specially noticeable
in the design of the palaces, which are therefore called "astylar."
The sparing use of carved detail, and in fact of features of any
kind, gives a marked character of simplicity to the style. The
grand effect of these palaces is
considerably aided by the massive
cornice which crowns the structure, being proportioned to the
whole height of the building, as in the Riccardi Palace (No. 191 D).
The columnar arcade is a special feature, as in the Ospedale degli
Innocenti and the Loggia S. Paolo, and mural monuments and
altars are exceedingly rich with sculpture and decoration.

ITALIAN (FLORENTINE) KE&AISSANCE.
The types of doors and windows may be divided into three
groups :
(0.) The arcade type, usual in the heavily rusticated examples,
consists of a round a'rch, in the centre of which is a circular
column supporting a simple piece of tracery (Nos. 191 and 194 D) ;
as at the Strozzi, Pitti, and Riccardi Palaces.
(b.) The architrave type is that in which mouldings inclose the
window, and consoles on either side support a horizontal of
pediment cornice, as in the courtyard of the Pandolfini Palace'
and in the Palazzo Riccardi (No. 192).
(c.) The order type is that in which the opening is framed with
a pilaster or column on each side supporting an entablature
above, this being the final development, as employed in the'
Pandolfini Palace, ascribed to Raphael, and also shown in
,No. 194 F,
3. EXAMPLES.
Note. Having reached the period when the personality of the
architect has increased in importance, the chief works of
Brunelleschi, Alberti, and others, as being the leaders of the
Florentine school, will be briefly enumerated.
BRUNELLESCHI (A.D. 1377-1446),
a Florentine by birth, studied the features and construction of
the Pantheon and other examples of Roman architecture, which
henceforth exerted a considerable influence over his works, his
main object being to complete the unfinished dome over the
Cathedral of Florence.
The Dome of Florence Cathedral (A.D. 1420-1434) (Nos.
176 and 181) was Brunelleschi's principal work, his design being
accepted in competition. It is said that it was constructed without
any centering, with voussoirs having horizontal joints. It covers
an octagonal apartment 138 feet 6 inches in diameter, and is
raised upon an octagonal drum in which are circular windows
lighting the interior. The dome itself is constructed of inner
and outer shells, and is pointed in form, being constructed on a
Gothic principle with eight main ribs and sixteen intermediate
ribs.
S. Lorenzo, Florence (A.D. 1425) (No. 193 D), and S. Spirito,
Florence (No. 193), are both examples of churches on the basilican
plan, the latter having aisles formed round the transepts and choir,
and a flat wooden ceiling to nave, and is probably the earliest
F.A. G G

FLORENTINE RENAISSANCE EXAMPLES. I.
T

ITALIAN (FLORENTINE) RENAISSANCE.
192. PALAZZO RICCARDI, FLORENCE.
G G 2

L
FLORENTINE RENAISSANCE EXAMPLES.
HW
193,

ITALIAN (FLORENTINE) RENAISSANCE. 453
instance where isolated fragments of entablature are placed on
each column with the arches springing from these.
The Pazzi Chapel, Florence (in S. Croce) (A.D. 1420)
(No. 193 A, B, c), is a refined example of his smaller works,
consisting of a dome over a square compartment, which is entered
through an open colonnade of six columns supporting a decorated
vault and forming the front fa9ade.
The Riccardi Palace (1430) (Nos. 191 and 192) and the
Pitti Palace (1440), in both of which he appears to have been
associated with Michellozzo (1397-1473), are examples of the
massive rusticated buildings with heavy crowning cornice for
which the Florentine style is noted.
ALBERTI (1404-1472)
was a scholar deeply interested in classical literature, and his works
exhibit more decorative treatment and are less massive than
those of Brunelleschi. He wrote a work on architecture,
" De
Re ^Edificatoria," which largely influenced men's minds in favour
of the revived Roman style.
The Ruccellai Palace, Florence (A.D. 1451-1455) is known as
the first Renaissance building in which superimposed pilasters
were used, and shows a lighter and more refined character,
although dignity was lost compared with the Pitti Palace, by the
reduction in size of the great crowning cornice.
S. Francesco, Rimini (A.D. 1447-1455), a thirteenth century
Gothic church, was remodelled in the revived style, but the fa$ade
was never completed.
S. Maria Novella, Florence (A.D. 1470), was one of the
first churches in which consoles were placed in the facade over
the side aisles to connect them with the nave.
S. Andrea, Mantua (A.D. 1472-1512) (No. 193), is particularly
notable and important as the type of many modern Renaissance
churches, and consists of a single nave with transepts, the
interior ornamented with a single order on pedestals supporting a
barrel vault. Chapels, alternating with entrance vestibules, take
the place of the customary aisles on each side of the nave. Over
the intersection of the nave with the transept is a dome, in the
drum or lower portion of wr
hich are windows lighting the interior.
The chancel is apsidal, lighted by three windows, which cause the
entablature to be mitred round the pilasters of the order which
carry the lunetted half dome of the apse.
The perfection of the proportions makes the interior of this
church one of the grandest in the style, and the front is reminiscent
of a Roman triumphal archway.

The Strozzi Palace (1489) (No. 191), and the Gaudagni
Palace, both by Cronaca, are other Florentine, examples.
Note. Characteristic Florentine ornament is shown in No. 194.
4. COMPARATIVE (see page 490).
5. REFERENCE BOOKS.
GENERAL.
Alberti (L. B.).
"
De re redificatoria. or I dieci Libri de' 1'Architettura."
English Translation by Leoni, entitled "Architecture in Ten Books."
Anderson (W. J.)." Architectural Studies in Italy." 1890. .
Anderson (W. J.). "The Architecture of the Renaissance in Italy."
8vo. 1901.
Burckhardt (J.).
" Die Renaissance in Italien." Stuttgart, 1867.
Fletcher (Banister F.).
"
Andrea Falladio." 410. 1902.
Gruner (L.).
"
Fresco Decorations and Stuccoes of Churches and
Palaces of Italy." 2 vols., plates in folio and text in 4to. 1854.
Kinross (J.).
" Details from Italian Buildings." Folio. i82.
Melani (A.).
" Manuale di Architettura Antica e Moderna.'' 1899.
Nicolai (H. G.).
"
Das Ornament der Italienischen Kunst des XV.
Jahrhunderts." Folio. Dresden, 1882.
Oakeshott (G. J.). "Detail and Ornament of the Italian Renaissance."
Folio. 1888.
Sanmicheli(M.).
"
Le Fabbrichecivili Ecclesiastiche eMilitari." 1832.
Schutz (A.).
" Die Renaissance in Italien." 4 vols., folio. Hamburg,
1891-1895.
Serlio (S.).
"
I
cinque libri d'Architettura." English translation by
R. Peake, entitled
"
The Five Books of Architecture made by Sebastian
Serly." Folio. 1611.
Strack(H.). "Central und Kuppelkirchen der Renaissance in Italien."
;san<
FLORENTINE SCHOOL.
Gauthier (M. P.).
" Les edifices de la Ville de Genes." Folio. Paris.
1818.
Geymuller (H. Von.) and Widmann (A.)." Die Architektur der
Renaissance in Toscana." Folio. Munich, 1885-1894, &c.
Grandjean de Montigny (A. H. V.) et Famin (A.). "Architecture
Toscane." Folio. Paris, 1874.
Oliphant (Mrs.).-
"
Makers of Florence." 8vo. 1891.
Raschdorff (J. C.)." Toscana." Folio. Berlin, 1888.
Reinhardt (K.).
"
Genua." Folio. Berlin, 1886.
Ruggieri (F.). "Scelti di Architettura della Citta di Firertze."
4 vols. Florence, 1738.
Eliot (George)." Romola." (Historical Novel.)

FLORENTINE RENAISSANCE ORNAMENT.
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MEDICI CHAPEL
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COMPARATIVE ARCHITECTURE
THE ROMAN SCHOOL.
" See the vild waste of all-devouring years !
How Rome her own sad sepulchre appears !
With nodding arches, broken temples spread." POPE.
i. Geographical. The unique character of Rome as an
influence was its prestige as the capital of an empire that had
crumbled away, and whose architecture was now being revived.
The ruins and new buildings are important as forming models for
the whole of Europe.
ii. Geological. The remains of old Rome, such as the
Colosseum, Pantheon, and colonnades, formed the quarry from
which much of the material for the Renaissance buildings was
extracted.
Hi. Climate. (See pages 112, 404.)
iv. Religion. The return of the popes from Avignon to Rome
in A.D. 1376 helped to restore her to her former position of import-
ance and prosperity. From the time of the Council of Constance,
1415, the popes took a more prominent position as Italian princes,
and during the fifteenth century they greatly extended their
temporal dominions in Italy. Some hoped that Italian unity would
be effected under the papal sway, and Caesar Borgia, ncphc to
Alexander VI., proposed to effect this by absorbing the Italian
states as one would eat an artichoke leaf by leaf. Julius II.
besieged Bologna in person, as sacred and secular capacities were
often combined in the same pope. The Jesuits, founded in the
later Renaissance period, existed to counteract the Reformation,
by rendering the papal influence universal (see below).
v. Social and Political. In Rome a central government
existed, in consequence of which party spirit was checked, and
fortified palaces were not necessary as in Florence. Rome was
the home of the old classic traditions, which naturally exerted
great influence in any new development.
During the fifteenth century the popes were temporal princes,
and great patrons of art and learning. Splendid new palaces and
churches were erected, and the decoration of old ones carried on
by successive painters of whom Peruzzi, Raphael, Michael Angelo,
and others were eminent. A school was created for artists and
workmen, who afterwards spread abroad the style of the Renais-
sance in other parts of Italy and beyond.
vi. Historical. During the absence of the popes at Avignon,
the factions of the barons continued unchecked, except during the
brief rule of Rienzi's republican state in 1347. The return of the
popes took place in 1376 under Gregory XI. The scandal of rival

ITALIAN (ROMAN) RENAISSANCE. 457
popes at Rome and Avignon was terminated in 1415 by the
Council of Constance, after which Rome rapidly gained in wealth
and prestige. Julius II., a warlike and ambitious pope, extended
the temporal power, and founded the new cathedral of S. Peter
and the Vatican.
Rome was, for the last and seventh time, taken and plundered
on the 6th May, 1527, by the Emperor Charles V.
Spanish influence became powerful, and was not always exerted
for good, but it was replaced by that of France, which was strong
under Louis XIV. The growth of the power of Austria was next
felt throughout the Peninsula, until the rise of national feeling
which, though checked in 1848, led in 1870 to Rome becoming
the capital of New Italy. This remarkable revolution was effected
without Rome ceasing to be the headquarters of the papacy.
The Classic orders were largely used in the facades and court-
yards (Nos. 195, 196 and 200), and a general attempt at correctness
and conformity to the ideas of ancient Roman architecture pre-
vailed. The size and simplicity of the palaces of Rome produce
an effect of dignity (No. 197).
The principle which animated architects in the later school was
that of unity, which they endeavoured to attain by making a
whole building appear to be of a single story ;
thus two or more
stories were included by an order of pilasters, which was some-
times crowned by an attic, but never by another superimposed
order. Arcuation was only sparingly introduced, except in the
form of tiers of arcades, in imitation of the Colosseum.
3. EXAMPLES.
BRAMANTE (1444-1514),
the first Roman architect of note, was born in the year that
Brunelleschi died, educated as a painter under Andrea Mantegna,
and was probably a pupil of Alberti. He was a Florentine by
birth, but studied at Rome, practising first in the city of Milan,
and in the ducal dominions.
S. Maria della Grazie, Milan (A.D. 1492), an abbey church
of the fifteenth century, to which Bramante added the choir,
transepts and dome, is essentially transitional in style with
Gothic feeling, but is most successful and suitable in detail for
the terra cotta with which it was constructed.
The Cancellaria Palace (A.D. 1495-1505) (No. 196) and the
Giraud Palace (1503) (No. 195) are examples of Bramante's later
works, in which a more pronounced classical tendency is seen.

ROMAN RENAISSANCE EXAMPLES. I.

The Cortile of S. Damaso, the Cortile delle Loggie, and
the Greater and Lesser Belvedere Courts in the Vatican
(A.D. 1503), are well-known examples of his secular work.
The Tempietto in S. Pietro in Montorio (1502) is a perfect
gem of architecture, the internal diameter being only 15 feet
(No. 199 A, B, c), founded in design on the small Roman circular
temples.
S. Maria della Pace, Rome, erected in 1484, had its later
cloister court of arcades supporting columns constructed in 1504
by Bramante.
Bramante's works of the middle period especially exhibit great
refinement in mouldings, carving, and detail ;
thus he uses flat
pilaste'rs, and circular-headed openings, framed by square lines
(Nos. 196 A and 206 D). His " Ultima Maniera
"
is seen in the
bold and grand designs for the Courts of Law (never finished) near
the Tiber, and in his "
projects
"
for S. Peter (No. 203 D).
An article on "The School of Bramante," by Baron von
Geymiiller, which appeared in the R.I.B.A. Transactions, 1891,
is interesting, as tending to show the influence which Bramante,
who may be called the " continuator
"
of the style of Alberti,
exerted on the development of the Renaissance in 'Rome and in
every European country.
BRAMANTE'S PUPILS AND FOLLOWERS.
Baldassare Peruzzi (1481-1536) was the architect of several
buildings at Rome, and few architects of the school were so well
trained, and able to execute works so finished in detail, whether
of plan, section, or elevation.
The Massimi Palace, Rome (A.D. 1536) (No. 196 c, D), an example
full of refinement and beauty, both in design and detail, is especially
interesting in the way the convexfagade has been treated.
The Villa Faniesina, Rome (A.D. 1506), is a two-storied structure
(each story comprising an order) with boldly projecting wings,
central arched loggia and rich crowning frieze. The latter was
ornamented with cupids holding festoons, and contained windows,
a system afterwards made use of by Sansovino in the Library of
S. Mark (No. 210). The remarkable frescoes of this building
were executed by Peruzzi and Raphael.
Dorchester House, Park Lane, London, by Vulliamy, was
founded on this design.
S. Maria della Consolazione, Todi (1508-1604) (No. 199), by Cola
da Caprarola, is ascribed to his influence, but is overladen with
pilasters.
Ant. da Sangallo the younger (A.D. 1485-1546) erected the
Farnese Palace, Rome (Nos. 197 and 198). This is the grandest
of all the examples of the school, and is executed in brick walling

ROMAN RENAISSANCE EXAMPLES. II.
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with travertine dressings from the Colosseum. Columns or
pilasters are used only in a special way to form frames -to the
windows, each of the stories being well marked horizontally by
projecting string courses. The grand crowning cornice, which was
a special feature in the original design (No. 198 B) was added later
by Michael Angelo. The internal open court (" cortile ") is in the
style of the Colosseum, and a reduced cast of a portion of it
may
be seen in the Italian Renaissance Court at the Crystal Palace,
and the "motif" was followed for the Reform Club, London.
Raphael (A.D. 1483-1520) was the nephew and pupil of
Bramante, but authorities differ as to his exact responsibility
for the designs ascribed to him.
At Rome, he was engaged on S. Peter, but did little. He
designed the facade of S. Lorenzo in Miranda, and also the
Villa Madama (A.D. 1516), the stucco decorations being by Giulio
Romano.
The Pandolfini Palace, Florence, erected in 1530 (ten years after
his death), is one of his most famous designs, the "motif" being
afterwards followed for the Travellers' Club, London.
The excavation of the Baths of Titus gave Raphael an oppor-
tunity of studying the interior decoration of ancient Roman
buildings, and the use of hard stucco with painted decorations
was one of the things he learned from these remains. The
surface of the vaulting was found to be painted with studies from
the vegetable kingdom, with figures of men and animals, and
with such objects as vessels and shields, all blended together in
fanciful schemes, rendered pleasing by bright coloring.
The designs for the decoration of the Vatican Loggie, wr
hich he
carried out, were based on these Roman examples.
Giulio Romano (A.D. 1492-1546) was a pupil of Raphael, and
was the architect of buildings at Mantua, including his master-
piece the Palazzo del Te, which is a one-story building, decorated
with the Doric order. It is quadrangular in plan, and comprises
large saloons round a central court. The recessed arcaded facade
to the garden and the painted ceilings are remarkable, and the
design is perhaps the nearest approach made on the part of a
Renaissance architect to reproduce the features of a Roman villa.
G. BAROZZI DA VIGNOLA (A.D. 1507-1573)
exercised great influence by his writings, and was the author of
" The Five Orders of Architecture." Being taken back to France
by Francis I.
(page 497), he exercised a great influence on the
development of French Renaissance architecture.
The Villa of Pope Julius, now the Etruscan Museum,
Rome (A.D. 1550) (No. 238 D, E), is one of his best known works.
The Palace of Caprarola (No. 201) is a pentagonal semi-

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fortress situated on the spur of a mountain looking down into the
valley, recalling Hadrian's tomb in mass and outline, while the
internal circular court is suggestive of the Colosseum at Rome
(see the Chateau de Chambord, page 500).
S. Andrea, Rome (A.D. 1550) (No. 199) one of his earlier and
smaller works, is a simple oblong on plan having an elliptical
dome with pendentives.
The two small cupolas at S. Peter (No. 203 E), and the
unfinished municipal palace at Bologna, are other works.
The Gesu Church (A.D. 1568-1632) (No. 199) is one of many
designed on the lines of S. Peter, Rome.
MICHAEL ANGELO (A.D. 1474-1564),
a famous Florentine sculptor, and painter of the roof of the
Sistine Chapel in the Vatican (A.D. 1508), representing the Fall
and Redemption of Mankind, also turned his attention, late in
life, to architecture, but reckless detail mars his work. He
finished the Farnese Palace, and carried out the Dome of
S. Peter (page 471), but perhaps his best work was the recon-
struction 'of the Palaces of the Capitol (A.D. 1540-1644)
(Nos. 200 and 201), grand examples of one-order buildings.
His principal works at Florence were the Mausoleum (or
New Sacristy) (A.D. 1520) (No. 193 D), having statues of his
patrols, Lorenzo and Giuliano de Medici, and the Laurentian
Library (A.D. 1524), both at S. Lorenzo.
S. Peter, Rome (1506-1626), was the most important build-
ing erected in the period, and many architects were engaged upon
it. In plan (Nos. 203 and 213) it was a Greek cross, the later
extension of the nave and aisles toward tne east practically
bringing the whole scheme to a Latin cross. This wr
as probably
effected so as to inclose the whole of the area of the previously
existing church (No. 75 c). The nave, 80 feet wide, consists of
four bays of immense size, the central crossing is covered by the
dome, 137 feet 6 inches in diameter, and the short transepts are
terminated by semicircular a'pses, the western arm being precisely
similar. The high altar stands under the dome, within a
"
baldachino," 100 feet high, over the alleged, tomb of S. Peter.
A vestibule at the East end extends the whole width of the church,
the chancel being at the west end.
The interior (No. 204) has one gigantic order of Corinthian
pilasters, crowned with semicircular barrel vaults, 150 feet high.
The walls are faced with plaster, and colored to imitate marble,
producing a rich effect, and the dome is beautifully decorated in
mosaic.
" No single parts unequally surprise,
All comes united to th' admiring eyes." POPE.
H H 2

ROMAN RENAISSANCE EXAMPLES. V.
SECTION
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'
SHEWING ?IlGnJff
SEEING OUT
Sf
PETERS ROME ERECTED ON THE
SITE OF THE OLD EVHLIC/I OF URETER
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CfNTIfflL CR055ING COlfERED BIT d DOME,
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203 .

The exterior (Nos. 202, 203 and 205), roughly executed in
travertine, has an immense order of Corinthian pilasters, 108 feet
high including entablature, with an attic 39 feet high surrounding
the entire building. The view of the dome from the east except at
a distance, is nearly cut off behind the screen wall of the now
extended nave. The design owes much to the circular four-fold
colonnades added by Bernini in the seventeenth century, which
inclose one of the noblest entrance courtyards in Europe. A good
idea of the building, in its general distribution, is to be obtained
from the model at the Crystal Palace, in which, however, as in
most drawings of the church, the detail is rendered less offensive
by its smaller scale.
S. Peter was recognized as a model of which numberless
churches were erected throughout Italy.
The following is a synopsis of the history of this building :
A.D. 1506.- Bramante, the original architect, formulated a
design in the form of a Greek cross with entrances at East
end. His design for the dome is shown in No. 203 B, D.
Foundation stone laid.
A.D. 1513. Giuliano da Sangallo (d. 1516), Raphael, and Fm
Giocondo (d. 1515), were entrusted with superintendence
of the work. Division of opinion existed as to altering
original plan to a Latin cross. Raphael's suggested ground
plan is shown in No. 203 j.
A.D. 1514. Death of Bramante.
A.D. 1520. Death of Raphael.
A.D. 1520. Baldassare Pevuzzi appointed architect, but died
1536. His suggested plan is shown in No. 203 L. The
capture and sack of Rome disorganized all artistic work.
A.D. 1536. Antonio da Sangallo the younger succeeded him
as architect (d. A.D. 1546). Proposed a picturesque design
of many orders, with a central dome (No. 203 c) and lofty
campanili. His plan is shown in No. 203 M.
A.D. 1546. Michael Angela appointed architect. He rejected
the innovations of Sangallo, restored the design to a Greek
cross, strengthened the piers of the dome, which had
shown signs of weakness, and simplified the form of the
aisles, in which process the masterly planning of the
accessories, by Raphael, which were to give scale to
the interior, disappeared. He planned and commenced
the construction of the great dome, 137 feet 6 inches
internal diameter, the drum of which he completed, and at
his death (1564) left drawings and models for the completion
of the work up to the lantern, the top of which is 405 feet
from the ground.
A.D. 1564. Vignola continued the building of the church,

adding the cupolas on either side of the great dome. These
(Nos. 202, 203 E), excellent in themselves, are ineffective in
relation to the whole mass.
A.D. 1585-1590. Giacomo della Porta and Domenico Fontana
erected the dome from Michael Angelo's wooden model.
A.D. 1605-1612. Carlo Maderna, instructed by Paul V.,
lengthened the nave to form a Latin cross (No. 203 K),
and erected the present contemptible facade (No. 203 E).
A.D. 1612. Rainaldi appointed architect and prepared designs
for campanile, but effected nothing.
A.D. 1629-1667. Bernini erected the fourfold colonnades in-
closing the piazza, 650 feet wide, in front (Nos. 202, 203 K, E
and 205). He also erected the brazen baldachino under
the dome (No. 204) with metal taken from the portico
of the Pantheon.
" With arms wide open to embrace
The entry of the human race." BROWNING.
In Baron von Geymiiller's book, already mentioned, there is a
plan, with the portions of separate dates colored differently,
which is very interesting, and also a comparison drawn between
the fundamental principles of design which characterize each
scheme.
Compare plans (No. 213) :
S. Peter. Milan S. Paul. S. Sophia Cologne.
(No. 176). (No. 80)
Area in sq. yds. 18,000 10,000 9,35O 8,150 7A
Length in yards. 205 148 170 118 156
Pantheon Florence
(No. 54). (No. 176).
Diam. of .dome. 137 ft. 6 in. 142 ft. 6 in. 109 ft. 107 ft. 138 ft. 6 in.
Other examples in Rome are :
The Papal Palaces (A.D. 1574-1590) on the Lateran, Quirinal
and Vatican Hills, and the Chapel of Sixtus V. in S. Maria
Maggiore (A.D. 1543-1607), were by Fontana.
The portico to north transept of S. Giovanni in Laterano
(1586) is also by Fontana.
The Facade of S. Giovanni in Laterano, by Galilei (A.D. 1734).
The Portico to S. Maria Maggiore, by Fuga (A.D. 1743). The
Palazzo Borghese (A.D. 1590), the Palazzo Barberini, by
Maderna, and the Fountain of Trevi (A.D. 1735).
Note. Characteristic Roman ornament is shown in No. 206.

ROMAN RENAISSANCE ORNAMENT.
206.

5. REFERENCE BOOKS.
Fontana (G.).
"
Raccolta delle Chiese di Roma." 4 vols., folio. 1855.
Geymiiller(H.de). "The School of Bramante." R.I. B.A. Trans. 1891.
Geymuller (H. de).
" Les Projets primitifs pour la Basilique de
St. Pierre de Rome/' 2 vojs., 410 and folio. Paris and Vienna, 1875-1880.
Letarouilly (P. M.). ''Edifices de Rome Moderne." 3 vols., folio and
4to vol. of text. Paris, 1868.
Letarouilly.
"
Le Vatican et la Basilique de Saint-Pierre de Rome,"
2 vols. Paris, 1882.
Maccari (E). 11 Palazzo di Caprarola. Folio. Berlin.
Palladio (A.)." 1 Quattro Libri dell' Architettura." The best English
editions are those by Leoni and Ware.
Percier (C.) et Fontaine (P. F. L.).
"
Choix de plus Celebres Maisons
de Plaisance de Rome et de ses Environs." Folio. Paris, 1809.
Rossi (D. de). "Studio d' Architettura Civile della Citta di Roma."
,3 vols., folio. Roma, 1720-1721.
Scamozzi (O. B.).
"
Fabbriche e Design! di Andrea Palladio.
:>
4 vols.,
folio. Vicenza, 1776.
Stiack (H.).
u
Baudenkmaeler Roms des XV.-X.IX. Jahrhunderts."
Folio. Berlin, 1891.
Suys (T. F.) et Haudebourt (L. P.)." Palais Massimia Rome/' Folio.
Paris, 1818.
Lytton (Lord)." Rienzi." ) Historical Novels
Yeats (S. L.).
"
The Honour of Savelli." J
H
THE VENETIAN SCHOOL.
" Underneath day's azure eyes,
Ocean's nursling, Venice lies,
A peopled labyrinth of walls,
Amphitrite's destined halls,
Which her hoary sire now paves
With his blue and beaming waves.
Lo ! the sun upsprings behind,
Broad, red, radiant, half-reclined
On the level, quivering line
Of the water's crystalline ;
And before that dream of light,
As within a furnace bright,
Column, tower, and dome, and spire
Shine like obelisks of fire,
Panting with inconstant motion
From the altar of dark ocean
To the sapphire-tinted sky." SHELLEY
i. Geographical. -The greatness of Venice was founded on
Oriental commerce, due to her important geographical position,
and the effect of this commercial prosperity lasted well into
Renaissance times (pages 232, 404). The history of the Venetian
state was always influenced by the proximity of the sea, and the
peculiar formation of the coast.

ii. Geological. Venice has the appearance of a floating city
founded in the sea, churches, palaces, and houses being set upon
piles in a shallow lagoon, a structural formation having an
important influence on its art.
iii. Climate. This favours out-door life, the heat in summer
being great, though tempered by sea breezes. Open top stories,
called belvederes, exist in many houses. The northern position
renders chimneys more prominent than in other Italian cities.
iv. Religion. Venice continued to maintain a semi-independ-
ence of the Pope, due to her political necessities in those days
of growing temporal power. Strong loyalty to the State even
among the clergy was manifested during the attempted interdict
of Paul V., the learned theologian Paolo Sarpi (1552-1623)
being the adviser of the State during this crisis (1607). The
tolerance of Venetian policy is shown by the erection of the
Greek church, an interesting example of the local Renaissance.
v. Social and Political. During the whole of the fifteenth
century, Venice was engaged in conquering the surrounding
towns, to which Venetian nobles were appointed governors.
The government of Venice was republican, and the rivalry of
the leading families led to the erection of fine and lasting monu-
ments, such as the palaces which line the Grand Canal ;
these
however were not fortresses, as at Florence, but the residences
of peaceable citizens and merchant princes.
vi. Historical. In the middle of the fifteenth century (1453;
Constantinople was taken by the Turks, and the supremacy
of Venice in the East was undermined. By the discovery ot
the new route round the Cape to India by Diaz in 1486, its
commerce was diverted to the Portuguese. During the sixteenth
and seventeenth centuries the Venetians were at constant war
with the Turks, and eventually in 1715 the whole of her posses-
sions, except in North Italy, were taken from her. Yet " the
arts which had meanwhile been silently developing shed a glorious
sunset over the waning glory of the mighty republic."
The Renaissance movement had a very different effect upon
.the architecture of Venice from that which it produced upon the
architecture of Florence, owing to the previously existing circum-
stances of the two cities. The Venetians had a beautiful type of
Gothic architecture of their own, and, being farther from Rome,
were not so much under the influence of that city as was Florence.
Therefore, between the periods of Gothic and fully-developed
Renaissance, there was a period of transition, the earlier buildings

ITALIAN (VENETIAN) RENAISSANCE. 477
in the new style having Gothic in conjunction with Renaissance
details. A notable instance is in the pointed arches of the Renais-
sance facade in the courtyard of the Doges' Palace (No. 210 F)
(see below).
The architecture of Venice is, in general, of a lighter and
more graceful kind than that of Florence, columns and pilasters
being used freely in all designs. A special Venetian feature is
the grouping of the windows near the centre,' leaving com-
paratively solid boundaries to the facades (No. 207), which
facades are comparatively flat, and have no great projections,
in consequence of the houses being situated on the side of
canals, and having a straight frontage with the water. The
rustication of walls, as at Florence, is unusual, and a cornice
usually marks each story (No. 208), in contrast with the great
crowning Florentine cornices. Extreme depth was sometimes
^iven to the frieze, in which windows were sometimes placed
(No. 210 A, B).
The balconies (No. 209) are graceful and important features,
and give light and shade to the facade, having the same effect as
the recessing of portions of the structure.
The regularity of the disposition of a Venetian facade is
described by Browning, who talks of the
" Window just with window mating,
Door on door exactly waiting."
In the later period perfection of details is characteristic of the
Venetian Renaissance, as, for instance, in S. Mark's Library
and the palaces by Sansovino (A.D. 1479-1570). In Longhena's
works and other late examples, the detail became large and
projected boldly, producing strong effects of light and shade,
heavy rustication being used to contrast the basement with the
upper part of the facade (No. 209).
3. EXAMPLES.
The Court to the Doges' Palace (No. 210) was commenced
A.D. 1486, by Ant. Rizzi, the Giant's Staircase, giving access to
the upper portions, being erected by Sansovino in A.D. 1554.
The facade of the Geological Museum in Piccadilly is founded
on the design of the lower part of the courtyard facade of this
palace.
The Library of S. Mark (A.D. 1536) was erected by San-
sovino (No. 210), but the continuation of the design, one order
higher round S. Mark's Square, was executed in 1584 by
Scamozzi. This design has been followed for the Carlton Club,
London.

VENETIAN RENAISSANCE EXAMPLES. I.
B) fc
208.

VENETIAN RENAISSANCE EXAMPLES. II.
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VENETIAN RENAISSANCE EXAMPLES. III.
s y r r y r r r i_y.
2JI.

ITALIAN (VENETIAN) RENAISSANCE,
212. S. MARIA DELLA SALUTE, VENICE.

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ITALIAN (VENETIAN) RENAISSANCE. 485
The Zecca, or Mint, was erected by Sansovino, 1536, and
has a peculiar treatment of column rustication.
The Vendramini Palace (A.D. 1481), by Pietro Lombardo
(Nos. 207 and 208), has to each story an order of engaged
columns the earliest example in Venice. The windows are
semicircular, with a Renaissance treatment of tracery.
The Cornaro Palace (the Army and Navy Club, London,
being a modified copy), by Sansovino (A.D. 1532) ;
the Grimani
Palace, by Sanmicheli (A.D. 1549); and the Pesaro Palace
(A.D. 1650-1680), by Longhena (No. 209), are later examples.
The Scuola di S. Marco (A.D. 1485-1533), the facade of which
was by Pietro Lombardo, is a rich example, held to be founded on
the facade of S. Mark, and has curious sculptured reliefs in
perspective.
S. Maria dei Miracoli (A.D. 1480) (No. 211), by Pietro Lom-
bardo, architect, has no aisles, and the choir is raised twelve
steps above the nave, which is covered with a roof of semi-
circular form, not uncommon in Venice. This is emphasized by a
semicircular pediment on the facade, a feature which also occurs
at S. Zaccaria. The walls are faced internally and externally,
with delicately carved and different colored marbles. The sacristy
is beneath the raised choir, as shown in No. 211 c.
S. Zaccaria (A.D. 1456-1515), a transition example, and S.
Giobbe (A.D. 1451-1493), are other churches worthy of note.
S. Salvatore (A.D. 1530), by Tullib Lombardo, the plan
derived from S. Mark, with domical and barrel- vaulted bays, and
S. Giorgio dei Greci (A.D. 1538), by Sansovino (No. 211), are
other examples of the early or transition period.
S. Francesco della Vigna, by Sansovino (A.D. 1534-1562), has
a fagade (1562) by Palladio resembling S. Giorgio Maggiore.
II Redentore (A.D. 1576) and S. Giorgio Maggiore (A.D.
1560) were both by Palladio (No. 211), although the facade of
the latter was by Scamozzi (A.D. 1575). These churches are
instructive, as exhibiting the difficulties of adopting the Classic
orders to the facades of churches of the basilican plan.
S. Maria della Salute (A.D. 1632), by Longhena (Nos. 212 and
213 E), groups most beautifully with the surroundings on the Grand
Canal. In plan it consists of an octagon with chapels projecting
on each side, the central space being covered by a circular dome,
whose drum is connected to the outer walls by buttresses (No. 212)
over the aisles, their fanciful shapes contributing to the rich
effect. A secondary dome covers the chancel, which projects on
the side opposite the entrance, and a small tower also carried up,
contributes to the picturesque grouping of the exterior.
Note. Characteristic Venetian ornament is shown in No. 214.

VENETIAN RENAISSANCE ORNAMENT.

ITALIAN (VENETIAN) RENAISSANCE.
215. THE BASILICA AT VICENZA, BY PALLADIO.

VICENZA AND VERONA.
These are notable cities possessing many examples of Renais-
sance architecture, and are counted in the Venetian School.
Vicenza was the birthplace of Palladio (A.D. 1518-1580) and
the scene of his labours. His churches are referred to above.
He indefatigably studied, and measured, all the Roman antiquities,
as may be seen by the drawings in his book on architecture. His
designs were mostly erected in brick and stucco, the lower story
being rusticated, and the upper ones having pilasters. A second
method was to comprise two floors in the height of the order
(No. 216 G), to obtain scale in that feature, and unity and dignity
in. the whole composition. There are several examples in Vicenza
of both of these methods, as the Palazzo Barbarano (A.D. 1570)
(No. 216 H), the Palazzo Chierecati (A.D. 1560), the Palazzo Tiene
(A.D. 1556), the Palazzo Capitanio (formerly Prefitizio) (No. 216 G),
and the Palazzo Valmarana (A.D. 1556).
The Teatro Olimpico (A.D. 1580), with the stage built in
perspective, is an interesting building completed by Scamozzi.
The Basilica at Vicenza, originally erected in the mediaeval
period (about 1444), owes its importance to the double-storied
Renaissance arcades. These arcades (Nos. 215 and 216 A, B, c)
were designed by Palladio in 1549, and are his most famous
work, being built in a beautiful stone in two stories of Doric
and Ionic orders, separated by arches supported on a minor order.
This is
generally known as the Palladian "motif" and was pro-
duced in this case by the necessity of making each bay correspond
with the Gothic hall, of which it forms the frontispiece.
The Villa del Capra, Vicenza (generally known as the Rotonda),
is an example of the application of the features of Classic
architecture carried to an extreme (Nos. 216 D, E, F and 238 B).
It is a square building, with a pillared portico on each face
leading to a central rotunda, which appears externally as a low
dome above the tiled roof, hipped all ways from the angles ol
the main building. The design of this building was utilized by
Lord Burlington at Chiswick (page 581), and it has also been
copied elsewhere, both in England and on the Continent.
Although Palladio's designs were mainly executed in common
materials such as brick and stucco, and were often never fully
carried out, still their publication in books had a far-reaching
influence on European architecture, and he wl& followed in his
methods by Inigo Jones (page 567).
Verona owes many of its most important buildings to
Sanmicheli (A.D. 1484-1549), an architect of ability, who
was also the originator of a new system of fortification, and
the entrance gateways through the fortifications of Verona are
excellent instances of his power of giving character to his works,

THE COLONMDE5 SURROUNDING THE MEDIflEVflL TOI/TOHflLL
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4QO COMPARATIVE ARCHITECTURE.
by a bold and original treatment, in which he gave great extension
to the use of rustication as a means of effect.
The Palazzi Pompeii (A.D. 1550) (No. 217 A), Bevilacqua, and
Canossa, are the best known examples of his style at Verona.
The Palazzo del Consiglio (A.D. 1500) at Verona was erected
by Fra Giocondo, and is chiefly remarkable for the colored
"
sgraffito work
"
of the facade.
Note. Characteristic ornament is shown in No. 218.
4. COMPARATIVE.
THE FLORENTINE, ROMAN, AND VENETIAN SCHOOLS.
A. Plans.
Florence. The utmost simplicity and compactness, a style of
planning adapted to town, rather than country buildings.
Staircases inclosed by walls (Nos. 19 1, 193) were vaulted by
ascending barrel-vaults. In church work, the Roman coffered
and vaulted nave (No. 193 E), the Byzantine domical treatment
(No. 193 A), and the Basilican (No. 193 j), were all followed.
Rome. More varied planning on a grander scale (Nos. 196, 198
and 199). Staircases, circular and elliptical, with columnar
supports, are features, as those in the Barberini, Corsini, and
Braschi palaces and the Scala Regia of the Vatican. In church
work, the dome over a circular space (Roman type) (No. 199 c),
and the dome on pendentives (No. 199 G), were used.
Venice. Where an open site permitted, a broken, complex, and
picturesque disposition was adopted ;
otherwise a straight front to
the canals had to be adhered to (No. 208). Staircases, placed
in a central area, surrounded with arcades, belong to this school.
In church work, the Roman barrel-vaulted type (No. 211 D), the
dome on pendentives and Basilican plan (No. 211), were used.
B. Walls.
Florence. The style of fenestration and rusticated quoins
(Nos. 191 and 192). The astylar treatment, which dispenses
with orders and makes each story complete in itself, while
subordinated as a whole by the great top cornice (No. 191)
was adopted. In pure wall treatment it is akin to Egyptian art.
Rome. The style of pilasters (No. 195). Two or more stories
are united by an order upon a graud scale (No. 200). Windows
are disturbing elements, without which the designs would have the
unity of Greek temples.
Venice. The style of columns (Nos. 207 and 209). Stories are
defined by an order to each. Excessive separation by the
entablatures is modified, and corrected by breaking them round
the columns. In the multiplicity of parts the style allies itself
to the Roman, as in the Colosseum.

ITALIAN RENAISSANCE. 493
c. Openings.
Florence. Openings are small, wide-spaced, and severe in
treatment (No. 191). The typical opening is an archway in
rusticated work, divided by a column carrying two minor arches,
forming a semi-tracery head (No. 194 D). In courtyards, arches
resting directly on columns are typical (No. 191).
Rome. Openings seem small in relation to the great order
adopted (No. 195). A square-headed opening was treated with a
framework of architrave mouldings (No. 196), and later on with
orders on a small scale, surmounted by pediments (No. 197).
Venice. Openings are large, numerous, and close set ;
the
arcade and colonnade, as in the Colosseum, were adapted to
palace facades. The treatment of a centre and two wings,
obtained by window spacing, was continued from previous periods
(Nos. 207 and 209).
D. Roofs.
Florence. Flat pitch tiled roofs are sometimes visible (No. 192).
Raking vaults to staircases, and simple cross or waggon-vaults
in halls, generally frescoed.
In churches, the low dome over the crossing was a favourite
feature (No. 193).
Rome. Roofs rarely visible (No. 197).
Vaults of a similar kind were more elaborated, treated with
coffering or stucco modelling (No. 198 H), after the style of the
then newly-discovered Baths of Titus. Domes mounted upon
a high drum and crowned with a lantern are universal in churches
(No. 199).
Venice. Roofs having balustrades preferred (No. 210 A).
Pictorial effect was attempted in the vaulting of halls and stair-
cases. Domes are grouped with towers in churches (Nos. 211
and 212).
In Milan and other North Italian cities, the low internal cupola
was often covered externally by a lofty structure in diminishing
stages, as at the Certosa, Pavia, and S. Maria della Grazie,
Milan.
E. Columns.
Florence. Early examples do not have the orders (No. 192),
though columns were used to arcades, the arches springing direct
from the capitals (No. 191).
Rome. The application of the orders on a great scale is the
"
motif' of the style. In their use, the scale of openings, and the
internal necessities of the building, were not regarded, and even
such features as balustrades were not regulated by use, but by
the system of proportion to the order employed (Nos. 195, 197-
and 200).

494 ITALIAN RENAISSANCE.
Venice. The problem of successive tiers of orders was worked
out (Nos. 207, 208 and 209) ; projecting columns were preferred
to pilasters, and entablatures were usually broken round these
projections.
F. Mouldings.
Florence. Moulding are few and simple. Those between
stories were reduced to the minimum, to give full effect to the
grand crowning cornice, the details of which were based on
Classic examples (Nos. 191 and 194).
Rome. Close adaptation of the features of the Classic orders
marks the Roman style (Nos. 198 and 206), until Michael Angelo,
and his followers, despising the sound methods of the earlier
architects, introduced their arbitrary details.
Venice. Prominence of detail is characteristic of the late
Renaissance works in Venice ;
entablatures have deep soffits
and keystones, and great projection, while spandrels have figures
in high relief (Nos. 208, 210 and 214).
G. Ornament.
The revival of fresco painting and its application to buildings
by the artists of the great schools of Italian painting had an
important decorative effect on all the schools.
Sculptured ornament to friezes carved with infant genii, scrolls,
fruit and masks, was abundantly used in the three schools.
Florence (No. 194). Decoration, such as carving and sculpture,
is collected in masses, which contrast with the plain wall surfaces,
as in the great stone shields at the angles of palaces (No. 192).
Rome (No. 206). Stands midway between Florentine and
Venetian work, having more variety than prevails in the sternness
of the former, and less exuberance than is found in the latter.
Venice (No. 214). Decoration is equally spread throughout the
facade. Every spandrel has its figure, and the high relief of
sculpture competes with the architectural detail in prominence
(No. 209).
5. REFERENCE BOOKS.
"
Calli e Canali in Venezia "(published by Ongania). Venice, 1890-1894.
Cicognara (Conte F. L.).
"
Le Fabbriche e i Monument! cospicui di
Venezia." 2 vols,, folio. Venice, 1838-1840.
Leoni (G.). "The Architecture of Andrea Palladio." London,
1715, '21, '42.
Paoletti (P.).
"
L'Architettura e la Scultura del Rinascimento in
Venezia." 3 vols., folio. Venice, 1893.
Ruskin (J.)
"
Examples of the Architecture of Venice." Folio. 1851.
Ruskin (J.)." Stones of Venice." 3 vols., 8vo. 1851-1853.
Schmidt (O.).
"
Vicenza." Folio. 1898.
Crawford (F. Marion).- "Marietta.'' ) .
.
. .
XT .
Oliphant( Mrs.). "Makers of Venice."/
Hlstoncal Novels.

ITALIAN (MILAN AND GENOA) RENAISSANCE. 495
MILAN AND GENOA.
Although these cities formed no distinct school, as Florence,
Rome, and Venice, there were many noteworthy buildings which
may be briefly referred to.
Milan was, as it is now, one of the richest and most populous
of Italian towns. The powerful family of the Visconti, who in
former times had built Milan Cathedral (page 408), greatly
encouraged art. Brick and terra-cotta were the materials chiefly
to hand, and were employed in the Church of 5. Maria delta
Grazie (A.D. 1492) (page 457), by Bramante, and in the great
courtyard of the Ospedale Maggiore (A.D. 1457), by Filarete, a
Florentine. Both these buildings possess a considerable amount
of Gothic feeling ;
the detail is delicately and richly modelled,
and is very suitable to the material employed.
S. Satire, Milan (A.D. 1474), by Bramante, is famous for its
chancel wall, treated in perspective, and for its octagonal sacristy.
The Certosa, Pavia, near Milan (page 408), which was erected
in the Gothic period (A.D. 1396), has the west facade (A.D.
1476), by Borgognone, in the Renaissance style, and is
probably
the most important of the early examples. It is in marble, and
is specially remarkable for the small scale of its parts, the leading
lines being essentially Lombardian Gothic, although clothed with
Renaissance details. The dome is interesting as a Renaissance
copy of a type used in the Gothic period as at Chiaravalle
and elsewhere. The arcaded galleries, the niches with statues
executed by the greatest sculptors of the day, and the wealth of
beautifully executed detail, make it one of the richest and most
perfect specimens of the arts of the architect and sculptor.
Genoa has some remarkable buildings, principally designed by
Alessi (A.D. 1500-1572), a pupil of Michael Angelo. The building
material at hand was brick, which was covered with stucco, to
resemble stone-work.
The Genoese palaces are remarkable especially for the entrance
courts, the arrangement of the vestibules, courtyards, and flights
of steps, in which advantage was taken of the sloping sites
to produce beautiful vistas of terraces and hanging gardens
(No. 217 D). These buildings usually have their basements
rusticated, and pilasters were freely introduced as a decorative
feature ;
while the facades were crowned by a bold projecting
cornice, supported by large consoles (No. 217 B), the windows
occupying the square intervals between these brackets. Many of
the palaces were painted wholly in one color, and received their
name from it, as the Palazzo Bianco (white), Palazzo Rosso (red),
and the bright coloring, with the help of the Italian sun, gives
them a very bright appearance. The Palazzo Municipio (Doria-

Tursi) (A.D. 1564) (No. 217) and the Palazzi Durazzo, Balbi, and
Cambiassi are the best known. S. Maria di Carignano (A.D. 1552),
also by Alessi, was designed on the lines of Raphael's plan of
S. Peter, Rome.
Note. Characteristic ornament is shown in No. 218.
REFERENCE BOOKS.
Callet (F.) et Lesueur (J. B. C.).
"
Architecture italienne : edifices
publics et particuliers de Turin et Milan." Folio. Pans, 1855.
Durelli (G. and F.).
" La Certosa di Pavia." Folio. 1853.
Gauthier (M. P.)." Les plus beaux edifices de la ville de Genes."
Folio. Paris, 1818.
Paravicini (T. V.).
" Die Renaissance Architektur der Lornbardei.''
Dresden, 1878.
Rubens (P. P.)." Palazzi antichi et moderni di Genova." 1663.
THE ROCOCO STYLE.
The Rococo, or Baroco, style is a debased application to
architecture of Renaissance features, which was followed in the
seventeenth century. Such work is to be distinguished from the
mixtures of certain forms of the early Renaissance, when the
style was commencing, because the Rococo period, coming after
the reign of a highly systematized classical style, represents an
anarchical reaction. Sinuous frontages, broken curves in plan and
elevation, and a strained originality in detail, are the characteristics
of the period. Columns were placed in front of pilasters, and
cornices made to break round them, and broken and curved pedi-
ments, huge scrolls, and twisted columns are also features of the
style. In the interiors, the ornamentation was carried out to an
extraordinary degree, without regard to fitness or suitability, and
consisted of exaggerated and badly-designed detail, often over-
emphasized by gilding and sculptured figures in contorted attitudes.
This style, commencing at the time when the movement in
religion connected with the Jesuits was in progress, was adopted
by them for its essentially modern character, and the features
described are specially to be seen in the Jesuit churches through-
out Italy and the rest of Europe, its almost universal extension
being a monument to their activity. The application of classical
ideas to modern forms, beneath the trappings of bad detail, can
be traced in the later period of the Renaissance movement.
Carlo Madema (1556-1639), Bernini (1589-1680), and Borromini
(1599-1667), were among the more famous who practised this
debased form of art, and among the most prominent examples
are the Roman churches of S. Maria delta Vittovia by Maderna,
5. Agnese by Borromini, and many churches at Naples and
elsewhere.

FRENCH RENAISSANCE.
(See page 246 for French Romanesque.)
(See page 362 for French Gothic.)
"In all new work that would look forth
To more than antiquarian worth,
Palladio's pediments and bases,
Or something such, will find their places." CLOUGH.
i. INFLUENCES (see page 437)
i. Geographical. Refer to pages 246, 362. France had now
more clearly defined boundaries, which hereafter, in spite of the
conquests of Louis XIV. and Napoleon, were not permanently
extended.
ii. Geological. Refer to pages 246 and 362. Paris is built,
so to speak, in a quarry of a fine-grained building stone, and is
a stone city, as London is a brick city.
iii. Climate. Refer to page 246.
iv. Religion. The Reformation maintained practically no
hold in France, the old order remaining until- the end of the
eighteenth century. As, moreover, the supply of churches erected
during the mediaeval period proved adequate, it was the domestic
work which took the lead in this period. Thus the Louis XIV.
style, which had an universal influence upon interiors, and furni-
ture, had little effect upon churches, the Jesuit style (page 496)
prevailing in those built during this period.
v. Social and Political. Paris at this time was the capital
of a compact and rapidly consolidating kingdom, and from Paris
emanated any movement, not only in architecture, but also in
science and literature. The number of chateaux erected during
the early periods of the Renaissance in France was due to
many social causes. The invasion of Italy by Charles VIII. in
1494, and by Francis I. in 1527, in vindication of their claims
to the thrones of Naples and Milan, marks the distribution of
Italian artists and workmen over Europe, and more especially
France, many returning in the train of the French kings. Among
the chief of the artists were Leonardo da Vinci, brought to
France by Francis I. ; Cellini, Serlio, Vignola, Rosso, Prima-
ticcio, and Cortona. In the later period, the Italian Bernini was
F.A. K K

the guest of Louis XIV. A band of Italians journeying from
place to place was responsible for much of the picturesque early
Renaissance south of the Loire.
vi. Historical. The English were driven from France in
1543, and the accession of Louis XL, in A.D. 1461 practically led
to the consolidation of France into one kingdom by the reconcilia-
tion of the Duke of Burgundy. During the first half of the six-
teenth century Italy became the battlefield of Europe. In 1494
Charles VIII. of France, claiming the kingdom of Naples, marched
through Italy, and in 1508 Louis joined the league of Cambray
formed against Venice, Florence being the ally of France during
all this period. Francis I. was defeated and taken prisoner by the
Spaniards at the Battle of Pavia, 1525. In these wars the French
kings, although failing in their actual object, were thus brought
into contact with the superior civilization of Italy, and drawn
into the Renaissance movement, at the same time becoming
more absolute in their own country. From 1558 to the end of
the century, the religious' wars, between the Huguenots and
Catholics, distracted the country. The Massacre of S. Bartho-
lomew took place at Paris, 1572, after which there was an
emigration of Huguenots to England. During the reign of
Louis XIII. (1610-1643) Cardinal Richelieu strengthened the royal
power. Cardinal Mazarin continued his policy, and Louis XIV.,
ascending the throne in 1643, became an absolute monarch. His
conquests, in the Netherlands and Germany, led to a general
coalition against him, and to his great defeat at the hands of
Marlborough. The Revocation of the Edict of Nantes in 1685
led to a further emigration of Protestants to England. In the
reign of Louis XV. (1715-1774) the evil effects of despotism and
bad government became more marked, and the writers Voltaire,
Rousseau, and others weakened authority by their attacks, and
prepared the ground for the great revolution that began in
1792.
Refer to pages 439, 442.
The style may be divided into three periods :
(a.) The Early Renaissance Period, 1461-1589 (or sixteenth
century) comprising the reigns of: Louis XI. 1461-1483,
Charles VIII. 1483-1498, Louis XII. 1498-1515, Francis I.
1515-1547' Henri II.
1547-1559, Francis II. 1559-1560,Ch
,f;
le* IX'
/56o-i574,
^d Henri III. 1574-1589.
(0.) ine Classical Penod, 1589-1715 (or seventeenth century),
comprising the reigns of: Henri IV. 1589-1610 (introducedclassic type), Louis XIII. 1610-1643. and Louis XIV. 1643-1715.

FRENCH RENAISSANCE. 499
The latter reign was a period of remarkable artistic activity,
the architecture being correct and dignified with a large use of
the orders externally, while internally a fanciful style of stucco
and papier mache decoration of scrolls, nymphs, wreaths, shells
and figures form important elements.
(.) The Rococo Period, 1715-1793 (or eighteenth century), com-
prising the reigns of : Louis XV. 1715-1774, and Louis XVI.
1774-1793.
In order to understand better the architectural character of
French Renaissance it is compared with Italian in the following
table :
ITALIAN RENAISSANCE.
A direct return to Classic forms
occurred. Considerable variety
however arose in use and dis-
position ,of the revived architec-
tural features (No. 204).
Principal buildings erected in
towns, as Florence, Rome, and
Venice, being palaces for kings,
dukes and wealthy and powerful
popes (Nos. 192, 195 and 207).
Severe Classic disposition not only
appropriate but necessary in the
narrow streets of Florence and
Rome, or on the straight water-
ways of Venice.
Influence of ancient Rome and her
buildings apparent in greater
purity of sculptured detail, and
in ornamental features.
A city palace as in Florence, Venice,
or Rome is principally seen from
the street, and the architectural
features were often appltgue, i.e.,
only applied to the front fa9ade
(No. 207).
Predominant characteristics are
stateliness and a tendency to
Classical horizontality.
Early buildings were principally
churches, in consequence of the
comparative fewness of these
buildings erected in the Middle
Ages. It was essentially a
church-building age (Nos. 193,
199, 203, 211, 212). although the
number of Italian palaces of the
epoch is very large.
FRENCH RENAISSANCE.
A period of transition in which
Renaissance details were grafted
on to Gothic forms, as at the
Church of S. Eustache (No. 222),
Paris, Chateau de Blois(No. 219).
Principal buildings erected in the
country, mostly on the banks of
the Loire, being palaces built
for royalty and nobility, as
Chambord (No. "220).
The picturesque disposition ot
Gothic origin, more in keeping
with the country surroundings,
where the chief buildings were
erected (No. 221).
Influence of Rome less apparent,
partly because of distance from
the headquarters of the Renais-
sance movement.
A country chateau is seen on all
sides, and the importance of a
picturesque grouping from every
point of view (Nos. 220, 221)
was sought for in these buildings,
so that every fa$ade was of
importance.
Predominant characteristics are
picturesqueness, and a tendency
to Gothic verticality (No. 222).
Early buildings were principally
chateaux for the nobility, who
vied with each other in the erec-
tion of these important structures.
The large number of the churches
of the jVliddle Ages sufficed for
existing needs. It was essentially
a palace-buildingepoch(Nos. 220,
221 and 223).
K K 2

ITALIAN RENAISSANCE. FRENCH RENAISSANCE.
The country houses of the nobles The chateaux on the Loire are
in the Venetian territory, in the irregular Gothic castles, with a
style of Palladio, are symmetrical coating of Renaissance detail
and stately, with no traces of (Nos. 220 and 221) over features
Gothic influence (No. 2 16 D, E, F). essentially Gothic.
3. EXAMPLES.
The Chateau de Blois (A.D. 1508), erected by Louis XII.
and Francis I., is one of the more important examples (No. 219).
The pilaster treatment of the fa9ade, the mullioned windows
showing the preference for the square section of mullion, and the
rich crowning cornice and carved roof dormers, are notable. The
shell ornament, introduced from Venice, was largely employed. In
the famous " Staircase Tower" by Francis I.
(A.D. i
515-1547), the
letter F decoratively formed among the carved balusters, and
vaulting bosses, and the repetition of the carving of the salamander,
the emblem of Francis I., are interesting (No. 219). A Scottish
version (minus the staircase) is to be seen in Fettes College,
Edinburgh.
The Chateau de Bury (A.D. 1520) (No. 220 A, B), near Blois,
is a typical example and may be compared with a typical English
plan (Nos. 131 and 244).
It consists of a large square court, in front of which is a screen
wall, solid externally, but with a colonnade facing the court. The
entrance is in the centre of this wall, and is provided with a,
porte-
cochere, or carriage entrance. The screen wall is flanked by towers,
circular externally, and square internally, and attached to these,
forming two sides of the court, are long wings containing the
servants' apartments on one side, and offices and stabling on
the other. These are connected at the further end of the court
with the main building (Corps de logis) in which the family resided,
and which contained the reception rooms. Behind this main
building was the garden, and in the centre of one side was
placed the chapel. Each of the side wings to the court is
one story lower than the main building, which contained the
family apartments, as mentioned above.
The above description applies equally to French town houses,
up to the present day, with slight modifications dependent on site
and local necessities. In French country houses the windows
face on to an internal courtyard, as in the ancient Roman atrium'
(the courtyard corresponding to the atrium), whereas in English
country houses after the time of Henry VII. the windows all face
outwards, a courtyard being an exception (No. 131).
The Chateau de Chambord (A.D. 1526) (Nos. 220 c, D, and
221), by Pierre Nepveu, is one of the most famous erected in the

FRENCH RENAISSANCE. Sol
219. CHATEAU DE BLOIS.
The Staircase Tower.

FRENCH RENAISSANCE EXAMPLES. I.
I II llJlllilJ.tBl.i
'
F/tto If BfID flf 7Ef^ '
e&sanrj r3^r=inn. KU PI | IJU'
220.

Loire district of central France, and possesses a semi -fortified
character. The traditional circular towers of defence, roofed with
slate covered cones, are incorporated in a palace design infused with
Italian detail. These conical roofs are broken up, where possible,
by rich dormers (No. 225 K, L, M) and tall chimneys, which give to
the building its characteristic confusion, yet richness, of sky-line.
The main block, 220 feet square, corresponding to the keep of an
English castle, was surrounded, and protected on three sides, by
buildings inclosing a courtyard ;
while the fourth side was defended
by a moat. The central feature, or "donjon, "is square on plan,
with four halls as lofty as the nave of a church, and tunnel-vaulted
with coffered sinkings. At the junction of these halls is the famous
double spiral staircase, built up in a cage of stone, whose crown-
ing lantern is the central object of the external grouping. The
smallness of scale in regard to mouldings, the flatness of the
projection to the pilasters, the Gothic feeling throughout the
design, especially the high-pitched roofs, the ornamented chim-
neys, and the general vertical treatment of the features, make
this example one of the most characteristic of Early French
Renaissance buildings. An English version is the Royal Holloway
College, Egham. It may be compared with advantage to the
pentagonal semi-fortress of Caprarola (No. 201), by Vignola
(page 463).
The Palace at Fontainebleau (A.D. 1528) was erected by
Le Breton, architect, for Francis I., whose favourite residence
it was. There is a remarkable irregularity in its plan, due in
part to the convent it replaced, and Vignola and Serlio seem to
have worked on the design. Contrary to Blois, the chief interest
of this example lies in the sumptuous interiors, as in the saloons
decorated by Benvenuto:: Cellini, Primaticcio and Serlio (No. 225).
The exterior is remarkably plain.
Other noteworthy examples are the Chateau d'Azay-le-
Rideau (A.D. 1520) ;
the Chateau de Chenonceaux (A.D.
1515-1523), picturesquely situated by a lake, and standing for
the most part on a bridge over the water, and the Chateau de
S. Germain-en- Laye (A.D. 1539).
The Louvre, Paris. This may be taken as the most
important building in the style, and its construction lasted from
the time of Francis I. to Louis XIV., the building exhibiting, in
consequence, a complete history of the progressive stages of the
French Renaissance style, as shown on No. 220 F.
The general design of the Louvre was originally intended to
cover the ground of the fortified Gothic palace which it replaced.
The present design consists of two stories and an attic (No. 220 E),
arranged round a courtyard, 400 feet square.
Pierre Lescot (A.D. 1515-1578), the first architect, commenced
the work in 1540, under Italian influence, but the original design

only included a court one-fourth the present size. The only
courtyard in Italy to which that of the Louvre may be compared
is the Great Hospital at Milan, commenced in 1456 by the
architect Filaretc. This was formed of open colonnades in two
stories, due no doubt to climatic influences ;
whereas the Louvre
is throughout of solid walling, broken up only by pilasters,
windows, and other architectural features.
The lower order is of Corinthian, the upper of Composite
pilasters, and an order of pilasters of less height was provided
for the attic story.
The sculptured work by Jean Goujon (A.D. 1510-1572) is
especially noteworthy.
Under Henri IV. (A.D. 1589-1610), the gallery facing the Seine
was erected (1595-1608) by Du Cerceau, and shows the debased
inclinations of the period, the details being coarsely carved
throughout. Corinthian columns run through two stories, the
entablature was pierced for admission of windows, and triangular
or circular pediments were placed over pilasters, without any
reference to construction or fitness.
Under Louis XIII. (A.D. 1610-1643) the Louvre, as built by
Lescot, was doubled in size by the architect Lemercier, the
Pavilion de 1'Horloge being added to form the centre of the
enlarged court fagade.
Under Louis XIV. Perrault added (1688) the eastern fagade,
600 feet in length, consisting of a solid-looking basement, above
which is an open colonnade of coupled Corinthian columns, and
additional stories were added on the north and south sides of
the court to make up the necessary height to the eastern block.
Under Napoleon I. the northern portion fronting on the Place
du Carrousal (completed by Napoleon III. (1863-1868) and the
Republic (1874-1878)) was constructed to connect this building
with the Tuileries Palace.
Under Napoleon III. the Louvre was finished by Visconti,
during 1852-1857, by the addition of the fa9ades north and south
of the Place Louis Napoleon, forming one of the most pleasing
specimens of modern French art, in which a certain richness
and dignity are added to the picturesqueness of the earlier
periods.
The Tuileries Palace, Paris (A.D. 1564-1572) was com-
menced for Catherine de Medici, by Philibert de l'Orme.(A.D.
1515-1570). Only a portion of one side was erected, consisting of
a domical central pavilion with low wings on either side. In the
reign of Henry IV. two stories were added by F. B. du Cerceau.
The problem of effecting a proper junction between this palace
and the Louvre was a crux of long standing because of the
want of parallelism between them, but was finally effected
under Napoleon III. as mentioned above. The destruction of the

Tuileries during the Commune in 1871, however, has rendered
the connecting galleries architecturally ineffective.
The Luxembourg Palace, Paris (A.D. 1611) (No. 223 G, H),
was erected by De Brosse for Marie de Medici of Florence, the
intention being to imitate the bold and simple treatment of
Florentine buildings. It resembles the Pitti Palace, Florence,
in the treatment of the. courtyard.
It has a French type of plan, i.e., a "
corp de logis," 315 feet
by 170 feet and three stories in height, from which wings project
230 feet, enclosing a courtyard, and having screen and porte-
cochere in front. It is now used as a Senate House.
The Chateau de Maisons, near Paris (1658), was erected
by Francois Mansard, architect, and is shown in plan and
elevation in No. 223 E, F. It is notable for the effective use of
the Classic orders to each story, the mansard roofs treated
separately for the pavilions and central portion, and general
refinement of detail.
The Palace of Versailles was commenced in A.D. 1664,
by Jules Hardouin Mansard (1647-1708), for Louis XIV.,
and is remarkable only for the uniformity and tameness of its
design. The dimensions are very large, the central projection
measuring 320 feet and each wing 500 feet, thus giving a total of
1,320 feet. Le Notre laid out the gardens which, with their
fountains, terraces and arbours, are very fine.
In addition to the important buildings mentioned, there are
many charming examples of the style, as the House of Agnes
Sorel, Orleans, the Hotel de Bourgtheroulde, Rouen, the
Hotel de Ville, Beaugency, and many others throughout
France.
Amongst later examples in Paris are the Arc de Triomphe
(A.D. 1806) by Chalgrin ;
the Library of S. Genevieve, with
its astylar facade (A.D. 1843-1850), by Labrouste ;
the Louvre,
completed by Visconti ;
the Hotel de Ville, reconstructed in its
original style of the Early Renaissance (A.D. 1533) by Ballu and
Deperthes in A.D. 1871 ;
and the Opera House (A.D. 1863-1875)
by Gamier.
The early examples of the incoming style consisted mainly, as
in England, of tombs, pulpits, altars and doorways, and additions
to churches, in which Renaissance details were often grafted on to
Gothic forms. The tombs of Louis XII. (A.D. 1515) in S. Denis
Cathedral, near Paris, and Cardinal d'Amboise at Rouen ;
the
portals of the church of the Trinity at Falaise ;
the external
pulpit at the Chateau de Vitre, and the apses of S. Pierre at
Caen, are examples.

FRENCH RENAISSANCE EXAMPLES.
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S. Eustache, Paris (A.D. 1532), by Lemercier (No. 222),
in plan is a typical five-aisled mediaeval church, with circular
apsidal end. As to the exterior, it has high roofs, a kind of
Renaissance tracery to the windows, flying buttresses, pinnacles,
deeply-recessed portals, and other Gothic features, clothed with
Renaissance detail. The church is, in fact, laid out on Gothic
lines, but clothed with detail inspired from Italian sources.
S. Etienne du Mont, Paris (A.D. 1517-1538) is another
example to which the same remarks apply. It has a famous
rood-screen, with double staircases and carved balustrading in
Renaissance detail, illustrating the highly developed technical
ability of the masons of the period.
The Church of the Sorbonne (A.D. 1629) was designed by
Lemercier and has a domical treatment with a facade of super-
imposed orders.
S.S. Paul and Louis, Paris (A.D. 1627), is an unfortunate
example of the intermediate period, overloaded with decoration
to its three-storied facade.
Amongst the later examples are S. Sulpice, Paris (A.D. 1650) the
grand two-storied facade being added by Servandoni in A.D. 1750.
The Dome of the Invalides, Paris (1670-1706), by Jules
Hardouin Mansard, which completed the scheme of the Hdtel
des Invalides, commenced in 1670 by Bruant, shows that the
principles of the Italian Renaissance were fully established.
In plan it is a Greek cross, with the corners filled in so as
to make it a square externally (No. 223 A, B). The dome, 92 feet
in diameter, rests on four piers, provided with openings to form
eight, thus bearing a similarity to S. Paul, London. The piers
are so formed as to produce internally an octagonal effect, the
openings leading to four angle chapels, which, being at a different
level, appear independent of the dome. The triple dome is pro-
vided with windows in the drum, or lower portion, above which is
an interior dome, 175 feet high, with a central opening; over this
comes a second or middle dome, with painted decorations, visible
by means of windows at its base ; lastly, over all is an external
dome crowned by a lantern of wood, covered with lead.
The construction differs considerably from that of S. Paul,
London (No. 253), where an intermediate brick cone supports the
external stone lantern.
The Pantheon (1755-81), Paris, was erected from the designs of
Soufflot (A.D. 1713-81). The plan (No. 223 D) is approximately a
Greek cross, four halls surrounding a central one, above which rises
a dome, 69 feet in diameter. The dome is a triple one (No. 223 c)
as that of the Invalides, mentioned above, but the outer dome
is of stone covered with lead. The exterior of the dome is poor
in comparison with that of S. Paul, because of the apparent
weakness and want of variety of the unbroken ring of free-standing

FRENCH RENAISSANCE. 5!!
columns unattached to the drum. The interior of the church has
an order of Corinthian columns with an attic over, and has been
decorated recently with frescoes by foremost French artists. The
vaulting is ingenious, and elegance has been obtained by a
tenuity of support, which at one time threatened the stability of
the edifice. The exterior (No. 224) has a Corinthian colonnade
or portico at the west end, the cornice to which is carried round
the remainder of the fa9ades, which have a blank wall treat-
ment, the light being obtained for the nave by a clerestory over
the aisles.
The Madeleine, Paris (A.D. 1804) was erected by the architect
Vignon. In plan it is an octastyle peripteral temple, 350 feet by 147
feet, showing a direct imitation of ancient Roman architecture, and
being a further step towards absolute copyism. The external
order has a defect, which often occurs in French buildings, viz.,
that the columns are built of small courses of stone, the joints of
which confuse the lines of the fluting, and the architraves are
formed into flat arches with wide joints. The interior is fine
and original, the cella, as it would be called in a Classic structure,
being divided into three bays, covered by flat domes, through
the eyes of which is obtained all the light for the church. At
the east end is an apse covered with a half-dome.
4. COMPARATIVE.
The essential differences between Italian and French Renais-
sance vill now be treated in a comparative manner, but it must
be borne in mind that the subject is treated generally, and that
the comparisons state what usually is the fact, although in many
cases features are found which do not exactly correspond with the
type.
ITALIAN RENAISSANCE. FRENCH RENAISSANCE.
A. Plans. The great feature ot A. Plans. The castles of the
Italian houses is the cortile, or previous period influenced both
central open courtyard, which plan and design of the early
has, in all important examples, chateaux, some of which were
a colonnade or arcade round it. on the site of, or additions to,
It is usual for the main wall, on such castles. Chambord may
the first floor, to stand on the be counted as an attempt at an
piers or columns of this arcade, ideal plan of a mansion, hall
giving ampler space for the castle and half palace (Nos.
important rooms, which are in 220 and 221). The typical house
Italy, on the first or principal plan in the towns has a main
floor, called the "piano nobile
"
block, with two lower wings in-
(Nos. 191, 196, 198, 208 and closing a courtyard cut off from
217). the street by a screen wall.

B. Walls. Straight facades
varied by orders, arcades, or
window-dressings were crowned
by a deep cornice at the top
(Nos. 191, 192, 197, 198 and 210).
Attics are rare, but an open top
story (Belvedere) is a feature
in houses of all classes. Brick-
work was used in large and rough
masses with ashlar facing, atten-
tion being concentrated on the
window dressings or orders.
Later examples, as at Genoa and
Vicenza, are in plaster (Nos.
216 and 217).
c. Openings. Symmetry regu-
lated the position of openings,
and in late examples the use of
the Classic orders, rather than
convenience, determined their
position (Nos. 195, 196, 199,
200, 207, 215 and 216). Early
designs were often astylar, the
openings being the features upon
which all the detail was concen-
trated (Nos. 191, 192 and 197).
In the later buildings greater
plainness prevails to give effect to
the orders. In the Rococo period
a return was often made to the
astylar principle, when excessive
prominence and exaggeration of
detail marked the window dress-
ings, As the attic was rare in
Italian work, on account of the
use of the great cornice, the top
floor openings were often formed
as a deep band, or frieze, or were
set between consoles, which give
support to the' main cornice.
D. Roofs. Flat or low-pitched
roofs are special features, for the
reason that in a narrow street
the roofs could not be seen.
Chimneys, if used at all, were
masked as far as possible (Nos.
!
92>
1
9S) except at Venice.
In early examples tile roofs
were made visible above the
FRENCH RENAISSANCE.
B. Walls. The gables and
prominent stone dormers of the
early period (Nos. 219, 220 and
225) gradually gave place to
pedimented and balustraded
elevations (Nos. 224 and 226).
The mansard roof lent itself to
pavilions which mark the angles
of the facades, while the centre
often has an attic (No. 223 E).
Chimneys continue to be marked
features, though less ornamented
(No. 221). Stone was the
chief^
material, but red. brick was'',
sometimes combined with it.
c. Openings. In early, designs
the mullions and transoms of the
Gothic method continued, though
changed in detail (Nos. 219,
221 and 225 K). Vertical cou-
pling of windows was effectively
practised, but as the orders,
usually one for each story,
came increasingly into use, the
horizontal lines of their entabla-
tures prevailed (No. 220). Sym-
metry in position was carefully
attended to in late work.
Mezzanine floors were much used
in large mansions, with circu-
lar windows (No. 226 J, K),
the main apartments then having
an upper row of windows, to pre-
serve the range of openings
externally (No. 226 R), so as
not to interfere with the fa9ade
treatment. The attic was a
special feature, and circular
windows (ceil de bceuf)
often occur
in it (No. 223 E).
D. Roofs. High roofs are special
features, with elaborately carved
dormer windows and chimneys,
which give sky-line and pic-
turesqueness to the design when
viewed from a distance (Nos. 221
and 222).
The French invention of the
Mansard form preserved the roof

great cornice, the later being
nearly always balustraded (No.
210 A). Domes were relied upon
for sky-line in churches (Nos. 193,
199,211 and 212). The "Bel-
vedere "
gives character to villas.
E. Columns. Pilasters were
either plain, or carved with deli-
cate foliage (Nos. 196, 200, 204,
2060, 214 J, 217, 218), while
star-shaped sinkings are un-
common. The pilaster in Italy
was preferred
*
rather for its
architectural importance as an
"
order/' the panelled decoration
being often omitted.
An "
order "
was often made to
include two or more stories of a
building. In churches especially
a single order prevails, which was
the type of Palladio (Nos. 200,
201, 203, 216).
F. Mouldings. The heavy cor-
nice was provided for protection
from the glare of the Italian sun
(Nos. 191, 192 and 197). In early
examples, string courses were of
slight projection, to give value to
the top cornice. Where the orders
were employed, the details as-
signed to each were used in full.
Mouldings are usually large but
well studied in profile.
G. Ornament. (Nos. 194, 206,
214 and 218). Fresco and
modelled plaster were much em-
ployed, in the early period the
two being combined, as in the
arabesques of Raphael. The
frescoes were, however, some-
times out of scale with the archi-
tecture, and devoid of decora-
tive value. Compare the Vatican,
and the Palazzo del Te, Man-
tua. Later stucco work suffered
in the same way, Venice having
some extraordinary examples of
its abuse. Interiors, generally in
late work, were regulated unduly
F.A.
FRENCH RENAISSANCE.
as a feature (No. 223), and as it
lent itself to pavilions, square
or oblong, such features acquired
great prominence,as at the Louvre,
where they assume the import-
ance of towers.
E. Columns. -- Pilasters were
decorative adjuncts to Gothic
features, rusticated or panelled
in star -
shaped patterns, but
sometimes treated with foliage
(No. 225 H). At Chambord (No.
225 K), the sinkings were treated
with a black inlay, slates being
nailed in the sunk faces of the
stonework.
An "
order
"
or column was
usually given each story (No.
220). Columns usually do not
run through two stories. The
influence of Vignola in this
respect is visible (Nos. 221, 223).
F. Mouldings. Gothic influ-
ence pervaded the early work,
and combinations of methods,
Classic and Mediaeval, in the
profilings of mouldings were tried
(No. 219). Some examples, as
at Orleans, have extremely small
members. The architecture
gradually acquired a special
character from the treatment of
mouldings.
G. Ornament (Nos. 225, 226).
The wood panelling of Gothic
times continued in the early
period, often splendidly carved
with arabesque designs, as at
Blois. I n later work it continued,
but gradually lost the character
and scale of the material. The
Raphael style of decoration was
introduced by Italian artists, as
at Fontainebleau. The tapestry
and hangings of the early period
were superseded by the universal
Louis XIV. style of internal wood,
papier mache, and stucco decora-
tion in white and gold. It was
L L

FRENCH RENAISSANCE ORNAMENT. I,
225.

ilf
FRENCH RENAISSANCE ORNAMENT.
226.
L L 2

by the features of Classic temple
architecture, and have often no
relation to the requirements of
the occupants. Sculpture in later
work lost touch with the decora-
tive feeling of architecture, and
great extravagances were perpe-
trated, as in the fountains of
Rome.
FRENCH RENAISSANCE.
applied to every accessory, and
had the merit of a certain fitness
and unity. Sculpture acquired
an increasing importance, and
the best available figure sculpture
has been used in connection with
modern French architecture.
5. REFERENCE BOOKS.
Berty (A.).
" La Renaissance Monumentale en France." 2 vols.,4to.
Paris, 1864.
Chateau (L.).
"
Histoire et Caracteres de 1'Architecture en France.
8vo. Paris, 1864.
Daly (C.).
"
Motifs Historiques d'Architecture et de Sculpture."
2 vols., folio. Paris, 1870.
Daly.
"
Motifs Historiques : Decorations Interieures." 2 vols., folio.
Desjardins (T.).
"
Monographic de THotel de Ville de Lyon." Folio.
Paris, 1867.
Du Cerceau (J. A.).
"
Les plus Excellents Bastiments de P>ance."
2 vols., folio. Paris, 1868-1870.
Gurlitt (C.).
"
Die Baukunst Frankreichs." 2 vols., folio. 1900.
Palustre (L.).
"
La Renaissance en France." 3 vols., folio. Paris,
1
879- 1
885 .
(Not completed.}
Petit (V.)." Chateaux de la Valle'e de la Loire." Folio. Paris, 1861.
Pfnor (R.).
"
Le Palais de Fontainebleau." 3 vols., folio. Paris,
1859-1867.
Rouyer (E.). "La Renaissance de Fran9ois I. a Louis XIII." Folio.
Paris.
Rouyer (E.) et Darcel (A.)." L'Art Architectural en France." 2 vols.,
4to. Paris, 1863-1866.
Sauvageot (C.).
"
Palais, Chateaux, Hotels et Maisons de France."
4 vols., folio. Paris, 1867.
Verdier (A.) et Cattois (F. P.)." L'Architecture Civile et Domestique."
2 vols., 4to. Paris, 1858.
Chetwode (R. D.).
"
John of Strathbourne." I
. .
* ,
Weyman (S.).-"A Gentleman of France." I
Hlstoncal Novels-

GERMAN RENAISSANCE.
(See page 258 for German Romanesque.)
(See page 393 for German Gothic.)
"
My niche is not so cramped but thence
One sees the pulpit o' the epistle side,
And somewhat of the choir, those silent seats,
And up into the aery dome, where live
The angels, and a sunbeam's sure to lurk ;
And I shall fill
my slab of basalt there,
And 'neath my tabernacle take my rest." BROWNING.
i. Geographical. Refer to pages 258 and 393.
ii. Geological. The absence of stone, in the great alluvial
plains of North Germany, influenced largely the architecture of
that district ;
moulded and cut brickwork was used in every
variety, the general scale of the detail being small, and surface
ornamentation being formed in raised patterns.
iii. Climate. Refer to pages 258, 393.
iv. Religion. Martin Luther (1517-1546) attacked the prac-
tical abuses of certain doctrines of the Church, and brought about
a revolution in the religious life of Germany (see below). Luther's
translation of the Bible into High Dutch caused that language to
become the recognised German tongue. In architecture little
of great interest was produced, old churches, with all their fittings,
continuing to be used, but the prominence given to preaching
brought in galleries and congregational planning.
v. Social and Political. The country consisted of a number
of small kingdoms or principalities, each with its own capital and
government, thus preventing any national effort as in France,
which was under one united head. In the latter part of the
sixteenth century, Heidelberg was the centre of "
Humanism,"
and the chief reformed seat of learning in Germany. The Thirty
Years' War, ended by the Peace of Westphalia in A.D. 1648,
was of social importance.
In the eighteenth century the literary works of Winckelmann,
Goethe and others aroused interest in Greek architecture.

vi. Historical. Charles V. (Charles I. of Spain) succeeded to
all the possessions of the Houses of Castile, Aragon, Burgundy,
and the Low Countries, and this marks the period of the German
Renaissance. In 1516 he obtained the two Sicilies, and in 1519,
on the death of Maximilian, he was elected to the Empire, becoming
the most powerful emperor since Charlemagne.
In 1517 Luther nailed up his theses at Wittenberg, marking
the commencement of the Reformation, which was aided largely
by the revival of learning, and in 1520 he defied the Pope, by
publicly burning the bull of excommunication put forth against
him by Pope Leo X. The Diet of Spires, 1529, passed a decree
against all ecclesiastical changes, against which Luther and the
princes who followed him protested, hence the name " Protestant."
This led in 1530 to the Confession of Augsburg and the con-
federation of Protestant princes and cities, for mutual defence,
called the Smalcaldic League. The war of the Emperor
Charles V. and the Catholics against the Protestant princes
extended from 1546-1555, when the Peace of Augsburg was con-
cluded, which left each state free to set up which religion it
pleased, but made no provision for those people who might be of
different religion to the government of each state. This resulted
in persecutions, and finally in the great religious war, known as
the "
Thirty Years' War," commenced in 1618, and carried on
in
Germany between the Catholic and Protestant princes. Other
princes, such as Christian IV. of Denmark and Gustavus Adolphus
of Sweden, joined in these wars on the Protestant side, under
the Elector Palatine Frederick, who had married a daughter of
James I. of England. Hence many Englishmen and Scotchmen
served in these wars, and France joined in for her own aggrandize-
ment, under Cardinals Richelieu and Mazarin. The Peace of
Westphalia, 1648, provided once more for religious equality and
tolerance in each state. The war had, however, utterly ruined
Germany, and caused France to become the leading nation in
Europe.
This style as in other countries may be roughly divided into
three periods corresponding to the sixteenth, seventeenth and
eighteenth centuries.
The Renaissance style in Germany is
chiefly remarkable for
picturesqueness and variety of grouping, and quaintness and
grotesqueness of ornament, due in a large measure to the traditions
of the preceding style.
It was introduced from France, about the middle of the six-
teenth century, while the Henri IV. style was in vogue, which may

GERMAN RENAISSANCE.
THE RATHHAUS, COLOGNE,

GERMAN RENAISSANCE. 521
account for a good deal of the grotesqueness and crudity which it
possesses.
German Renaissance differs from French in lack of refinement,
and in a general heaviness and whimsicality of treatment, while
it resembles in some respects our own Elizabethan. It forms, in
fact, a connecting link between Elizabethan architecture and
French Renaissance of the time of Henri IV.
Examples are mostly found in towns, whereas in France they
are principally found in the country (page 499).
The later period, which commenced at the beginning of the
nineteenth century, has been called the "
Revival," and was chiefly
confined to Munich, Berlin, and Dresden. It consisted in the
adoption of Classic forms in toto, without reference to their
applicability, or appropriateness.
3. EXAMPLES.
Heidelberg Castle has interesting examples of the style,
especially the fagade of the Heinrichsbau (1556) (No. 227) of the
early period, and the Fveidrichsbau of the later period (A.D. 1601),
which have elaborately-carved string courses, with an order and
its entablature to each story, and classical details surrounding
the windows. Symbolical statuary was prominently introduced
(No. 231 A, B, c), but the design suffers much from over-
ornamentation.
The Gewandhaus, Brunswick, originally executed in the
Gothic, has its eastern gable (A.D. 1590) in this style. The three-
quarter columns, with pedestals and entablatures, marking each
floor, and the immense gable comprising four stories, each provided
with an order of vase-shaped pilasters, as in Elizabethan work,
are characteristic features. The scrolls by which the stages of the
gable are contracted are also typical.
Nuremberg and Hildesheim are also rich in domestic
examples of the period.
The Rathhaus (Town Hall), Cologne, has a fine two-storied
porch (1571) (No. 228), in a style purer in detail than usually
found. It consists of semicircular arcading, with detached
Corinthian columns, and a stone vaulted roof. The arches on
the first floor are pointed, as is also the vaulting.
The Town Hall, Lemgo, with mullioned windows and
shaped gables (No. 229 A), and the Town Hall, Solothurn
(No. 229 B), with pilasters and entablature to each story, are
other characteristic examples.
The Pellerhaus, Nuremberg (A.D. 1605) (No. 230), is an

GERMAN RENAISSANCE EXAMPLES.
229.

GERMAN RENAISSANCE.
2 30. THE PELLERHAUS, NUREMBERG.

example of rich domestic architecture, which also has the
elaborately-treated stepped gables, so characteristic of the period.
The Gateway, Halberstadt (1552), the Castle, Stuttgart
(1553), the Rathhaus, Leipsig (1556), the Rathhaus, Alten-
burg (1562), the Zeughaus at Danzic (1605), the Rathhaus,
Heilbronn, the Stadtweinhaus, Munster (1615), and the
Zwinger Palace, Dresden (1711), are a few of the picturesque
and free examples of the early period.
The Revival by Klenze the architect (A.D. 1784-1864) of the
classical styles in Munich, is responsible for the Glyptotek, the
Pinacothek, and the Walhalla. The Brandenburg Gate,
Berlin (A.D. 1784), is well known, and the celebrated architect
Schinkel (1781-1841) erected the New Theatre, the Museum, and
the Polytechnic School in that city. In all of these buildings the
great idea was to copy classical forms and details, applying them
to modern buildings.
The Parliament House, Vienna, by Hansen (A.EJT. 1843) is
an imposing edifice.
ECCLESIASTICAL ARCHITECTURE,
The new churches were few and insignificant, an abundant
supply for all practical needs remaining from the mediaeval
period as in France.
S. Michael, Munich (A.D. 1582) and the Frauenkirche,
Dresden (1726-1745) are among the best known buildings,
and exhibit a desire for wide, open spaces. The latter especially
is notable, being 140 feet square on plan, and having a dome
75 feet in diameter, resting on eight piers. It is constructed
internally and externally of stone.
4. COMPARATIVE.
A. Plans. The French method of an internal courtyard was
adopted. In towns, many-storied houses were erected with great
roofs, continuing the practice of the mediaeval period.
B. Walls. Gables assume fantastic shapes (Nos. 229 A and
231 E), and richness was produced by the application of columnar
features as ornament (No. 230). Brick and stone were used singly
and in combination.
c.
Openings. Oriel windows of various"
1
shapes and design
were plentifully used, both in the fa9ade itseff (No, 230) and on
the angles of buildings. Such features did not appear at Rome,
Florence, or Venice during Renaissance times
Windows are large, mullioned (No. 229 A), and crowned by
grotesque, or scrolly pediments (No. 2310). In the later periods

GERMAN RENAISSANCE ORNAMENT.
OTTO CH./POJEM
fflHTJUHINfi KUK flf
231

the usual Classic features were adopted (Nos. 229 E and 231
A, B, c, j).
D. Roofs. The large roofs in the town houses, containing
many stories (Nos. 228 and 230), are prominent features in this,
as in the Gothic, period. Such roofs served a useful purpose,
being used as drying-rooms during the periodical wash. There
were two methods of treatment :
(a) making the ridge parallel
to the street front, as generally carried out in Nuremberg; (ft)
making the ridge run at right angles to the street, as adopted in
Landshut, in the south-east of Germany, and many other places.
The first allows for the display of many tiers of dormer windows
(No. 229 F, G), rising one above the other, and the second method
permits the use of fantastically- shaped gables (No. 229 A). The
Pellerhaus, Nuremberg (No. 230), shows a combination of the
two methods.
E. Columns. The orders were employed in a free- manner,
as decorative adjuncts (Nos. 227-231), the stories being marked
by rich cornices ;
the columns and pilasters were richly carved,
and are often supported on corbels.
F. Mouldings. Boldness and vigour must be set against the
lack of refinement and purity in detail. Though Renaissance
details were affected in the preceding style, the worst features of
the last age of the Gothic style, such as interpenetration of
mouldings and other vagaries, were given up.
G. Ornament (Nos. 229 and 231). Sculpture is best seen
in the native grotesques (No. 231 D, F, H), wherein much fancy is
displayed, there being some fine specimens at Heidelberg (No.
231 A, B, c). The imitations of Italian carved pilasters as at
Heidelberg are inferior.
The late glasswork is
interesting, but the art soon died out.
Fresco work was attempted during the revival at the beginning
of the century by the Munich school.
5. REFERENCE BOOKS.
Fritsch (K. E. O.).
"
Denkmaeler Deutscher Renaissance/' 4 vols.,
folio. Berlin, 1891.
Lambert (A.) und Stahl (E.).
"
Motive der Deutschen Architectur."
2 vols., folio. Stuttgart, 1890-1893.
Ortwein (A.).*' Deutsche Renaissance." 9 vols., folio. Leipzig,
1871-1888.
Pfnor (R.).
"
Monographic du Chateau d'Heidelburg." Folio. Paris,
1859.
Ortwein-Scheffers. Studium der Deutschen Renaissance und
Barockstils." 2 -vols., 410. Leipzig, 1892.
Haut (W.).
l
Lichtenstein." (Historical Novel.)

5V)
BELGIAN AND DUTCH
RENAISSANCE.
(See page 385 for Belgian and Dutch Gothic.)
"
Many scarlet bricks there were
In its walls, and old grey stone
On the bricks the green moss grew,
Yellow lichen on the stone.
* * * * * *
Deep green water rilled the moat,
Each side had a red brick lip
Green and mossy with the drip of dew and rain." MORRIS.
i.
Geographical. Refer to page 385.
ii. Geological. Refer to page 385. Brick is the characteristic
material of this phase of the Renaissance.
iv. Religion. The persecutions begun under Charles V.,
and continued under the Duke of Alva, viceroy of Philip II.
of Spain, led to a revolt in 1568 which lasted till 1609. The
Belgians, being mainly Catholics, rallied to Spain, under the
able rule of the Duke of Parma, but the Dutch, strongly
Protestant, constituted the United Provinces, and finally under a
republic became a great power. Their architectural expression
was limited, the barn-like churches developing no features of great
interest. The prominence given to preaching, and the demand
for greater comfort regulated planning, but, whether for lack of
interest or funds, nothing on a large scale was attempted.
v. Social and Political. In Holland the character of the
Dutch is shown in their buildings, which are in general .honest,
matter-of-fact, and unimaginative. The increase of riches through
trade in consequence of the discovery of the New World by
Columbus, was not, however, mirrored by the erection of
monumental structures. Their daring and activity in trade
made them one of the chief powers of Europe during the

seventeenth century, but their extensive colonies gradually passed
over to the English.
vi. Historical. The Spanish occupation of the Netherlands,
and 'the consequent influence of Spanish art in the sixteenth
century, together with the loss of liberty under Charles V.,
and the ultimate expulsion of the Spaniards in 1648, must all
be taken into account in this section. Belgium, as a Catholic
country and a Spanish province from A.D. 1506-1712, remained
under the rule of Spain, when Holland freed herself under the
House of Orange.
Belgian examples are wild and licentious, but picturesque in
the matter of design ;
while Dutch examples are plain, often
approaching dulness. The design of houses and fittings received
a large amount of attention, and details of internal work, including
furniture, were perfected. Brick received its due prominence in
this domestic style.
3. EXAMPLES.
The Town Hall, Antwerp, erected by de Vriendt in A.D. 1565
(No. 233), is one of the most important buildings, the richness
and prosperity of this particular city contributing not a little to
the execution of this fine work. An order, or row of columns,
and mullioned windows were employed in each upper story, the
whole design being placed on a sturdy rusticated basement, and
crowned by a high-pitched roof with dormer windows.
The Hotel du Saumon, Malines, the Ancien Greffe,
Bruges, the Archbishop's Palace, Liege, the Stadthaus,
Amsterdam (only worthy of mention for its great size), the
Hague Town Hall (A.D. 1565), and Leyden Town Hall
(A.D. 1579) (No. 232 G) are other examples. Among recent
works, the Palais de Justice, Brussels, in the Neo-Grec
style, by Polaert, is an imposing edifice.
Domestic Architecture. Although there are few large or
important works erected during the Renaissance period in north-
west Europe, still great benefit may be derived from studying
much of the domestic and civic architecture ;
for while wandering
through the streets of these old-world towns, many charming
specimens of street architecture, executed in bright red brick,
with occasional stone courses and dressings, and with additional
ornament of gracefully-designed iron ties (No. 234 D), are met
with. In the design of the gables, much originality of treatment
is found (No. 232 D, G), leaning rather towards the work found in

BELGIAN AND DUTCH RENAISSANCE
EXAMPLES.
232.
F.A. M M

ft!
BELGIAN AND DUTCH RENAISSANCE
ORNAMENT.
2 34-
M M 2

some of the old German towns, and often verging on the grotesque,
but at the same time thoroughly suited to the use of bricks, and
possessing a certain characteristic quaintness.
Many of these street fronts are good examples of the treatment
of large window spaces.
In Holland, especially, these quaint buildings, of varied colors,
rising very often from the sides of canals, group most harmoniously,
and form fascinating studies for water-color sketching.
4. COMPARATIVE.
A. Plans. The great development of domestic Gothic formed
the groundwork of the achievements of the Renaissance in these
countries. It was in the modifications of detail that the influence
of the latter was felt, Italian forms, generally much corrupted,
being gradually adopted.
B. Walls. Gables of curly outline, grotesque, picturesque,
and rococo in character, are crowded together in streets and
squares. Their general effect and grouping must be enjoyed, with-
out too much inquiry into their rationale or detail (Nos. 232 D, E, G
and 234 D).
c. Openings. These were numerous arid crowded, and were
in continuation of the Gothic practice (No. 232 D). The orders
took the place of the niches, statuary, and traceried panelling,
that surround the windows of the previous period (Nos. 232 and
234 c >
G)-
D. Roofs. The high-pitched forms continued long in favour,
as well as the dormers, towers of many stages (No. 232 c, E), and
visible chimney stacks (Nos. 232 and 233).
E. Columns. The orders were used as decorative features,
being heavily panelled, rusticated, and otherwise treated in a
licentious and grotesque fashion (Nos. 232 G and 234 c, G, j).
F. Mouldings. The same defect, that of coarseness, referred
to under Gothic, continued in this period, and the further divorce
of detail from construction and material rather accentuated the evil.
G. Ornament (No. 234). Carving of vigorous grotesques
occupies any vacant panel or space (Nos. 232 F, H and 234 K), the
motifs being usually Italian,
"
corrupted
"
or "
original," according
to the critic's point of view. The woodwork (No. 234 A, B, F, H)
and stained glass of this age are especially worthy of study.
5. REFERENCE BOOKS.
Ewerbeck (T.).
"
Die Renaissance in Belgien und Holland." 2 vols.,
folio. Leipzig, 1883.
George (E.).
"
Etchings in Belgium." 410. 1878.
Ysendyck (J. J. van)." Documents classes de 1'Art dans les Pays-
Bas." 5 vols., folio. Antwerp, 1880-1889.
Haggard (H. R.).
"
Lysbeth." (Historical Novel.)

si*
SPANISH RENAISSANCE.
(See page 424 for Spanish Gothic.)
"For God, the universal Architect,
It had been as easy to erect
A Louvre or Escurial, or a tower
That might with Heaven communication hold,
As Babel vainly thought to do of old ;
He wanted not the skill or power." COWLEY.
i.
Geographical. The position and power of Spain, arising
from the discovery of the new world, combined with the vast
hereditary and conquered possessions of the Spanish monarchy,
made her the leading nation in Europe.
ii. Geological. Refer to page 424. The presence of very
pure iron ore, in the northern mountains, facilitated the develop-
ment of decorative ironwork. Granite was much used, and brick
was also employed in certain parts.
iv. Religion. The Reformation obtained no hold whatever
in Spain. The religious aspect of the great struggle with the
Moors, and the national character of the church have already been
mentioned (page 424). The counter reformation found its motive
force in the Jesuit order, founded by a Spaniard, Ignatius de
Loyola.
v. Social and Political. The people were a mixed popula-
tion, in which the Goths of Northern Europe and the Moors of
North Africa formed the most important elements.
From the latter part of the fifteenth century the power of
Spain gradually increased, until she became the chief power of
Europe. Absolute despotism was the policy of Philip II., Jews
and heretics being persistently persecuted. Under Philip III.
(1598-1621) the Moriscos were driven out of the country, and
this proved a great loss to Southern Spain, which by their hard
work had been made to flourish.
vi. Historical. The accession of Ferdinand and Isabella to
the throne, and the fall of Granada in A.D. 1492, mark the

consolidation of Spain, the expulsion of the Moors, and the
beginning of the Spanish Renaissance.
The great dominions of Spain were due to a succession of
marriages, Charles V. reigning over Spain, the Netherlands,
Sardinia, Sicily, and Naples, Germany, and Austria. This
empire was held together by his skill in government, and by the
excellence of the Spanish army, the infantry being the finest at
that time in Europe. Philip II. checked the power of the Turks
by winning the great naval battle of Lepanto, 1571, but his
harsh and despotic rule alienated the Netherlands, and the
expedition against England ended in the defeat of the Armada
in 1588. Provinces were gradually lost, and Spain as a power
ceased to exist. Napoleon's invasion, at the commencement of
the nineteenth century, led to an outburst of national resistance,
which was aided by the English. Many revolutions followed,
but progress, as understood by other nations, has been slow.
The style, as in other European countries, may be divided into
three tolerably distinct periods :
(a) The Early Renaissance Period, lasting to the middle of the
sixteenth century ; (b) The Classical Period of the latter half of
the sixteenth century and the first half of the seventeenth century ;
and (c] The Rococo Period of the latter part of the seventeenth
and the eighteenth century.
In the early period, Renaissance details, grafted on to Gothic
forms, and influenced to some extent by the exuberant fancy of
the Moorish work, produced a style as rich and poetic as any
other of the numerous phases of the Renaissance in Europe.
The style of this period, from being minute in detail, is called
"
Plateresque," from its likeness to silversmith's work, from
"
platero
"
silversmith.
The middle period became more classical, as was the case in
Europe generally, and the chief expositors were the architects
Berruguete (d. 1560), and Herrera (d. 1597), a pupil of Michael
Angelo.
The late period shows that the style, known as Churrigueresque,
fell away from true principles, becoming imbued with the Rococo
innovations.
3. EXAMPLES.
The University, Alcala (A.D. 1500-1517), has an open arcaded
story under the roof a specially characteristic feature and details
showing the lace-like character of the Plateresque period.

SPANISH RENAISSANCE
2 35- TOWN HALL, SEVILLE.

SPANISH RENAISSANCE EXAMPLES.
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SPANISH RENAISSANCE. 537
The Archbishop's Palace, Alcala, is also noteworthy.
The " bracket
"
capitals, on the first floor in the courtyard, are
undoubtedly of wooden origin, their use being to decrease the
long bearing of the architrave.
The Casa Miranda, Burgos (No. 237), has a "patio" or
courtyard, a feature mostly found in Spanish buildings, and
the columns have typical bracket capitals.
The Casa Lonja (Exchange), Seville, was built (1583-98)
from the designs of the architect Herrera. It has a rich facade
(No. 235), and a handsome "
patio
"
surrounded by a double
storied arcade in the Doric and Corinthian orders. It has been
considerably extended at later periods, but much of the stone-
work has remained uncarved. It is
generally regarded as the
best example of a municipal building in Spain.
The Alcazar, Toledo, an ancient square castle of Moorish-
Gothic architecture, has one facade (A.D. 1548) (No. 236 A) in the
early Renaissance of Charles V., while the interior possesses a
fine "
patio
"
surrounded by arcades in two stories, supported on
Corinthian columns. On the south side is a grand staircase
inclosed in a space, 100 feet by 50 feet, and having off the half
landing a grand square two-storied chapel. The back elevation
is an early example of a many-storied building in the classical
style, the whole of this severe and monumental building being
executed in granite.
The Palace of Charles V., Granada, adjoining the
"
Alhambra," was erected in 1527 by Machuca and Berruguete,
and is an important structure. In plan it is a square, 205 feet each
way, inclosing an open circular court 100 feet in diameter. The
external fagade is two stories in height, the lower being rusticated,
and the upper having Ionic columns. Both basement and upper
story have bull's-eye windows above the lower openings, so that
mezzanines could be lighted where these occur. The circular
internal elevation is an open colonnade in two stories, with the
Doric order to the lower, and the Ionic order, of small height, to
the upper story.
The structure is built in a golden-colored stone, the central
feature of the two visible fa$ades being in colored marbles. The
sculpture is by Berruguete, and the whole design, which is of the
Bramante school, is the purest example of Renaissance in Spain.
The palace was never roofed in or occupied.
The Palace of the Escurial (No. 238 c), near Madrid, was
commenced by Juan de Bautista for Philip II., but in 1567
Herrera was appointed architect. It is a group of buildings on a
site 740 feet long by 580 feet wide, exclusive of palace, and con-
sists of a monastery, college, palace, and church, all grouped into one
design. The grand entrance, in the centre of the long facade,
leads into an atrium, to the right of which is the college with its

SPANISH RENAISSANCE,
237. BURGOS.
" Patio" of the House of Miranda, showing the
Bracket Capital.

SPANISH RENAISSANCE. 539
four courts, 60 feet square, surrounded with three stories of
arcades, and beyond is the great court of the college. On the
left of the atrium is the monastery, with three courts 60 feet
square, and beyond is the great court of the palace. Immediately
in front, at the end of the atrium, is the church, lying between
the courts of the palace and the college. Behind the church,
which is 320 feet by 200 feet, are the state apartments of the
palace.
The plan of the church is Italian in origin, following some-
what the type of the Carignano Church at Genoa. The detail is
classical, and shows that Herrera studied to some purpose in
Italy. The principal Spanish feature is the placing of the choir
on a vault, over the lengthened western arm of the cross,
beneath which is a domed vestibule consequently the interior
is, in effect, a Greek cross on plan.
In general grouping nothing could be finer than the dome as a
centre, flanked by the two towers and surrounded by the great
mass of building, the whole being silhouetted against a back-
ground of mountains. Moreover, the palace proper at the east
end is only an annex, and does not conflict with the church, as
the Vatican does with S. Peter, Rome.
The entire structure, internally and externally, is built in
granite of a gray color, with a slight yellow tinge, which
material may have influenced the design. The taste of Philip II.
and Herrera might have produced something equally plain,
whether in granite or not, but at least the design may be said to
be suited to the material.
The masonry is excellent, and in blocks of great size, the
architraves of doors being 10 to 12 feet high, in one stone. The
external fa$ades are everywhere five stories in height, the
windows square-headed, without dressings of any sort, and
without any attempt at grouping, so that they are inferior in
effect to the facade at the Alcazar, described above.
The interior, however, is most impressive, being of granite with
suitable detail, and having only the vaults colored. It has a
magnificent reredos in such quietly-toned marbles that its richness
might pass notice. The architectural character is so restrained
that the structure looks nothing at a cursory glance.
Santo Domingo, Salamanca(A.D. 1524-1610), is an important
early work with excellent figure sculpture, and illustrates the
peculiar richness of the "
Plateresque
"
style (page 534), deriving
its detail from Moorish influence.
Burgos Cathedral has a magnificent dome (No. 186) belonging
to the early period (1567), and is an example of the wealth of
detail so characteristic of the style.

540
'
Granada Cathedral (A.D. 1529), by Diego Siloe, is a grand
example of the Renaissance churches of Southern Spain. It is a
translation of Seville Cathedral into the Renaissance style, the
Gothic system being followed, but with the Classic orders applied
to the piers carrying the vaulting. The lofty circular choir is
domed on radiating supports, ingeniously disposed, constituting
a fresh and original departure. The general effect of the interior
is powerful, but unduly sensational.
Valladolid Cathedral (A.D. 1585), by Herrera, is more dis-
tinctively Classic, but remains incomplete, although Herrera's
model is preserved. The west faade is
imposing, but wholly
out of scale, and in the interior the execution and detail are
incredibly rough.
Granada, Santiago, Malaga, and Carmona cathedrals
have steeples placed alongside, forming a class of structure in
which Spain is especially rich, and which was generally treated
in a most pleasing manner.
In the latter half of the seventeenth century there was a
reaction from the correct and cold formalities of the school
of Herrera, and buildings were erected in a manner called
Churrigueresque, after the name of the architect, Churriguera,
in which fantastic forms were employed for their own sake,
without reference either to good taste or fitness.
4. COMPARATIVE.
A. Plans. In churches wide naves sometimes without any
aisles are usual. Lanterns or domes are common at the crossing,
the transepts and apsidal chancel, being usually shallow, and the
ritual choir remaining west of the transepts.
In houses the Patio (Nos. 236 B and 237), or Spanish version of
the Roman atrium, and Italian cortile, is universal, and has even
an added seclusion, which seems due to Moorish influence. The
streets of Toledo present walls all but blank (No. 236 A), through
the doorways of which, when open, a glimpse only of the patio
can be obtained. Staircases are often large, as in the Burgos
transept and the Casa Infanta at Saragossa, in which latter
building the patio and staircase beyond are as picturesque and
fanciful as any in Spain. Largeness of scale characterizes
palaces as well as churches.
B. Walls Brickwork was used in large, rough, but effective
masses, as at Saragossa. Fine stonework was used in other places,
and also granite, as at the Escurial and in Madrid. Gables were
never or rarely employed, but a special feature is an arcade
(No. 236), forming an open top story, on which all the decoration
was concentrated, leaving a blank wall below, relieved by an
elaborate doorway. Arabesque pierced parapets or crestings are

common in the early work, as the Palacio de Monterey at Sala-
manca. At Saragossa, the great cornices of the brick palaces
are of wood, elaborately detailed. Internally the great saloons
of the early period are remarkable, the walls, for ten or more
feet in height, being of plain stonework, to be hung with
draperies.
c. Openings. Doorways were emphasized (No. 236 A), and at
Toledo they alone relieve the blank, narrow, walled streets. A
special largeness of scale (No. 239 A), was perhaps due to the
importance of a gateway in oriental countries a feature found
in Spain owing to Saracenic influence.
Windows were treated with well-designed grilles, and their
dressings in stonework are frame-like in character (Nos. 235,
236 A and 239 D), small orders, resting on corbels, often carrying a
highly ornamented head (No. 239 D), while the sill is often absent
or untreated.
D. Roofs. These were generally flat or of low pitch. Towers,
however, have spires of slate or leadwork of fanciful outline, even
in designs of the severe Classic period, and the angle towers of
the Escurial may be compared with the spire of S. Martin,
Ludgate (London). Saloons sometimes have a light-arcaded
internal gallery resting upon a great projecting wooden cornice,
and reaching to the flat wooden coffered ceiling, affording a
passage in front of the windows in the main wall, and detailed in
a style suggestive of Arab influence, as in the " Audiencia" at
Valencia.
E. Columns. In the early style, the orders were used in slight
and fanciful decorative forms (Nos. 235, 236 and 237) ;
the
baluster shape, or shafts, of an outline suggestive of the forms due
to wood turned in a lathe, were used abundantly, being decorated
in low relief. Columns in arcades sometimes had very high
pedestals, from the top of which the arches spring. In the later
work, Classic correctness prevailed until the outbreak of the
Rococo period.
F. Mouldings. In early work, much refinement (No. 239)
was given to forms due to Gothic and Moorish influences. A
special feature is the bracket capital (Nos. 236 B and 237), by
which the long bearings of stone architraves are relieved by
corbels on either sid^, combined in treatment with the capital
itself.
In the middle period, the great number of breaks which occur
in the entablatures mitred round columns (No. 235) give to the
church interiors quite a special effect by the flutter of the many
mitres.
G. Ornament (No. 239). Sculpture varies much in quality.
Berruguete was the Donatello of the Spanish Renaissance, but his
figures often are wanting in decorative treatment. Expression

SPANISH RENAISSANCE ORNAMENT.
EXAAPLD. M AN.
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was often emphasized unduly, and violence of action is not
uncommon (No. 235).
The painting on the sculpture is usually crude and realistic.
The great retablos of alabaster, stone, or wood are the finest
decorative feature of the churches, the figures being often life-
size, and the architectural detail very elaborate. The iron
Rejas, or grilles, are also a source of effect (No. 239 A, B, D).
Tile work is excellent in Southern Spain. Stained glass tended
to be loaded in color and over vivid, and the drawing is
frequently
clumsy, Flemish influence, not of the best kind, being apparent.
The fresco work of the Escurial is merely late Italian, and the
canvases of Murillo at Madrid and at the church at Seville, though
large in scale, have the character of paintings in oil. In the
accessory arts, the iron pulpit (No. 239 E) is an example of the
elaborate metal work of the period, and armour design was carried
to great perfection by the Spaniards.
The subject of the Renaissance in Spain has been well taken
up by architectural students of late years, and the following
books contain interesting examples.
5. REFERENCE BOOKS.
Calvert (A.).
"
Impressions of Spain." 8vo. 1903.
Ford, (R.).
"
Handbook to Spain." 8vo. 1898.
Junghaendel (M.) und Gurlitt (C.).
"
Die Baukunst Spaniens."
2 vols., folio. Dresden. 1889-1893."
Monumentos Arquitectonicos de Espana," published by the Spanish
Government. 89 parts, atlas folio (not completed). Madrid, 1859-1879.
Prentice (A. N.).
"
Renaissance Architecture and Ornament in Spain."
Folio. 1893.
Roberts (D.).
"
Picturesque Sketches in Spain." Folio. 1837.
Uhde (C.).
"
Baudenkmaeler in Spanien und Portugal." Folio.
Berlin, 1889-1892.
Villa-Amil (G. P. de).
"
Espana Artistica y Monumental." 3 vols.,
Waring (J. B.) and Macquoid (T. R.). "Examples of Architectural
Wyatt (Sir M. Digby). "An Architect's Note-book in Spain." 410.
1872.
Crawford (F. M.).
"
In the Palace of the King." (Historical Novel.)

6-K
IWTfl
240.
ENGLISH RENAISSANCE.
!
St. Paul's high dome amid her vassal bands
Of neighbouring spires, a regal chieftain stands
And over fields of ridgy roof's appear,
With distance softly tinted, side by side
In kindred grace, like twain of sisters dear,
The towers of Westminster, her abbey's pride ;
While far beyond the hills of Surrey shine
Through their soft haze, and show their wavy line." BAILLIE.
i.
Geographical. Refer to page 278. It would be hazardous
during this period to lay too much stress upon the relations
of England with the Continental powers ;
but the relative
cordiality of this country with France, or Holland, might
be seen by some to be reflected in the architectural fashion of
successive periods. The closing of the Continent to travel during
F.A. N N

24 I THE HALL, HATFIELD, HERTS.
Showing the Music Gallery.

ENGLISH RENAISSANCE. 547
the great war at the end of the eighteenth, and beginning of the
nineteenth century, certainly coincided with the worst phase of
English architecture.
ii. Geological. Refer to page 278. In the increase of
population and cultivation of the land, the forests of Lancashire,
Cheshire, Shropshire, and Herefordshire were reduced, and wood
had been gradually disused as an external building material, so
that the timber architecture of the mediaeval period had died out.
In London, the introduction by Inigo Jones of Portland stone,
a material very similar in weathering and effect to that used in
the Renaissance palaces of Venice, had its influence. The use
of brick received a great impetus after the Fire of London, and
was again brought into prominence on the introduction of the
Dutch fashion, and thus " Flemish
"
bond, as a technical term,
has its significance.
Terra -
cotta for ornamental details was introduced by the
Italian craftsmen of Henry VIII., as in the busts of Emperors
at Hampton Court by Giovanni da Majano, the tomb in the
Rolls Chapel (A.D. 1516) by Torrigiano, and at Layer Marney,
Essex (1500-1525).
iii. Climate. A great increase of warmth was found necessary
as greater comfort was demanded, and the opening out of the great
coal industry, by cheapening fuel, led to each room having a fire-
place, and incidentally, to other features that did not complicate
the architecture of the earlier periods.
iv. Religion. In the early part of the sixteenth century a
stir in religious matters took place in Western Europe, partly on
account of abuses having crept into the Church, which the
Popes failed to rectify, and also because the authority of the
Pope was increasingly felt to be irksome.
The suppression of the monasteries (1536-1540) caused the
diffusion of vast sums of money and land, which Henry VIII.
distributed freely among his courtiers.
Monasteries either fell into ruin or were converted into cathedral
churches on the monastic foundation. Others were cleared away
for the erection of houses according to the new style, the funds
for which enterprises proceeded from the newly seized revenues.
The Act of Supremacy, 1559, settled the relation of the English
Church to the power of the Crown.
v. Social and Political. The historical and other events
which paved the way for the introduction of the Renaissance into
England were many and significant, and some of these have been
dealt with (pages 283, 356, 438). The following also aided the
movement :
The Wars of the Roses (1455-1485) caused a terrible destruc-
tion of life, eighty princes of the blood being slain, while the
ancient nobility was almost entirely annihilated, resulting in a
N N 2

242.
STAIRCASE, KNOLE, KENT.

period of architectural depression, from which there was a reaction
at the end of the fifteenth century. The new nobility and rich
merchants were naturally more susceptible to any fresh move-
ment ; they desired, moreover, important country houses, being
anxious to provide themselves with the paraphernalia suited to
their rank, or newly acquired wealth.
The extended use of gunpowder rendered ancient castles obsolete,
and newer fortresses tended to become merely military posts, no
longer habitable as palaces by a king, or as seats by the nobility.
The introduction of printing by Caxton (1476) powerfully aided
the new movement, as the hoarded knowledge of the world could
then be disseminated, causing the enlargement of men's ideas and
the increased spread of knowledge throughout the country.
The court of Henry VIII. was composed of men who were con-
nected with the new movement, and amongst the artists, were :
Holbein, from Basle; Torrigiano, who executed Henry VII.'s Tomb
in Westminster Abbey (A.D. 1512); Rouezzano and Giovanni da
Majano. A certain John of Padua was also brought to England
by Henry VIII. ,
and is usually credited with the design of
Longleat House, Wiltshire (page 557).
Henry VIII. and Edward VI. employed part of the funds
obtained from the suppression of the monasteries (1536-1540) to
the erection and endowment of grammar schools and colleges,
which play an important part in the development (pages 324, 557).
The Protector Somerset commenced building schemes which
were interrupted by his execution (A.D. 1552).
The reign of Elizabeth (A.D. 1558-1603) inaugurated the era
of the erection of the great domestic mansions. Flemish and
.German workmen and weavers came to England in large
numbers, settling in the eastern counties especially, thereby
influencing the architecture of certain districts. In literature the
writings of Spenser, Shakespeare, Burleigh, and Sir Philip Sidney
had considerable influence.
Finally, the wars against the Huguenots in France, and the
Massacre of S. Bartholomew in A.D. 1572, led to the emigration
of many skilled craftsmen to England (page 498), thus influencing
very largely the efficient execution of the newly-imported Classic
architecture.
vi. Historical. Henry VIII. had undisputed possession of
the English crown. He mixed generally with foreign affairs, and
his meeting with Francis I. on the Field of the Cloth of Gold,
1520, was an event of some significance, bearing an important
relation to the introduction of Renaissance art into England.
Henry declared the Pope to have no jurisdiction in England, and
Edward VI. continued the Reformation, but Mary's policy was
reactionary, and marks the era of Spanish influence in England.
Under Elizabeth (1558-1603), the Reformation was finally settled,

ENGLISH (ELIZABETHAN) RENAISSANCE. 551
and the defeat of the Spanish Armada, 1588, marked the decline
of Spanish power in Europe. Charles I.'s
attempts to develop
art were interrupted by the outbreak of Puritanism. Charles II.
was in the pay of Louis XIV., and England was much under
the influence of French art. The rise of Holland was taking
place, and on the expulsion of James II. by William of Orange,
Dutch influence made itself felt. With the accession of George I.
(the Hanoverian dynasty) commenced an era of quiet domestic
progress. The growth of London proceeded rapidly, but art in
England slowly deteriorated, until the Exhibition of 1851 marked
the commencement of a revival in all forms of art.
English Renaissance architecture may be divided into the
following periods: Elizabethan (A.D. 1558-1603), see below;
Jacobean (A.D. 1603-1625), page 561 ; Anglo- Classic (Seventeenth
Century), page 567 ; Queen Anne and Georgian (Eighteenth Cen-
tury), page 578 ; Early Victorian (Nineteenth Century) (A.D. 1800-
51), page 589 ;
Late Victorian (Nineteenth Century) (1851-1901),
Page 593.
THE ELIZABETHAN STYLE.
ELIZABETH (A.D. 1558-1603).
Elizabethan Architecture was a transition style, which
followed the Tudor style of the reigns of Henry VII. and
Henry VIII. (page 536), for many Gothic features were retained
and ornamented with Renaissance details which were at first
applied only in a tentative manner. The style bears the same
relation to Anglo-Classic, or fully-developed English Renais-
sance, as the Francis I. style does to fully-developed French
Renaissance.
As during the Middle Ages a sufficient number of churches had
been erected for the wants of the people, few were built in this
period. This was also the case in France and Germany ;
whereas
in Italy churches of this period were many and important.
The examples of Elizabethan architecture, like those of the
French Renaissance, were country houses erected by powerful
statesmen, successful merchants, and newly-enriched gentry;
contrasting with the palaces and churches of the Italian Renais-
sance, principally erected in cities. The influence of landscape
gardening was important, for in designing the house with fore-
court, formal garden, arcades, fountains and terraces, a special
and finished character was given to the buildings themselves.
Many Gothic features, such as the tower, oriel, large mullioned
"bay," and other windows (No. 251 B), gable, pierced parapet,
and large chimney stacks were retained.

ENGLISH RENAISSANCE EXAMPLES. I
STOCKTON HOUSE
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The Elizabethan style represents the attempt to apply Italian
architectural features to buildings, but it did not confine itself to
architecture only, as it pervaded the whole of the ornamental arts
in furniture, decoration, and fittings, and is in this respect a
style complete in every aspect.
The alliance of James IV. of Scotland (d. 1513) with France
caused French architectural features to be introduced, as at
George Heriot's Hospital, Edinburgh (No. 151 j).
3. EXAMPLES.
As in other countries, the earliest examples of the style consist
of small works such as tombs, monuments, doorways, and other
features, the tomb of Henry VII. in Westminster Abbey, designed
by Torrigiano, an Italian, in 1512, being generally regarded as one
of the earliest examples.
Elizabethan Mansions. As already mentioned (page 551),
domestic architecture received more attention than any other class
of building.
Two general types of house plan were in use at the beginning of
the sixteenth century. Of these the smaller type consisted of. a
hall placed centrally, with kitchen and offices at one end and with-
drawing and living rooms at the other, internal courts for lighting
being sometimes employed, as at Chastleton in Oxfordshire. The
larger type of house was evolved from the quadrangular plan
of the Middle Ages (No. 131 B), which the later architects
renounced by omitting the side forming the entrance, admitting
sunlight and allowing free circulation of air about the building.
The E-shaped plan thus came into existence, as at Hatfield
House (No. 131 D, E). The gatehouse on the centre of the side
forming the entrance, which was typical of the Tudor period,
as at Oxburgh Hall (No. 131 B), became a detached building, as at
Burton Agnes, Yorkshire (A.D. 1610) ; Cranbonrne, Dorsetshire;
Stanway, Gloucestershire, and elsewhere. -
The H-shaped plan was evolved by extending the wings on
both fronts, as at Holland House, London (No. 244 A, B).
Other fanciful plans showing extreme originality were erected,
as Longford Castle, a triangular house attributed to John Thorpe
(No. 131 F).
The following features occur in the principal examples :
i. The great hall, retained from the mediaeval period (No. 241),
was lined to a height of 8 or 10 feet with oak panelling, while
above were arranged the trophies of the chase, armour, portraits
of ancestors, family relics and heirlooms.

ENGLISH RENAISSANCE EXAMPLES. II.
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E5PECUVaY N6(AB!I (5 THE IAWENE5S of WE WINDOW ("HARDW1CKE HALL
WBf 6tff> THAN WALL") WHICH IN MANY INSIANCK ARE CR055ED tST
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AND GATL HOUSES CROWNED WITH PIERCED PARAPETS.
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At one end of the hall, by the entrance, is the carved oak
screen, over which is the minstrels' gallery, while at the other
end is the raised dais with tall bay-window, the sill of which is
almost at the floor level. The hall fireplace was much elaborated
(No. 250 K), and richly carved with the coat-of-arms of the owner,
and the roof (No. 113) either with the timbers showing or formed
with plaster panels (No. 241), was elaborately ornamented. The
hall in the later period became of less importance as a living room,
and was used more as a means of communication.
ii. The broad staircase of oak (Nos. 242 and 244 E) is a special
feature, with its heavily-carved newels, pierced balustrading, and
rich carving. It was generally placed in connection with the hall,
and gives to the interior an air of spaciousness and dignity, its
importance being due to the fact that the chief living rooms were
often placed on the first floor and therefore demanded an important
means of approach.
iii. The long gallery on the upper floor (Nos. 131 E and 245 c)
often extends the whole length of the house, the proportions
varying considerably from the hall in being comparatively low
and narrow in proportion to the length. There is no feature of
an old English mansion more characteristic than these galleries.
It served as a means of communication between the wings of the
house, the hall being often two stories in height. The length is
frequently relieved by room-like projecting bays those at Haddon
Hall being about 15 feet by 12 feet, with stone-mullioned windows,
glazed with leaded panes (No. 243). The walls have usually
oak panelling the full height, the ceiling being richly modelled
in plaster.
The term '
picture gallery" is supposed to be derived from these
apartments, and below are dimensions of important galleries, some
of which belong to the Jacobean period.
Aston Hall (A.D. 1618-35) is 136 feet by 18 feet and 16 feet
high.
Montacute House (A.D. 1580) is 170 feet long by 20 feet 6 inches
wide.
Hardwick Hall (A.D. 1576-1597) (No. 245 c) is 166 feet long,
22. feet 5 inches wide and 26 feet high.
Charlton House (Wilts) (A.D. 1607) is 130 feet by 22 feet wide.
Haddon Hall (A.D. 1589) (No. 243) is 109 feet by 18 feet wide.
Moreton Hall (A.D. 1559) is 75 feet by 12 feet 6 inches wide.
iv. The withdrawing room, or " solar
"
of Gothic times, a chapel
(sometimes), and the bedrooms, were other apartments, the latter
increasing considerably in number and importance during this
period.
An example of an apartment treated with panelling its whole
height and with elaborate carved chimneypiece is shown in
No. 244 D, from Stockton House, Wiltshire.

EXAMPLES OF SOME FAMOUS
Name.
Charlecote, Warwickshire. A.D
Kirby, Northants (No. 246). A.D
Knole, Kent. A.D,
Penshurst, Kent (No. 132). A.D
Burghley, Northants. A.D
Longleat, Wilts. A.D. 1567.
Montacute House, Somerset. A.D. 1580-1601.
Wollaton, Notts. A.D. 1580. C"
Longford Castle, Wilts. A.D. 1580
(later fa9ade).
Westwood, Worcester. A.D. 1590.
ELIZABETHAN MANSIONS.
Date. Architect.
-
1558.
I570-I575- John Thorpe (?).
1570.
,
1570-1585-
I
575-I
589- John Thorpe.
John of Padua (?).
Smithson.
john Thorpe.
Longford Castle was originally triangular in plan (No.
131 F), with circular towers at each angle, and central open
triangular courtyard. It was added to in the eighteenth century,
and now forms an irregular pentagon on plan.
Moreton Hall, Cheshire (A.D. 1550-1559) (No. 247), is an
example of many of the timbered houses, erected in the period,
for which Cheshire and Shropshire are specially famous.
Elizabethan Colleges. Many of the colleges at Oxford and
Cambridge (cf. list, page 324) were erected during this period,
and these buildings, situated within the seats of revived learning,
naturally gave a great impetus to the new style, as object lessons
to the rising generation.
CAMBRIDGE.
Name.
The Gate of Honour, Caius
College.
Emmanuel College.
Sidney Sussex College
(Court).
The Quadrangle, Clare
College.
S. John's College (Court).
Nevill Court, Trinity Col-
lege.
Jesus College.
Gateway of the Schools
(No. 248), with super-
imposed orders.
Merton College (Library).
Wadham College.
Oriel and Jesus Colleges
(portions of) and others.
Pembroke College.
Date.
A.D. 1565-1574.
A.D. 1584.
A.D. 1595.
A.D. 1634.
A.D. 1593-1615.
OXFORD.
A.D. 1571.
A.D. l6l2.
A.D. 1600-1624.
A.D. l6l2.
A.D. l6l2.
A.D. 1624.
Architect.
Theodore Haveus
of Cleves (?).
Ralph Simons.
Westley.
Ralph Simons.
Ralph Simons.
Thomas Holt.
Thomas Holt.
Thomas Holt.
Thomas Holt.

248. THE TOWER OF THE OLD SCHOOLS (NOW
THE BODLEIAN LIBRARY), OXFORD.

Elizabethan Town Houses. Many interesting specimens
of these exist, and among them are several houses of half-timber
construction, as, for example, in London, Staple Inn, Holborn,
the Hall of Charterhouse, Sir Paul Pindar's House, Bishopsgate
(now in the Victoria and Albert Museum), and many examples
in Chester, and other of the country towns throughout England.
5. REFERENCE BOOKS (see page 565).
THE JACOBEAN STYLE.
JAMES I.
(A.D. 1603-1625).
The Jacobean style was a development of the Elizabethan,
gradually diverging from Gothic picturesqueness as classic
literature and models became better known, and the use of
the columns with their entablatures became more general. The
celebrated architect, John Thorpe, erected several of the mansions
of this epoch, arid his book of "compositions," preserved in Sir
John Soane's Museum, London, is well worthy of study.
The buildings of this style were most suitable to the wants of
the people in whose era they were erected. Some of the detail
and ornamentation may be questionable, but they were at least
the outcome of the social conditions of that age, and an examina-
tion of the mansions erected during the Elizabethan and Jacobean
periods, most of which are easily accessible, will give as much if
not more pleasure than the study of the buildings of any other
period of Architecture in England. Jacobean furniture design
continued on the same lines as the architecture.
3. EXAMPLES.
EXAMPLES OF SOME FAMOUS JACOBEAN MANSIONS.
Name. Date. Architect.
Holland House, Kensington A.D. 1607. J onn Thorpe.
(No. 244).
Charlton House, Wilts. A.D. 1607.
Bramshill, Hants (No. 250). A.D.
1607-1612.
Hatfield House, Herts (Nos. A.D. 1611.
131 D, E, 241 and 249).
F.A. o o

562 COMPARATIVE ARCHITECTURE
Name. Date.
Cranbourne Manor House A.D. 1612.
Dorsetshire.
Audley End, Essex.
Aston Hall, Warwickshire.
Loseley Park, near Guild-
ford.
Bolsover Castle, Derbyshire. A.D. 1613.
Blickling Hall, Norfolk
,
(Nos. 244, 250 D, K).
A rchitect.
A.D. 1603-1616.
A.D. 1618-1635.
A.D. l620.
Bernard Jansen
H. Smithson.
4. COMPARATIVE.
THE ELIZABETHAN AND JACOBEAN STYLES.
A. Plans. These are often E or H-shaped (No. 244 B), the
entrance being in the middle of the letter, and the two ends
forming wings, as at Bramshill, Hardwick(No. 245 c), Longford,
Hatfield (No. 131 D, E), Longleat, Burghley, Loseley, and Audley
End, while many are irregular in plan, as Knole, Penshurst
(No. 132 F), and Haddon (ball-room wing), such grouping being
often brought about through the work being an addition to a
previous Gothic house.
Characteristic features are : The great hall, the broad staircase
(Nos. 242, 244 E), the long gallery, and very often a chapel
(No. 245 D). Broad terraces, with balustrades, raised above the
garden level (No. 244 A, B), and wide flights of steps, are charming
features in the style. Gardens were often laid out in a formal
manner, as at Montacute, Hatfield and elsewhere, with yews,
box, and other trees cut in fantastic patterns.
B. Walls. Elevations have the character of picturesqueness,
the Classic orders being used in a very free manner, often
placed one above the other in the f^ades, as at Hatfield House
(No. 249). the Gateway of the Schools at Oxford (No. 248),
Kirby Hall (No. 246), and Holland House (No. 244).
The gables are often of scroll-work, following in a general way
the slope of the roof (Nos. 244 and 246).
The chimney stacks are special and characteristic features,
being often treated in a prominent manner with orders, as at
Hatfield and Kirby (Nos. 249 and 246) ;
but sometimes they are
of cut brickwork, the shafts being carried up boldly, so that they
play an important part in the composition and outline of the house.
Parapets are pierced with various characteristic designs (Nos.
249 and 250 A, B), the baluster being much employed.
c. Openings. Bay windows were largely used, as at Haddon
(No. 243), Longleat, Holland House (No. 244), and Kirby Hall
(No. 246), and form important features of the style.

ENGLISH RENAISSANCE ORNAMENT. I
250.
002

Large heavily-mullioned windows (Nos. 241, 243, 246 and 247),
filled in with leaded glass, and crossed by horizontal transoms,
are special features adopted from the late Gothic period, and
oriel windows are common, as at Bramshill (No. 250 E).
Dormers were largely used, and turrets were in common use
(Nos. 244 A and 248).
Arcades were often introduced, as at Hatfield, Bramshill, and
elsewhere, (Nos. 244, 249 and 250 G).
Doorways are often elaborate in design, as in Nos. 246, 248,
249 and 250 D.
"
Through this wide opening gate
None come too early, none return too late."
D. Roofs. High, flat, or low roofs with balustrades, occur
both separately and in the same design (No. 244 A). Lead
and tiles were both used, and also stone slabs in certain districts.
The balustrade, arcaded, pierced, or battlemented, is a constant
feature (Nos. 244 A, 249 and 250).
E. Columns. The orders were employed rarely with
purity, a characteristic treatment being the reduction down-
wards, more especially in pilasters, accompanied by bulbous
swellings (No. 250 K). Square columns were used, banded with
strap ornamentation (No. 250 G), and pilasters were similarly
treated or panelled. At Longleat, the most Italian-like example,
the topmost order is the smallest, corresponding to the compara-
tive unimportance of the upper rooms. Bramshill has a fa9ade-
centre which is perhaps the most licentious specimen of the style.
Arcades were much employed, especially in the form of recessed
loggie, as at Bramshill (No. 250 G), and Hatfield (No. 249).
F. Mouldings. These are local and coarse in many instances,
but founded on Classic originals. A typical cornice consists of a
large cyma and small ogee moulding above a corona of little
depth, and the use of convex mouldings, often banded or carved
at intervals. Plaster work, seems to have influenced in many
ways the sections employed (No. 250 M).
G. Ornament (No. 250). "Strap" ornamentation was formed
by raised bands, of about the width and thickness of a leather
strap, interlaced in grotesque patterns, and attached as if
by
nails or rivets, as in the ceilings (No. 250 H, j, M). It is con-
sidered by some to have been derived from the East, through
France and Italy, in imitation of the damascened work which
was at that period so common. This type of detail is also found
in pilasters, as at Hatfield (No. 249), and on piers and in spandrels,
as at Bramshill (No. 250 G).
Grotesquely carved figures as terminals occur (No. 250 c), and
in carving generally, ribbons, scrolls, and festoons were preferred
to Gothic foliage types.

Prismatic rustication, or the projection of blocks of stone of
prismatic form (No. 250 G), occurs in pilasters and pedestals, and
in later times colored stones were inserted in their stead.
Plaster (Nos. 242, 243 and 250 M) was used for ceilings
with great skill in design and adaptability to the material, and
broad friezes were sometimes modelled with much quaintness and
grotesque feeling, as at Hardwick.
Tapestries continued to be used for walls, color decoration
making little or no progress.
The screens, mantelpieces, entrance porches, monuments and
tombs (No. 250 F), such as the monuments to Elizabeth (A.D. 1604)
and Mary Queen of Scots in Westminster Abbey, and the tomb
of Lord Burghley (No. 251 E), are very numerous and charac-
teristic, a large number being found in churches throughout the
country, and many being richly colored. The chapel screen
from the Charterhouse, London (No. 251 c) ;
the doorway in
Broughton Castle (No. 251 A) ;
the bookcase from Pembroke
College, Cambridge (No. 251 o) ;
the throne and stalls from the
Convocation Room, Oxford (No. 251 F) ;
the pulpit from North
Cray Church, Kent (No. 251 G) ;
the cistern now in the Victoria
and Albert Museum (No. 251 H), and the tablet from Peterhouse
College Chapel, Cambridge (No. 251 j),
will indicate to the
reader the manner in which Renaissance features were applied
to the arts and crafts connected with architecture.
5. REFERENCE BOOKS.
ELIZABETHAN AND JACOBEAN.
Clayton (J.). "A Collection of the Ancient Timber Edifices of
England." Folio. 1846.
Davie (W. G.).
"
Old Cottages and Farmhouses in Kent and Sussex."
4to. 1900.
Dawber (E. Guy).
"
Old Cottages, Farmhouses, and other Stone
Buildings in the Cotswold District
"
(Gloucestershire, etc.). 410. 1904.
Gotch (J. A.).
"
Architecture of the Renaissance in England." 2 vols.,
folio. 1891-1894.
Gotch (J. A.). "Early Renaissance Architecture in England." 1901.
Habershon (M.).
"
The Ancient Half-Timbered Houses of England."
Folio. 1836.
Harrison (F.).
"
Annals of an Old Manor House "
(Sutton Place,
Guildford). 4to. 1893.
Nash (J.).
"
Mansions of England in the Olden Time." 1839-1849.
Parkinson and Ould. "
Old Cottages, Farmhouses, and other Half-
timber Buildings of Shropshire, Herefordshire, and Cheshire." 4to. 1904.
Richardson (C. J.).
"
Studies from Old English Mansions." 1841-48.
Richardson. "
Observations on the Architecture of England during
the Reigns of Queen Elizabeth and James I." 4to. 1837.

ENGLISH RENAISSANCE ORNAMENT II.
LEA CISTERN', VICTORIA 4 ALBERT MUSEUM.
PULPIT, NORTH CRAY CHn Kofr TABLET
251.

ENGLISH RENAISSANCE
567
Richardson. "Architectural Remains of the Reigns of Elizabeth and
James I." Folio. 1840.
Shaw (H.).
" Details of Elizabethan Architecture." 4to. 1839.
Tanner (H.). "English Interior Woodwork of the XVI-XVIIIth
Centuries." Folio. 1902.
Taylor (H.).
" Old Halls in Lancashire and Cheshire." 410. 1884.
John Thorpe's Original Drawings in the Soane Museum. A good
selection of these are reproduced in Mr. Gotch's text-book on "
Early
Renaissance Architecture."
ReedQ. B.) "Sir Indar." ]
Scott (Sir Walter)." Kenilworth."
Scott (Sir Walter)." The Fortunes of Nigel."
Histoncal Novels.
Shorthouse (J. H.) "John Inglesant."
THE ANGLO-CLASSIC, OR SEVENTEENTH
CENTURY STYLE,
Comprises, the reigns of Charles I.
(1625-49), the Commonwealth
(1649-60), Charles II. (1660-85), James (1685-89), William and
Mary (1689-1702).
The transitional Elizabethan and Jacobean styles at length
gave way before the influence of Inigo Jones and Wren, who are
considered the founders of the Anglo-Classic style.
3. EXAMPLES.
INIGO JONES (1573-1652).
Long study in Italy, and especially at Vicenza, Palladio's
native town, influenced the work of Inigo Jones. He was
invited to Copenhagen by the King of Denmark, but returned to
England in 1604. He revisited Italy in 1612 for further
study, and on his return introduced a purer Renaissance style,
founded on Italian models and ornamentation. The Italian
architect Palladio was Inigo Jones's favourite master in design,
his works being carefully studied by him, and thus Palladio
had a great influence on English architecture.
The Commonwealth intervened, and checked the execution of
many of Inigo Jones's designs.
The following are among his principal Buildings :
Chilham Castle, Kent (A.D. 1614-1616), is a transitional
example of brick with stone dressings, E-shaped facade, with
radiating side wings forming a horseshoe court at the back, and
with a porch having the baluster-columns of the earlier periods.

ENGLISH RENAISSANCE EXAMPLES. III.
BOWflTERENTMNCE
TOOLDYORKHOU5E

The Banqueting House, Whitehall (A.D. 1619-1621),
is a part only of a Royal Palace, which was one of the grandest
architectural conceptions of the Renaissance (No. 252). The
greater part of the building was to have been of three stories,
each 30 feet high, with a total height to the top of the parapet of
100 feet. The remainder, as curtain wings to the main blocks, and
in design like the Banqueting House (No. 252 c), was to be 75 feet
high, divided into two stories. The plan (No. 252 E) was arranged
round courtyards, one of which was to be circular, and the
great court would have vied with that of the Louvre (page 503).
In this design, proportion, elegance, and purity of detail, are
more happily combined than in any other Renaissance scheme
of the kind.
S. Paul, Covent Garden (A.D. 1631-1638), is severe and
imposing by reason of its simplicity and good proportions, but
has been altered and rebuilt by subsequent architects. The
arcades and buildings around the market were also designed
by Inigo Jones.
Greenwich Hospital, the river facade of which was executed
by John Webb, a pupil of Inigo Jones, has the two lower stories
included under one huge Corinthian order. The hospital was
afterwards added to by Sir Christopher Wren (page 576).
York Water Gate, London (A.D. 1626) (No. 252), executed
by the master mason Nicholas Stone, formed the river entrance
to Old York House, since destroyed. The gateway is now in
the Embankment Gardens.
Houghton Hall, Beds (1616-1621); Raynham Hall, Norfolk
(1630) ;
Stoke Park, Northants (1630-1634) ;
the King's (Queen's)
House, Greenwich (1639) (No. 238 A) ;
Wilton House, Wilts
(additions) (1640-1648); Coleshill, Berks (1650); and Chevening
House, Kent (No. 131 H, j), are examples of his country houses;
and Lincoln's Inn Chapel (1617-1623); Houses in Lincoln's
Inn Fields and Great Queen's Street (1620); the Barber Surgeons'
Hall (1636-1637) ;
and Ashburnham House, Westminster (1640),
are examples of his town buildings.
SIR CHRISTOPHER WREN (1632-1723)
was a scholar and a mathematician, being Professor of Astronomy
at Gresham College and at the University of Oxford, his early
mathematical training fitting him for the constructive skill shown
in his later works. As an architect, Wren lacked the more
thorough technical education of Inigo Jones, and was not always
able to clothe his constructive forms in equally appropriate detail,
but his study of French architecture at Paris and elsewhere in
France, was an important part of his education. The works
on the Louvre were then in progress, and constituted a great

ENGLISH RENAISSANCE EXAMPLES. IV.
t
ESTIMATED TIMBER flWMIIG
EIGHT 1/IM HKHTOF SUPPORTING
MI Vim BtE -
FOR (foils ^---9 y. '.00 . goo .
effl 5fflLE FOR && IO,.Q .
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253-

school of art, and, in consequence, Wren's work shows more
French influence than that of Inigo Jones, which is pure Italian.
Palladio continued to be the inspirer of English work, as com-
pared with Vignola, whom the French followed, but Wren, who
never visited
Italy,
often gave a semi-French turn to his designs,
more especially in the decorative detail, as may be seen on
comparing his work with that of Inigo Jones.
Many of his designs, in which he was obliged to study economy,
indicate, however, much thought, all his designs, as Opie said,
being mixed "with brains," and indicating a careful study in
the proportion of part to part.
Many of these, as S. Paul and the City churches, were executed
in Portland stone, which by its good weathering properties adds
to their dignity and importance ;
while in domestic work, he used
red brick with stone dressings, as at Hampton Court, Marl-
borough House, and elsewhere.
His great opportunity was the destruction of London by the
Great Fire in 1666, after which he devised a grand plan for the
reconstruction, which was, however, abandoned for pecuniary and
other reasons, but he was employed in a large number of
churches, including S. Paul's Cathedra], and other buildings.
His principal Ecclesiastical works were as follows :
S. Paul, London (1675-1710), which ranks amongst the
finest Renaissance Cathedrals in Europe, was Wren's masterpiece.
The first design, of which there is a fine model in the northern
triforium of the Cathedral, was in plan a Greek cross (No. 253),
with a projecting western vestibule ;
but the influence of the
clergy, who desired a long nave and choir suitable for ritualistic
purposes, finally caused the selection of the mediaeval type of plan.
This, as executed, consists of a great central space at the cross-
ing, arranged somewhat similarly to Ely Cathedral, crowned by
a dome, and having east and west a nave and choir in three
bays with aisles, north and south transepts, and a projecting
western vestibule with lateral chapels. The building has an
internal length of 460 feet, a breadth including aisles of 100 feet,
and an area of 60,000 square feet. An illustration showing its
comparative size and disposition with S. Peter, Rome, the
Pantheon, Paris, and Cologne Cathedral, is given (No. 213).
The internal piers (No. 253 B) are ornamented with pilasters
of the Corinthian order, supporting an entablature and attic,
above which are formed the flat saucer-like domes, 86 feet high.
Light is admitted by means of windows in the clerestory, which
are not visible from the exterior. The wall surfaces have
recently been decorated with glass mosaic, under Sir William
Richmond, which has given the color it was originally intended
to have. The dome, as shown in No. 253 B, is of triple con-
struction. It is carried on eight piers (cf.
Dome of the Invalides,

254; S. PAUL, LONDON.
West Front.

Paris, page 500), and is 109 feet at the base of the drum,
diminishing to 102 feet at the top. The inner dome of brick-
work, 1 8 inches thick, has its summit 281 feet high, and the
intermediate conical dome also of brickwork 18 inches thick,
supports the stone lantern, ball and cross, which latter has
a height of 365 feet. The outer dome is formed of timber
covered with lead, and rests on the intermediate dome (No. 253 B).
Eight openings are formed in the summit for the admission of
light to the inner domes.
The exterior is exceedingly effective, and is made to group
well with the central dome. The facades have two orders totalling
108 feet in height, the lower Corinthian and the upper Composite,
but as the aisles are only one story high, the upper story on
the flanks is a screen wall introduced to give dignity, and to
act as a counterweight to the flying buttresses concealed
behind it, which receive the thrust of the nave vault. The
western front, 180 feet wide, and approached by a broad flight
of steps, is flanked by two finely proportioned towers, 215 feet
high, having between them the double storied portico of coupled
columns supporting a pediment in which there is a fine repre-
sentation of the conversion of S. Paul.
The dome externally is probably the finest example in Europe,
the projecting masses of masonry at the meeting of nave and
transepts expressing the support of the dome from the
ground upwards. The colonnade to the drum is particularly
effective, being formed of three-quarter columns attached to
radiating buttress walls, having every fourth intercolumniation
filled in solid, and thus giving an appearance of strength and
solidity which is
lacking in the Pantheon, Paris. Behind the
balustrade, known as the " Stone Gallery," rises an attic above
supporting the dome, which is crowned with lantern and cross.
The poetess Joanna Baillie has well described the majestic
appearance of S. Paul on a foggy day :
" Rear'd in the sky,
'Tis then St. Paul's arrests the wandering eye ;
The lower parts in swathing mists conceal'd
The higher through some half-spent shower reveal'd.
So far from earth removed, that well I trow,
Did not its form man's artful structure show,
It might some lofty Alpine peak be deem'd,
The eagle's haunt, with cave and crevice seam'd.
Stretched wide on either hand, a rugged screen,
In lurid dimness nearer streets are seen,
Like shoreward billows of a troubled sea
Arrested in their rage."
Time Building, Architects. Master Mason. Bishops.
S. Paul, London. 35 years. One. One. One.
S. Peter, Rome. 100 years. Six. Twenty.

ENGLISH RENAISSANCE EXAMPLES. V.
^D(6TI SIR CHRIST*
WREN ARCHITECT
CONSIDERED THE
MASTERPIECE OT
WREN5 5PIRE5
THE TREATMENT ?
THE INVERTED CON-
SOLES GIVES VARIETY
To THE OUTLINE
255-
WREN ARCHITECT.
dN EXAMPLE OF REPmTION
IN THE FIVE DECREASING
STORIES OF THIL-SPIRE WHICH
15 CARRIED ONffl OGEE
SHAPED DOME BROUGHT
To-mESQlWREBYPLTlIN
PENDENTIYE5.

ENGLISH RENAISSANCE EXAMPLES. VI.
THE PRINCIPALFEATURE OR^fTIFOF
THIS [WILDING 15 QO*L SUPPORTED
ON 8 PILLARS WITH 4 "WE. IN THE
ANGLES 2 PRINCIPAL AISLES CR05J
N DISPOSITION THE.
Ah RPM}LK THAT OF A'
PORCH BUT BEING
(MINED IN 4 WALLS LOSE.''
EXTERNAL EFfECT
OF FEET
256.

Wren was also responsible for the erection of some fifty-
three City churches in the Renaissance style between 1670-1711.
These are models of simplicity and restraint, and are notable for
skilful planning on awkward and confined sites, and general
suitability for Protestant worship, in which a central preaching
space is considered more important than the "long-drawn aisle"
for processional purposes, characteristic of mediaeval churches.
Among the more important of these are the following :
S. Stephen, Walbrook (1672-1679) (No. 256), has original
and ingenious planning, and is deservedly famous for the excellent
effect produced by small means within a limited area, the sixteen
columns, inclosed in a rectangle, carrying cross vaulting and a
central cupola, the latter resting on eight of the columns.
Bow Church, Cheapside (1680), is the most successful of
a type of Renaissance steeple (No. 255 A, B) of which Wren may
be called the inventor, in which a square tower supports a
pyramidal spire in receding stages clothed with classical details.
S. Bride, Fleet Street (1680) (Nos. 255 c, D, 257), is
another example generally considered less successful because of
the telescopic effect of similar stories, a fault which was avoided
in Bow Church by the use of inverted consoles.
S. Martin, Ludgate, has a steeple simpler in design, but
exceedingly picturesque in the group that it forms in conjunction
with Wren's masterpiece, S. Paul's Cathedral.
S. Clement Danes (1684) and S. James, Piccadilly
(No. 257), are successful though plain examples of his galleried
interiors.
The Western Towers of Westminster Abbey ;
S.
Dunstan in the East (1698) ;
S. Mary, Aldermary
(1711); S. Michael, Cornhill (1721), are examples of his
Gothic treatment of spires.
Pembroke College Chapel, Cambridge (1663-1664) was
one of his earliest works.
The Secular works of Wren were numerous :
The Sheldonjan Theatre, Oxford (1664), is an evidence of
his scientific skill in the constructive carpentry of the roof, and
in the splendid acoustic properties of the hall.
The Inner Court, Trinity College, Oxford (1665); the
Library of Trinity College, Cambridge (1679) ;
the Library
of Queen's College, Oxford (1682) ;
and the School Room
at Winchester (1684), are other examples of his collegiate
work.
The Monument, London Bridge (1671); the Fountain
Court and Garden Facade of Hampton Court Palace
(1690); the Two Blocks of Greenwich Hospital furthest
from the river, combined in a group at once picturesque and
stately; Chelsea Hospital, the Royal Palace, Winchester

ENGLISH RENAISSANCE EXAMPLES. VI
CHORCH
Y L9NDON.
4M68&3R CHRISTOPHER WREW /JRCHT.
rtlSLESINE STORIES THEQUJLERT BEING SUPPORTED ON
ft SOU/IRE PIER ON WHICH /IRE PLflCEO SINGLE COLUMNS
THE/1I5LES ROOFED BY SEMICYLINDROL VAULTS AT
RIGHT /INGLES To THE NflVE WU & INTERSECTING IT.
SECTION COOKING E^ST)
LflTURE FROM WHICH SPRING THE WYE /4RCHE3.
/CRS5 5ECTIN(LOCWNG WST)
ScflLE FOR PL^NS
257
F.A. p p

(1683), Morden College, Blackheath,
Maryborough
House,
Pall Mall (1709), and the Banqueting Hall (Orangery) in
Kensington Palace Gardens, are a few examples which show
the large number of different classes of buildings upon which
he was engaged, and their suitability to the several purposes for
which they were designed.
The Temple, London (1674-1684) with its plain brickwork
facades and interesting wooden doorways, is an example of his
simpler style to which character is given, as in the principal
entrance gateway to Fleet Street.
Temple Bar, London (1670), removed to Iheobalds Park,
Herts, is a pleasing example of a smaller type of monumental
work.
5. REFERENCE BOOKS (see page 588).
THE "QUEEN ANNE," "GEORGIAN," "PEDIMENT
AND PORTICO," OR EIGHTEENTH CENTURY
STYLE,
Comprises the reigns of Anne (1702-14), George I. (1714-27),
George II. (1727-60), George III. (1760-1820).
In the latter part of the seventeenth, and during the eighteenth
century, the plan of the smaller type of house was usually a square,
as at the King's (Queen's) House, Greenwich (No. 238 A), or an
oblong, as at Chevening (No. 131 H, j), both already mentioned
(page 569). In the square type the centre was frequently occupied
by the top-lit saloon, two stories in height, as at Greenwich. In
the oblong type, the house was usually roughly divided into three,
the centre third being occupied by the hall, saloon and staircases.
The basement in both types contained the kitchen, storerooms and
cellars.
In the larger type of house, the ground floor was frequently
treated as a basement, the first floor being the principal one,
reached by an external flight of steps as at Rainham in Norfolk,
Castle Howard (No. 258 A, B, c), and Kedlestone (No.. 258 D,
E, F), and this led to the internal staircase being reduced in
importance. The hall, saloon, and reception-rooms, to which
everything was sacrificed, were placed in a central block, either
square or oblong on plan (No. 258 C,.F) superseding the E and
H-shaped Jacobean plans. On either side symmetrical detached
wings were added, as at Holkham Hall (No. 131 K), or connecting

ENGLISH RENAISSANCE EXAMPLES. VIII.
afwmw(i7itoji JOHN WIN&RUGH m*,..<*>- Jl '
A, THE GREAT HflLL
6,THEPR!NCIMLflPflRTriENT5
C, THE CORRIDORS
D, PRIVflTE DINIINGROOM
E, CHflPEL
F, KITCHEN
G, HUNTING flPflRTMENTS
(E) SEGYD^ YY
SCflLE FOR
[LEW1TION5
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portions of quadrant form, often treated as colonnades, as at Stoke
Park, Northants (No. 1310), Castle Howard, Yorkshire (No. 258 c),
Blenheim, Oxfordshire (No. 238 F),
Latham Hall, Lancashire, Moor
Park, Herts, and Kedlestone, Derbyshire (No. 258 F).
The Jacobean gallery survived in a modified form, as at Castle
Howard (No. 258), Chatsworth, and Holkham (No. 131 K), and
many other examples.
The publication, by the Earl of Burlington, of the designs of
Inigo Jones, and of the drawings of the "
Antiquities of Rome,"
by Palladio, in the early part of the century, are thus referred to
by Pope in one of his epistles to the Earl of Burlington.
"You show us, Rome was glorious, not profuse,
And pompous buildings once were things of use.
Yet shall, my lord, your just, your noble rules,
Fill half the land with imitating fools ;
Who random drawings from your sheets shall take,
And of one beauty many blunders make ;
Load some vain church with old theatric state,
Turu arcs of triumph to a garden gate ;
******Shall call the winds through long arcades to roar,
Proud to catch cold at a Venetian door."
This passage suggests what really did happen, and well
characterizes the style of architecture. There were many
famous architects of this period and as they were contem-
poraries, practising at the same time, their names and principal
works are given.
The design of the buildings, not excepting the domestic class,
was influenced by a passion for symmetry and grandeur, which
almost entirely put aside as unworthy of consideration the
comfort and convenience of the people who had to occupy them,
a point remarked upon by Pope :
"'tis very fine,
But where d'ye sleep, or where d'ye dine ?
I find by all you have been telling
That
r
tis a house, but not a dwelling."
Or the remark of Lord Chesterfield to General Wade may be
quoted, viz., that the latter had better take a lodging opposite his
Palladian mansion (by Lord Burlington), if he liked nothing but
the front.
The fact must not be overlooked, however, that at this time
there grew up a national style, most of the less important
houses for the middle class people being erected in the useful
and modest Queen Anne and Georgian type of square house. More-
over, corridor planning did much for convenience and comfort in
domestic architecture, and the fast developing trade of the joiner
admitted of the elaboration of internal fittings.

3. EXAMPLES.
Nicholas Hawksmoor (1666-
1763) was a pupil of Wren and
followed him in his practice. Prin-
cipal works: S. George, Blooms-
bury ;
S. Mary Woolnoth ;
S.
George in the East ;
S. Anne,
Limehouse ;
Christ Church, Spital-
fields all in London. He also
assisted Sir John Vanbrugh at
Castle Howard and Blenheim.
His works were much influenced
both by Wren and Vanbrugh, but
ideas of some originality and
grandeur were too often marred
by eccentricities of treatment, and
his architectural detail, as with
other of Wren's pupils, was often
badly designed.
Hawksmoor held several Govern-
ment appointments, notably clerk
of the works at Kensington Palace
and Greenwich Hospital.
James Gibbs (1683-1754). Princi-
pal works were : S. Martin in
the Fields ;
S. Mary-le-Strand
(A.D. 1714) (the tower is an oblong
on plan), the steeple, S. Clement
Danes Church ;
and Bartholomew's
Hospital all in London ;
the Rad-
cliffe Library, Oxford, and the
Senate House, Cambridge. He
published a book of his own de-
signs, in which the above works,
with others, may be found.
William Talman (d. 1715), Chats-
worth, Derbyshire (A.D. 1681), Dyn-
ham House, Gloucestershire, and
works at Hampton Court.
Kent (1684-1748), in collabora-
tion with the Earl of Burlington,
erected the Horse Guards, London,
notable for skilful grouping ;
the
Treasury Buildings, Horse Guards
Parade ;
Devonshire House. Picca-
dilly, and Holkham Hall, Norfolk
(No. 131 K).
The Earl of Burlington (A.D.
1695-1753), an amateur architect
and patron of Kent and other
artists. He designed the Palladian
Villa at Chiswick an English
Sir John Vanbrugh (1666-1726).
Principal works: Blenheim Palace
(No. 238 F), the most important
mansion of the period erected in
England, is both picturesque and
stately, and it is the commencement
of the Palladian type of house, in
which a striving after symmetry
and monumental grandeur, at the
expense of usefulness, led to the
debasement of architecture. In
the plan of Blenheim there is an
extensive use of corridors as com-
municating passages, being a great
development in planning, and a
step towards the privacy which is
now insisted upon. Castle Howard,
Yorkshire (A.D. 1714) (No. 258), is an
example of a ponderous character.
King's Weston, Gloucestershire
(A.D. 1713), and Seaton Delaval,
Northumberland, are other works.
Thomas Archer (d. 1743) was a
pupil of Sir John Vanbrugh. He
erected S. John, Westminster, in
the Rococo style, and S. Philip,
Birmingham, in the somewhat
heavy style of his master.
Colin Campbell (d. 1734) was
the compiler of the
' k
Vitruvius
Britannicus," which contains plans
and elevations of all the country
houses of any importance erected
during the century. His best
known works were the front and
gateway of old Burlington House
(1717), Houghton, Norfolk (1723),
and Wanstead, Essex (1720).
Isaac Ware (d. 1766). He
erected Chesterfield House, May-
fair, and was the author of "A
Complete Body of Architecture."
Sir Robert Taylor (1714-1788).
He was the architect of the Pelican
Fire Office, Lombard Street ;
and
Ely House, Dover Street.
George Dance, senior (d. 1768),
City architect of London, erected
the Mansion House, London. His
better known son was the designer
of Newgate, the most appropriate of

translation of the Villa Capra, near
Vicenza (page 488).
The Brothers Adam. Robert
Adam (1728-1792) published "Dio-
cletian's Palace at Spalato," in the
year 1760, a book which influenced
architectural design. Other designs
are two sides of Fitzroy Square ;
the
Adelphi Terrace (named after the
four brothers) ;
the screen in front
of the Admiralty, Whitehall (
1
760) ;
Caen Wood, Hampstead ;
Kedle-
stone Hall, Derbyshire (No. 258) ;
Stratford Place, London ;
Lans-
downe House, London (1765) ;
Stowe House, Buckingham ;
Sion
House, near London (A.D. 1761-
1762); Kenwood House, Hamp-
stead (A.D. 1764), and many
private houses in London, and
the College and Register Office,
Edinburgh.
The x
brothers Adam were the
authors of a marked style of in-
terior decoration that is known
by their name. Furniture and
decoration were treated together
with the design of the rooms
themselves with refined and
elegant details. Adams' chimney-
pieces are specially characteristic.
Henry Holland (1740-1806)
erected Claremont House, Esher ;
Carlton House, on the site now
occupied 'by Waterloo Place (the
Corinthian columns being employed
at the National Gallery) ; Brooks's
Club, London, and the vestibule to
Dover House, Whitehall, which is
a charming and refined piece of
work.
James Wyalt( 1748- 1813) studied
in Rome. The Pantheon (1772)
in Oxford Street, and White's
Club, are works in London ;
Lee Priory, Kent ; Castle Coote,
Ireland ; Bowden Park, Wiltshire ;
and Fonthill Abbey (1795-1822).
He undertook the restoration of
many of the cathedrals and im-
portant churches in England and
Wales, but the small knowledge
of the true spirit of Gothic archi-
prison designs and lately demo-
lished ;
also of S. Luke's Hospital.
John ^00^(1704-1754) of Bath,
in conjunction with Dawkins, pub-
lished the
"
Illustrations of Baalbec
and Palmyra" in 1750, creating a
taste for Roman magnificence.
His best known work is Prior Park,
Bath (A.D. 1735-1743), and various
other works in that city.
Sir William Chambers (1726-
1796), first Treasurer of the Royal
Academy, wrote the "
Treatise on
the Decorative Part of Civil
Architecture." He carried on the
traditions of the Anglo-Palladian
school, objecting strongly to the
Greek revival then commencing.
The proportions he adopted for the
Classic orders are given in Nos.
261, 262. He travelled largely in
Europe and the East. His
great work is Somerset House,
commenced in 1776 (No. 259),
which is grand, dignified, and
simple in its parts. A single order
runs through tvo stories, and
rustication is largely employed.
The character of his work in
general is correct and refined, but
lacking somewhat in originality
and strength.
fames Gandon (1742-1823), a
pupil of Sir W. Chambers, erected
the Custom House and the Law
Courts at Dublin.
Sir John Soane (1750-1837), a
pupil of George Dance, junior,
studied in Italy (1788). He was
appointed architect to the Bank of
England. This important building
occupied many years of his life,
and constitutes his masterpiece,
the Corinthian order of the Temple
at Tivoli being closely followed.
Comparing this design with New-
gate, it fails in the quality of appa-
rent suitability of purpose. His early
designs are Palladian, and his later
ones are thoss of an original mind,
but he was unable to clothe them
with suitable details, and there is
a consequent taint of eccentricity.
The Dulwich picture gallery is by

ENGLISH RENAISSANCE ORNAMENT.
260.

tecture then existing is responsible him. Sir John Soane's Museum,
for his inability to effect these with in Lincoln's Inn Fields, formerly
success. Pugin has starred him with his private house, contains interest-
the affix
"
the destroyer." ing drawings and models.
4. COMPARATIVE.
ANGLO-CLASSIC, QUEEN ANNE AND GEORGIAN STYLES.
A. Plans. These are marked by regularity and symmetry,
sometimes showing signs of being dictated by a preconceived
elevation. The Italian use of a piano nobile above a storage
basement, affected the planning of many country houses
(No. 258). Excessive cellarage, or kitchen offices, occupy the
ground floor, and the best rooms are reached by a great external
staircase and portico (No. 258 D), or by a mean approach from a
side door through the basement. Octagonal, circular, and
elliptical-shaped apartments, often cubical in proportion, are
usual (No. 258 c), and suites of such saloons are arranged in
various combinations. Staircases receive much attention, in-
genious domical, or other top lights, being introduced. Corridors
gradually supersede the hall and en suite or thoroughfare systems
of planning (Nos. 131 G, H, j, K, 238 F, 252 E and 258 c, F).
B. Walls. These are usually thick, and filled in solid between
the varied shapes of the rooms, on plan. Brick was used most
commonly for walling, and often for the facing, but in later
work it was usually stuccoed. Stone was used as an ashlar facing
and for dressings. Unbroken surfaces contrasted with the porticos,
pilasters, or window dressings of the composition (No. 258), and
blank walls, to mask undesirable necessities, are not uncommon.
Chimneys are often concealed. Pediments are the only form of
gable, and are used with and without balustrades.
c. Openings. Windows were reduced in number as much as
possible, but infrequency of openings was compensated for by
large and unobstructed window areas (No. 260 B), sometimes of a
special Venetian Character (No. 261 c). Porticos, arcades, and
doorways (No. 261), were regulated by the proportions of the
Classic orders, and the minimum condition of having to pass
through them (No. 260 A, c, E) ;
the maximum scale was a question
of material and expense. Gate piers are frequently in excellent
proportion (No. 260 G). Vertical grouping of windows was effec-
tively developed, as in houses in Hanover Square, and the large
compositions of windows to more than one room or story were not
affected by party-wall or floor divisions, as in the houses of the
Brothers Adam in Fitzroy Square, and elsewhere.
D. Roofs. " No roof but a spherical one being sufficiently
dignified
"
for this style, balustrades or attics conceal the small

ENGLISH RENAISSANCE EXAMPLES. IX.
AFTER A
DESIGN BT
PHILIBERT
DE L'ORME
AVfcWETIAM WIffl5AIDTbBEAN
INVENTION? 5CAMQZCT. MUCH U5ED? B R
-^ ADAM.
mSKEKITED GATEWAY
R MICHAEL ANGELOS DESIGN.
AT MARINO BELOHCING
EARLof CHARLEMOMT HEAR 1DUSLIM.
WITH PEWSTAL^,
15 MOOULEfc ft,
26 1.

SS3
^JL
^t "te> *r""
is
fcU
m
^j>
^ w ||

amount of low-pitched roof covering the building (No. 258).
In the smaller works, tiled roofs having a wooden eaves cornice,
were often effectively used. Domes, cupolas, and turrets were
well designed, those on a large scale being lead covered, while
small examples were sometimes entirely of wood. The splendid
steeples of the period, in stone and wood, covered with lead,
rival mediaeval spires in fanciful and skilful outlines (No. 255).
E. Columns. The orders were used wherever funds per-
mitted (No. 260). Single order porticos of large scale were not
possible owing to the small size of stone obtainable, but on
the introduction of stucco and iron these could be erected.
Pilasters, however, were most often of two or more stories in
height (Nos. 258 A and 259). Columns, often purely decorative
in function, were employed in interiors with considerable effect.
The canons of proportion first laid down by Vitruvius (page 167)
were still further insisted on by Sir W. Chambers (Nos. 261, 262),
who took various Renaissance architects as his guide.
F. Mouldings. The standard mouldings of the Classic orders
became the stock-in-trade of every workman, being applied in
every material with small modification (Nos. 260, 262), and
design is thus often found of equal standard in very varied
classes of building. The large employment of wood, in which
material smallness of scale was rendered possible, admitted of
much elaboration and refinement in such features as the main
external cornices and doorways.
G. Ornament (No. 260). Wall tablets (No. 260 D), tombs
(No. 260 j), and chimney-pieces (No. 260 H, K) are among the
most pleasing decorative features in the style. Whitewash was
usual, but sometimes fresco decorations were employed, artists
such as Verrio and Sir James Thornhill being engaged. The
orders were executed with facility in wood or plaster, or both,
and small buildings resembling Roman Temples (No. 261 E)were
most effectively grouped in parks and gardens. Decoration,
founded on Roman, or in the later period, on Greek examples,
was modelled in stucco with great skill and effect, and French
work of the style of Louis XIV. and his successors was also
followed, while the Brothers Adam and others imported Italian
workmen, who carried the art to a high pitch of technical excellence.
5. REFERENCE BOOKS.
LATER ENGLISH RENAISSANCE.
(SEVENTEENTH AND EIGHTEENTH CENTURIES.)
Adam (R. and J.).
"
Works in Architecture." 3 vols., folio. 1773-1822.
Adam (R. and J.), Decorative Work of." (A selection of plates repro-
duced from the above.) Folio. 1901.

Belcher (J.) and M. E. Macartney.
"
Later Renaissance Architec-
ture in England." 2 vols., folio. 1897-1901.
Birch (G. H.).
"
London Churches of the Seventeenth and Eighteenth
Centuries." Folio. 1896.
Blomfield (R.). "A History of Renaissance Architecture in England."
2 vols., 8vo. 1897. (Also abridged edition. 8vo. 1900.)
Clayton (J.)." Works of Sir Christopher Wren the Parochial
Churches of London and Westminster." Folio. 1848-1849
Gibbs (J.).
u
Book of Architecture." Folio. 1728.
"
Inigo Jones's Designs." By W. Kent. Folio. 1835.
Paine (T.).
"
Plans, etc., of Noblemen's and Gentlemen's Houses."
2 vols., folio. 1767-1783.
Papworth (W.).
"
Renaissance and Italian Styles of Architecture in
Great Britain." 8vo. 1883.
Stratton (A.). "The Life, Work, and Influence of Sir Christopher
Wren." Folio. 1897.
Swan (A.).
"
Designs in Architecture." 2 vols., folio. 1757.
Taylor (A. T.).
"
Towers and Steeples designed by Sir Christopher
Wren." 1881.
Triggs (H. Inigo) and H. Tanner, jun.
"
Some Architectural Works
of Inigo Jones." Folio. 1901.
Triggs (H. Inigo)." Formal Gardens in England and Scotland."
Folio. 1902.
" Vitruvius Britannicus." By Campbell, Woolfe, and Gandon. 5 vols.,
folio. 1715-1771.
Ware (I.).
"
Complete Body of Architecture." Folio. 1756.
Wren (C. and S.).
"
Parenfalia." Folio. (Contains much interesting
information concerning the life and work of Sir Christopher.) 1750.
Hope (A.)." Simon Dale."
Lytton (Lord)." Devereux." /
Scott (Sir W.)." Woodstock." I . . . ,
T
.
Thackeray (W. M.).-" Esmond." > Historical Novels.
Thackeray (W. M.).
" The Virginians."
Wingfield (L.).
"
Lady Grizel."
THE EARLY VICTORIAN STYLE
(THE AGE OF REVIVALS),
Comprises the reigns of George IV. (1820-30), William IV.
(1830-37), and Victoria (part of) (1837-51).
The notes on this period are merely -given as explanatory
of the general course of architecture at this time. The beginning
of the century saw Palladianism on the decline, and the intro-
duction of eclecticism as a governing idea in architectural design.
On the one hand, isolation from the Continent, due to the
Napoleonic wars, shut out new ideas in art, and on the other hand,
Stuart and Revett's "Antiquities of Athens" (A.D. 1762),
Robert Adam's "
Spalato
"
(A.D. 1764), Inwood's " Erechtheion
"

ENGLISH RENAISSANCE. 59!
(A.D. 1831), the writings of Professor Cockerell and the publica-
tions of the Society of Dilettanti (A.D. 1769), caused an increased
interest in Classic architecture and the erection of buildings
copied from Greek originals, which is known as the " Greek
Revival," a movement much strengthened by the importation of
the Elgin marbles in 1801-1803.
Somewhat later, the influence of literature helped to produce
what is known as the " Gothic Revival." Battey Langley's
"Gothic Architecture Improved," Rickman's "
Attempt to Dis-
criminate the Gothic Styles" (A.D. 1819), the writings of Coney,
Paley, Wild, Cotman and the elder Pugin, Brandon's " Churches
of the Middle Ages," and other works, Britton's Architectural
Antiquities of Great Britain
"
(1807-1826), the " Cathedral Anti-
quities of Great Britain" (1814-1835), and the works of other
writers, caused an increasing interest to be taken in Gothic
Architecture. This interest was further aided by the erection of
Strawberry Hill (1760-1770), a Pseudo-Gothic Abbey, by
Horace Walpole, and Fonthill Abbey (a monastic building with
modern internal arrangements), by James Wyatt, already referred
to (page 582).
3. EXAMPLES.
Note. Examples in the Classic and Gothic schools of architec-
ture, which now, for the first time, run concurrently, are placed
side by side.
THE CLASSIC SCHOOL. THE GOTHIC SCHOOL.
H. W.Inr
wood(-i
f
j^-^>^} New Savage: S. Luke, Chelsea (1820),
Church of S. Pancras (1819), an an early attempt at revived Gothic,
attempt to copy absolutely the the galleried church of the
period
purest
of Greek detail, reproducing being clothed with details, directly
in many respects the Erechtheion, copied from old cathedrals and
Athens. churches.
Nash (1752-1835), of the Regency, Sir Jeffrey Wyatville (1766-
introduced the age of stucco :
Hay- 1840) : transformed Windsor Castle
market Theatre; Buckingham in 1826. This started a fashion for
Palace, since altered by Blore ; castellated mansions, internally of
Regent Street, with Quadrant (the the traditional architecture, and ex-
colonnades have since been re- ternally battlemented and turreted
moved) ;
All Souls, Langham Place, in imitation of the Edwardian
and the laying out of Regent's castles, as at Belvoir Castle.
Park in palatial blocks of synime- William Wilkins : New Court,
tricai architecture. Trinity College, Cambs., and the
William Wilkins (1778-1839) : New Buildings, King's College,
University College, London ;
the Cambs.
National Gallery (fettered with con- John Shaw (A.D. 1776-1832) : S.
ditions) ;
S. George's Hospital, Dunstan in the West, Fleet Street
London; Museum at York ;
Down- (A.D. 1831-1832), a fine treatment
ing College, Cambs., and The of a town church, since spoilt by
Grange House, Hants (1820). erection of adjacent buildings.

THE CLASSIC SCHOOL.
Sir Robert Smirke (1780-1867),
a pupil of Sir John Soane : The
British Museum (1823-1847) (in
which remark the application of
the useless but grandeur-giving
porticos to public buildings) ;
General Post Office ; King's Col-
lege, London (1831).
George Basevi (1795-1845), a
pupil of Sir John Soane, erected
Fitzwilltam Museum, Cambs.
Decimus Burton (1800-1881) :
Screen at Hyde Park Corner in
1824 ;
Athenaeum Club, Pall Mall,
and United Service Club, Pall Mall.
H. L. Elmes (1815-1847) : S.
George's Hall, Liverpool, won in
competition, is the most perfect
design of the Classic School, the
main hall recalling the Roman
Thermae (page 144). Externally a
colonnade and portico design is
handled with great effect. On the
death of Elmes, Prof. Cockerell com-
pleted the decoration of the interior.
The vault was executed in hollow
tiles by Sir Robert Rawlinson.
Sir IV. TV/* (1798-1873) :
Royal
Exchange, London.
Prof. C. R. Cockerell, R.A.. (1788-
1863), travelled much in Greece and
Italy, and published "The Greek
Temples of yEgina and Bassae."
He erected the Taylor and Ran-
dolph Institute, Oxford ;
the Sun
Fire Office, Threadneedle Street,
London (recently altered) ;
Banks
of England at Manchester, Bris-
tol, and Liverpool ;
and Han-
over Chapel, Regent Street (1825)
(lately demolished).
Sir Charles Barry (1795-1860)
travelled extensively in Egypt,
Greece, and Italy. He abandoned
the fashion of useless porticos,
and brought in the "
astylar
"
treatment of design. The Travel-
lers' Club, Pall Mall, shows the
influence of the Pandolfini Palace,
Florence, and was followed by the
Reform Club, Pall Mall, a design
inspired by the Farnese Palace,
Rome. In Bridgewater House, the
THE GOTHIC SCHOOL.
Augustus Weiby Northmore
Pugin (1812-1852), from being-
employed upon his father's books
of mediaeval architecture, acquired
an extraordinary knowledge of the
style. He published a rousing
pamphlet contrasting the "
de-
graded
"
architecture of the day
with what he called the "
Chris-
tian
"
style. A new spirit of
church building was awakened,
and, by the earnest study of old
work, a new era in the Gothic
revival began. Pugin erected more
than sixty-five churches in the
United Kingdom, and many in
the colonies, besides convents,
monasteries, mansions and schools,
and made a vast number of designs
in collaboration with or as assistant
to others. He had not yet arrived
at the meridian of his power when
he died at the age of forty.
In the Gothic revival Pugin
sought to restore the fervour of
faith and the self-denying spirit
which were the real foundations of
the artistic greatness and moral
grandeur of the Middle Ages.
Amongst the numerous works
which he erected, only the few
following typical examples can
be mentioned : Roman Catholic
churches at Nottingham, Derby,
and elsewhere ;
S. George's Cathe-
dral, Southwark, and S. Augus-
tine's, Ramsgate, 1855. He worked
under Sir Charles Barry on the
stained glass, metal work, fittings,
and ornamental work generally of
the Houses of Parliament.
Sir Charles Barry :
Birmingham
Grammar School, 1833 ;
Houses
of Parliament, commenced 1840
(No. 263), in which symmetry of
the leading lines on plan, simplicity
of idea, and richness of character
pervade the whole design, which is
Classic in inspiration, Gothic "in
clothing, and carried out with
scrupulous adherence to the spirit
and detail of the Perpendicular
period.

THE CLASSIC SCHOOL.
third of the series (1849), the in-
fluence of the Gothic revival is
evidently felt, greater richness is
sought after, and the Italian feeling
is less strong. His final work, the
Town Hall at Halifax, is a still
more ornate example of the Re-
naissance, the intention being to
combine picturesqueness with sym-
metrical stateliness. Other impor-
tant works in the country are :
Trentham Hall (where landscape
gardening of the Italian School is
admirably carried out), Shrublands,
Highclere, and Cliefden.
Sir James Pennethorne (1801-
1871), assistant to Nash, and
influenced by Barry, discarded
porticos as unnecessary, and fol-
lowed on Renaissance rather than
Classic lines :
Geological Museum,
Piccadilly (after courtyard of the
Doge's Palace, Venice); the Civil
Service Commission, Burlington
Gardens ;
Somerset House, western
wing (A.D. 1857); Record Office,
Fetter Lane. Orders were sparingly
used, and detail is refined.
THE GOTHIC SCHOOL.
Pugin, under Sir Charles Barry,
directed the execution of the fittings,
agreeing with the style of the build-
ing, and in marked contrast to the
previous buildings of the Revival.
The immediate effect of the
design of this great building was
slight. It was the climax of the
first idea of the movement that
of carrying on the Tudor style so
that, at the time of its completion,
in 1860, the attention of all was
riveted on the earlier phases of
mediaeval architecture which every-
one was engaged in imitating.
The end of the period of Sir
Charles Barry marks the close of the
Classic Revival. The influence of
the Gothicists was now paramount,
and the final touch to this influence
was given by the 1851 Exhibition,
which in the end has done so much
to raise the arts and crafts to a
higher state of perfection.
THE LATE VICTORIAN STYLE,
Comprises the latter part of the reign of Victoria (1851-1901).
The Great Exhibition of 1851 caused the raising into
prominence of the minor arts, such as metal work, glass painting,
mosaics, decoration, and sculptured works, and formed a starting
point for the arts of the Victorian age. The popularization of
architecture by the architectural courts and models of buildings
in the various styles aroused an interest in the subject. The publi-
cation of "The Seven Lamps of Architecture" and "The Stones
of Venice," by Ruskin, in 1851, and the works of Beresford-Hope,
Parker, Prof. Willis, Sharpe, Whewell, Rev. J.
L. Petit, Brandon,
and others, helped on the Gothic movement, while Prof. Cockerell
and Prof. Donaldson were writing on the Classic side.
The foundation of the South Kensington (now Victoria and
Albert) Museum carried further the influence of the 1851
Exhibition, by its illustration of ancient decorative art, and by
the atelier which was there maintained for some years.
The restoration of a large number of cathedrals and churches,
and the erection of many new churches, had powerfully aided
F.A. Q

the Gothic revival, which it was attempted to extend to buildings
for every purpose ;
until the movement met with a severe check
in the decision, acquiesced in by Sir Gilbert Scott, to erect the
Home and Foreign Offices (1860-1870) in the Classic, or as it
was called, the modern style. The design thus dictated to Scott
was not likely to be a masterpiece, and it is in fact but a poor
compromise between modern French and the traditional Italian
ideas of the Renaissance. After this crisis a new movement, due
to Norman Shaw, Nesfield, and Philip Webb, then arose in
favour of the Queen Anne style, or Free Classic, for domestic
buildings, while churches and kindred buildings continued to be
erected in a developed style of Gothic architecture.
The work of Shaw, Nesfield, and Webb influenced the design
of smaller buildings in suburbs and country.
CLASSIC SCHOOL.
E. M. Barry (1831-1 880) : Covent
Garden Theatre ;
The Art Union
Building, Strand ; Charing Cross
Station. He endeavoured to intro-
duce the Early French Renaissance,
as in the Temple Chambers, Victoria
Embankment, London.
Nelson :
Junior United Service
Club.
F. P. Cockerell: The Free-
masons' Tavern.
Sir Gilbert Scott (1810-1877) :
The Foreign Office.
Sir Digby Wyatt (1820-1877) :
Courtyard to India Office.
Messrs. Banks and Barry : Dul-
vvich College ; Burlington House
(the Courtyard and facade to
Piccadilly).
Sydney Smirke : The story added
to Burlington House ;
British Mu-
seum reading-room ;
Carlton Club,
Pall Mall, after the library of S.
Mark, Venice.
Lewis Vulliamy : Dorchester
House, London, after a Roman
Renaissance palace, has unique
decorative work inside by Alfred
Stevens.
John Gibson : National Pro-
vincial Banks in London and the
provinces, in which the Classic
orders embracing two stories are
freely introduced ; the Society for
the Promotion of Christian Know-
ledge, in Northumberland Avenue,
GOTHIC SCHOOL.
Sir Gilbert Scott (-1810-1877):
Camberwell Church ;
S. Mary,
Stoke Newington ;
the Martyrs'
Memorial, Oxford ;
church at
Haley Hill, Halifax (1855) 5
church
at Hamburg ;
S. George, Don-
caster (1853) ;
S. Mary's Cathe-
dral, Edinburgh ;
S. Mary Abbott,
Kensington ; the Albert Memorial ;
S. Pancras Station ; buildings in
Broad Sanctuary, Westminster ;
many other new churches, houses,
and restorations.
Owen Jones : S. James's Hall, a
modern version of Venetian Gothic.
Benjamin Ferrey : S. Stephen,
Westminster.
William B2itlerfield : Keble
College, Oxford ;
All Saints,
Margaret Street, London ; and
S. Alban, Holborn, all of which
show the increasing desire for and
study of color.
G. E. Street (1824-1881) : S.
Mary Magdalene, Paddington ;
S.
James the Less, Westminster, 1861;
the Law Courts, London ;
house
in Cadogan Square ;
the Convent,
East Grinstead ;
house and church
at Holmwood, and elsewhere.
W. Burges (1828-1881) : Cork
Cathedral (1870) ;
restored Cardiff
Castle, and built his own house in
Melbury Road, London ; the Speech
Room, Harrow School.
A*. Brandon : Catholic and

CLASSIC SCHOOL.
London, since altered ;
Todmorden
Town Hall.
Sir Horace Jones : The Smith -
field Market and Guildhall School
of Music.
Capt. Fowke and Assistants:
The Science College, South Ken-
sington, and the Albert Hall.
Grassland: Holloway College,
Egham (after Chateau de Cham-
bord).
Whichcord: S. Stephen's Club ;
National Safe Deposit, London.
Davis and Emmanuel :
City of
London Schools.
Burns: Buccleuch House,White-
hall.
Alexander Thomson, of Glasgow,
known as "Greek Thomson":
several buildings at Glasgow with a
peculiar severe treatment of modern
Greek which had much influence.
H. Currey : S. Thomas's Hos-
pital.
Bodley and Garner : London
School Board Offices. Thames
Embankment. The student con-
fined to London may obtain an
idea of the early French Renais-
sance style by an inspection ot
this building.
H. Gribble: The Oratory at
Brompton, west front and dome
added later. (The Italian style a
condition of the competition.)
W. Young: Glasgow Municipal
Buildings, in the Palladian manner;
Gosford Park; War Office, White-
hall.
Learning Brothers: Admiralty
Buildings, Whitehall. (The result
of an open competition which
practically sounded the death knell
of Gothic architecture for public
buildings.)
R. Norman Shaw : New Zea-
land Chambers, Leadenhall Street,
London ; country houses, as
"
Wispers "; Lowther Lodge, Ken-
sington, and houses at Bedford
Park, Chiswick ;
Alliance Assur-
ance Office, Pall Mall ;
houses at
Queen's Gate, London ;
house near
GOTHIC SCHOOL.
Apostolic Church, Gordon Square,
London, 1859.
E. W. Godwin :
Congleton
Town Hall, Bristol Assize Courts,
and Northampton Town Hall,
since altered.
A. Waterhouse : Manchester
Town Hall and Assize Courts ;
Natural History Museum, 1879 ;
Prudential Assurance Offices, Hoi-
born ; Eaton Hall, Cheshire ; City
Guilds of London Institute, South
Kensington.
Deane and Woodward: The
Oxford Museum, directly the out-
come of Ruskin's teaching.
Philip IVebb: "Clouds." Hamp-
shire ; Lord Carlisle's house, Ken-
sington ; offices at Lincoln's Inn
Fields.
W. E. Nesfield: Lodges at Kew
and Regent's Park, and many
houses.
J. L. Pearson, R.A.: Truro
Cathedral. His eight London
churches :
(1) Holy Trinity, Bessborough
Gardens (1850).
(2) S. Anne, Lower Kennington
Lane.
(3) S. Augustine, Kilburn.
(4) S. John, Red Lion Square.
(5) S. Michael, West Croydon.
(6) S. John, Upper Norwood.
(7) Catholic Apostolic Church,
Maida Hill.
(8) S. Peter, Vauxhall.
Chiswick Parish Church (addi-
tions) ;
S. John, Redhill ;
S. Alban,
Birmingham.
Astor Estate Offices, Thames
Embankment.
James Brooks: Churches in Hol-
land Road, Kensington, Gospel Oak,
and many others round London.
Goldie : S. James, Spanish
Place, London.
G. G. Scott : S. Agnes, Ken-
nington ;
churches at Southwark
and Norwich ; the Greek Church,
Moscow Road, London ;
S. Mark,
Leamington, 1879 ; additions to
Pembroke College, Cambridge.
Q Q 2

CLASSIC SCHOOL
Salisbury, in the Wren style ;
"
Craigside,"
"
Dawpool," and "
Bry-
anston," near Salisbury ;
houses
at Hampstead ;
Harrow Mission
Church, Wormwood Scrubs ; New
Scotland Yard (Anglo-Classic).
T. G. Jackson: Work at Oxford ;
the Examination Schools and
additions to colleges in revived
Elizabethan.
Ernest George and Peto (Influ-
ence of Flemish Renaissance) :
Works at Collingham Gardens and
Cadogan Square, London ;
houses
at Streatham Common ;
Buchan
Hill, Sussex, and others.
H. L. Florence: Hotel Victoria,
Holborn Viaduct Hotel and Station;
Woolland's premises, Knights-
bridge.
E. R. Robson and ].
/. Steven-
son : Work for London School
Board ;
London typical style in
red brick dressings and yellow
stocks.
E. R. Robson: Institute of Water
Colors, Piccadilly; the New Gallery;
the People's Palace, London.
R. IV. Edis :
Constitutional,
Junior Constitutional, and Badmin-
ton Clubs, London.
T. E. Colcutt :
imperial Insti-
tute ; City Bank, London ; Palace
Theatre; Lloyd's Registry Office,
London.
E. W. Mountford: Sheffield
Town Hall ; Battersea Town Hall ;
Battersea Polytechnic ; Liverpool
Technical Schools and Art
Galleries ; Central Criminal Court,
Old Bailey, London.
J. M. Brydon : Chelsea Town
Hall and Polytechnic ; Bath
Municipal Buildings, Art Gallery
and Pump Room ; Government
Offices, Westminster.
J. Belcher: Institute of Chartered
Accountants ; Colchester Town
Hall ; Eastern Telegraph Co.
Offices, Finsbury Circus, Electra
House, Moorgate St., London (a
monumental example of street archi-
tecture), and several large houses.
GOTHIC SCHOOL.
Basil Champneys : Girton and
Newnham Colleges, Cambridge ;
Indian Institute and Mansfield
College, Oxford ; S. Bride's Vicar-
age, London ; Rylands
5
Library,
Manchester.
Bodley and Garner : Church at
Hoar Cross, Staffordshire ; Clum-
ber Church ; churches at Hack-
ney Wick, Castle Allerton, Leeds,
Folkestone, and elsewhere.
John F. Bentley : New Cathedral,
Westminster ; the Church of the
Holy Rood, Watford ;
S. Luke's
Church, Chiddingstone Causeway ;
S. Thomas's Seminary, Hammer-
smith ;
S. John, Hammersmith ;
S. John, Brentford ;
S. Mary, Clap-
ham, and many others.
Sir Arthur Blomfield: S. Mary,
Portsea, and many other churches ;
Sion College, Thames Embank-
ment ;
the Church House, West-
minster ;
All Saints, Brighton
(also see "
Greek Architecture,
'
page 56).
Palcy and Austin : Stockport
and other churches in Lanca-
shire.
Douglas and Fordham : Churches
and domestic half-timber work, in
Chester and elsewhere.
/. D.
Sedding(*3j-%<)2) :
Holy
Trinity Church, Chelsea (1890),
marks the raising of the arts and
crafts into their proper importance ;
the Church of the Holy Redeemer,
Clerkenwell (a new version of the
Wren style) ; S. Clement, Bourne-
mouth, and domestic work
adjacent ; Children's Hospital,
Finsbury, London, and in conjunc-
tion with H. WT
.
Wilson, S. Peter,
Ealing.
Sir Aston Webb andIngress Bell:
Birmingham Assize Courts; In-
surance Buildings, Moorgate Street,
London ; Christ's Hospital, Hor-
sham, Sussex.
Sir Aston Webb: Metropolitan
Life Office, Moorgate Street ;
French Church, Soho Square, W.
Ernest Newton : Houses at

ENGLISH RENAISSANCE. 5Q7
CLASSIC SCHOOL. GOTHIC SCHOOL.
Sir Aston Webb: Victoria and Haslemere, Wokingham and else-
Albert Museum (South Kensing- where.
ton) ;
Naval College, Dartmouth ;
Leonard Stokes : Churches and
Victoria Memorial Processional schools at Folkestone, Liverpool,
Avenue, London. and elsewhere.
H. T. Hare: Oxford Municipal W. D. Carce : Churches at
Buildings ;
Stafford Municipal Exeter, Fordington, and elsewhere ;
Buildings ; Henley Town Hall ; Episcopal Palaces, Bristol and
Crewe Town Hall. Canterbury.
Lanchester, Stewart and G. H. Fellowes Prynne:
Richards: Cardiff Town Hall and Churches at Staines, Dulwich and
Law Courts. elsewhere.
During the last fifty years the pages of the professional journals
have contained most of the noteworthy buildings erected, and it
is a source of much pleasure and instruction to go through these
records of the developments which have taken place, for they seem
to show that a style or manner in architecture is being slowly
worked out, which may, it is hoped, resist all revivals and
fashions, and become the free expression of our own civilization,
and the outward symbol of the twentieth century.
British Colonial Architecture.
The development of architecture in the great self-governing
colonies, such as Australia, New Zealand and Canada, has to a
large extent followed the lead of the mother country, and buildings
have been and are erected both in the Classic, Gothic and Renais-
sance styles. As in England, Classic is principally though not
wholly reserved for secular buildings, and Gothic for ecclesiastical
buildings, a homely type of design resembling our own Georgian
style being employed for smaller domestic works of the country-
house type. Some of the larger works are of importance and are
an evidence of the political growth of those colonies in which they
are situate. Among those in the "Classic" school are the MacGill
University, Montreal, and the Parliament House, Melbourne ;
and
a large number of banks, insurance offices, city halls, and law
courts. In the "Gothic" school, Melbourne Cathedral, and the
Parliament House at Ottawa are outstanding examples. The
Parliament House at Sydney was intended to be rebuilt in this
style, but the building was not proceeded with further than the
foundation, the old buildings being still in use.

ARCHITECTURE IN THE UNITED
STATES.
" Built in the old Colonial clay,
When men lived in a grander way,
With ampler hospitality ;
A kind of old Hobgoblin Hall,
Now somewhat fallen to decay,
With weather stains upon the wall
And stairways, worn and crazy doors',
And creaking and uneven floors,
And chimneys huge, and tiled and tall." LONGFELLOW.
THE study of the progress of architecture in a new country,
untrammelled with precedent and lacking the conditions obtaining
in Europe, is interesting ;
but room is not available for more
than a cursory glance.
During the eighteenth century (1725-1775) buildings were
erected which have been termed "colonial" in style, corresponding
to what is understood in England as ' '
Queen Anne "
or "
Georgian
' '
(page 578).
In the "New England" States wood was the material principally
employed, and largely affected the detail. Craigie House, Cambridge
(1757), is typical of the symmetrical buildings. It has elongated
Ionic half-columns to its fa9ade, shuttered sash windows, the
hipped roof and the dentil cornice of the "
Queen Anne "
period ;
the internal fittings resembling those of Adam and Sheraton.
The early buildings were mainly churches or "meeting houses,"
erected after the manner of Sir Christopher Wren. S. Michael
at Charlestown (1752) (the probable architect being Gibbs, the
designer of the Radcliffe Library at Oxford), S. Paul, New York
(1767), Christ Church, Philadelphia (1727-1735), were among the
early churches.
In Virginia, as at Brandon, Shirley, and Maryland, the homes
of the tobacco planters, many of the best examples of country
houses were erected.
Independence Hall, Philadelphia (1729-1735), the Old State House
at Boston (1747), and the Town Hall at Newport are other well-known
buildings.
The Spanish rule in Florida and California is responsible for

ARCHITECTURE IN THE UNITED STATES. 599
many forts, churches and mission houses, which bear resemblance
to the Spanish Renaissance buildings.
Between the Declaration of Independence (1776) and the war
of 1812, owing to the erection of new State capitals, a more monu-
mental type was evolved. Among the buildings of importance
a few only can be mentioned.
The original Capitol at Washington (1793-1830), by Thornton,
Hallet and Latrobe.
Virginia University (1817), by Jefferson, recently destroyed by
fire, and rebuilt in a similar manner by McKim, Mead and White,
and the Massachusetts State House at Boston (1795), by Bullfinch,
recently enlarged and restored.
The Classic Revival (1812-1870) of Europe reached the States
somewhat late, but produced similar results.
Among the buildings were the Wings and Dome of the Capitol at
Washington (1858-1873), by Walters, which became the model for
many public buildings. The Customs House at New York, the
United States Mint, Philadelphia, the Treasury at Washington, Boston
Custom House, several State capitols, the Town Hall, Philadelphia,
and the Capitol at Albany, begun in 1871.
The Gothic Revival was confined principally to churches
(1840-1876). Grace Church (1845) and S. Patrick's Cathedral, New
York (begun in 1858), both by Renwick ; Trinity Church, New York
(1839-1846), by R. Upjohn ;
the State Capitol at Hartford, by R.
M. Upjohn (1873-1878) ;
the Museum at Boston (1876-1880) ;
the
Academy of Fine Arts, Philadelphia (1876) ;
Memorial Hall, Harvard
College (1870-1877), are examples of this revival.
Recent Architecture. The industrial activity which followed
the civil war (1861-1865), and the devastating conflagrations of
Chicago (1871) and Boston (1872) all helped to create greater
interest in architecture, while such exhibitions as that at Phila-
delphia (1876), Chicago (1893) and S. Louis (1904) have aided in
enlarging the national ideas.
Two architects, H. H. Richardson (1826-1886), and R. M. Hunt
(1827-1895) also helped the movement, both^in very different
ways. Richardson, although a pupil of the Ecole des Beaux-
Arts, worked in the non-academic French Romanesque manner,
and greatly influenced his contemporaries and successors.
Trinity Church, Boston (1877), Pittsburgh County Buildings, the
Albany City Hall, work at Harvard University, and many charming
small libraries round Boston, are his well-known examples.
R. M. Hunt has been specially employed in the erection of
large town and country houses, among which may be mentioned,
Houses at Newport,
" Biltmore
"
a country chateau in North
Carolina many city buildings, including the Lennox Library, New
York (1871-1877), and the additions to the Metropolitan Museum of
Art, New York.

GARRICK (FORMERLY SCHILLER) THEATRE, CHICAGO.
264.

ARCHITECTURE IN THE UNITED STATES. 6oi
The abnormal progress of American industries during the last
25 years, the general use of lifts and fireproof construction and
the cost of land has caused the erection of many important town
buildings of great height.
In some the walls have been constructed of a framework of
steel, supporting masonry brick or terra-cotta inclosing walls.
Such buildings are essentially modern in character, but are not
necessarily ugly in design. Among the most important are the
Garrick (Schiller) Theatre, Chicago (No. 264), by Messrs. Adler and
Sullivan, a most successful and chaste design as applied to a high
building, which is in reality a tower, The Monadnock Building and
the Masonic Temple at Chicago, by Messrs. Burnham and Root.
The Ames Building and Tremont Temple in Boston; Madison
Square Theatre in Neiv York, and the enormous buildings of the
leading newspapers, insurance offices and trusts are notable.
Domestic Architecture. The houses of small type have
been very successfully treated, wood being largely employed in
the country districts.
The plan of these houses often shows great originality, the
staircase, sitting-hall, piazza, and a picturesque grouping of steep
roofs, being main features.
Among later buildings of note are 5. John the Divine, New York ;
President Grant's Tomb, Riverside Drive, New York ;
Chicago Public
Library, by Shepley, Rutan, and Coolidge ; Congressional Library
at Washington, by Petz, Smithmeyer and Green ;
New York Public
Library, by Carrere and Hastings ;
the State House, Providence, by
McKim, Mead and White ; University of Pennsylvania, at Philadelphia
(various buildings), by Cope and Stewardson ;
Libraries at Wash-
ington and Atlantic City, by Ross and Ackermann ;
the Ponce de Leon
Hotel at Florida, in the Spanish Renaissance style, by Carrere and
Hastings, and the Boston Public Library, a modern Renaissance
design by McKim, Mead and White, which has had a good deal of
influence in the designing of recent library buildings. The same
architects have erected very scholarly and refined buildings at the
Columbia University at New York.
The designs of the various buildings for the Chicago Exposi-
tion (1893) differed largely from expectation. Many looked for
some new development in either iron or terra-cotta, or perhaps
wood alone, being in a country which is the centre of the lumber
market ;
but " extremes meet," and an exposition of architecture
on the wilds of the western prairie turned out to be a collection
of well-studied Parisian designs.
It is to be hoped that the imitative element will not cause these
great Classic designs to be reproduced elsewhere for town halls,
museums and other buildings, but that American architects
already advancing so rapidly along certain new lines of departure,
will value the lessons they teach without copying their exact

forms ;
if not there will be another great American Classic revival
of the French type which will go far beyond any craze such as has
occurred in England and do a great deal to retard the true progress
of art in America.
In conclusion, it is certain that there is a great future for
American Architecture if only the architects will, as much as
possible, express themselves in the language of their own times.
No advance can be made by the copying of ancient buildings, as
has been done in certain cases, constituting a retrogressive move-
ment, and showing a sad want of the appreciation of the true
value of art.
The great historic styles must of course be well studied, not
for the forms with which they abound, but for the principles
which they inculcate, much in the same way that the literature
of the past is studied in order to acquire a good literary style.
If architecture is thus studied a good result will be assured, and
the architect will produce works reflecting the hopes, needs, and
aspirations of the life and character of the age in which he lives.

A
ON THE
COMPARATIVE METHOD.
PART II.
THE NON-HISTORICAL STYLES.
THE non-historical styles Indian, Chinese and Japanese and
Central American are those which developed mainly on their
own account and exercised little direct influence on other
styles. They can thus be studied independently, and need not
interrupt the story of the evolution of European Historical Archi-
tecture dealt with in Part I., which would probably be the case
if they were placed in their chronological order. The position
which they should occupy in a History of Architecture is, how-
ever, a matter of doubt, but it is
thought that by keeping them
quite separate from the historical styles, it will make for greater
clearness to the student.
Saracenic architecture is also placed in Part II., as its connection
with European architecture is not generally considered important,
although it
certainly influenced it to some extent.
Mention should be made of the late Mr. Fergusson's investiga-
tions on the subject. He was the first to piece together the
story of Indian and Eastern architecture, not only by his own
patient researches, but by utilizing the vast amount of material
brought to light by General Cunningham and a score of others, who
had been working mainly in connection with government depart-
ments. Mr. Fergusson's chronology is founded on his own labours
and such investigations, and is the one which has been followed.
The study of Indian and indeed of all Eastern art enlarges
the view, since it presents many novel forms to which one is

unaccustomed, and which, doubtless because of their unusual
character, often strike one as ugly or bizarre. It is, however,
a question of taste and education as to whether this impression
is really due to this unusual character, or whether such forms
would not be considered beautiful if sanctioned by custom.
" Use is second nature;
"
and Indian architecture was no doubt
beautiful to those who were engaged on it and to whom it was
meant to appeal.
It is certain that in no other style was such patient care and
labour bestowed on the minutest detail. From an architect's
point of view, these non-historical styles can scarcely be so
interesting as those which have progressed on the solution of
constructive problems, resolutely met and overcome, as was the
case in Europe from the Classic period to that of the Renaissance.
In India and the East, decorative schemes seemed to have
outweighed any such problems.
The student should visit the Indian Museum at South
Kensington, which possesses a most valuable collection of
portions of original buildings, casts of details, and models of
temples, monuments and houses.
265.

INDIAN ARCHITECTURE.
More thought than woe was in her dusky face,
For she was prophesying of her glory :
And in her wide imagination stood
Palm-shaded temples and high rival fanes
By Oxus or on Ganges' sacred isles." KEATS.
i. INFLUENCES.
i.
Geographical India a three-cornered country occupies
an area fifteen times greater than Great Britain. Bounded on
the North by the Himalayas on the North-West by the Suleiman
mountains, and on the East by the heights of Southern Assam,
the remaining portion is bounded by the sea. The coasts,
deficient in good harbours, may have helped to keep the people
aloof from extraneous influences ;
but by her position she was
destined to receive the human overflow from the ancient breeding
grounds of Central Asia.
The rivers, as the Nerbudda, Ganges, Indus, Krishna, and
Jumna, were important as affording employment to thousands of
boatmen, and were utilized for rafting down timber used for
building from the immense forests. By forming trade routes or
cheap highways they assisted in the formation of great cities. The
Ganges-Jumna Valley contains some of the principal cities of
architectural importance. Delhi (the
" Rome of India "), a collec-
tion of ruins of different cities, covers nearly 50 square miles.
It was the capital of the Mogul Emperors (page 671). Its
architectural importance was probably gained through being at
the junction of four historic roads, viz. : that from the Lower
Ganges, the Hindu Koosh, the Indus Valley and the Gulf of
Cambay. Delhi is therefore the centre of India, as London is
of England.
The rock-cut temples on the Western Ghats are attributed by
some to the influence of Egypt, Persia, and Assyria, as they
contain capitals and columns of similar design. The proximity
of the Greek Bactrian Kingdom in the north-west had consider-
able classical influence on the architecture, primarily of the

Gandhara district, and thence over Northern India generally.
On the east coast the country, being comparatively open, was
accessible to the spread of civilization, and this being so, the
ancient dynasties of Southern India fixed their capitals there.
On the west coast, a narrow strip of lowland only intervening
between the Ghats and the seaboard caused the inhabitants to
remain to this day aloof from civilizing movements.
The map (No. 265) taken from Choisy's
" Histoire de 1' Archi-
tecture," indicates the different type of building characteristic
of each portion of India.
ii. Geological. The centre of the Peninsula and the hill
country generally abound in excellent building stone, which had
considerable influence on Indian architecture from the earliest
times. Mention should be made of the pink marble of Rajputana,
with which the principal buildings at Delhi and Agra were con-
structed, also the trap of the Deccan, the sandstone of the Godavari,
and the Nardada, and the granite of Southern India.
At Hullabid, an indurated potstone of volcanic origin is found,
so close grained as to take a polish.
In West India, the rock-cut "
Chaityas" of the Buddhists were
rendered possible by the geological formation, being composed of
horizontal strata of trap formation, uniform in texture and of
considerable thickness, rising from the ground as perpendicular
cliffs, into the face of which the temples were cut.
At Mahavellipore and Ellora, the Dravidian monolithic rock-
cut free-standing temples, known as "
Raths," were hewn out of
the Indian amygdaloidal trap formations of these districts. Terra-
cotta seems to have been employed in early times, and may have
influenced later work in producing the exuberance of ornament,
rendered easy by the pressing of plastic clay into moulds.
A wooden origin is traceable to nearly all the Buddhist archi-
tectural forms. Teak is the principal wood of the country, being
found in large forests on the Eastern and Western Ghats, and
in the Himalayas. Other woods are ebony, and the bamboo of
the jungle. Palms (which afford food, drink, clothing and building
material to the native) grow mostly on the lowlands of the coast.
In the low-lying plains of Bengal, brick was used to some
extent, but the alluvial soil of this district does not afford good
material for brick-making.
Lime for building is obtained by burning limestone and Kankar,
a nodular form of impure lime found in most river valleys, and
from shells plentifully found in the marshes.
iii. Climate. India lies mostly within the tropics. Two prin-
cipal seasons, wet and dry, divide the year. Thus, the climate
being tropical, flat terraced roofs, used for coolness, exercise, or
sleeping, predominate, as in Egypt (page 29), Assyria and Persia.
The genera) use of the great fan or punkah in the hot season

INDIAN ARCHITECTURE. 607
is significant of the intense heat which prevails, which influenced
the size and forms of architectural openings.
The pierced screen or lattice window in Indian and all Eastern
art is a decorative feature due to persistent sunshine, and acting
as a fine architectural screen against the excessive light and heat.
Water storage being important for irrigation and as a provision
for the dry season, rendered necessary the number of canals, reser-
voirs, and tanks in connection with temples and palaces. These
form such special features in Indian architecture.
iv. Religion. The Early Vedic religion, of which the "
Rig-
Veda" a collection of poems addressed to the gods forms the
literary memorial, had existed long before the rise of Buddhism
in the sixth century B.C.
Buddkist.Saky* Muni (Buddha the "Enlightened"), the
founder of Buddhism, was born in B.C. 623, and died B.C. 543,
and from the age of thirty-five spent his life in preaching.
Asoka (B.C. 272-236) adopted and made Buddhism the state
religion, as Constantine did with Christianity. It remained so
for nearly a thousand years, i.e., from B.C. 250 till A. D. 750. From
the foundation of Buddhism, the first great bond of union among
the Indian races, can be traced the historical architecture of
India, an architecture of religion, in which the sacred buildings
were originally not temples to gods but monasteries or memorial
shrines to holy men.
Relic worship, an essential feature of the Buddhist religion,
necessitated the erection of the many important topes or dagobas
containing a relic of a deceased saint, such as a tooth, bone, toe-
nail, or even hair.
The tenets of Buddhism are inscribed on the monuments
chronologically at Buddh Gaya, Bharbut, the topes and gateways
at Sanchi and elsewhere, few other records existing.
Tree and serpent worship, which was introduced by the
non-Aryan peoples of India, still prevails, and is responsible
for many decorative emblems, as seven-headed serpents. The
celebrated "Bo-Tree" at Anuradhapura, in Ceylon, has been
worshipped for over two thousand years.
Jaina. This religion, which rose to importance about A.D. 1000,
seems to have been founded on Buddhism. A statue of one of
the twenty-four Jinas or saints (with distinctive sign, as a bull,
elephant, monkey, crocodile, rhinoceros, or lion) is placed in
each temple. The extraordinary number of image cells in one
building, numbering 236, has led some to suppose that the Jains
believed the saint was honoured in direct ratio to the number of
his statues.
Hindu. The modern Hindu religion, generally known as the
Brahmanical (the name of the priestly order), dates from about
A.D. 750. It was the joint product of Vedic, Brahmanism and

Buddhism, and was in reality a social league resting upon caste,
a complicated system of division of the people according to face,
occupation, and geographical position. It broadly divided all
classes of the community into :
(a.)
Brahmans or priests, law-givers,
poets, and scientists ; (b.) Rajputs ; (c.) Vaisyas, or Aryan agricul-
tural settlers and craftsmen; (d.) Sudras or serfs. Each caste
became, as it were, a trade-guild, to whose care the manufactures,
muslins, decorative art and treatment of precious stones of
mediaeval India were due. The Brahmanical idea on the trans-
migration of souls did not encourage tomb building. Monastic
life ceased with the decay of Buddhism, monasteries being replaced
by hypostyle halls, serving as shelters for pilgrims and having
sacred lakes occasionally surrounded with porticos.
For the Mahometan religion in India, see page 654.
v. Social and Political. The people of India have never
become amalgamated, but have continued to consist of several
races, under conditions practically unchanged for centuries, and
mostly independent of each other, hence the different phases of
architecture and the want of unity shown therein.
Broadly speaking, the people consist of: (a.)
The non-Aryan
tribes, or aborigines ; (b.) the Aryan or Sanskrit-speaking race,
now called Brahmans and Rajputs ;
(c.) Hindus, a mixed population
formed of the above ;
and (d.) Mahometans.
The tenure of land by feudal princes or lords was an important
factor. Such lands produced enormous revenues, which were
spent in the erection of religious monuments, largely for self-
gratification.
Among the most intellectual class the spiritual and contempla-
tive aspects of life overpowered the practical and political, and
influenced architecture in avoiding constructive problems.
Architecture, as a recorder of events, is silent from the expiring
years of Buddhism, A.D. 750, to the commencement of the eleventh
century, between which periods Indian history is also a blank.
The " Mahawanso "
of Ceylon, however, forms a history of that
island from B.C. 250.
The great Buddhist monastery of Nalanda, to the south of
Patna, accommodating 10,000 priests, and existing for the first
five hundred years of our era, corresponded to the European
monasteries of the Middle Ages, attracting and disseminating all
the learning of the age. The Chinese pilgrims to India in A.D. 400
and 630 have left
interesting descriptions of their visit to this and
other buildings. The Jains regarded temple building as a social
virtue, leading to a happy future state. Thus private individuals
endowed such buildings, which were numerous rather than grand.
The absorption of human personality under the caste system
was not favourable to domestic architecture, which has remained
in a rudimentary state.

INDIAN EXAMPLES AND ORNAMENT,
A ToVER oR 5IKRA BENDIHG 1MWARD5 ToWARD5 THE
5UW1T AMD 5URMUNTEDBY Ari'AMALAKA"
266.
F.A. R R

6lO COMPARATIVE ARCHITECTURE.
Sir W. Hunter's " Brief History of the Indian Peoples
"
forms
an excellent resume, which should be studied by all who require
an insight of Indian art and life.
vi. Historical. Alexander's conquests in North-West India
(B.C. 327) (cf. page 48), brought that country in touch with
European and Western Asiatic art, thus Greek, Assyrian and
Persian influences are apparent on the architectural detail in that
region. From the time of Alexander to the time of Vasco da
Gama (A.D. 1498) Europe had little direct influence on the East.
The proximity of the Greek Bactrian Kingdom (B.C. 323-130),
which, along with India, fell to Seleukos Nikator, one of Alex-
ander's generals and founder of the Syrian monarchy, exercised
considerable classical influence over Northern India.
The Mahometan invasion in the thirteenth century led to
Saracenic features being adopted in India, producing an Indian
version of that style.
The Sanskrit grammar of Panini, compiled about B.C. 350, is
still the foundation of the study of the Aryan language. The
epic poems known as the "
Mahabbarata," or chronicles of the
Delhi Kings up to B.C. 1200, and the "
Ramayana," or story of
the Aryan advance into Southern India about B.C. 1000, are
works by the Brahmans that may be compared to Homer's
" Iliad
"
and Virgil's
" ^Eneid."
The Tartar or Scythic inroads, from B.C. 126 to the fifth
century A.D., succeeded those of the Greeks.
During A.D. 1746-1858 the foundation of British rule in India
was progressing, and from the latter year the annexation to the
British Crown, effected by Royal proclamation, has caused an
intermingling of European and native art.
The various Indian styles are divided with approximate dates
and localities, the periods, however, frequently overlapping, as
follows :
(i.) The Buddhist style (B.C. 250- A.D. 750). India (North of
the Dekkan) and Ceylon.
(2.) The Jaina style (A.D. 1000-1300), with later revivals.
The whole of India from the Himalayas to Cape Comorin.
(3.) The Hindu (or Brdhman) style, which may be subdivided
into
(a.) The Northern Hindu or Brahman style (or North Indian)
(A.D. 600 to the present time).
(b.) The Chalukyan style (or Central Indian) (A.D. 1000-1300).
(c.) The Dravidian style (or South Indian) (A.D. 1350-1750).
(i.) Buddhist Architecture. As only rock-cut examples
are existent, the appearance of the structural temples is
only to

INDIAN ARCHITECTURE. 6ll
be conjectured from these. The rock-cut temples have but
one external facade, which is in the face of the rock, and
the architecture is therefore mainly internal, but interesting in
showing an undoubted imitation of timber originals. Wooden
forms were repeated long after their significance was dead (cf. Greek
Architecture, page 59). With the exception of the one fa9ade, the
ornament was lavished on the interior columns and roof, the
former of, which were short and overladen with ornament, the
latter being generally semicircular, with ribs showing a timber
derivation (Nos. 267 and 268).
(2.) Jaina Architecture. The Temples have the small
square shrine-cell, lighted from the door only, and crowned with a
high pyramidal tower, with curvilinear sides, forming an imposing
feature. In front, forming an entrance porch, is the hall, with
columns having bracket capitals "and sometimes angular struts,
such capitals supporting a dome or domes, invariably built in
horizontal courses of stone. Thus the domes, often of different
heights in the same building, exert no lateral thrust, and are
easily supported on columns, without the aid of buttresses, as
frequently in the Roman and Byzantine styles. The internal
ensemble thus presents a light and graceful character, further
enhanced by the method of planning, consisting of an " in and out
"
or cruciform shape, also characteristic (No. 272). Sculptured
ornament, of grotesque and symbolic design, covers the whole
structure and is bewildering in its richness, leaving little plain
wall surface, and differing essentially from European work. The
temples were picturesquely perched on mountain tops or nestled
in secluded valleys, the Jains valuing rightly the effect of
environment on their architecture.
3. Hindu (or Bralimanical) Architecture varies in its three
special styles. All three have the small shrine-cell and preceding
porches, the same excessive carving and sculpture, which are
impressive by this evident tribute of labour to the gods. The prin-
cipal Brahmanical Temples, like those of Egypt, show progres-
sive additions of sanctuaries and inclosures, grouped around or
attached to the original shrine. Beyond this, the grandeur of
their imposing mass produces an impression of majestic beauty.
The effect depends almost wholly on richness of surface and
outline, rather than on abstract beauty of form, and contrasts
very strongly with Grecian architecture. (a.) The Northern
Brahman, in comparison with the Dravidian style, has a curved
pyramidal roof to the "vimana" instead of a storied one, and is
without columns to the preceding porch. (&.) The Chalukyan
style is affected by its northern and southern rivals, taking
features from each without losing its special character. The star-
shaped plan and curved pyramidal tower are in contrast with
the storied towers of the Dravidian style. (c.)
The Dravidian
R R 2

6 I2 COMPARATIVE ARCHITECTURE.
style has the " vimana" or cell crowned by a horizontal system
of stoned towers, each story ornamented with cells. The
"
gopuras
"
or gateways to the inclosures recall the pylons of
Egyptian facades (No. 7),
and the "choultries" or halls of a
thousand columns, are characteristic and akin to the hypostyle
halls (page 24).
3. EXAMPLES.
(i.) BUDDHIST ARCHITECTURE (B.C. 250-A.D. 750).
The monuments can bs divided into :
1. Stambhas (or Lats).
2. Topes (or Stupas).
3. Rails.
4. Chaityas (or Temples).
5. Viharas (or Monasteries).
1. Stambhas, or Lats, were columns on which were carved
inscriptions, the top being crowned with emblems, such as the
elephant and lion, often reminiscent of Persepolitan architecture
(No. 13). The bsst known is the Lat at Allahabad, B.C. 250.
2. Topes, or Stupas (Sanscrit sthupa
= a mound), were
mounds erected (a) to commemorate some sacred spot ;
(b) to
contain sacred relics and then known as dagobas or receptacles
for relics.
The principal group is that known as the Bhilsa Topes, north
of the Nerbudda River, and the best known of the group is the
Sanchi Tope (B.C. 250-A.D. 100). It is a solid mound of brick-
work, faced with stone and cement, and contains the relic near
its base. It is 106 feet in diameter, 42 feet high, crowned by a
"Tee" or relic casket, and is placed on a platform 14 feet high,
surrounded by a procession path, railing and four gateways. An
excellent model is in the Indian Museum, South Kensington.
Other groups are at Sarnath (near Benares), Buddh-Gaya,
Amravati (remains in the British Indian Museums), and
Jarasandha.
3. Rails were often used as inclosures to the Topes. They
clearly indicate a wooden origin (No. 266 A, F), and were
elaborately ornamented with sculpture. The rail and gateways
(of which there is a full-size cast in the Indian Museum
(No. 266 A)) surrounding the Sanchi Tope are the best known,
and date from the first century of our era. The height is 35 feet
and width 30 feet. The symbolic sculpture is of historic interest :
it tells the life
story of Buddha, and illustrates the worship of
relics, trees, the law, and battle scenes. These gateways are
the prototypes of the numberless pailoos (page 642).

4. Chaityas, or Temples (B.C. 250-A.D. 750), are all
excavated out of the solid rock, thus presenting only one external
face. They recall the rock-cut tombs of Upper Egypt (No. 6).
The normal type resembles in plan an English three-aisled
cathedral with circular apse, containing the shrine, at the end
furthest from the entrance. The roofs are hewn to a semi-
circular form, and have ribs resembling timber work. In many,
the frontal screen of horse-shoe form, through which the only
light was admitted, was of wood. The principal groups are
hewn in the face of the Western Ghats, to -the east of Bombay,
at Bhaja'(B.c. 250), Nassick (B.C. 129), Karli (B.C. 78), Ellora,
Ajunta (No. 268), and Elephanta (No. 269).
The cave at Karli (No. 267), resembles the choir of Norwich
Cathedral in general arrangement and dimensions. It is 126 feet
long, 45 feet wide, and 45 feet high. The columns separating
nave and aisles are octagonal, with elephant capitals, which
support the circular roof.
5. Viharas, or Monasteries. The rock-cut examples are
in proximity to the Chaityas. The normal type is a central
square space, with or without columns, surrounded by chambers
for the priests, and occasionally containing a sanctuary for the
shrinje. In Gandhara (North-West India), General Cunningham
has opened out some structural monasteries, probably of the
fourth century A.D., some of which contain courts for shrines.
Their details show Greek and Byzantine influence, the acanthus
leaf (No. 44 j), the Byzantine cube-capital (No. 89), and the
Corinthian capital being met with.
In Ceylon are numerous remains of topes, chaityas and
viharas, principally at Anuradapura, the capital from B.C. 400-
A.D. 769, and Pollonarua.
(2.) JAINA ARCHITECTURE (A.D. 1000-1300, with
later revivals).
The examples mostly belong to the great age of Jaina archi-
tecture from A.D. 1000-1300, although a revival took place
in the fifteenth century, corresponding to the Renaissance in
Europe. The style is
generally admitted to have been founded
on Buddhist architecture. The monuments, mainly religious,
were erected in all parts of India, the principal examples being in
the. North.
The normal type of. temple is a square
" vimana
"
or idol
cell, lit from the door only, roofed with a Sikra or Pyramidal
storied tower in receding stages, recalling the Chaldaean Temples
(No. 12 A, c). The cell contains the cross-legged seated figure of
the saint. In front of the vimana is a columned hall or portico
of varying extent, generally cruciform on plan. In the centre of

the hall is a pointed dome supported on eight columns with
bracket capitals and raking struts, the octagon thus formed being
brought to a square by the four angle columns which complete
the characteristic Jaina plan (No. 266 c). In the larger monu-
ments the temple is placed in an inclosure, against the wall of
which the image cells open on to the internal courtyard.
In Northern India the principal monuments are at Mount
Abu (No. 270), Palitana (No. 271), Girnar (in the Gujerat
district), Parisnath, Gwalior (No. 272), Sadri and Khajuraho.
At Mount Abu a granite plateau 5,000 feet above the sea,
interspersed with luxuriant vegetation are two important
examples in white marble. That erected A.D. 1032, by Vimala
Sah (No. 270), has a splendid portico hall, the columns having
bracket capitals (No. 266 B), from which raking struts in marble
appear to support the architrave. The interior of the dome is
sculptured with concentric rings of ornament, having at the base
sixteen statues and in the centre a richly carved pendant or
ornament, recalling those at Caudebec, in Normandy, or in
Henry VI I. 's Chapel, Westminster.
The most fully developed building is perhaps the Temple at
Sadri, on the eastern side of the Aravulli Mountains. Resting
on a lofty substructure, approximately 200 feet square, it is
surrounded by a range of eighty-six cells, each crowned with a
pyramidal roof. There are five shrines, one being central and
one at each angle, and four open courts for the admission of light.
Twenty domes, 24 feet in diameter, supported on 400 columns,
are placed symmetrically .in sets of five, forming a Greek cross
on plan. The .centre one is three stories in height and 36 feet
in diameter, and is formed as usual in horizontal stone courses.
The external .appearance, with the domes of different heights
and the pointed sikras, presents a ricrrand varied character, with
the mountains, as a background.
Modern Jaina temples are mostly tinged with Mahometan
influence,' having bulbous domes and foliated pointed arches.
In these the-sikfa is often absent.
In India the normal type varies, open courtyards containing
immense statues sometimes cut out of the solid rock, as the statue,
70 feet in heigHt, at Sravana'Belgula.
(3.) HINDU (OR BRAHMAN) ARCHITECTURE.
(a.) NORTHERN HINDU (A.D. 600 to the present time).
The normal type of plan consists of the vimana or cell crowned
with curved pyramidal roof, and the porch without columns
crowned with stepped roof in stories. Each facade has rectangular
projections in the centre, which increased in depth as the style

INDIAN (JAINA) ARCHITECTURE.
271. PALITANA.
The great Chawmukh Temple.

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developed, until they formed the points of a square on plan. In
addition to these two chambers, others were added in more important
examples. The large inclosures and gateways of the Dravidian
style are wanting. Orissa, on the east coast, contains a remark-
able series of monuments dating from A.D. 500-1200. The'ancient
city of Bhuvaneswar contains some hundreds of examples: The
best known is the Great Temple (A.D. 617-657), quoted as the
finest in India. It is a four-chambered example ;
every stone on
its facades is carved, the courses being deeply rusticated. The
principal vimana is crowned with the usual northern high curved
pyramidal roof with melon ornament and finial.
Other examples are at Kanaruc (No. 266 E) (the Black
Pagoda, ninth century), and Puri (the four-chambered temple
of Juganat, A.D. 1174), the latter being placed in a" large double
inclosure surrounded by a wall 20 feet high.
In Dharwar, on the western coast, are examples in. which
pillars are employed,, as the Temple of Papanetha, A.D. 500,
influenced by Dravidian architecture.
Important groups exist at Chandravati, in Rajputana (A.D.
600), Baroli (A.D. 750), and Udaipor (A.D. 1060). At Khajuraho
(A.D. 954-1000) is a group of thirty important temples, of which
that dedicated to Kandarya Mahadeo is the"' most important. It
is a two-chambered example, placed- on a well-proportioned stylo-
bate, with three rows of sculptured figures,- half life-size, nearly one
thousand in number. The sikra is enriched by the addition of
sculptured representations of itself a favourite Indian method.
Modern monuments exist at Chittore, Gwalior, Kantonugger
(A.D. 1704), and Amritzar (A.D. 1704), the sacred metropolis of
the Sikhs.
Civil Architecture. Palaces, tombs, and ghats (landing
places) abound. The ghats, lining the great rivers, such as the
Ganges, are typical Indian features ; they are used by the Hindus
as bathing places, and consist of long ranges of steps, stopped
by kiosks and backed by buildings with ornamental fa9ades; used
as shelters, or temples.
(b.) CHALUKYAN ARCHITECTURE (A.D. 1000-1200).
The special features are the placing of the temple on a terrace
3 or 4 feet high, the star-shaped plan of the vimana, or idol cell,
and the formation of its roof as a straight-sided cone in richly
ornamented steps, with crowning vase ornament as in. the Temple
at Umber (No. 273). Elaborate pierced marble slabs are placed
in window openings. Walling stones without mortar were also
used in certain instances.
The province of Mysore contains the principal monuments, as
at Somnathpur (A.D. 1043), Baillur (A.D. 1114), and Hullabid

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F.A. S S

INDIAN (DRAVIDIAN) ARCHITECTURE.
2 77- MANDURA.
The West Gateway and Gopura beyond.

INDIAN (DKAVIDIAN) ARCHITECTURE.
278. TARPUTRY.
Portion of Entrance to the old Temple.
S S 2

(A.D. 1224), (No. 274). The double temple at the latter place is
placed on a terrace 5 feet high, the temples being side by side. In
front of each is a detached pillared porch containing a shrine for the
idol. The walls are exceedingly rich in sculpture, and have friezes
700 feet long, carved with numerous representations of elephants,
lions, horsemen, birds, and bas-reliefs of scenes representing the
conquest of Ceylon.
(c.)
DRAVIDIAN ARCHITECTURE (A.D. 1350-1750).
Raths. The rock-cut examples known as " Raths
"
at
Mahavellipore (near Madras), and Ellora (A.D. 750-950), are
peculiar (No. 275). They differ from other rock-cut examples,
being monolithic free standing temples, the surrounding rock being
cut away so that external faades are visible.
Temples. The normal type, as in the Jaina examples, has a
square vimana to contain the image of the deity, and is. crowned
with a many-storied pyramidal roof; in front is a "
mantapa
"
or
porch (No. 276). In addition are the " choultries
"
or halls of 1,000
columns, placed close to the Temples, and the characteristic
"gopuras," or gate pyramids (No. 277), forming entrances to the
inclosures which usually surround the shrines. In conjunction
are planned the shrines, lakes (or tanks of water for religious
purposes), and flights of steps ;
such are often grouped with little
regard to symmetry, and inclosed by a high wall, as in Egyptian
temples.
Tanjore (fourteenth century), with its thirteen-storied highly-
enriched pyramidal sikra (No. 276), Mandura (A.D. 1623-1645),
with its celebrated Gopura (No. 277), and Choultrie, 333 feet by
105 feet, and columns with life-sized sculptured figures attached ;
Seringham (seventeenth century), with its fifteen great gopuras,
Tinnevelly, with its double temple and hall of 1,000 columns,
Conjeveram, Vellore (A.D. 1350), Tarputry (No. 278), and
Chillambaram (seventeenth and eighteenth century), are the
best known monuments.
4. COMPARATIVE.
Note. In order to assist the student, the analysis of the three
styles Buddhist, Jaina, Hindu (or Brahman) is taken in one
table.
A. Plans.
(a.) Buddhist. The remains of Buddhist Chaityas (Temples)
are all hewn out of the rock, and therefore have only one external
fasade. In plan they resemble Christian Cathedrals in having
three aisles formed by two rows of piers ;
the sanctuary, around
which the aisle is carried, is semi-circular.

The viharas (or monasteries) are also rock-cut. They consist
generally of a central hall surrounded on three sides by cells for
the priests. In later and larger examples, columns are introduced
in the central space to support the rock overhead. In the most
important examples the sanctuary is placed in a special apartment,
and provided with a screen of columns as at Nassick.
(b.) Jaina. Temples owe much of their attractiveness to their
environment, by being picturesquely grouped on mountain tops or
in wooded valleys. In plan they consist of a square cell containing
the image of the Jina, roofed with a high curvilinear pyramidal
Tower called a " Sikra." In front was a pillared portico, crowned
by a pointed dome usually supported on eight pillars forming
points of an octagon, and brought to a square by inserting four
angle columns (No. 266 c). The columns are extended so as to
make the whole structure cruciform on plan, which is apparent
externally.
The planning of the dome on the octagonal base causes the
width of the central nave to the aisles to be in the proportion of 10
to 7. A somewhat similar treatment has been adopted in the
successful interior of S. Stephen, Walbrook (No. 256).
In important examples, the temple is placed in a great open
court, round which cells are planned. At Girnar there are seventy
of such cells, each containing a cross-legged statue of the Jina,
to whom the Temple is dedicated.
(c.) Hindu (or Brahman']. The Hindu Temples are similar in
plan to the Jaina temples, with local differences for instance,
Dravidian Temples have, in addition, the characteristic choultries,
or halls of 1,000 columns, and are generally surrounded by a
wall, inclosing lakes or tanks of water for priestly purposes, while
Chalukyan Temples are usually star-shaped on plan.
B. Walls. These were constructed principally of the granite,
stone or marble with which the country abounds, the massive
blocks being sometimes laid without mortar. Plain walling seems
to have been avoided, and sculpture is employed in a bewildering
and confusing way (see Ornament, page 632). The characteristic
Eastern treatment of decorating with sculptures the whole surface
of the walls is employed in all three styles.
In the Dravidian style the gopuras or gate pyramids resemble,
in their massiveness only, the pylons of the Egyptian Temples
(No. 7).
c. Openings.
(0.) Buddhist. In rock-cut examples, the horseshoe form
occurs on the fa9ade (No. 268), forming, as it were, one great
eye, and being the only opening for light. Within this arch was
usually an open decorated framework of wood, probably used as a
screen to the glaring Eastern sun ;
thus the subdued light was

thrown on the shrine from behind the spectator, producing a
favourable effect of light and shade on the close-set columns of
the interior (No. 267).
(ft.) Jaina. Openings are normally square-headed. Domes,
when employed, were formed of horizontal courses, as in early Greek
architecture (No. 15 A). Such a system was necessary in the case
of domes supported on slender columns, which could sustain no
outward thrust. In their pillared porches, horizontal stone
architraves rested on the bracket capitals, and a characteristic
Eastern feeling was produced by the stone struts supporting them
(No. 270), features which were evidently derived from a timber
form (No. 266 B).
An extension of the bracket capital is sometimes applied to
walls, lintels being supported at intervals by detached brackets
built out in horizontal courses.
The struts, already mentioned, were occasionally filled, in with
ornament, thus forming a triangular-headed opening (No. 271).
(c.)
Hindu. Flat-headed openings .are the usual type, but
variations are caused in roofs by the use of bracketing shafts
supporting purlins of stone, on which inner brackets were placed,
thus gradually reducing the span, till stone slabs could roof the
apartment, as at the Dravidian temple at Chillambaram.
The Chalukyan buildings have pierced window slabs, as at Baillur
and Hullabid (No. 274). Such are formed in star-shaped patterns
ornamented with foliaged bands or with mythological subjects.
These slabs, filling in the whole opening, are a great contrast
to other styles, being somewhat similar, however, to Byzantine
and Saracenic buildings.
D. Roofs.
Buddhist. In the early rock-cut chaityas, semi-circular roofs
are excavated in the rock and ornamented with wooden ribs or
stone imitations of them (Nos. 267 and 268).
Jaina. The sikra, or stone roof, which crowned the idol-cell
had a high curved outline crowned with a melon ornament and
finial (No. 271). Such a curved outline, Mr. Fergusson suggests,
may have been produced by following the outline of an internal
pointed dome, formed with slabs of stone in horizontal courses.
Jaina porches are crowned with (i) roofs formed of flat slabs of
stone, or (2) pointed domes formed in horizontal courses.
(i.) The flat slab roofs were evolved from the simple square
slab of stone resting on architraves supported on four columns.
Larger spaces were roofed by using a succession of triangular
slabs as a base for the original square slab to rest on (No. 266 c).
Still larger spaces were roofed by the insertion of two extra
columns on each face to support the long architrave, and making
twelve columns in all to each compartment, the intermediate
columns forming an octagon on plan.

(2.) The pointed Jaina dome seldom exceeds 30 feet in
diameter. It is invariably formed in horizontal courses (compare
the Treasury of Atreus at Mycenae, No. 15). Such domes, if of
any size, are of necessity pointed or conical in section (No. 266
D, E), so that a single stone can crown the top. When placed
on the octagonal plan as indicated above, the triangular portions
(or pendentives from the octagon to the circle) are formed by a
circular stone cornice supported at the re-entering angles by
projections from the capitals (No. 270). The bearing of the
architrave was apparently lessened by the use of bracket capitals
and struts, although it is doubtful if these have any constructive
value (Nos. 266 B and 270).
The decoration of such domes followed the horizontal lines
of the construction, the ornament being arranged in concentric
rings, the central or top stone forming a pendant.
Hindu. Dravidian examples have the roof covering the vimana
of the storied pyramidal type (No. 276), normally carried to a
considerable height and carved with representations of itself along
each well-defined story.
Chalukyan examples have the towers either of the storied
Dravidian type, following the curvilinear outline of the Northern
Hindu examples, or form a straight-sided cone arranged in
steps.
E. Columns. Indian columns are most characteristic features,
and are unlike those in any other style. No systems of simple
well-known types existed, as in Greece or Rome (No. 38). The
origin of their form is unknown, but it seems certain that they
come of a wooden prototype. The shaft is as much ornamented
as the capital and base (No. 266 L). The bracket capital (No. 266)
is a characteristic Indian feature taking a variety of forms.
Buddhist columns are often octagonal on plan (No. 267). In
the great rock-cut Chaityas at Karli, Bedsa and elsewhere, they
are stumpy, closely set together, thus screening the wall behind,
which, of course, had no openings. They thus gave the necessary
light and shade to the interior, as did the columns to the exterior
of a windowless Greek temple. The numerous forms of capitals,
resembling in certain instances the Assyrian and Persepolitan
examples, are bewildering. Sculptured lions, horses, or elephants,
supporting men, women, and the "chakra" or Buddhist wheel
occur, as at Bedsa. In others, as at Karli, torus or Dutch cheese-
like mouldings ornamented with palm leaves occur under a
capital of a coarse Roman-Doric type (No. 269).
In North-west India, in the Gandhara district, Greek or
Byzantine influence produced capitals with delicate acanthus-
leaf carvings.
Jaina. Columns are a special feature and exhibit great variety
Of design. The capitals
are of the " bracket
"
type, probably

derived from a timber original. Sometimes, as at Mount Abu
(No. 270), they are superimposed, the upper ones supporting an
architrave which is upheld in the centre by stone struts resting
on the lower capital.
Hindu. In the Dravidian choultries, there was great scope
for the inventiveness of the Hindu craftsman. The capitals are
of the bracket type, and in some instances not more than two
columns in a building are alike.
Some, as at Madura, have life-sized figures of saints, or Yalis
(weird lion-like monsters) attached to them (No, 266 c), forming
a contrast to Greek caryatides (No. 44 M). In other cases, a
compound pier of a sturdy and light column is
employed
(No. 266 L).
F. Mouldings. Normally these are of a bulbous swelling
outline, those to the columns often lacking refinement. A form
made by overlapping rectangular slabs is frequently used in the
bases and capitals of columns and dagobas. In other iristances,
as at Bedsa, a semi-circular open-work moulding, recalling basket-
work, is employed. The plain torus is used, and the double-convex
shape into which the cross pieces of the "rails" are cut, are
used as deep horizontal bands of ornaments, taking the place of
mouldings proper (No. 266 F).
G. Ornament. This is principally confined to sculpture
carried out with a profuseness unknown in other styles. Executed
principally in hard stone, and having little plain wall surface to
frame it, it forms a monument of patient labour, perhaps
unequalled.
The sculpture is so bound up with the peoples' religion and
mythology, of which indeed it forms the mirror, that the two
cannot be considered separately. In Jaina architecture, each of
the twenty-four Jinas (see Religion, page 607) had a distinctive
sign which was utilised by the sculptors. The trident, shield,
and chakra (or wheel), the "rail" ornament (copied from the
Sanchi tope) and imitations of window fronts and fagades are
also repeated on the fronts of the early chaityas, as at Bedsa,
Nassick, and elsewhere.
A most characteristic feature was the representation on a fagade
or tower of numerous small carved representations of itself. This
method was also used in Assyria, and the remains often enable
a fanciful restoration to be made.
Painted decorations or frescoes were often employed, as at
Ajunta, the walls of the cave being left plain for the purpose.
The use of sculptured figures as a means of decoration was a
later phase.
The evolution of the sculptured umbrellas surmounting the
Dagoba (or shrine) is
interesting as being the prototype of the
nine-storied pagodas of China, On the Gateways at Sanchi (a

plaster copy is at the Indian Museum, South Kensington) are
represented legendary events from the life and religion of Buddha,
the worship of trees and relics, and warlike scenes (No. 266 A).
The three, five, or seven-headed Naga or serpent is
frequently
used. Besides the animals already mentioned, others such as
horses, lions, "hansas" (sacred geese), form favourite subjects with
Buddhist sculptors, and are a striking contrast to the motifs of
Mahometan sculpture (page 680).
Note. In further India (or Indo-China), as in Burma, Siam,
Java, and Cambodia, are temples, monasteries and pagodas, many
of which are of great size and importance, but of which space
does not admit of more than passing reference.
5. REFERENCE WORKS.
Burgess (J.).
"
Archaeological Survey of Western India." 5 vols. 1874-
1883.
Cole (H. H.).
"
Illustrations of Ancient Buildings in Muttra and
Agra." 2 vols., folio. 1869-1873.
Cole (H. H.). "Illustrations of Ancient Buildings in Kashmir." 410.
1869.
Cunningham (Sir A.).
"
Archaeological Survey of India." 23 vols.
Simla, 1871-1887.
De Forest (L.).
" Indian Domestic Architecture." Folio. Boston,
U.S.A., 1885.
Fergusson (Jas.).
"
Picturesque Illustrations of the Ancient Archi-
tecture of Hindostan." Folio. 1848.
Fergusson. "Illustrations of the Rock-cut Temples of India." 8vo.
and folio Atlas of Plates. 1845.
Fergusson.
"
Architecture at Ahmedabad." 4to. 1866.
Fergusson.
"
History of Indian and Eastern Architecture." Svo.
1891.
Griffin (Sir Lepel).
"
Famous Monuments of Central India." 1886.
Jacob (S. S.).
"
Jeypore Portfolio of Architectural Details." 6 vols.,
folio. 1
890.
Le Bon (G.).
"
Les Monuments de 1'Inde." Folio. 1893.
Ram Raz.
"
Architecture of the Hindoos." 4to. 1834.
Smith (E. W.). "Portfolio of Indian Architectural Drawings."
Parts I, and II. ,
folio. 1897.

CHINESE AND JAPANESE ARCHI-
TECTURE.
;
See what a love shell,
Small and pure as a pearl.
Frail, but a work divine,
Made so fairly well,
With delicate spire and wall,
How exquisitely minute
A miracle of design."
i. INFLUENCES.
i. Geographical.
The Chinese Empire comprising China proper, Thibet,
Mongolia, and Corea is larger than the whole of Europe.
It is for the most part mountainous, but possesses four great
trading riv.ers by which merchandise is carried, facilitating
internal commerce. In addition a network of canals for irrigation
and navigation is spread over the low-lying provinces, and these,
with the navigable rivers, form the principal highways of China.
The " Grand Canal," extending from Tientsin to Hangchow, is
600 miles in length. The coast has excellent harbours, which
must have assisted the intercourse with India and Assyria, and
the consequent influence of their architectural forms. The Chinese
pagoda was a direct imitation of an Indian prototype (page 632),
or may have been derived from the pyramidal many-storied
buildings found in lower Chaldaea.
Japan presents many points of resemblance to Great Britain :
both have highly indented coast lines with good harbours ;
both
are insular empires well situated for commerce and lying opposite
populous continents ; both are at the head of great oceanic
waterways, the one of the Pacific, the other of the Atlantic;
and both are warmed by ocean currents producing equable
temperatures.

CHINESE AND JAPANESE ARCHITECTURE. 635
ii. Geological.
China. The abundance of metals, coal, salt, iron, and copper,
have always made China one of the richest of countries.
China, as primitive India, employed wood for building ; such was
rendered possible by the vast forests of bamboo and pine which
existed in ancient China. Pekin, which was first made the Imperial
capital about A.D. 1260, suffered severely from earthquakes in
1662 and 1731, when important buildings were wrecked. Brick-
making is considered by many to have been introduced from the
West, in imitation of those found in the ruins of Mesopotamia.
Large beds of porcelain clay are found in the province of
Che-kiang and elsewhere. In city walls the brick is
usually
about 1 8 inches long, and in buildings a small grey-colored
brick is often used. Tiles, plain, glazed, and colored, are almost
exclusively used for the roofs, yellow being the Imperial color.
Stone is used for bridges, gateways and public works, and marble
for balustrading around tombs and important buildings.
Japan. The prevalence of earthquakes has favoured wooden
construction, in which the Japanese exhibit scientific ingenuity in
the framing together of the various parts.
Stone in Japan is unstratified, hence it is
frequently used in
polygonal blocks, particularly for the lower part of walls, on which
is erected the upper wooden construction.
Forests occupy four times the area of the tilled land, with a
greater diversity of trees than any other country in the world ;
bamboo is
largely used in house construction.
iii. Climate.
China. The geological formation of the mountains, which run
east and west, direct the sea winds which moderate the tempera-
ture. North China has a short but frosty winter and warm and
rainy summer. During the monsoons very heavy rains occur,
which influenced such features as the widely projecting roof with
steep surfaces admitting of the easy discharge of rain-water.
Roofs are turned up at the eaves to admit light without the heat
of the sun (Nos. 281 and 283).
Fires being principally used for domestic purposes and not for
comfort, chimneys are unimportant features and seldom provided,
the charcoal or wood fire being allowed to eject its fumes into the
cooking apartments.
Japan. Houses, where possible, face the south, as a protection
against cold. The deeply projecting eaves protect from the
summer sun and the high inclosing walls of courtyard against
the winter wind. In summer the moveable casement windows
and partitions forming the fronts of the houses, and offering little
resistance to the penetration of heat, are removed, leaving them
entirely open to the breezes.

iv. Religion.
There are three religions :
T r, .
(
Confucianism (Confucius, born B.C. 551, died B.C. 475).
a
"(Buddhism (introduced from India about A.D. 90).
T T (Taoism, or Sintuism.
n japan | Buddhism (introduced A.D. 550).
China. Confucianism is a code of moral doctrines and conduct,
and can scarcely be called a religion. An absence of important
religious structures is probably the result of there being no
dominant priesthood; this absence has been the wonder of
travellers, because the Chinese have probably been civilized as
long as the Egyptians, who, mainly in consequence of their
religious ideas, created an architecture unequalled in its grandeur.
Temples and shrines erected to Buddha or Confucius, though
numerous, are unimportant. In addition, the poor family has its
altar and household gods and the wealthy family its ancestral hall
of worship.
Ancestral worship is so profound and leads to such a veneration
for graves that the Chinese will plough around them for genera-
tions without being guilty of the sacrilege of destroying them.
Japan. Sintuism is the national religion, but Buddhism is also
prevalent. The extraordinary number of images of every possible
size and material is to be remarked.
In Japan the Buddhist religion, with its mysterious and awe-
inspiring symbols, acted on the artistic Japanese nature, ever
ready to depict beautiful and fantastic forms ;
thus demons, monsters
and conventional representations are found in conjunction with the
birds and landscapes of the changing seasons.
v. Social and Political.
China. The Chinese government is autocratic, the Emperor
being head of State and Church, and the provinces being governed
by mandarins. The Emperor is at once the worshipper and priest
of the important Pekin temples, an instance of the old idea of
priest-king.
The nobility is not hereditary, and property is divided equally
among children at death. There is little family pride to cause, as
in England, the erection of castles and residences with which the
life of the family could be associated.
The "
guilds
"
into which many trades or crafts are formed have
an important influence. They date from about A.D. 600, and
resemble in constitution the mediaeval guilds of Europe.
A point affecting domestic architecture is the law which
regulates the forms and dimensions of the residence for each class
of the inhabitants. The social condition of the Indian and West
Asiatic countries which were governed by monarchs supreme in

authority was productive of architectural works tending to the
glorification of such monarchs.
China, on the other hand, has been termed the country of the
middle classes "
Literati," small proprietors and merchants
whose buildings indicate special regard to utility and whose
temples express merely the desire to accommodate the present
needs rather than to show to future generations those feelings of
eternal sublimity that mark the styles of Egypt and Greece.
Japan. Tea drinking is held to have had its influence on the
industrial arts, due in part to its spread in the fifteenth century
and the formation of tea clubs, thereby producing a demand for
domestic utensils and leading to a special treatment of such
buildings and their gardens. Government decrees as to size and
arrangement of buildings exercised influence.
Up to the revolution of 1868 the country was governed by the
Shogun or chief vassal of the Mikado, at which period Western
parliamentary ideas were introduced.
vi. Historical.
China. The early history of China is wrapped in the mists
of antiquity.
The Chow Dynasty. Che-Hwang-te, first universal Emperor
(B.C. 246-210), built the " Great Wall," B.C. 214, and constructed
roads, canals.
The Eastern Han Dynasty (A.D. 23-220). During the reign of
Ming Te, Buddhism was introduced from India.
The Western Tsin Dynasty (A.D. 265-590). During the reign
of the Emperor Sze-Ma-Yen, the Emperor Theodosius sent
ambassadors to China (A.D. 284).
The Tang Dynasty (A.D. 618-907). Tai-tsung (A.D. 618-649)
purchased the alliance of the Turks as the Emperor Justinian had
done in A.D. 558, and regained Eastern Persia up to the Caspian
Sea. Ambassadors from Persia and Rome came to China
in A.D. 645.
The Emperor Woo-Tsung (A.D. 841-847) abolished Temples
and Monasteries.
The Emperor E-Tsung (A.D. 860-874) revived Buddhism.
During the tenth century the Chinese Emperor invaded
Chaldaea, penetrating to the Mediterranean, and maintained a
protectorate in Mesopotamia for more than sixty years. It is
possible that Chaldaean temples were the prototypes of many
Chinese structures and even of pagodas in receding stages.
From this expedition some date the art of enamelled brickwork
as employed in China.
The Mongul or Yuen Dynasty (A.D. 1259-1368). Under the
Emperor Kublai (A.D. 1259-1294) China reached her greatest
extent, and with the exception of Hindustan, Arabia, and Western

Asia, all the Mongul princes as far as the Dnieper were tributary.
The Emperor undertook public works and patronized literature.
It was during his reign (A.D. 1260) that the Persian workmen
introduced the art of making blue and white porcelain.
The Ming Dynasty (A.D. 1368-1644). Nankin, the capital,
afterwards changed to Pekin. Japan invaded Corea in 1592.
The Manchu Tartar Dynasty (A.D. 1644 to the present day).
The shaved head and pigtail are emblems of Tartar sovereignty.
At the beginning of the seventeenth century the German Jesuits
influenced the studies of the first Emperors. Kang-he (A.D. 1661-
1721) added Thibet to the Empire and published the Dictionary
of the Chinese language. Keen-lung (A.D. 1735-1795) invaded
Burmah, Cochin-China, and Nepaul, and crushed the Mahometan
rebellion. He received Lord Macartney as first ambassador of
George III. In 1840 war was declared by England against
China ;
this marks the period of the influence of European
intervention. In 1873 the foreign ministers obtained the right
of audience with the Emperor.
Japan. The Emperor Zinmu, B.C. 660, was a contemporary of
Nebuchadnezzar. From that time onward the government of
the country was undertaken by the Mikado, or spiritual Emperor,
the Shogun, or temporal Emperor, being Commander-in-Chief.
Till A.D. 1543 Japanese history is purely local, but in that year
the Portuguese landed and commenced trading, and in 1549
S. Francis Xavier introduced Christianity. In 1638 Christianity
was interdicted and isolation from foreign countries was effected.
In 1854, however, after an isolation of over 200 years, treaties of
commerce were made with foreign nations. This period marks
the commencement of the influence of European art on Japan.
In 1868 the present Mikado, the i22nd of his line, suppressed
the Shogun and reigned as supreme constitutional Emperor.
China. The architecture is a faithful index of the civilization
of the country, which seems to have been stationary from the
earliest times.
Throughout its course, the architecture appears to have been
subject to little
progress, and it has exerted but little influence on
other styles. Bright coloring forms an important part, applied
permanently in the shape of glazed tiles or majolica work. The
architecture of China and Japan is
pre-eminently one of wood-
cedar, pine, chesnut or bamboo which is framed up to receive
the sliding screens which run in grooves (No. 281).
The Pagodas, or towers, in receding stories, with gaily-
colored curved roofs to which bells were attached, and adorned

with figures in high relief at the angles, form a characteristic
class of structure (No. 280).
No distinction is made between civil and religious architecture.
In China, the temple is only a better kind of house, provided
with an altar.
Japan. The Japanese buildings have a special character of
minuteness, both in architectural features, carving, and decoration,
contrasting forcibly with those of other nations as Egypt and
Rome in which the great idea was vastness of size and grandeur
of proportion.
Japanese buildings have a quality of refinement and delicacy,
and their wooden constructions are framed together with such
artistic skill as to render them akin to joinery (No. 283).
Chinese and Japanese architecture is
especially notable for
curved sloping roofs, forming a contrast with that of Egypt and
India, where flat terrace roofs predominate. The projecting roofs
supported on a succession of small brackets form a most striking
feature, being ornamented with dragons and other fabulous animals.
The accessories of Japanese Temple architecture, such as the
gateways, belfries and font sheds, form an important setting to the
main structure, as do also the quaintly laid-out gardens with their
summer-houses, rustic arbours, and fishponds.
3. EXAMPLES.
Temples and Monasteries. The Temples of Heaven and
Earth (Agriculture) (No. 281 D) at Pekin, have been described
by the late Mr. Simpson. The former contains two altars with
sloping roofs in stages, and is placed in an open space, one mile
square, surrounded by a triple inclosure in which are the priests'
lodgings. (For normal type of temple see page 646.)
In the plains of China such buildings are usually planned
on symmetrical lines. In mountainous Japan, use is made of
steps and terraces, wooded backgrounds and long rows of stone
or bronze standard lanterns to produce a picturesque effect.
Accessory buildings, suctras pagodas, a stage for sacred dances,
and storehouses, are grouped around.
Palaces. In the past, as capital succeeded capital, palaces
for the Emperors and officials have been erected. Such were
often of great extent. The Summer Palace at Pekin (destroyed
1860), of which a Pavilion is shown in No. 281 F, was an important
example. It covered twelve square miles and contained some
thirty residences for the Emperor and his ministers, among these
the "Hall of Audience," 120 feet long, 42 feet wide, and 20 feet
high, formed the principal apartment. The whole group was set
among pleasure gardens, lakes and grottoes on a magnificent scale.

CHINESE ARCHITECTURE,
280. SHANGHAI.
A typical Chinese Pagoda.
F.A. T T

Pagodas, derived from Indian prototypes, are characteristic.
They vary from three to thirteen stories in height, a usual
number being nine (No. 280). They are constructed in various
materials, from wood to cast iron, are solid or hollow, the latter
having staircases leading to each floor level. Pagodas had
formerly a religious significance, but those erected latterly are
secular in character, sometimes being monuments of victory.
They are usually polygonal in plan, thus enabling the junctions
of the roofs in each story to be elaborately ornamented.
The Pagoda at Nankin (destroyed in 1856), called the Porcelain
Tower, was a well-known example (No. 281 E). It was an
octagon 40 feet in diameter and 200 feet high. The eaves of the
roofs to each story curled upwards, and from the angles bells,
numbering 150, were hung. It was built of brick, coated with
colored slabs of green glazed porcelain, on which its effect
mainly depended. It contained about 2,000 images. Pagodas
are distributed in considerable numbers over the country. The
Tung-chow Pagoda (a thirteen-storied example), the Tang-chow
Pagoda (a nine-storied example), both at Pekin, the "
Flowery
"
Pagoda, Canton, the Hang-chow Pagoda, the Sao-chou> Pagoda
(nine stories), and others at Shanghai, Ningpo, and Nankin, are
well-known. A good example is in Kew Gardens, and there
are many models in the Indian Museum, South Kensington.
In Japan the Pagodas are mostly five-storied, square in plan, and
about 150 feet high; they are attached to the important temples.
The lower story contains the images and shrines, the upper ones
serving as "belvederes." They were introduced with Buddhism
from China, but those now standing mostly date from the
seventeenth century ;
the upper stories have projecting roofs with
bracketed cornices supporting bronze bells.
The Pailoos of China (No. 282) are a common feature, and
have a family resemblance to the Torans of India as the
Sanchi tope (No. 266 A), and those of Japan. They were erected
as memorial arches in memory of deceased persons, generals,
philosophers, or of virtuous widows. They are constructed of
stone, or more frequently of wood, and have one or three openings,
formed by posts supporting horizontal rails bearing an inscription
and crowned with bold projecting roofs, covered with gaily-
colored tiles.
Bridges are important structures in a country abounding in
rivers and canals. The greater proportion have piers supporting
arches formed, not of radiating voussoirs, but with horizontal
courses, the slabs often
measuring 5 feet in length, 2 feet wide,
and 6 or 8 inches in thickness.
Tombs, in consequence of the great reverence for the dead,
are finished with care, and have respect paid to them. They are
either conical mounds cut in the rock, or structural. Those of

CHINESE iAND JAPANESE EXAMPLES.
4NESEMME
CUKSHflbEr,
(THREETWE5 XALE
DOTT5) UNE5 5H9W MflT5 6X3 WHICH REGULfllt
281.
T T 2

the Ming Dynasty (A.D. 1368-1644), to the North of Pekin, are
entered through triumphal gateways of white marble and an
avenue, a mile in length, of large monolithic figures, thirty-two
in number, and 12 feet in height, representing camels, horses,
priests, elephants, lions, and griffins. Each of the thirteen tombs
consists of an earthen mound, half-a-mile in circumference, and
supported by a retaining wall 20 feet high, and seem founded on
such monuments as the Sanchi tope in India. Family tombs are
frequently of horseshoe form in plan, cut into the hillside, with
mythical animals guarding the entrance.
Houses are chiefly of wooden or glazed porcelain construction,
formed to a large extent of moveable partitions which slide in
framework. There is
generally only one floor. The roofs are
of steep pitch, with boldly projecting eaves, and have highly
ornamented ridges of colored and glazed tiles with the ends
turned up, or are finished with grotesque animals or fantastic
ornaments. The framing is effected in bamboo and other woods,
and is frequently painted red, green, or blue. The houses owe
much of their character to their environment, being placed in
gardens arranged to suggest some natural landscape, with
fountains, artificial rocks, woodland scenery, lakes, flower beds,
hanging plants, bridges spanning watercourses and stepping
stones, which are seen in the models at the Indian Museum at
South Kensington.
Town houses of any importance are made up of a collection of
isolated pavilions surrounded by small gardens. Three principal
divisions occur, viz., (a) The vestibule or porter's lodge, giving on
to the street ;
(b) the audience chamber and family rooms ;
and
(c) the kitchen and servants' rooms (No. 281 A).
In Japan the employment of wooden houses and the consequent
fear of fire has had much influence in producing the detached
character which some of the larger examples possess. In the
plan of a middle-class dwelling (No. 281 j, H), the general arrange-
ment is shown. In such an example the walls are constructed of
slight vertical posts and horizontal beams covered with weather-
boarding. The portion giving on to the verandah has sliding
shutters between the posts. The internal partitions are formed
of paper slides, 6 feet high, with plastered or wooden frieze
over.
Tea Houses (No. 281 K) are characteristic institutions,
generally of wood construction, inclosed by thin shutters readily
removed during the summer. They usually have verandahs and
are set -in specially designed gardens.
Engineering Works. Canals and bridges have been
extensively carried out. The Great Wall (B.C. 214) is 1,400
miles long, 20 to 30 feet high, and 25 feet thick. It is formed
with a battered face and carried over mountain heights, down

deep gorges, across lofty tablelands and rivers, like a huge snake
turned to stone.
Other buildings are public baths (No. 281 L, M), restaurants,
hotels, and theatres.
Cities. In China cities are of four classes, and are mostly
quadrilateral or circular, with moats encircling the walls, and
principal gates facing cardinal points. Pekin is a triple city : the
outer is the Tartar city having an inclosing wall sixteen miles long,
within that is the Imperial city, surrounded by a wall nine miles
long, and the innermost city contains the Imperial Palace (No. 279).
The walls surrounding these cities are of immense size and vary
from 30 to 60 feet wide at the top.
4. COMPARATIVE.
A. Plans.
China. The normal type of temple consists of three Buildings
parallel with and entered through each other. Such are
approached by massive flights of steps, gateways and bridges.
The larger proportion are lofty one-storied buildings with
open-timbered roofs.
The Buddhist temples resemble those of India, consisting of
successive open courts and porticos, and in addition, kitchens,
refectories and sleeping cells for the priests.
Japan. The Sintu temples are distinguished from the Buddhist
by having in front a " toran
"
or gateway consisting of upright
pillars of granite, supporting two or more transverse beams in the
same material. It is considered necessary to pass under such
gateways for prayers to be effectual.
In houses the sizes of all living rooms are regulated by the
Japanese mats (tatami) with which the floors are covered ;
and
which always measure one "ken "
(six feet) by one "
half- ken
"
wide, each room being some multiple of these (No. 281 j, M).
The Royal mats are 7 feet by 3 feet 6 inches.
The houses of both countries owe their bright and cheerful cha-
racter chiefly to their setting, being placed in gardens with hanging
flowers, fountains, rockery, and flights of steps (page 645).
The Pagodas were mostly octagonal on plan.
B. Walls.
China. Stone is
employed for more important edifices, but
ordinary building materials are brick (used principally for the base
of walls) and wood. Most Chinese buildings, even when of wood,
are raised on a stone platform to protect the building from damp.
Brick is sometimes finished with a glazed, colored surface, or the
walls have a facing of glazed tiles or majolica. Walls are often con-
structed hollow, as described by Sir William Chambers, thus saving
material and effecting a more equable temperature in the houses.

The "taas" or "pagodas" are of brick, covered with highly-
colored and glazed tiles or marble. Such structures vary from
three to nine stories, each being reduced in height and provided
with projecting roof (Nos. 280, 281 E).
The verandah, or portico on wooden columns, is characteristic
of the style and a special feature of the dwelling-houses.
Japan. Most of the houses are of wood-framing and card-board,
which is safer in the frequent earthquakes than stone or brick.
Temples (No. 281 G) have walls formed of timber posts, and rails
dividing the walls into regular oblong panels, frequently moveable.
These receive either plaster, boarding, or carved and painted panels.
Light is introduced principally through the doorways.
An elaborate system of cornice bracketing crowns the walls
forming one of the most characteristic features of Japanese
buildings (No. 283). Immediately above the pillars a highly
decorated frieze-like space occurs, over this the bracketing con-
sists of a series of projecting wooden corbels, supporting heavy
horizontal beams and rafters with decorated faces, the total pro-
jection of the roof beyond the wall often being as much as 8 feet.
The disposition of the pillars, posts, brackets and rafters forming
these cornices appears to be according to well-known modules of
measurement. Compare the canons laid down by Vitruvius and
the Renaissance architects of Europe.
Optical illusions are sometimes corrected by cambering the
underside of beams (cf. Greek Architecture, page 51).
c. Openings.
China. Windows are square- headed, induced by the rectangular
framing of timber posts, or lashing together of bamboos. They are
frequently filled in with the lining of the oyster shell, which is as
transparent as talc, and admits an effective, subdued light. Glass
is seldom found in the native windows, paper being often used as
a substitute.
Doorways are of similar form varied in outline by the use of
fretted pendants from the horizontal timbers.
Japan. Owing to the great projection of the roofs and the
lowness of the openings, direct light from the sky is seldom
obtained, the light of the interior being reflected from the ground
(No. 281 G). The windows are either filled in with trellis work
or bars on the outside, and with wooden shutters and paper slides
on the inside.
In connection with Temples are numerous gateways, one or two
storied, the latter having muniment rooms over.
D. Roofs.
China. The framing is of open timber construction (No. 283 p).
Such roofs appear to be supported independently of the inclosing

CHINESE AND JAPANESE ORNAMENT.
GARDEN TEWIE

walls, being erected previously, and supported on wooden posts
(No. 281). The angles are usually turned up sharply and orna-
mented with fantastic dragon ornaments (Nos. 281 F and 283 H, j, K).
Such a form shelters the house from the direct rays of the sun while
admitting daylight, and throws the rain-water clear of the walls.
The ridges have elaborate ornamental cresting (No. 283 R, s).
The roofs are mainly covered with enamelled and colored tiles
of S shape (pan-tiles), placed in beds of mortar, which is also used
to form cover-joints as a protection from the action of driving
winds.
The method of forming the trusses supporting the tile work is
by a system of rigid rectangles (not triangles as in Europe),
formed of bamboos held together by wooden tenons. The weight
of the roof acts vertically, no oblique thrust coming on the walls
(No. 283 c).
The roof is the principal ornament of the building which it
shelters, and contrasts very strongly with the Greek, Roman, and
Renaissance styles, in which there is often an evident endeavour
to hide the roof. It is considered a sign of dignity to possess
several roofs one over the other, which serve to protect the interior
of the house from the extremes of heat and cold.
Some derive the hollow curved form of roof from a " tent
"
origin ; others,- with greater reason, think the form resulted from
the use of bamboos, which bend when weight is put upon them.
The connection between the roof and the pillars which sustain
it is often effected by brackets, which give support and strength.
The soffits are usually divided into square or octagonal coffers
by means of raised ribs with brass socketings at their intersection.
Japan. The gable ends (No. 281 G) often have cusped barge-
boards with carved pendants. A curious form of roof is pro-
duced by terminating the upper portion of the main roof in a.
gable vertically above the end wall, but continuing the lower
portion round the ends in a hipped form, thus presenting a roof
which is half hip and half gable (No. 281 G). The covering is
usually of flat and roll tiles placed alternately, the ridge and hip
crestings consisting of several layers of tiles in mortar crowned
with large moulded tile capping (No. 283 M, N, R, s).
E. Columns.
China. The lightness, strength, and convenience of the bamboo
caused it to be used in preference to squared timbers, its nature
not allowing it to be squared. It consists of a hard outer casing
of great strength and an interior of
pith
which is of no construc-
tive value. Such a wood was of importance in influencing a
system of construction (Nos. 281 A and 283 A, B, c, D) quite
different from the framed European truss.
The slender columns often consist of plain circular posts with

650 COMPARATIVE ARCHITECTURE,
moulded base, without capital of any kind, but provided with
bracketed tops of various design (No. 283 A, B, G). Such a
treatment differentiates Chinese architecture from most others,
in which the capital forms one of the most important of archi-
tectural features, giving the date and style of a structure.
Japan. According to Mr. J. Conder, the intercolumniation is
regulated by a standard of about six feet, called a "
Ken," which
is divided into twenty minutes, each minute being divided into
twenty-two seconds.
Pillars are square, round, or octagonal ;
the round ones being
often reeded and the square ones panelled. Sometimes they are
inclined inwards, instead of being vertical.
F. Mouldings.
These appear to be little used. Their place was taken by the
colored glazed tiles, projecting ends of timber rafters, and the
like. The bases to columns are often of moulded bronze, consisting
of cyma and ovolo, or cavetto and ovolo (No. 283).
G. Ornament.
China. The ornament faithfully expresses the national charac-
teristic of oddness. All Eastern nations appear to have a natural
instinct for harmonizing color, and to this the Chinese are no
exception.
Colored ornament is applied to the buildings in the form of
enamel glazed tiles, painted woodwork, and landscape and figure
subjects. It is in the minor arts that the Chinese and Japanese
excel, in their silk and cotton manufactures, in their carvings in
wood and ivory, and their vessels of porcelain.
The umbrella is an old symbol of dominion and power, and
the triple umbrella is one of the most important insignia of the
Emperor of China.
Japan. The colored and carved panels forming the inclosing
walls, the elaborately formed and colored projecting eaves to the
roofs, and the ramma or pierced ventilating friezes under the
cornices are characteristic. In these, panels in high relief
frequently occur, representing such subjects as the chrysanthe-
mum and jay, or the stork and pine tree.
For ornamental purposes, brass caps, usually gilded to preserve
them from corrosion, and incised in patterns, are fixed to the ends
of projecting timbers, to th

[Fletcher] history of architecture

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