ARCHITECTURE

BY

LESLIE
COLLEGE,
INSTITUTE

WATERHOUSE,
CAMBRIDGE OF BRITISH

M.A.
ASSOCIATE ARCHITECTS OF THE

CHRIST'S
ROYAL

WITH

FIFTY-NINE

ILLUSTRATIONS

MK
-

DATE, MAY 3

7990

HODDER
PUBLISHERS

AND

STOUGHTON
LONDON

London

Viney,
Printed

Ld., a,nd

by

Hazellt

Watson

"

Aylesbury*

PREFATORY

NOTE

IN

tracing
volume

the

course

of

Architecture

in

this

small

it

has

been

possible
in its

to

touch

only
is
a

upon

the

salient

points
Pyramids

story,
St.

for

it

far

cry

from

the

to

Paul's.

For

the

guidance
further,
the
a

of

those

who

wish

to

pursue

the

subject
fully
of with

list

of

books

dealing
particular

more

history,

or

with

branches

it,

is

appended.
My

acknowledgments
who has

are

due

to

Mr.

A.

H.

Hart,

prepared friendly

several

of

the

tions, illustra-

for

his

assistance

and

to

Mr.

H.

G.

Morrish

for

his

photographs

of

Canterbury

Cathedral.

P.

L.

W.

9,

STAPLE

INN,

HOLBORN,

W.C.

CONTENTS

CHAPTER

I
PAGE

EGYPTIAN

ARCHITECTURE

....

CHAPTER

II

GREEK

ARCHITECTURE

....

34

CHAPTER

III

ETRUSCAN

AND

ROMAN

ARCHITECTURE
.

57

CHAPTER

IV

EARLY

CHRISTIAN

ARCHITECTURE
. .

84

CHAPTER

MOHAMMEDAN

ARCHITECTURE
.

IOI

CONTENTS

CHAPTER

VI
PAGE

ROMANESQUE
1.

ARCHITECTURE

Io8
. "
"

ITALY

I09 Il6

2.

FRANCE

"

3.
4.

GERMANY

...

I2O

SPAIN

"

"

"

"

.122

5.

ENGLAND

"

-123

CHAPTER
GOTHIC
1.

VII

ARCHITECTURE
.

.127 J34
.

FRANCE

"

2.

GREAT

BRITAIN

14"

3.
4.

ITALY

.156
1

GERMANY

63

5. BELGIUM,

SPAIN,

ETC.

164

CHAPTER

VIII

RENAISSANCE

ARCHITECTURE
.
.

.165
.165
.183

1.

ITALY

"

2.

FRANCE

3.

ENGLAND

"

"

"

"

.187

CHAPTER
MODERN ARCHITECTURE

IX

2O1

LIST

OF

ILLUSTRATIONS

Norman

Staircase,
I.

Canterbury
... ... ...

Frontispiece
PAGE

FIG,

Section
"

through
over

the

Great

Pyramid

...

...

13
14

2.
"

"

Corbelling
Tomb
at

King's

Chamber
... ...

"

3.
4.
"

Beni-Hasan
...
...

"

17
'

Section Plan of

through
Ramessium

Tomb

at

Beni-Hasan
...

"

19 26

,,

5. 6.

"

...

...

...

...

"

"

Egyptian Assyrian Capital

Lion

Columns
... ... ...
...

28 31
... ...

,,

7-

Column
... ...

"

8."
,,

from

Persepolis...
... ... ...

33

,,

9.
10.
"

"

Gate,

Mycenae
...
... ...

36
...

Section Plan Plan

"

"

through
of

the Greek

Treasury Temple
...

of

Atreus
...

37
39

II.
"

"

Small
the

12.
,,

of Doric

Parthenon
...
... ...

41 42

"

13."
14.
"

The The Doric Ionic Ionic

Order
Restored
...

Parthenon

"

44

"

15.
16.
"

"

Capital,
Order

showing
...

Colour

Decoration
...

47

,,

...

...

50 52
54

,,

1718.
"

"

Capital

from

the

Erechtheum
... ...

Corinthian Plan Cloaca

"

"

Capital
... ...

"

19."
20.

of

Greek Maxima

Theatre

56

,,

58
... .. ... ... ...

21."
"

Composite
Plan
"

Capital
... ... ... ...

65
Temple
... ... ...

22.
"

of

Roman

66

,,

23.
24
"

Maison
"

Carree,
of

Nimes
...

...

...

"Ji
...

Arch

Constantine
...

...

...

...

75

LIST

OF

ILLUSTRATIONS
PAGE

FIG. 25.

"

Roman Plan Plan Plan Plan

Entablature
...
...

...

...

76
77
80

26.
,, ,,

"

cf Pantheon
...

...

...

...

27.

"

of Basilica of the

Ulpia
of Pansa Outside the Walls
...

28."
"

House

82

"

29."

of S. Paul's

87
91

"

30.
31. 32. 33. 34-

"

Development Capital with

Diagram
"

of Basilica

"

dosseret, Ravenna Leaning

Dame Notre du

...

...

94

"

,,

96
and

Cathedral

,,

Tower,
Port
...

Pisa
... ...

112

"

Plan

of Notre

"

...

117
118

"

35-

"

Section Church Plan Saxon Plan

through
of the

Dame

du

Port
...

,,

36.
"

Apostles, Cologne
of the Earl's

121
... ...

,,

37.

"

of Church

Apostles
Barton

...

...

122

38.
"

Window,
of Sainte

...

...

124

3940. 41. 42.

"

Chapelle
Contrasted Cathedral with

...

...

...

130 131

"

"

Romanesque
Plan Part of Amiens of

Gothic
...

"

,,

...

...

...

136
144

"

,,

Arcade, Canterbury
Cathedral

...

...

...

4344.

"

Choir, Canterbury
"

...

...

...

145

Plan Durham

of

.,,

Salisbury
Cathedral

Cathedral
... ...
...

146 148
150 151

45-

"

...

...

...

...

,,

46.
"

Geometrical

Tracery
Window

...

...

...

...

.,

47-

"

Perpendicular
Ball-flower

...

...

...

,,

48.
"

Early English Capital

Ornament
... ... ... ...

155 155
162
... ... ...

49-

"

"

50.
51.

"

Fa"ade

of

Doges'

Palace

"

"

Renaissance

Capital
... ...
...

174
...
...

"

525354.

"

Spinelli Palace
Cancellaria

177

"

,,

Palace
...
...

...

...

179

"

"

Azay-le-Rideau
WTollaton

185
Hall...
... ... ...

55." Tower,

190

S^.
"

Section

through
of S.

Dome,

S. Paul's
...
...

197
199 206

,,

57-

"

Steeple
"

Mary-le-Bow

...

...

...

"

$",

American

Sky-scraper...

...

...

...

EGYPTIAN

ARCHITECTURE

A
to

COMPLETE

Story
as

of

Architecture

would
of time is would and the coeval

require
story
with him and in

cover

great

period
architecture instinct with food

as

of

man

himself,
Man's

for

man.

earliest
himself for from architecture. and of

prompt

to

provide

shelter,
or

constructing
a

himself the

shelter

dwelling,
he

as

protection

elements,
Before the

began
therefore,

to

perpetrate
of write

days,
man

reading
a

writing,
his from his life

prehistoric
and
earliest character time in

began
the have form

to

story

of

buildings,
a

which,
of

times,
and of

been
mode

reflection life.

his

of

Unfortunately,
in

the of It

efforts

of

our

earlier

ancestors

the

field

architecture until

have in

entirely
the and
course

appeared. dis-

was

not

man,

of

civilisation,

became

mighty

builder,

not

10

THE

STORY

OF

ARCHITECTURE

that

only, but
him

builder that
Thus

in
he
to

materials
was

of
to

an

perishab imleave

nature, behind
life to

able

monuments

tell the
comes

story of his
about
that it

future

ages.

it

is

impossible to trace the growth of the art from its ment its earliest beginnings,and follow to developThe oldest it grew in as importance.
memorials and of
a

of which of

we

have

records
"

"

the

tombs
not

temples
race

ancient

Egypt

were a

the

work,
the
art

had

primitive men, but of already attained a knowledge

of

nation
of

which
of

construction

which

later Nile

builders

have

never

surpassed.
The
waters

of

the

are

the
of

head-waters
stream
"

of the

architecture.
cradle of the

On
art
"

the
the

banks
colossal the
most

this

piles of
wonder

these of all

early
who the five

builders
se-2

still command
;

them

while

the

ancient

of them,
for

pyramids, have
thousand years of

remained
as

unchallenged
works of the

the

greatest of all architectural

undertakings.
inhabitants
of
ever

With the

these Nile far

as

architecture,so
go. No

mysterious valley begins the history our knowledge of it can

such

other
to

country
of

bears

testimony

as

Egypt
Other

the

great historical value

of architecture.

been antiquity have, possibly, equally powerful, or as highly civilised ; but they have them failed to leave behind enduring any
nations
monuments to
or

record

in from

stone

marble"
of

their greatness" and they have Not

so
"

no

literature

the is

pages
a
"

history.
in of

disappeared the Egyptians.

tombs
which

There

voicefulness
the

these

old

and

temples along

banks

the

Nile

gives

THE

STORY

OF

ARCHITECTURE

li

realityand
built
them.
to

life to Hence the

the

history of the unique

of

the

men

who which

interest

attaches

These Egypt. so long been walls, that have temples, these of washed humanity," by the passing waves present a reliable record of the social and religious wise otherwould life of their builders,whose life-story have been totallylost in obscurity. Egypt architecture
"

claims

the

attention of

of

students

of

architecture,

having produced monuments and which, for massiveness grandeur, have never been excelled in the world's history. Yet Egyptian
too,

by

reason

architecture

must

ever

remain,

to

some

extent,

subject by itself; it occupies no very important which place in the story of the architecture It is a of that us Europe. chiefly concerns strange fact that, with the exception of the few features which borrowed were by the Greeks, all the characteristic forms of Egyptian architecture
"

have

become
any

obsolete

; the

Greeks,

moreover,

in

adopting
it that it

feature, so

modified

and

improved

their own. Greece, became, in reality, the not true Egypt, was parent of European of the architecture; yet the colossal monuments Nile valley had weathered thirty centuries before Grecian In architecture almost
are

had

left its cradle.

we

all countries the

was

find

that

the

chief

structures

outcome

of the
case

nation's

religious
from the

beliefs.
earliest

Such times.

the

in

Egypt

of Nothing reveals the character the nation so clearlyas its religion ; nothing has a more permeating influence upon its architecture. The a people, religious Egyptians were essentially with a lengthy catalogue of deities ; they very

12

THE

STORY

Of

ARCHITECTURE

themselves
in

spoke
to

of

their
many
to

addition

their

paid religiousregard
and sacred and many
;
at

gods," and, principal deities,they animals. Cats, dogs,

animals
were

"

thousand

of

the

common

held

death in

their

bodies

were

embalmed,

tombs. When constructed specially sacred a bull, or Apis, died, the funeral would be on elaborate an scale, costing the equivalent remains of ^20,000 of our The were money. embalmed, placed in a solid granite sarcophagus and or weighing fiftytons deposited in more, of the long gallerieshewn of the solid out one interred
rock. It of the will

readily seen, nation's religion was

of

be

amount

architectural
in

then, that this phase productive of a vast work. of far greater But
the architecture

importance
of the

its influence
was

country

the

upon belief held death.

by
of

the

Egyptians
the

regarding man's
soul the
as was

life after
to
a

While

bad

sentenced of

bodies
its
a

unclean
was

for

reward, period
this

made three

migrations into animals, the good soul, the companion of Osiris

round thousand
to

of

years.

At

the

end
its

of

time

it returned

earth, re-entered

former

human

when
soul find

body, and again lived the life of a desirable it was most that, being. Thus the expired, the long allotted period had should be able, on returning to earth, to the body which it was to re-enter.
natural of
outcome

The
process which

of and

this

belief

was

the

embalming, might be relied

thousand

the
to

erection last out

to

of tombs the

upon

of

three

years,

and

span safeguard the

body during

that

period.

THE

STORY

OF

ARCHITECTURE

13

The these

most

colossal, and

almost

the

oldest,

of

the are mysterious sepulchral monuments of with the inhabitants structures which, among the of name Europe, Egypt has always been associated and the the Pyramids. The largest, of best known, these the three at Ghizeh, are near Cairo, built respectively by Cheops (orSuphis), The and Chephren, Mycerinus. pyramid of
"

FIG.

I.

"

Section

through

the

Great

Pyramid.

Cheops, generallyknown is the most important

was a

as

the the

"

Great

Pyramid,"
Its

of

three.

builder

tyrant of the fourth

all the

dynasty (dr. 3700

and forced his

who
to
was

closed

temples
this
course

B.C.), subjects
which The

labour
to

for years at in due serve has

a

giganticstructure,
as

his

tomb.
in
or

pyramid
the
extent

covering an

area

square of about

base, 755
thirteen

feet
acres,

length,
twice sides

of St. Peter's at

Rome.

The

four

THE

STORY

OF

ARCHITECTURE

equilateraltriangles, sloping towards and meeting at the top, at a height of the level of the platform. Limestone 481 feet above was chiefly used in its construction, upon of solid rock, but over this was exterior a base an facing of polished granite,every vestige of which has internal passages now disappeared. The are still lined with highly polished granite slabs, fitted together with astonishingaccuracy.
were

of

the

form

of

The
_......

entrance

was

at

the
feet

point
above
was

marked the

A,

about

47

original base, and ordinary carefullyconcealed, extraprecautions having

taken
to

been
from
entrance to
a

prevent

the From

tomb
the

being entered.
a

passage
B,

slopes down
cut

chamber,
rock
120

in

the the

solid natural
FIG.
2.

feet of

below

surface

the

ground.
chamber

The is not

Corbelling over King's Chamber,

object
apparent
as a

of
;

this

possiblyit was
A

intended

blind.
the

corridor,
of

turning off chamber, D,

structure.
"

at

c,

leads

situated

up almost
a

to

royal burialcentre

in

the
room,

the
the

Below

this is

third

called
no

Queen's Chamber,"
name.

though
chambers

there

is

authority
are

for the

The

and

corridors

for the they show interestingconstructionally, methods adopted by these early engineers for openings in order to resist a superbridgingover incumbent

weight.
feet

The

central

corridor

is

28

high,

with

masonry

which

of by courses ceiling formed another successively overhang one

a

THE

STORY

OF

ARCHITECTURE

15 the of the

until
"

royal sarcophagus displayed ingenuity was deposited,marvellous was in making the roof strong enough to prevent the Five from crushing through. weight overhead in the slabs were see stone fixed,as we enormous each of chamber between with a small illustration, surmounted them were by a rudimentary ; these lintels tilted in such a arch, formed by two massive the centre of the opening. to meet over as way carried out in this colossal enterprise How was excellent subject to be all its details continues an limestone for speculation. The quarries, which situated at were provided the bulk of the stone, Ghizeh miles from of fifty El Massarah, a distance ; been have not red the quarried granite could
in which the
nearer

at they meet King's Chamber,"

the

top.

In

case

than

Assouan,
miles away.

upon
The

the

banks
of

of

the
stone

Nile,
could

500
be

blocks

the stream readily floated down upon it is probable that they were rafts ; thence slowly of rollers, being moved into position by means gradually raised to the required height along an for constructed embankment inclined plane or this purpose. It is stated the Great that
100,000
men were

Pyramid for a period that the of twenty raising of such years ; so embankment, an though a gigantic undertaking, would portion of this vast represent but a small of labour. amount Many of the blocks of stone as measure" weigh as much 30 feet in length and the greatest with worked tons, yet they were fifty line exactitude polished granite slabs which ; the fitted together with such accuracy the corridors are that it is almost impossible to detect the joints. employed
upon

16

THE

STORY

OF

ARCHITECTURE

Similar
of the

accuracy
structure.

was

observed

in the

settingout
varied from

Professor

Petrie's the

measurements

show 755
extreme

that
feet

the

lengths of

sides

inches to 77 755 feet 9*4 inches, the difference being 1*7 inches only !
a

Such have

vast, unremunerative
undertaken

work
selfish

could

only
was

been

by
the
were

tyrant who

utterly regardless of At this period there

that the burden of the
"

sufferingsof his people. no prisoners of war, so

fell upon
the

of the
"

task

shoulders

king's free subjects. The royaloppressor his failed,however, in the one object to which efforts were directed the safe preservationof his embalmed remains. The secret of the prison-house and the royal dust was discovered, the tomb rifled,
"

scattered
words
Let Since

to

the

four

winds
" -

of

heaven.

In

the

of

Byron's doggerel :
a

not not

monument
a

give
of dust

pinch
of

or you remains

me

of

hopes, Che-ops.

embalming led to the erection of number of smaller of which vast a tombs, many in the neighbourhood of the pyramids, found are for this locality the necropolis of the was originally ancient These tombs city of Memphis. were usually rectangular, with sloping sides, like a pyramid with the top cut off. Internallythe walls with paintingsillustrating decorated the everywere day
custom

The

life which

the

occupant
him

had

led, the
as

evident
"at

intention
home have
"

as

being to make possiblein his

invaluable
in

feel

much

tomb.

These

paintings

enabling us to realise the of life which conditions exact prevailed at the period. The material employed in the construe-

been

THE

STORY

OF

ARCHITECTURE

examples of an important architectural which feature the architecture subsequently influenced of Greece, and, through it, of Europe. of these tombs The shows general view of one columns. The has been whole two a portico with of the solid stone, and carved two out piers have left in order been the appearto give support, or ance the of support, to It overhanging rock. that the portion above the columns will be noticed has been squared to the form of a lintel. Over of dentils,or this appears tooth-like row a jections, prowhich are eminently suggestive of the such be used in timber would of rafters, ends as
the first
.

construction.
seen

The

columns

are

of

form

seldom

the top, and Egypt: they taper towards surmounted slab, or "abacus," are by a square of has the which transmitting the appearance lintel. of them Some the are weight from polygonal, with sixteen or thirty-two sides, each in the manner of the side being slightly concave, of the Greek shall flutes ! we columns, which / be considering in the next chapter. shafts be compared If these with the columns Doric order (p. 42), it will be seen of the Greek notable points of resemblance that there are some the the abacus, the fluted surface, and square similar A form of column was tapering outline. used later date at at Karnak, but it did not a the find favour was Egyptians, and among Yet this special by them. subsequently discarded take an destined form to was important place in of of Europe, for the columns the architecture
in
1

"

"

"

Beni-Hasan
columns of

of the be the prototypes to appear It is strange the Greek Doric order.

THE

STORY

OF

ARCHITECTURE

should have selected Greeks discriminating for further development the very feature which the great Egyptian builders had rejected. Certain it is, however, that the form reappeared, in a less crude temples of state, in the earliest Doric about the seventh the Greeks century B.C., and that, that the in the hands endowed it became in existence. The
cut
out

of the

Greek

masters, it was

afterwards that feature

with the

such
most

beauty and refinement perfect architectural

Beni-Hasan

ceilingof
of the is divided three in the of
a

the

tombs, although

solid

rock,
curved

by

els lint-

into

spaces, form of

segments
in
an

circle,
of

evident

imitation
or

arched,

vaulted,
struction conno

ceiling.
in Of the the

Arched

place great buildings FlG. 4._Section through Egyptians ; but at Beni-Hasan.

old

finds

tomb

that
were

these

builders
with the
true

principlesof the arch has been proved by the discovery of magnificent brick vaulting of the sixth dynasty (dr. 3400 B c.),
and the still earlier of this the year

familiar

barrel-vaulted

passage

in

king's tomb
discovered Petrie. Between the

third

dynasty (dr. 4200 B.C.), Flinders (1901) by Professor

the Beni-Hasan of the

the

date of

tombs

and and

great

Theban

period
"

eighteenth
been
made

nineteenth
"

dynasties

an

interval
to

of five centuries in

little progress

appears

have

20

THE

STORY

OF

ARCHITECTURE

During part of this period Egypt" the in more correctly, Lower Egypt" was or, hands of the we invader?, of whom Shepherd know little. their Throughout long rule they hated were by the Egyptians, and they left few
" "

architecture.

permanent

memorials
of the
"

behind
"

them

; but

with

the

Shepherd kings began an era of activity lasting for four great architectural the period assigned to hundred down to years, from the exodus of the Jews (i.e. 1700 to 1300 B.C). This the the was great temple-building age, which witnessed "Theban the culmination period," of and artistic greatness, and Egyptian power the noblest of produced the greater number ever, Constructively, howbuildings in the country. the there from was a falling-off precision earlier periods. work careful of the and The was hastilyand clumsily wrought, angles masonry were inaccurately set out, and columns irregularly bears marks spaced ; in many respects the work detract considerably of carelessness and haste which In spite of technical from its merit. defects, noble however, the buildings of this period were which still remain chief the works glory of Egyptian architecture. expulsion
The
cause

of Before

this the

architectural

revival
"

is

not
"

far to seek.

period of
been
the
a

the

Shepherd

kings, and
the
But Nile when

during valley had

Aahmes

their
not

rule, the

inhabitants

of

ascended

fighting nation. throne of Upper

the task B.C.),he set himself Egypt (dr. 1700 of the invaders, and, after of ridding the country into Palestine, completely routed pursuing them thousands them. As a result of this victory, many

THE

STORY

OF

ARCHITECTURE

21

by the king on brought back These his return to advantages, and Egypt. the the various successes over Syrians, whetted appetites of the Egyptians for further conquests, became nation and of cona querors. they henceforth Thothmes III. (dr. 1600 Under B.C.) advanced their by leaps sphere of influence Each and bounds. new expeditions, year witnessed which brought into the country not only enormous but numbers of vast quantities of treasure, for the object of the king was prisoners of war
of slaves
were
" "
"

to

capture
the

rather of

than

to

kill.
an

This

wholesale effect

importation
upon forced

captives had
of the
was

immediate

architecture Thothmes other first rank

vast

country.
enabled
which

By
to

their
erect

labour
and the

temples
him The
"

structures

placed
"

in

of

great city of this

"

Egyptian builders. Thebes period was

of the Homer
"

the
was

hundred-gated Thebes the capital of practically

situated farther with
;
are

which

country.
to

Memphis,
delta of

north,
Thebes
its but

nearer

the

the
of

Nile, vied its temples

down
to

in

the

magnificence
have
come

remains

which

to

us

comparatively unimportant, owing

the site of has

the

fact for

that the

been
to

used
Cairo

as

quarry

supply

materials

and

towns. Thebes, however, was adjoining modern more fortunately situated : no great city has sprung up in its neighbourhood, and its buildings suffered only from have the of wasting hand merciful than that of man. time, more Theban The of the great building monarchs Thothmes Seti I., period were III.,Amenhotep III.,

and

Rameses

II., each

of

whom

endeavoured

to

22

THE

STORY

OF

ARCHITECTURE

surpass
"

the

fforts of

his

predecessor with
the last."
m

some

new

temple, nobler
be
seen,

than

Their

names,

it will

appear
structures

connection
this
era.

with

the

greatest temple
The
was

of

most

the

imposing of great temple

which
were

all the
at

Theban

buildings
1,200

Karnak,
farther The

.feet

long,
ones

around
at

grouped
miles

several

smaller
was

Luxor,

two

south,

another

v?."t

palace-temple.
of the river III.
"

opposite bank

included second

the on groups the sepulchral

temple
of

of
"

Amenhotep
and

only
built

to

that

Karnak
the

the

Ramessium,

entirely

by

great Rameses.

Thothmes of the was principal work rebuilding of a portion of the great temple at Karnak. Isolated examples of this master-builder's In front of the familiar to Europeans. work are the he to temple at Karnak grand entrance of these, which erected two now obelisks; one in before the church stands of S. John Lateran is the largest and most ment splendid monuRome, of its kind He extant. built, or added Denderah, Heliopolis, Abydos, to, temples at other places both in Egypt Memphis, and many and been
in Nubia. re-erected An
at

The

obelisk

of

this

monarch

has

Constantinople ; another, which afterwards stood at originallyat Heliopolis and the Thames be seen to on Alexandria, is now it as know where we Cleopatra's Embankment, the Atlantic has crossed its companion Needle";
"

and

has

been

erected

in

New

York.

Amenhotep continued erected at Karnak, and which, however, hardly a

the

building of the temple vast new a temple, of trace remains, for it has

THE

STORY

OF

ARCHITECTURE

23

suffered

from

the

inundations

of

the

Nile

but

an

of an architect of the king, and enduring memorial survives in the two bearing the same name, feet high, of which mutilated one colossi,fifty-six has been known, since the days of the Greeks, as

the

"vocal

Memnon."

By far the
the of Ammon
at

greatest and
this

most
was

buildingsof

period
Like the

impressive of all the grand temple

of
our

Karnak.
was

cathedrals, this
and

many work of

mediaeval

successive

kings

columns, covered generations; its walls and furnish almost with inscriptions, a complete history of the Theban kings. The begun by Usertesen I., the temple was B.C.). great king of the twelfth dynasty (dr. 2400 interval of several centuries,Thothmes I. After an continued the work, adding a courtyard surrounded of Osirid pillars. Thothmes III. by a colonnade constructed a hall, 143 feet magnificent columnar before which had never by 53 feet dimensions been approached in a building of this form. He
"

also of of

set

to

work

to

restore

the

ancient

sanctuary
lines

Usertesen, reverently preserving all the

the old

building,and recording the details of the walls. the restoration in an on inscription But the the great glory of the temple was familiar Hypostyle Hall of Seti I. (dr. 1350 B.C.), posing imall travellers in modern to Egypt, the most of the kind in the world's history. structure The roof hall measured 340 by 170 feet, its massive in sixteen rows being carried by 134 columns ; the shafts of the two central rows, which supported the 60 feet than more higher portion of the roof, were No language," high and almost 1 2 feet in diameter.
"

44 writes

THE

STORY

OF

ARCHITECTURE

its idea of can an Fergusson, convey beauty,and no artist has yet been able to reproduce its form it
an so as

"

to

convey

to

those

who

have

not

seen

of its central grandeur. The mass the piers, illumined by a flood of light from and the smaller pillarsof the wings clerestory, so are gradually fading into obscurity, arranged and lightedas to convey an idea of infinite space ; the same time the beauty and of massiveness at the the of their coloured forms, and brilliancy this as the to decorations, all combine stamp architectural works, but such a greatest of man's it would be as one impossible to reproduce,

idea of its

except
This

in

such

climate
for hall

and it

in that
was

individual

stylein which,

and

which,
was

created."

wonderful

almost I.

during the reign of Seti was completed by his son

known
to

Upon
Rameses the

entirely built his death, it II., better

of the
on

Bible-readers
He

as

Pharaoh

Oppression.
the there

added
In the

the

columns fifty-four of of

south
are

side.

methods
the

construction
as more

distinct with

evidences
of

deterioration
of the earlier

compared
ancient monolithic

much

work
at
an

Egyptians. Where,
columns
we

date,

of
at

red this

been

used,
in

find

have granite would period soft sandstone order

to

they lost of grace than they gained in dignity. more It would been impossible for the Egyptian have such monarchs to erect stupendous structures but for the fact that they were able, through to their victorious bring into the country wars,

Thus, in strength of the columns, it was them excessively massive, and

drums.

built up

insure
to

the

necessary by this

make

26

THE

STORY

OF

ARCHITECTURE

practically ended
Rameses. At
was

with

the

reign of
of each

the

great

Karnak
to

the

chief
in

object

monarch

magnificence, the his predecessors, without regard But in the to Ramessium congruity of plan. at Thebes, a temple wholly built by the great the plan of a typical temple of Rameses, we see the formed period. The by two fagade was massive which between pyramidal towers (pylons), the this entrance was cases doorway ; in many facade was situated obliquely with regard to the
surpass, buildings of
extent
-""""

and

I
i
FIG. 5.
"

...TTTT-irp-T----

P.

Plan

of Ramessium,

temple building.
a

to access doorway gave great fore-court, flanked by colonnades, which

The

in

turn

led

to

an

inner

court,
decorated the

smaller with

than

the

first,but
Both
courts

more were

richly

statuary.

sky. the Hypostyle Hall Beyond these the chief feature in the larger temples. In the of loftycolumns of this,two centre rows supported of the higher portion of the roof, the remainder the being occupied by ranges of smaller space columns. The central portion of the roof was higher than that at the sides,an arrangement which allowed through perforated light to be admitted connected stone panels, fixed in the wall which
to open reach we
"

THE

STORY

OF

ARCHITECTURE

27

the

upper
manner

portion
of the

of

the

roof

with

the

lower,

in

of Gothic clerestorywindows this architecture. hall several were Beyond been have smaller chambers, which set to appear by the king or the priests. apart for use The columns were coloured, and brilliantly their capitals were varied suit the to positions in which they were placed, with due regard to the the of light well-lighted lofty and ; those but the columns central pillars were bell-shaped, the side had at bud-shaped capitals wide at the the top base and which a form tapering towards allowed the decoration, lighted from above, to be to seen advantage. After the Exodus ensued a long period of decay and thousand for almost a inactivity lasting years, until the old glories of Egypt were, to some extent, revived their rule and, Under by the Ptolemies. the land enjoyed again a later,under the Romans, of great prosperity. Temples erected season were in size and vied which of splendour with those the great Theban is more Of these, none age. beautiful than the temple of Isis at Philag,the is a striking illustration of the plan of which and of disregard of accuracy regularity which characterised buildings of the Egyptians. many

the

"

"

As of

evidence

of

the is

conservatism

of this old

nation

builders,

structures

Roman
or

that the interestingto note of this period bear no of Greek trace or details either in the architectural influence, decorations their true which covered in the walls
;
so

it

in the

that, until

assigned historywas them to interpretation of the through the of the Ptolemaic hieroglyphic inscriptions, some place

28

THE

STORY

OF

ARCHITECTURE

buildingswere

considered

to

be

anterior Greeks
out

to

those
the

of the great Theban period. The Romans accustomed were to set with

and

their

works

great accuracy

but

at

Philae

the

Egyptians

to their own evidentlyworked methods, for there are hardly two parallelwalls, or a right angle, in the building. Imposing temples of this period are

found the We
most

also

at

Denderah

and

at

Edfou

"

the

latter

perfectly preserved temple in Egypt. have that in the temple-structuresof seen

FIG.

6.

"

Egyptian Columns. the

most
constant

the
was

Egyptians
the

one

of

important
use

features
the
to

column.

Its

within

buildingswas
add
to

the

probably encouraged, as prevailing air of mystery

it their business
to

tending
which To
some

the

priestsmade
extent

foster. the

it

was

necessitated

by

constructive

slabs which employed, for the great stone formed the roof required strong support at frequent intervals. The the column thus graduallybecame chief medium for obtainingdecorative effect. used ; they were invariably Many varieties were

system

THE

STORY

OF

ARCHITECTURE

29

in six diameters rarely exceeded massive, and the shaft tapered towards top, and height. The was usually either circular or clustered ; sometimes In many at Beni-Hasan. it was as examples fluted, the base, in diameter reduced at the column was the greatest strength was the point where required ; of an abacus of this,and the use, above the capital, tended than the shaft itself, dimensions smaller to bulky appearance, making it give it an overgrown, of strength. through excess look, as it were, weak in use The chief forms of capitals were : (a) the bellcolumns, Karnak), which shaped capital (central graceful forms, and to which, as produced many shall see we later,the early Corinthian capitalsof, bore a strikingresemblance; the Greeks (b) the lotus bud, representing a cluster of the clustered of the lotus buds flower, (with this unopened the was used) ; and ("r) capitala clustered column derived of these forms were palm capital. Most from plant-life.In Egypt, at the present day, bundles of reed plasteredwith mud frequently may small bundles, be seen columns in use as ; several each bound, are banded together and form tightly a shaft sufficiently rigid to support heavy weights. This was copied, probably primitive arrangement is undoubtedly first in wood, and later in stone, and lotus banded and the origin of the clustered column. For than In and and the

interior of
was

the

temples, colour, rather

decorative
effect.

form,
the dim

relied

lightof

for upon the columnar

carving could not have brilliant colouring was

columns
were

halls,mouldings been seen to advantage,

essential. with
a

The

walls

and

covered

profusion of

30

THE

STORY

OF

ARCHITECTURE

and of paintings, in which inscriptions hieroglyphic the designs were either outlined in low cut or relief before the colour was applied. Where coarse sandstone had

been

used surface of
stone

in

the for

erection the colour

of

the
was

building, a smooth obtained by the use of the imperfectionsNext in

stucco,
were

with

which

the

filled up.
of

antiquityto
that of

the

civilisation

the

Nile
was
"

valley was
established
A

the

along the
the

great banks

kingdom
of

which

the

Euphrates
of

ssyria.
Unlike
monumental have little
structures

Assyrian remains fragmentary state, for

the is left of the
enormous

survived
save

Egypt, only in a
foundations
once

the this

palaces of
which

mighty
carried

kingdom.
on

Excavations the

have

been

at Khorsabad, capital,and almost have revealed complete plans of the royal of remarkable dwellings, showing that they were and of the great extent magnificence. Portions be seen gateway of the palace of Khorsabad may at

Nineveh

in

the

British

Museum.

The

immense

scale

of

portal, with its human-headed winged bulls form feet high, enables to us some opinion 19 of the characterised massive grandeur which these vast buildings of the Assyrians. Owing
this
to

the

extensive

use

of

sun-dried
structures

bricks

in

lieu the

of

harder

materials, the
the Nile

lacked
So far

durabilityof
can

valley temples.
from the

as

be

determined

bas-reliefs and
"

the from

structural the

remains,
ornamental

the

architecture
forms
"

apart

applied

had

comparatively

little artistic merit.

THE

STORY

OF

ARCHITECTURE

31

That

the
the

Assyrians, like the

the arch

Egyptians,
has

stood under-

principlesof
arched

been

proved
Place

by
at

fine

gateway, discovered

by

M.

of arched drains Khorsabad, and by remains and of brick vaulting. On existing bas-reliefs are found buildings,from representations of domed which
was was

it may
not

be

assumed

that it is

this

form

of

roof it

unknown,
to

though
extent.

improbable

that

used
The

any

prominent
"

feature
not

the in with

column

did

the
the

architecture

exception of
the with which of

Egyptian temples an important place occupy of the Assyrians ; the the bas-reliefs,
in
"

existing remains
use.

reveal

no

trace

of

its of

On

column,

sculptures a small volutes,

form is

^ented,
iprototype

claim to may of the the column The interior

to

reprebe the

Greek
of the

Ionic

order.
were

walls

height of FJG about slabs, on 10 feet, with alabaster Assyrian low in which relief, Column, were represented, and battle and logical mythohunting scenes subjects. Many of these slabs are to be of Europe. found in the chief museums palaces
lined,
the

With became

the

Persians

masters

who, under Cyrus (536 B.C.), of these older monarchies, another

was

style of architecture
great

developed

which

attained

and Xerxes. Darius magnificence under had the Persians Before their period of conquest little of been life, with simple in their mode architecture later monarchs, of their own. Under very different in character from the

great conqueror

32

THE

STORY

OF

ARCHITECTURE

Cyrus, they acquired luxurious habits, and soon the surpassed even Assyrians in the splendour and the extent of their palaces. Persian splendour and in the luxury culminated great capital at of Persepolis, or Takht-i-Jamshyd (the Throne Jamshyd), as it is still called by the inhabitants of the district, after its mythical founder and ruler. In the treasury of this great city it is said that his entry, found the wealth to Alexander, on of thirty millions sterling. amount Here the chief vast buildings rested upon of the carved solid out terraces platforms and rock, which still remain, while almost every vestige of the covered mighty halls and palaces which them has the disappeared. With exception of remains few to mark a ruins, hardly a monument
the desolate site of the old luxurious
The The And Courts where Lion and the Lizard and

civilisation keep
drank Ass

:"

Jamshyd

gloried
"

deep

Bahrain, that great Hunter Stamps o'er his head, but cannot
The

the break

Wild his

sleep.
was

great

Hall

of

Xerxes

at

Persepolis

of the most extensive and posing imundoubtedly one buildings of ancient times, having an area of the of 350 by 300 feet,or almost twice the area Karnak. Its roof at was great Hypostyle Hall supported by lofty columns, no less than 64 feet in diameter, fluted, and in height,4 feet 6 inches of slightlytapering. Many of the capitalswere remarkable design, in the shape of a double bulls bracket, formed by the forepart of two the back. to Frequently between placed back bracket and the column, as in the illustration, a

34

THE

STORY

OF

ARCHITECTURE

II GREEK
THE

ARCHITECTURE
"

civilisation of the
ahead of that

Dark of

Continent
;

"

was

centuries
art

Europe
among

and,
the

many long after

had
the

reached Nile
"

its zenith

inhabitants

find valley, we Europe still in the that the we mean prehistoric stage by which not people had yet acquired the art of writing their history in the form of permanent architecture. earliest traces of European civilisation and The of
"
"

architecture
in

"

if

we

except
no

the

recent

discoveries the age of and

Crete

"

date of

back

further

than

Homer

and

Troy

; of

Atreus, Agamemnon,
war

his Of

other the
men

heroes who

of the lived

Trojan
before

these

built up

nothing
into

this great : they have

:
"

we civilisation, all,as Horace

(dr. 1180 B.C.). times, and who know absolutely tells us, passed

oblivion
Brave Ere But And

men

have

lived

in

times

of

old,
;

Agamemnon
ah !
no are

first drew their in

breath

bard lost

praises told,
death.

all

nameless

They
"

lacked, however,
more

but also that

the

only the sacred bard, trustworthyhistorian of antiquity

not

architect. left their

"

The
no

brave

men

who

lived before behind

the
ments monu-

Agamemnon them, and

enduring architecture history unlike that of

"

old

Egyptians is a sealed of Agamemnon's

book

to

us.

few

period

still exist, and

supply

THE

STORY

OF

ARCHITECTURE

35 of

the the them sang the

which only reliable information history of that time ; but our

must
ever

we

possess

remain the the

scanty.
of

knowledge of indeed, Homer,

men,

bravely of writings of

deeds
old

these it is

but

in
to

poets
"The

impossible

separate facts from

as

fiction.

Ruskin

his

very Pericles ; and that confess of the

tells us, "is surrounded personality with doubt. the

we

age of Homer," with darkness, Not when of

so we

that

of

day
have

is

coming
more

shall
out

learnt

Greece

fragments of her sculpture than from her sweet even singers or soldier historians." Although European civilisation germinated in have little authentic Grecian Greece, we history before the date of the first Olympiad (776 B.C.). The few remains of buildings of an earlier date than this are therefore of great interest,although they
had to have not appear the architecture of the These any direct influence upon

crumbled

later,or

Hellenic, period.

called who

tions, consist chiefly of fortificaearly structures of a tombs, and walls, the work people probably Phoenicians, Pelasgi (i.e. sailors),
were

the

dominant the and

race

in

Greece

at

the

period assigned to and who preceded,

the Greeks.
most

(1180 B.C.), Trojan war distinct from, were totally

found are important of these remains at at Tiryns, the mythical city of Perseus, and of Homer, Mycenae, the capital,according to Remains of walls Atreus and are Agamemnon. The found in
many

other
as

parts
it is

of

the

country

"

Cyclopean
of

masonry, construction was and tradition

called,for the method of suggestive of the work

ascribed its

giants,

origin

to

the

36

THE

STORY

OF

ARCHITECTURE

chief feature of the work is the Cyclopes. The blocks of stone, irregularly employment of enormous shaped, or coursed, and fitted together without At mortar. Tiryns the acropolis,is surrounded by a wall of this character ; a similar wall at Mycenae contains the great Gate of Lions, probably ancient the most example extant of Greek sculpture. This monolithic piers and gateway consists of two
a

massive
a

lintel way

the the

wall

"

was was

corbelled relieved

"

over

in its

such

that

lintel

from

weight,the triangular space

in with
a

thus formed

being filled
group senting reprea

sculptured
two

lions

supporting
the

column towards

which the

tapers from
base.

top

__

FIG.

9."

Lion

in existingstructure architectural Greece possessing merit, and of regular form, is the socalled Treasury of Atreus at Mycenae. This is in reality tomb, consisting a

The

earliest

Gate, Mycenze. The roofed

massive

of

two

subterranean
with

chambers
one

in

communication

another.

larger chamber
over

is kind

with

shaped like a beehive, of of dome, composed

mortar.

blocks

of stone

laid without

The

builders the
in
use

been have to unacquainted with appear of the arch, for although the roof is domical
as seen

form,

from

the

method

adopted
"

differs in Lion of

interior,the from arched,

a

structural
or

true

domical, construction
The
stones
as

most

material
and other
"

point.
ings opennot
are

in

the walls

Gate
the of
a

in

the

old

built in the
laid in
a

radiating form

acropolis are true arch, but

so

series of horizontal

courses,

that each

THE

STORY

OF

ARCHITECTURE

37

course

thus
meet

overhangs the graduallynarrowed

at
over

one

below

it ; the similar

space

is

until the

projectingcourses
to

the the

top

"

an

arrangement
the used in the is
a

the

roofs

in galleries
are

Pyramids.

Immense
; the

blocks
lintel

of
over

stone

structure

the

inner 16

doorway
feet

27 feet than 120 the

long and
tons.

single block deep, weighing not less

architectural feature of

The

chief

the entrance doorway, flanked building was by columns entirelycovered with elaborate zig-zag ornamentation, showing a fairlydeveloped style, of Egyptian and Asiatic influences. with traces These
are

earlier

works
the Greek

in

Greece velopment de-

separated by
an

from

later

of true

ture architec-

absolute

break

in

form

and

construction.
was

Hellenic
FIG. Section the
io.

developed, not by but by the Greeks, or the Pelasgi, succeeded Hellenes, who them, and it was the which art they
evolved
"
"

civilisation

through Treasury of

Atreus.

the

"

classical
as

ture architec"

of

Greece,
of

it is called

which

has

been

the in

parent

all

the

styles throughout Europe gathered

main

succeeding centuries. no doubt, Suggestions were, Egypt and from Asia, but in the
of Greece appears
to

from tecture archi-

the
an

have

been

original
date of

creation.
was

the

period during which a comparatively short one, for oldest known building" a temple
at two

The

it flourished the
of

the

Doric

order For after

Corinth
centuries

"

is after of

not

the

defeat

the

650 B.C. this, art progressed until, its Persians, it reached

earlier

than

38

THE

STORY

OF

ARCHITECTURE

"

culmination age

at

Athens
A
a

(460-400 B.C.) ensued, followed by

revival death
never

under

Alexander

during the great Periclean period of reaction then short-lived but splendid the Great, and, on his
a

(323 B.C.),by
recovered.

decline

from

which

it

The

throughout buildings,
the the ancient Greeks

which
were

temples. These of the old Egyptians in the frequent use of the column the one as dominant feature of the design. But the Egyptians built their temples with view to a impress the the richness, and worshipper by the mystery, the grandeur of the interior : for this reason, and for constructive the columns were placed purposes, inside the the the building. With Greeks, on other hand, the temples \yere comparatively small ; of the built as memorials not vast they were of despotic monarchs, were nor they greatness of of crowds required for the accommodation the roofs had massive not worshippers. The solidityof the Egyptian structures, and few supports the were buildings moreover, necessary; were designed for external effect. In the Greek were temples, therefore, the principal columns ranged on the outside. As a rule, the building occupied a conspicuous position,that it might be visible from all points The form be Greeks' and admired of by all. not worship was congregational: it consisted chiefly
"

periods, upon their genius, lavished differed from the temples almost all points save

these

in prayers any

offered

point within whose image was

up outside view of the

the

sanctuary,
"

"

from

temple,
in

to

the

enshrined

it.

To

deity provide

THE

STORY

OF

ARCHITECTURE

39

shelter of the In the

for this

image
Thus

was,

in

the fact,

chief

purpose

temple.
smaller

plan was buildings,four

naos,

the

simple. invariably
walls
was

formed

an

portico with columns, the this chamber; the whole to access pronaos, gave covered stood a was by a platform, and upon In simple roof terminating in a gable at each end. the larger temples, as we later in the Parshall see thenon, columns were ranged all round, forming a and at the back of the sacred cell a second peristyle, chamber sometimes was added, to serve probably as
A
a

oblong chamber, the of the deity. statue

in which

placed the

treasury
the

in

which

to

posit de-

Stone,
was

offerings. frequently marble,

material used in

votive

the

the construction

except
were

in of

the

throughout, roofs, which

covered with
FIG.
u."

wood

Plan

of

Small

marble
roofs and the

tiles. The have all them

perishable disappeared,
been

Greek

Temple,

with method

has

lost all evidence

adopted by the of the temples ; for with one the walls of all known temple at Agrigentum windowless. The buildings of this kind were question of the lighting of the Greek temple has given rise to much speculation,the most able acceptadmitted theory being that the light was of windows the over through a row high up
"

regarding for the lighting Greeks exception the great

"

internal

colonnades. has Doric to the already been made architecture,and throughout this refer to the to constantly have
"

Reference order"

of Greek
we

Story

shall

40
"

THE

STORY

OF

ARCHITECTURE

classical
of

orders."

The

term

requires

few

explanation. the casual To observer, Greek temples would all bear a strikingresemblance another ; to one the designs there existed three yet among quite distinct styles. Each marked style was by the of its peculiar form of column, use panying and, accomseries of a this, was mouldings and proportions, found only in conjunction with that the Greeks the column. three orders Among called the Doric, the Ionic,and the Corinthian. were The Doric order, the earliest of the three, was marked by simplicity, strength,severity ; the Ionic more was gracefuland ornate ; and the Corinthian,
"
"

words

the and

last

to

make
in

exuberant

its appearance, detail. The

still

more

rich order

Corinthian

hardly established itself before Greece came under the sway but with the Romans, of Rome; who of the architecture adopted and remodelled the most Greece, it became popular, as well as the most beautiful,of the orders. order in The earliest example of the Doric is the temple at Corinth Greece (650 B.C.),the oldest Greek temple of which we have any record. columns of this Several building, carrying a portion of the entablature,still stand, and show the design to be somewhat crude, yet with all the
had characteristic
are

features

of

the

order

; the

columns

and Later massive. monolithic, stumpy, examples show marked improvement in proportion so-called and In the Theseum, or workmanship. (465 B.C.),for temple of Theseus, at Athens and the slender more example, the shafts are

mouldings

more

refined.

But

it

was

not

until

42

THE

STORY

OF

ARCHITECTURE

raised stylobate,"or pavement, three steps in height. this plan, let us consider In conjunction with Doric constitute the features which a design of the
structure

stood

"

upon

order.

The has

column
no

shows,

order, as the illustration the base, but is set directly upon meter floor or stone platform : its diais greatest at the foot, and this point it tapers towards from in a the straight line, top, not
of this

but
or

with

subtle

convex

curve,

swelling, called
the shaft

the
are

"entasis."

Around
shallow

flutes,or
times some-

channels, twenty, or sixteen, in number, them. sharp edge between

the

with

mounting Sur-

shaft
"

is

plain,
of upon
a

sturdy
square

capital, made up abacus," slab, or

the

which
with
"

superstructure

rests,
the from receive The

circular cushion

called
out to

echinus,"
top
of

spreading
the

the
FIG. The Doric tne

shaft
tne

13. Order,

weignt
on

fr"m the

abacus.

grooves
are

face

of the column

carried
of

up

until

they

are

checked

by
upper

band

fillets

just below

the

capital.
The the

portion of
is of upon

the the

design, supported by
entablature. marble beam
This
or

columns, consists, first architrave,"

"

called
a

horizontal
which the

weight rests, and Being by which it is distributed to the columns. member of the entablature, the the supporting

THE

STORY

OF

ARCHITECTURE

43

architrave

was

almost of

invariably left plain,

should detract

lest

ornamentation

its surface

from

the architrave strength. Above which, in the Doric order, was divided into square metopes," separpanels, or ated blocks,called "triglyphs projecting by slightly of which the face cut are (three channels), on from the sketch,a As will be seen vertical grooves. each column, and between over one triglyphoccurs In many the metopes each pair of columns. cases filled in with The were sculpture in relief. remaining portion of the entablature, above the cornice." frieze,is the the leading features of the We see, then, that the column and its entablature, the order are the plain archilatter consisting of three trave, parts and the frieze,with its metopes triglyphs, of its appearance the frieze, runs
"
"

"

"

and

the

cornice. noticed
a

On

the of

underside

of the

cornice

will be each

series

marble
of

slabs
small

having a resembling wooden

At of the the the ends of
are

number

(mutules), projections
members lines
of

pins, or nail-heads. the building the upper

made
to

cornice roof

follow

the

in the centre at they meet the top, while the lower portion is carried along the The frieze. horizontally above triangular thus formed is called the pediment; and, space the most as prominent part of the design,contained the finest of the sculpture with which the temples were frequently adorned.

sloping

until

The
to

main

details derived

of

the from The

Doric

order
forms

have

been
in

early
found

appear of construction

timber. would

architrave

represents
in
a

the

beam

which

be

similar

44

THE

STORY

OF

ARCHITECTURE

building; the triglyphs position in a wooden correspond to the ends of cross-beams, made up tive of three planks, or perhaps grooved for decoraeffect ;

and

there mutules

seems are

little

reason

to

doubt

that other

the

reminiscences studded
"

of

the

sloping
The
not

ends

of

rafters

with

nails.
"

feature, however

the

column

does

have we prototype ; as suggest a wooden of before noticed, it is probable that the tombs Beni-Hasan, or the temples of the Nile valley,

FIG.

14."

The

Parthenon

Restored. which

furnished evolved

the

rough

models

from

the Greeks
of their

this, the
have

most

dignifiedfeature
the

architecture. We

mentioned
of
a

Parthenon
of this the Doric

as

the
order.

noblest Careful revealed

example
measurements

temple
of of
a a

building
of

have
of

the

existence
"

number
view
to

refinements

in its construction
"

with

the correction

which help us to appreciate the opticalillusions which the Greeks extraordinarythought and care of best known bestowed their designs. The on is the these refinements or entasis," swellingof
"

THE

STORY

OF

ARCHITECTURE

45

bounding lines in reality of the shaft, which are straight, appear the straight from line outwards curved convex the extent to only of three-quarters of an inch in feet. This than a, height of more 31 noticeable the eye, but is just to is not curve the tendency which exists sufficient to counteract in a straight-sided look hollow in the column to
the outlines of the columns. The
" "

middle.
of the architrave Again, the underside appears be perfectlystraight. Now to a long, horizontal is perfectly straight,tends look to line, which as or though it droops in the centre. sags horizontal lines of To for this, the compensate the entablature all slightly curved are upwards the centre, deviating from towards a straightline
" "

to

the

extent
are

of

about
in
a

inches. similar is

The way.

lines

of

the

steps

curved

Another vertical of the

subtle

correction the

lines,to

counteract

applied to the tendency apparent

the at spread outwards top. The columns set not are truly vertical,but are with that an inclination, so they all converge The not the slightlytowards slope could top. be detected considered by the eye ; but it was it helped the beholder that, by affecting insensibly, of to give the building the appearance repose that and of solidity. So slight is the inclination columns of the temple deviate at opposite ends

building to

from
2

the

vertical
;
a so

to

the their

extent

of if
a

not

more

than would the

inches
at

that

axes,

produced,
mile

meet

point

more

than

above

ground
The

Parthenon

is built of

Pentelic

marble

from

46
the
were

THE

STORY

OF

ARCHITECTURE

neighbouring quarries.
laid without

All the and

marble

blocks
"

mortar,
"

were

worked

together so carefullythat the visible by occasional differences The columns built up of cylindrical of colour. were first roughbeen to have drums," which appear hewn, and then finished and fluted after they had been fixed in position. this wonderful adorned Of the sculptures which in the fine now examples are building many the British where they form the chief Museum, the as Elgin portion of the collection known ambassador marbles. When Lord to Elgin was in the hands of the was Turkey in 1800, Athens were Turks, who busily engaged in dilapidating the buildings the Acropolis, in order to dispose on of fragments to travellers. Seeing that the works of art were Elgin receiving daily injury, Lord
"

probably ground joints were only

was

induced

to

consent

to

the

removal thus
a

of saved

whole from

were pieces of sculpture, which destruction, and eventually found

resting-place
the frieze
"

in

our

national

museum.

The executed

bas-reliefs
with the

in

the

metopes

of
"

remarkable
Centaurs
as

vigour
and the colossal

battle of
of

represented the Lapithae ; many

of

these, as
of

well

the

groups the

statuary
the

which work

filled the Pheidias

pediments, were himself. Among

doubtless

of Theseus sculpturesis a noble statue eminent most of our I should say," said one when givingevidence before a Committee sculptors,
"

pediment reclining.

of the In

the

House
was

of

Commons,
the
finest this

"

that

the the

back

of

Theseus

connection

with

thing in remark, let us

world."

remember

THE

STORY

OF

ARCHITECTURE

4?

that 50 be the wall

or

the
60

statue

was

executed
the eye, any
was

for
so

position some
it could
not

feet

above

that

examined back
of the of

closelyby
the
statue

spectator.
turned from the any

Moreover,
towards the
:

building and
to

away
seen

spectator
one.

it could

not, therefore, be
serves

by
the

This
cellence ex-

example
work

illustrate

surpassing

and of the
In

the thoroughness which marked Greeks Truly" at their best period.

the

the

elder

Builders Each

days wrought
and

of with
unseen

Art

greatest

care
"

minute

part, that all the

for which the

we

find
was

in

the

Parthenon
to
as

work

invisible
was as as

spectator
finished

carefully and
which in
was

ously religithat

immediately
decoration essential Doric The the

sight!
Colour
an

was

part
FIG.

of

the

temple
Parthe-

15. -Doric

Capital, showDecoration,

design.
non,
at

ing
of

Colour

time
not

dazzling the entire white marble, for the building, on the internal walls,was exterior as well as on richly its The with decorated colour. frieze, with blue brilliant with and triglyphs,was metopes and was red, the glare of the walls and columns the toned down to a pale yellow tint, and with frets, decorated mouldings and capitalswere
Pericles, did present
a

front

of

egg

and

dart, and

other

ornaments

in dark

colours,

48
so

THE

STORY

OF

ARCHITECTURE

that the whole

of

richness

and

design presented an than gaiety rather

dealt

appearance of simple

dignity.
Time if
man

would
had

have

gently with

the

Parthenon,
the
teenth seven-

been

more

merciful.

Until

chiefly from neglect; but in 1687 a terrible calamity overtook it,while the city was being besieged by the Venetians. in possession of the time Athens that at was the Acropolis into a citadel, Turks, who converted and stored the greater portion of their ammunition in the Parthenon. a During the bombardment into the temple, exploded Venetian shell, falling the a gunpowder and wrecked great part of the commander followed building. The Venetian up his work in of destruction a by breaking up, effort to careless it, a large portion of remove
century
the
were

it suffered

statuary from
then made the

the
to

west

front. the
work

Few

attempts
or

restore

structure,
of of

to

protect it from
to
on

damaging
the

effects

exposure
went

rain and

weather, and

decay

speedily.
Goodly
Soon

buildings
fall to ruin

left
;

without

roof

the the
were

unprotected parts
wet,
and the iron in
to

soon

began

to

suffer

from

largely used
the

and dowels, which cramps and the construction, rusted and have fall to
seen,

caused
A

marble

crack
we

century

later, as

pieces. Lord Elgin

of This many the of
action

prevented the complete destruction the sculptures by removing them. has been keenly criticised ; but if be said to justifythe means, may

ever

end

Lord

Elgin's

50

THE

STORY

OF

ARCHITECTURE
boat
the

tombs

take the form

of
even

turned
keel

beams,

planks,and

upside down, being laboriously

FIG.

16.

"

Ionic

Order.

reproduced in
us

the stone.
to

With

such
how

evidence
reminiscences

before
of

it is easy

understand

timber

construction have

survived

in

the

designs

THE

STORY

OF

ARCHITECTURE

51

of

those

early builders
these order Ionic

of

Greece

who

drew

their

inspirationfrom
The

sources.

consists

of

column
way
as

and the the

"

in the same entablature, made up Doric, but differing in the details

and

in

slender general proportions. The shaft is more is diameters and in height from eight to ten forms surmounted by a peculiar capital which the most strikingfeature of the style. It will is small, and that the that the abacus be noticed
"
"

cushion side the in

a

which upon feature like

it rests
a

terminates

on

each
as

scroll,which

is known

"Ionic
The

volute."
does the
not

column like

spring directly from

shaft, but
the
or

the upon shaft

pavement,
a

Doric

stands of the

moulded

base.

Upon
the Doric
a

surface

are

twenty-four grooves,
those each of other

than from

flutes,rather deeper order, and separated

The architrave the frieze is has with
A
"

by

fillet.

plain, generally with

no
an

three

facias ;

but is either triglyphs, uninterrupted design

feature of
"

plain
carved cornice

or

enriched in relief.
"

characteristic
course,
a

in the

is the

dentil

row

narrow

blocks
the

or

tooth-like
"

jections pro-

which

probably
construction the which the cornice took Doric

triglyphs are reminiscences of of primitive forms in wood. The of crowning member with was frequently enriched carving, the place of the colour decoration of
order.
more

like

Doric

capitalwas richer and less though vigorous, than awkward possessed, however, an
it
was

The

Ionic

elaborate,
Doric
in ;

the

it that the

feature

not

four-sided

the

front

differed

from

52

THE

STORY

OF

ARCHITECTURE

side,
sided

and

at

the

angle
very the

of

colonnade It
was

the

two-

capital was therefore, to treat

on

noticeable.
corner

usual,
volutes
outer

capitalwith
scrolls at
at
an

the

two

exterior
one

faces, the
another

the

angle of 45", in the illustration (p. 50). shown in the manner of remains More buildings of the numerous Minor than Ionic order exist in Asia elsewhere; notable but the finest and most example of the the Acropolis at on style is the Erechtheum, This Athens. building much shows variety of angle meeting
detail unusual
of the
most
fined re"

order,

and

an

feature

in of

the
the

temple
Greeks This
FIG.

designs
"

considerable
of

irregularity
is due

plan. partly to
of

ly.-lonic
the

Capital from

the

difference

levels,

Erechtheum.

rendered
the
uneven

necessary

by
it

site; but
"

for by the fact that in the one accounted chiefly shrines of several deities included design were Athene, Pandrosus, and Erechtheus. Erechtheum The was begun in 479 B.C., and not was completed until seventy years later, so of erection in course that it was throughout the of the Periclean whole period. A unique feature ture of the design is the little south porch, the entablais supported by female which of figures of the One in the place of columns. (caryatids) some examples of the carved caryatids and the from borrowed Assyrian honeyornament, is

THE

STORY

OF

ARCHITECTURE

53

suckle,
ancient The in
use

be may Greece

seen

in

the other among Museum. the British

treasures

of

the
as

plan of this building underwent when early days of Christianity,

a

alterations

it
wars

was

in the for the

Christian

church
are

but

the

of

seventeenth
the mutilated

century

chiefly responsible
of the

condition Lord of
a

temple
was

at

present
at
was access

day. When the beginning being used as

could wall which

Elgin
century,

in the

Athens

last

vestibule
to

powder magazine, be obtained only through an

had been
built up

which

opening
the

in

the

between

columns. The
now on

first

of Nike erected cella

building to be completed of all those the Acropolis was the small Ionic temple which was Apteros Wingless Victory
" "
" "

about
a

466
front

B.C.

This of

consists
four

of

with

portico

columns.

square The

in a be of fair state to now building appears been time, however, it had preservation ; at one completely pulled down, and its details built into
a

Turkish

fortress

or

powder

magazine,

some

of

the

It was sculptures being fixed upside down. rebuilt about sixtyyears ago from the old materials. tures Perhaps the most magnificent of all the strucerected the Ionic ever was by the Greeks Diana the great to temple at -Ephesus, dedicated of the This almost Ephesians." building was totallydestroyed, possibly by an earthquake, so
"

that

the

very

site of
an

it

was

unknown

until

it

was

discovered
in

by
The

English architect, Mr.

British Museum the whom
"

Wood,

1871.

of one of sculptured drum referred to by Pliny, from

the possesses celatce" columna.

we

know

that

54

THE

STORY

OF

ARCHITECTURE

sculptured columns, of them that one artist and was by a renowned named beauty of the work Scopas. The seems the to high opinion of the Greeks, who justify the great temple of Ephesus among included the
were seven

there

of these thirty-six

wonders
the

of the

world.

Although they
were

Doric

and

Ionic

orders

were

distinct in their

respectiveproportions and in the occasionally combined same building,as in the Prothe noble pylaea, gateway
which gave
access

quite features,

to

the

In Acropolisat Athens. the of temple Apollo in Epicurius at Bassse Arcadia, designed by

Ictinus, one
of the the exterior
a

of the

tects archi-

Parthenon,
were row

columns of

Doric, but
on

piers
terior inwith tails. de-

each
was

side

of

the

treated and

FIG.

8."

Corinthian

Ionic

capitals

Capital. The third been order the Greek Corinthian

of

"

"

was
:

little

importance
to

in pure

architecture

used, before the time of As conquest, for comparatively small monuments. resembled the used by the Greeks, the order Ionic in all its features,with the exception of the capital. The most graceful example is the chorAthens erected at (335 B.C.)by agic monument of his victory in Lysicrates, in commemoration
have

it appears the Roman

THE

STORY

OF

ARCHITECTURE

55

the

choral

competitions ;
in the

capitalfrom
the

this

ment monu-

is shown The of the

illustration.

Corinthian
later

capital was

great creation

Probably period of Greek architecture. taken from the first suggestions of the form were the temples of the Egyptians, for there exists a between of the bellsome striking resemblance shaped capitalsof Egypt and the earliest Greek order; but to the examples of the Corinthian the introduction of the angle Greek artists is due
volutes and
to art.

of make

the the

acanthus

decoration
an

which

combine
work of

capital such

exquisite

of was an era Although the Alexandrian age decadent a great magnificence, it was, in reality, concerned after the period so far as art was ; and death of Alexander never (323 B.C.) architecture be remembered recovered It must its lost ground. that
true

Greek after

architecture the

ceased had
come

almost under
"

diately immethe

country
of

baneful
the

influence

conquering

Rome

i.e. about

Among beginning of the second century B.C. the vast period undertakings of this Roman at the temple of the Olympian Zeus Athens, was a order, magnificent building of the Corinthian not completed until begun about B.C., but 170
3oo

years

later.

When

Sulla

entered

Athens

with

his army, he carried off several of the other portions of this temple to Rome,

and capitals where they of the

probably
Corinthian

served order.

the

Romans

as

models

Before of
some

be made must leaving Greece, mention remains exist, other buildingsof which

56
than

THE

STORY

OF

ARCHITECTURE

temples.
for

The

theatres

dramatic
an

largest structures were which representations,

excavation of the

the
were

built frequently in

sloping

in the form shown. In the centre hillside, was an altar to Dionysus, the space around the orchestra being occupied by the chorus ; the actors small a appeared on stage, while the audience marble circular or occupied stone seats, ranged in semiIn the tiers. of theatre Dionysus at Athens accommodation was provided for about
" "

30,000

spectators.
The Greeks tombs. celebrated
at
was

built few
The

portant immost

the

leum mauso-

Halicarnassus
of the
seven
"

in

Caria which
from
FIG. 19." Plan
of

"

another
of

wonders

the

world
its
to
name

received

Mausolus,
it This
of
was

whose

Greek

Theatre.

memory his wife

erected tomb

by
a

Artemesia

(dr. 350
was

B.C.).
splendid
structure

in

the

Ionic

rated richlydecostyle,
the

with chariot and

roof the may

sculpture. Portions
horses which be
seen

colossal

surmounted

the

pyramidal
room" of

in

the

"Mausoleum

British
of

Museum.
the
were

Some the

memorial

stones

used (steles)
and them it of the

by
is
are

Greeks

beautifully carved,

notice to that on interesting many found sculptured representations of the Greek the goes,

arch.
far

though Al-

builders

were

undoubtedly
so as

acquainted with our knowledge

arch, they
never

appear,

to

have

made

any

58

THE

STORY

OF

ARCHITECTURE

foundation the date

of

Rome,

it appears

certain

that

at

Etruscans
state

in

assigned to it (753 B.C.)a people called were flourishing in a highly civilised The the immediate neighbourhood.
appear
were

Etruscans

to

have

been
of

race

of Asiatic

origin, who skill, and

possessed
a

great constructive
of

had

certain

amount

artistic

FIG.

20.

"

Cloaca

Maxima.

perception,
considerable
of Rome.

which influence

enabled
upon

them

to

exercise

the earlier architecture

fact, during the first 500 years of its existence, Rome, as regards its architecture,
In
was
an virtually

Etruscan
monuments

city.
which walls

The in the

Etruscan

still remain tombs.

Of

Italy consist

chieflyof

and

find examples at Volterra, city walls we is Perugia, Cortona, and elsewhere : the masonry in cases some polygonal, in others, laid in

THE

STORY

OF

ARCHITECTURE

59

horizontal referred

courses,

and

is of the character the A for

previously
blocks
"

to"
an

as

"Cyclopean,"
enormous

separate
new

being
virue

of

size.
was

feature

form

of

arch

"

used

the

gateways
the arch

in

these This
was

walls.
new

constructional

principle
"

"

of One by the Etruscans. fully understood is the Cloaca the earliest examples of its use executed Maxima, a during the reign great work of the Tarquins (about 600 B.C.)for the purpose lower of draining the parts of the city. It is arch of large stones with roofed in three over an did the builders concentric rings; and so skilfully their work that in many construct places the arch still intact. Etruscan

remains

tombs,
found

of in

two

kinds,

rock-cut

and

throughout Central contained, as a rule, one Italy. These chamber only, in the form of an ordinary room ; been have for it appears the to object of the
structural,are
constructors to
as

great numbers

make

the

dead

tenant

feel

as

comfortable
were

covered

frequentlywas the solid rock, and of utensils of number with a in everyday life. use than The tombs have proved more permanent have the the latter of temples, for all traces about information disappeared. We gather our them the works of Vitruvius, a chiefly from not prolific, but altogether reliable, writer of the first century In his A.D. description he tells us that of two the kinds, temples were circular and rectangular, the rectangular buildings

possible in the tomb : the walls chamber with the paintings, and provided with furniture cut out of

60

THE

STORY

OF

ARCHITECTURE

having worship
go, of

three of
most

cells

and

being
So far

devoted
as our

to

the

three

deities.

records

the temple important of these was Jupiter Capitolinus,on the Capitol, begun by destroyed by fire in Tarquinius Superbus, and 80
B.C.

the

It of

was

adorned

with
or

many

ornaments

and which

statues

terra-cotta,
made
which the

baked
use.

clay,
The

of

the
vases,

Etruscans for in

great
were

terra-cotta

they
present

celebrated, are

well

known Greek

myths designers had

of the We novel the Greeks. have feature

were come

of these day ; on many represented, a proof that the under the

influence

of

the

art

noticed
in the

that

the

most

important
Etruscans arch. whom

and
was

works

of
use

the

and intelligent of the

scientific
two

of the of
was

The the

architecture

great nations
treated
a

preceding chapters
"

have

essentially

trabeated

were

(trabs, covered, and

"

beam)" i.e. the openings the superincumbent weight

beam lintel. or supported, by a flat horizontal about Roman In to are we architecture, which method of construction consider, a new was employed ; for the principle of the arch, adopted the the art revolutionised from Etruscans, soon received this new Romans of building. The feature, and learnt their early lessons in building, but Etruria their architecture from developed ; into contact little until came conquering Rome the treasures and with masterpieces of Greece. The about
taste

for

the

architecture
in the time had and

of

Greece

first

manifested
200

itself in Rome
B.C.

Greece

province

of

Macedonia,

Scipios, become a practically the victoryof Paulus

of the

THE

STORY

OF

ARCHITECTURE

61

over

the the
some

Macedonians,
influence

in

168

B.C.,

under when and

of Rome.

At

brought her later period,

the Achaean
to
s

the

dispute had arisen between Spartans, the latter applied

Rome

for

settled Mummius the Consul help, and in response and the question by landing in Greece taking possession of Corinth (146 B.C.). After carryingoff all the art treasures, and stipulating in his ignorance lost by the their value that if any to were as be replaced by others of equal carriers they should this time value, he set fire to the city. From became the Greece happy hunting-ground for works artistic treasures of art : the were freely their pillaged, and importation naturally had immense influence the buildings which were upon architects also were springingup in Rome ; Greek stances circumintroduced these under into Italy, and
"

"

there of Grecian We
an

was

soon

evolved known

that
"

modified Roman."
was

form

architecture

as

speaking, it the fusing of be said to have resulted from may the styles of the Greeks and the Etruscans. Upon the architecture of the Greeks was grafted the new constructional at once principle,the arch, which enlarged its scope ; but the refined, intellectual work of the of place in a city Greeks out was
Broadly
such
no as

then, that Roman independent creation.

see,

architecture

not

Rome for

was

destined
cultivation for

to

be.
the

"

Rome

had

time
as

the

of

arts

and

little sympathy

their

gentler

of peace, influences.

the Conquest, wealth, and consequent were power, objects of her ambition ; for these she sacrificed attained she a everything, and by their means pinnacle of greatness that no nation had reached

62

THE

STORY

OF

ARCHITECTURE

before

or

has since.

Her
are

arts

have

all the

impress

by the same marks everythingshe did." such That an authority as Fergusson can apply the term vulgar grandeur to the architecture of is sufficient evidence Rome that,despite the fact the other, there that one from derived was was, between the two, a great gulf fixed. Before dealing with the forms which architecture in the hands of the Romans, assumed must we words about the one special feature say a few method of construction which had an important bearing upon the architecture of Rome, and which was radicallydifferent from that employed by the
"
"
" "

of this greatness, ^afid vulgar grandeur which

characterised

Greeks.
The

Romans,

as

feeling ; but they were unrivalled an they had practical,people, and and of the of use knowledge of construction In the earliest periods of their history materials. constructed their buildings were of solid masonry ; of an but, before the first century B.C., the use
artificial material which
to
a came

nation, possessed little artistic and a thoroughly an inventive,

into

vogue,

by

means

of

it
vast

was

possible to employ

unskilled
of every

labour
class

in the erection extent, and with of building; it became possible,

this,to build,

cheaply and only on a vast scale,but at once speedily. This material was concrete. is an artificial conglomerate made Concrete by mixing together lime or cement, sand, water, and The lime, in its moist gravel or small stones.
not

state, absorbs into carbonate

into
contact

carbonic
of

acid from

the

air and

turns

lime, or limestone, which, coming

the sand and

with

stones,

sets

and

THE

STORY

OF

ARCHITECTURE the

63 In
was

forms

solid the

mass

as

hard this

as

stone.

ings build-

of
far
more

Romans

material
any
to

extensively than
concrete, it is safe
the

employed other; indeed,

that it would
to

without have

say

been
out

impossiblefor
so

constructors

have

takings gigantic underthe present day, remain to which, down eternal city." of the the wonder concrete The Roman was exceptionallystrong ; of its chief ingredientswas a volcanic product one it has always called pozzolana (from Pozzuoli, where broken been largely obtained), which, when up natural and a incorporated with the lime, made hardness. of extraordinary strength and cement carried

successfully the
"

From

the

first century
was

B.C.

onwards,

this

glomerate con-

struction extensively employed in the conRome. of almost every building of ancient used Brickwork was merely as a facing or masonry boast of Augustus The for the concrete mass. brick that he found Rome recorded by Suetonius be interpreted therefore not and left it marble must his auspices the citywitnessed too literally.Under marble was a period of great splendour and other of the temples and extensivelyused : many built solidly of the Augustan 'structures age were works of the finest marble ; but the majority of the of this and the later periods were nothing more of behind than concrete veneer a piles, hidden
" "

marble
The who all
were sees

or

brickwork.

visitor

Rome, walls, apparently of fine brick-work, on

among
of

the

ruins

ancient

sides, finds
never

it difficult

to

realise

that Yet
even

bricks
careful the

used

constructionally.
the fact that

examination

discloses

64
thinnest

THE

STORY

OF

ARCHITECTURE

walls
with
a

were

merely cased
The of
a

with

bricks

and
theon Panmass

filled in
is

concrete.

great domed
concrete

glaringexample
a

Externally the wall tiers presents a solid face of brickwork, in which and arcades of brick arches are arranged, as though concentrating the weight upon piers; yet the arches value whatever, of no are, structurally, for the brickwork of which they consist forms crete merely a casing of 4 or 5 inches, upon a solid conas

posing

brick

structure.

wall We
see,

20

feet thick. the

then, that

constructive
essential

methods

of

points from of the the those Greek's In Greeks. building it was supposed to every part did the work which there was do, and which it appeared to do ; never formed any attempt at deception. Beauty is truth part of his artistic creed, and he had a horror of
" "

the Romans

differed in most

deceit

in

any

form.

The

Roman,

on

the

other

it may hand, openly revelled in it. Of the Roman lutely he absobe said that, as regards his architecture, could tell the truth not splendide menhe dax" was But, like gloriouslyuntruthful. he prospered, and, by his new evil-doers, many methods, was able to build quicklyand on a grand scale. for a cheap He went in," says Ruskin, and of doing that whose was difficulty easy way of its chief honour," and enabled, by means was his inventive genius, to greatlyenlarge the scope
"
"

"

''

of the
to
was

architecture

which

had In

been
his

handed

down

him
not

from

the

Greeks.
to

hands

the

art

buildingof temples, but and forms was adapted, in an applied to new and daring manner, the varied requireto original
confined
the

66

THE

STORY

OF

ARCHITECTURE

4.

The

Romans,
most

Corinthian, the favourite order with in whose it developed into hands

feature
of
a

the the

beautiful

their architecture.
poor Ionic

5. The
with

Composite,
in which

attempt
volutes of the

at
were

an

proveme imbined com-

the

the

lower

portion

Corinthian

acanthus

capital.
saw

We
was

that

the

story of architecture
her

in Greece This
was

told almost

entirelyby

temples.

FIG.

22.

"

Plan

of

Roman

Temple.
not

not

the

case

in Rome the

strong point with

of

was temple building Romans though in

:
"

the
time

the

Augustus
them
"

the and

city must
very few shows

have

been
now

well

supplied
early temple Fortuna).
an

with The

remains
the

exist. of

illustration
of the

plan

temple
of There

Ionic

order, the

so-called

Fortuna

this

of Fors (correctly, is some uncertainty regarding the building,but it probably belongs to

Virilis
B.C.

date the

of

early
cases,

part of the first century

ton

As

Professor

Middle-

points out, the date, in

this and

in other

THE

STORY

OF

ARCHITECTURE

67

may In

be

approximately
the materials

ascertained used in

by
the

an

tion examina-

of the

construction.

used by the early period the only stone which stone Romans "tufa," a soft volcanic was brorve with tools. be easily dressed, even could volcanic harder somewhat A "peperino," stone, into then and, at a later period, came use, durable, and harder was more travertine,"which before Travertine work. to was sparingly used the first century In the temple of Fortuna B.C. of Virilis the columns the the portico and the cell walls "engaged" columns ranged round
"

are

of

travertine ;

the

remainder

of

the

work

is

built in tufa.
a temple stood upon loftypodium, or base, that a flightof steps in front was so required to ceK the higher floor level. The to give access is short and wide, and is divided by piers which The help to carry the roof. portico is inordinately see deep, and, ranging with its side columns, we series of columns i.e. half-columns a engaged applied to the face of the wall as purely decorative features. From the earliest period of Roman not buildingthe column so was important a feature

The

"

"

"

in

their architecture
as

as

it

was came

with into

the
use,

Greeks
it

and,
to

the arch
its

and

vault

began
on

lose

and significance,
a

gradually became
accessory,

little more
to

than

decorative

tacked

the The

structural

part of the
of the

design.
of Fortuna

details

temple
in

Virilis
and

were were

thoroughly Greek probably executed

their

character,

the

cell and the square in the design due to Etruscan

artists ; while by Greek deep portico are elements

influence.

68

THE

STORY

OF

ARCHITECTURE

Greek
details
"

the

probably responsible for the circular temples of this earlyperiod of two so-called Rome and at temples of Vesta
artists
were

at

Tivoli.

In

each
a

of these

the

circular

cell

was

peristyle of twenty Corinthian columns, with capitalsof great beauty. find that, throughout As might be expected, we earlier period, when much the of the designing Greek entrusted to was architects, the buildings of characterised Rome were by simplicity and the increasing splendour of purity of style ; but reflected in its architecture, the empire was soon culminated which in the reign of Augustus (27 B.C. A.D. 14), the golden age of art and of literature. This period produced the finest, though the most means colossal, of the works by no for the best of of Rome, Augustus employed Greek to extent helped to some sculptors,who architecture. revive the glories of ancient Greek his workmen artists and were Moreover, kept built busy, for during this emperor's reign were less than twelve no temples, including those of the and Castor on Pollux, of Jupiter Tonans Capitol, and of Mars Ultor ; in addition to these he works restored or helped to complete more secular buildings. than eighty others, and numerous contains Rome mains, comparatively few temple re"

surrounded

by

for
most

reason are

to

be

mentioned

later.

The

striking
of the

the

three

noble

Corinthian

temple of Castor and Pollux (about be the to A.D. 6), for a long time considered stand remains of the temple of Jupiter Stator, which The the ruins of the Forum. quarries up among of Mount Pentelicus, near Athens, provided the
columns

THE

STORY

OF

ARCHITECTURE

69

marble, and Greek architects undoubtedly furnished the the details,which the design and are among
finest to be found Most and
even

in Rome. Rome
to
were

of the the

buildingsof temples appear

utilitarian,
been
useful

have

than of other for purposes and of Castor Pollux, for

temple worship. The example, served as an for office for checking weights and measures, bronze weights exist with the inscription many Castor-.'1'' showing that they had been "ex ad\ amined exand verified in the temple.
It has in the

been
of them

mentioned

that the Romans that the

excelled materials
kind. and

art

construction, and
were

used How
numerous

by
comes

of

the

most

enduring
the

it, then, that, of

colossal

buildings erected at this period, so few in a fragmentary state ? remain to-day,even The disappearance of the old monuments may be accounted for in two Firstly,by the ways. of successive wanton destruction, at the hands their works of of the predecessors. emperors, Each new ruler, either as a bid for popularity or in his own endeavoured selfish interests, to surpass, in magnificence,everything that had been done by
those

before

him,
the

and

in

these

efforts

at

self-

aggrandisement
with
scant to

treated existingbuildingswere When Nero, for example, respect.

extensive scheme which he

wished
had

of a portion of the rebuilding he cleared a site by means of the great fire of city, thus enabled to Rome, and was proceed with the that other work, building, amongst monuments,
vast

carry out an prepared for the

and

wonderful the
most

palace, the
lavish and

"

Golden

House

of

Nero,"

costly

structure

that

70

THE

STORY

OF

ARCHITECTURE

Rome his

Vespasian, in struction turn, wishing to please the people by the conof extensive baths and his huge amphitheatre,
had
seen.

few

years

later

the Colosseum,
Nero's

concluded

that the

site of
his

great palace
Without

was

the

most

for eligible

the greater came delay, down House, in order to provide portion of the Golden for the new a space buildings. the Secondly, as Christianityspread in Rome, temples representing the old Pagan religion in many not were only neglected, but were, being reused in instances, destroyed,the materials of new the construction buildings. This state of marble The affairs lasted for centuries. temple and of Castor example, was, Pollux, to take an during this period, almost carried away piecemeal. for column Michael Angelo used a portionof one the equestrian which set the pedestal upon was Aurelius ; another of Marcus statue portion was into the marble statue of Jonah in the church made The del Popolo. of S. Maria great Basilica Julia, another in the Forum, Augustan building, was used as a marble Ages ; the quarry in the Middle

purpose.

"

"

greater part of the

structure

was

carried
was

away of in

for

building purposes,
into lime
on

and

the In

remainder the
were course

burnt
some

the three

spot.

excavations,

lime-kilns

found hand

this

building.
Vandalism civilisation. has
"

often

gone harm

hand
of
to

in the

with

'i he
more

excavators

sixteenth

century

have

done

the

antiquities,"

of than all the barbarians says Signer Lanciani, Charles V. visited Rome the Middle Ages." When
"

in

1536, the Pope, wishing

to

honour

him

as

the

THE

STORY

OF

ARCHITECTURE

71

Christianity, arranged that he should the triumphal arches of pass successively beneath With this object, Titus, Constantine, and Severus. Rabelais, who was an eye-witness, "they says than 200 demolished houses, and razed three more level with the ground." four churches or Small wonder, then, that for the finest example of a typical Roman temple we have to go out of
avenger of

FIG.

23.

"

Maison

Carree, Nimes.

and of Italy, to the Maison indeed out Rome, This Carree, at Nimes, in France. temple differs in the arrangement the of its parts, from very little, have we Virilis, to which temple of Fortuna In each the edifice rests case previouslyreferred. raised podium, requiring a flightof steps a upon in the front for access The to the floor. portico is deep in proportion to its width, and the walls of the cell are decorated with engaged columns,

which

range

with

the free columns

of the

portico.

72

THE

STORY

OF

ARCHITECTURE

After pour

the

into

Augustan ages, as wealth continued to the magnificence of the city Rome,

"

in the method increased, for the Romans' was, words of Pliny, to take everywhere whatever they thought worth taking," and the buildings of the the natural of the increasing outcome period were of the times. licence and prodigality A typical the Flavian building was amphitheatre, better the Colosseum, as known, from its vast proportions,

begun by the first Vespasian, in A.D. 70.

For

of

the

Flavian

emperors,

the

Greeks'
"

form

of

amusement

"

dramatic

cared little; but they representation the Romans shows and were passionately fond of gladiatorial
contests.
"

Wherever

a or

Roman in the

settlement

existed

in

Britain,in Gaul,
are

mother

country
As

"

traces

found

of these

amphitheatres.
the
most

would

be them

expected,
all. The

Rome

claimed

giganticof
of 180 with
a

Colosseum
feet the

was

built in
feet

the

form and

vast

6 10 ellipse, In high.

long, 510
centre,
was

wide,

feet the the

;

communicating
the
arena

wild

beasts'

dens,
rows

in

which

contests gladiatorial

and
of

around

this,

held spectacles were seats, rising in tiers, gave

accommodation

to

80,000
the
was

spectators, who
sun's rays

were
a

partially protected from structure awning. The

of

by

built almost
was a

with faced stone, and concrete, planned to allow the whole audience the
arena.

huge entirely skilfully

of stories arched

clear view lower

On
continuous

the

exterior
arcades

the

three

formed

of semi-circular

In front of the openings, eighty in number. piers which separatedthe openingswere engaged

74

THE

STORY

OF

ARCHITECTURE

surpassed it. No vast building in Rome has vanished so completely as has this great circus ; from its mass, no doubt, "palaces, half have been reared," for almost cities, vestige every is hardly has disappeared,so that its very name recalled by the visitor to the sights of modern Rome. From comparatively small beginningsin of the the time Tarquins, the Circus Maximus gradually developed until,after its restoration by the Emperor Claudius, it held, according to Pliny,
Maximus
"

which

far

no

less

than

the whom Trajan, under splendour was vast wholly covered, inside and out, buildingwas with brilliant mosaics, with white marble, relieved It must Oriental marble columns, and statuary. from its crowd Middleton, then," says Professor of works of art, its immense size,and the splendour of its materials, have been, on the whole, the In the most magnificent building in the world."
" "

250,000 added by

spectators.

Additional

fourth times

century
that

it covered

an

area

more

than

four
"

of the

Colosseum,
"

and

accommodated

the almost incredible number according to records of 485,000 spectators. of victories, Triumphal arches, in commemoration design. In the were strikingfeatures in Roman less than second no century A.D. the city contained thirty-eight.Of the few that remain, the arch of the A.D. Titus, erected 71-80, to commemorate for its fine of Jerusalem, is best known conquest The of its details. proportion and the excellence arch of Septimius Severus (A.D. 203) in the Forum, left as that of Constantine and (A.D. 330), are The latter,though examples of the later work. most Roman built at a art was period when

THE

STORY

OF

ARCHITECTURE

75

degraded, contains
details.
This is

some

excellent

sculptures and

explained by the fact that the columns and marble entablatures,the sculptured and the panels (representingTrajan's victories),

FIG.

24.

"

Arch

of

Constantine.

colossal earlier and

statues

of for

Dacian

captives,are

of much

date,
of
manner

forum

ruthless the works

of

taken from the arch they were Trajan another illustration of the in which the emperors destroyed their predecessors. At later date a
"

76
one
was

THE

STORY

OF

ARCHITECTURE

of* the

fine columns
off for it
use now

of black in the

Numidian

marble
of S.

carried

church

John
"

Lateran,
The

where

stands. which as attic]^ frequentlyadded

in the above

story (calledthe upper of Constantine arch was

"

the

main

architecture.
the
to

columns

give

them

cornice, is a feature of Roman of The purely decorative purpose is shown by the fact that, in order of supporting somethe appearance thing,
been
necessary
over

it has cornice and

to

break

out

the

entablature this

specialcase,
afford the
of
an

capital. In the great statues they

excuse

each

support
of

for the

sence pre-

columns Roman column

examples
ness

; but in many work the useless-

of In

the

is too

apparent.
orders
to

adapting the
system
fell into of
some

Greek

an

arched

construction, the
strange
to
errors.

Romans

They
that
FIG Roman Erta-

appeared
the arch
as

not

understand

took the

architrave ^
was

place of the supporting member ;

the that without the column

seemed
not
so

to

them

blaturc.

complete
that

ture, its entablathe

custom

it became

to

insert column of

the

piece of entablature square vault and the arch an or

"

between

was construction, which builders of the Renaissance, and in the work of the present day.

piece

revived is in

illogical by the
evidence

Under
of low
were

the

Flavian

the

first century,

towards emperors, in Rome art was of

to

the
at
a

end very
taste

ebb, although buildings erected by these rulers

colossal

extent

please

the

THE

STORY

OF

ARCHITECTURE

77

and

Under populace. a Hadrian, however was (A.D. 117-138), there in Rome of taste, not only, but great revival in the provinces,and especiallyat Athens, where rebuilt part of the city, and the pleted comemperor the great temple of Jupiter Olympius, begun 300 years before. time To Hadrian's belongs the great circular the noblest of of all buildings Pantheon, one earlier of ancient the site of an Rome, built upon by Agrippa; the rectangular temple erected the materials portico was, indeed, rebuilt from of the older temple, and has its Agrippa's inscription upon
votes

catch

the

of

the

frieze.
of almost

The

great

dome

"

diameter

as

exactly the same S. Peter's, though

vaster
mass
a
"

apparently much composed of a

and

is

of

crete, con-

affords

striking
of that
Plan

pIG of

26.
Pantheon,

illustration of the value material like of the such of

to
a

nation

of builders The
"

Romans.

construction

of of

dome

magnitude
masonry, which
many

but

built

up

separate
"

blocks
a

exerting
was

lateral

thrusts the

was

problem

to

exercise

minds

of

master-builders
concrete

hundreds

structure,
and

however,

of years later. In a such as the Pantheon,

no

the the
mass,

dome
concrete

vaults

exercise

lateral
into

thrust ;
a

becomes
rests

consolidated walls like

rigid
lid.

which is
a

This

be thoroughly grasped point why by the student, for it enables him to understand the in constructing their huge vaulted Romans,

the upon which should

solid

78

THE

STORY

OF

ARCHITECTURE

roofs, were
necessary carry

able
to

to

dispense with
builders
of

the

buttress
"

"

so

the

later

their massive

vaultingupon

days simple

and walls.

to

admitted the in to Pantheon Light was an of a circular opening, impressive manner by means feet in diameter, at the 30 top of the dome. There is," says Fergusson, a grandeur and a in the proportions of this great temple simplicity
" "

that render

sublime
one

most very finest and interiors in the world. It possesses, over, moreother element of architectural sublimity
a

it still one

of the

in

having
the

single window,
know
this

and
of

that
no

in up which
cut

building. I
basilicas

placed high other temples

great rockone

possess

feature, except
of

the That

Buddhist

India.

great

eye

heaven is by far the noblest opening upon a conception for lighting buildingto be found in Europe." The interior of

the

dome

is

"

coffered

"
"

i.e.

originally deep panels,which were gilt. The exterior is less imposing, though, in its best the lower days, when portion of the walls was encased in marble, the pediment and attic filled with
bronze

divided

into

statuary, and

the

roof

covered

with

bronze

gilt tiles,few buildings surpassed the Pantheon in magnificence. Space will permit only of a passing reference at to the thermae, or colossal baths, which were, of one period, the most conspicuous feature remarkable of Roman architecture,and the most all buildingsin magnitude and splendour. These vast comprised public and private structures, which baths of all kinds, gymnasia, libraries, theatres, all fitted up more lecture-halls, lavishly than

THE

STORY

OF

ARCHITECTURE

79

the

most

luxurious

of

modern

clubs,
one

were

built the

simply as other, to
The

bribes
secure

by
"

the

the vote
of
"

earlier and

baths

Trajan,
in

others

people. Agrippa, Nero, Vespasian, have appeared almost entirely dis-

emperors, and favour

after

of the

remain only, of the later emperors, tion a sufficiently perfect condition to allow a restorawith any degree of certainty. to be made The baths of Caracalla (A.D.211) covered a site
; two

little less
now

than the

quarter of
extensive suffered of

mile
mass

form

most

and square, in of ruins sixteenth

Rome,
carried in the The

though they
at

century,

the

hands

much, Pope
the Farnese

in the Paul

III., who
for 'use

off vast

quantitiesof
of the

material

construction

Palace.

Diocletian, built a century later, were probably still vaster ; the grand hall,340 feet taining long restored by Michael Angelo, but still rethe and original columns vaulting now forms the church of S. Maria degli Angeli.
of
" "

baths

We

have of

made in

no

mention

yet
was

of

another destined upon

was

type
to

building

Rome,

which

considerable very of succeeding architecture

exert

influence
Rome

the
a

great commercial
of the

ages. the and centre,

commercial and city, attention of the people far more This business religious affairs. in large, lofty buildings called

public business judicial, occupied the

than
was

did

their

transacted

basilicas,which served the well halls of justice as of purpose commercial A as exchanges. special interest attaches to them from the fact that they served models for the first places of worship built by as the early Christians of Rome, that they thus and

8o

THE

STORY

OF

ARCHITECTURE

recognised type for churches built for with other Christian worship. Compared Roman the as slightlybuilt ; and structures, they were
the
materials
to

became

of

the

old

basilican
for
use

halls
the
was

were

found
ot

be
new

exceedingly useful
churches, extensive

construction
made
so

the

of these

ancient
remains

buildings for
of the old

purpose, basilicas of pagan

to ; the

this

that

few

Rome

exist.

The has

fate of

the

great Basilica
referred

Julia,in the Forum,

remains of

already been

the

I
BE)
'

SSEBEHI-JBttJ

B..S

ffl B

B
is

0
E a

SB

BaE

as

FIG.

27.

"

Plan

of

Basilica

Ulpia.

Ulpia, erected by Trajan (A.D.115),may in Trajan's forum, adjoining his still be seen
Basilica column. In the

plan

of

this

building we
180 nave,

have

great

hall, 360 feet long by of a wide, lofty central

aisles with lower
or

feet

wide, consisting

flanked
one

by
is
a

double
circular semi-

roofs.

At

end

recess,

which, upon

apse, called raised dais, were

the the

tribune, round
seats

for

the

central the seat, at a magistrates, or assessors, higher level than the others, being set apart for the the business. who chief magistrate presided over

82

THE

STORY

OF

ARCHITECTURE

quite separate from the mansion. front door The opened directly from into a small the street lobby (L),which led to the the sides, round atrium a courtyard, roofed over this Under but open the sky in the centre. to which central opening was a tank, the compluvium,
used
as

shops, and

were

"

collected

the

rain-water. the

Three and

rooms

at

the

end
used of

of the for these

court,

tablinum

the

alee, were
the the side
more
a

storing the family archives.

apartments
the
a

By
to
we

passage

led

privateportion of

house.

Here,

find, is

FIG.

28."

Plan

of

the

House

of

Pansa.

before in the centre as larger court, uncovered the peristylium the roof of which was supported, of columns in the houses of the wealthy, by rows of the finest marble. Leading off this (peristyles) is the dining-room {triclinium)^ most a important
"

"

room

in

the had

house
two
or

of

the

old
so

Roman,
that of he the

who could year

sometimes
vary the the

three,
to

aspect according
state
were

the

time The

and
rooms

of

his

digestion.
the

the

grouped round bakery, kitchen, and

offices

family while peristyle, completed the

other

establishment.

THE

STORY

OF

ARCHITECTURE

83
decorated
"

The

walls

of
or as

the with

interior fantastic

were

with

marble

slabs

paintings, Pompeian
the fact that the
we

decoration,"
have

it is

called,from
with

been

made of

familiar

it from it was

well-

probably of the period. the Romans among In this decorative scheme the wall-spaces were of divided into darkly coloured panels by means attenuated of the painted columns ; in the centre panels graceful and highly finished human figures duced. introarchitectural and or perspective views were Frequently the plinth, or lower portion the of colour, wall, was painted a very dark almost black ; above this, a deep red or brown was used, occasionallyblue or yellow. The figure of decoration and the general system treatment origin: it is probable though suggest a Greek be always speculative that the the theory must houses of the at as Romans, preserved to us in all general features Pompeii, were very similar of the Greeks of the earlier period. Mr. to those Petrie's remarkable recent discovery in Egypt, the Pompeian back however, enables us to trace remote cavations date, for his explan to a still more built for the of the villageof Kahun, preserved walls in general use Pompeii, though
" "

overseers

and have

the

workmen the

of

the

Illahun

plans of a number houses a arranged upon plan strikingly similar to those of Pompeii. have We now completed the short story of the two and Roman comprising great styles Greek Pyramid, of large
disclosed
" "

what

is known

"

as

classical

architecture."

The

histories of the

two

strangely
"

the

inseparable, yet they differ refined, truthful, exquisitely proare

"

"4

THE

STORY

OF

ARCHITECTURE

of the the portioned work Greeks, and vast, magnificent, daring undertakings of the Romans. "The the arts Greek," says Ruskin, "rules over will for ever; because to this day, and he sought for first for passion, or not for beauty, not invention, but for Rightness." For this quality in their architecture
nor was

the

Romans

cared

not

rap of

their national

which life, with the

their architecture the

sense

Greece, before vice love and the of luxury had fully art progressed. But possessed the people, Roman wealth and her people as poured into Rome, lived dissolutely the spoilsof the conquered upon and nations, her architecture became more more debased, and its story differed little from that of
of

reflected, overburdened While under they were

it.

influence

Rome

herself
First

"

freedom, and then glory, when Wealth, vice, corruption, barbarism

" "

that
at

fails,

last.

IV

EARLV
DURING
era

CHRISTIAN
the
new

ARCHITECTURE centuries
of

first three

the

Christian

credited disreligion,though despised and been had slowly gaining ground, in the face of enormous difficulties. have Rome, as we the worst kind of licence to was given over seen, and old debauchery. The religionwas pagan entirelyplayed out ; the majority of the people wise otheror thought nothing about religion, pagan

the

; while

of those

who

took

the

trouble

to

think

THE

STORY

OF

ARCHITECTURE

85
creeds. The

at

few all,

had

any

faith

in

the

old

whether undertakings of the emperors, not sacred secular,were prompted by piety or or the people of reverence by the spirit ; and among viewed the intellectual the more thoughtful and and prodigality with apprelicentiousness prevailing hension, monumental
"

On And

that

hard

pagan

world

disgust

secret

loathing fell,
were

and
for

men's
the

minds

gradually being prepared

it must
were

great upheaval.
the other

On that would

hand,

be

remembered
not

the

Christian

doctrines

such

as

by the vast majority cordiallywelcomed and the new the pleasure-lovingRomans, among be carried to on worship had, in consequence,
be
in it
secret ; hence
were

the

earliest

forms

of

art

which of the

developed
and

memorials

sepulchral, consisting symbols of the faith found

little direct
was

in the

Catacombs.
The

religion had
until it

influence

architecture

Emperor
sooner

Constantine
it taken its of

had the

officially recognised in the 328; but no year positionas a State religion

the
movement

upon by the

than

strength
and there

became

apparent,
demand

for

all sides a on sprang up places of Christian worship. The old

suitable for the accommodation not temples were of large congregations, and there perhaps, was, about of buildings hesitation some making use which had been specially designed for pagan the worship. In their dilemma early Christian builders turned the great halls of commerce, to

86
.

THE

STORY

OF

ARCHITECTURE

the

and basilicas,
interior

found

what
of
new

they
the

were

wanting.
and
as

The
the

arrangements
of

basilica suited
in

requirements
with
at

the

worship,
were

builders
Rome

inventive churches

genius
came were

scarce

the

time, it thus
great
houses

about

that

the

first Christian of these

built in direct
of

tion imita-

assembly. As we shall see in succeeding chapters,this model, once There never was adopted, was no "departed from. lack of materials,for the city was filled with buildings
upon

which

all kinds

of
were

extravagance
now

had

been
to

lavished, and

which

beginning

and disrepute and neglect. Columns marble rich capitals, architraves and ments ornalinings, were appropriated wholesale, and applied while and Rome to new suffered, pagan purposes,

fall into

Christian

basilicas sprang

up

in all directions

with

astonishingrapidity. Christian building At the present day there is no in Rome The dating from the time of Constantine. church built in his reign, of S. John Lateran was but of its early work ail trace has disappeared under the changes of later centuries. Perhaps the
most

beautiful
was

of all the of S. Paul

Christian Outside

basilicas of the
the

time

that

Walls, built

in 386. by Theodosius Unfortunately, a great portion was destroyed by fire in 1821, but it was rebuilt with much "the of its former splendour, noblest interior in Europe, and nobly and faithfully seldom restored," it is called by Ruskin, who sang The the praises of the restorer. sketch plan of how ing this basilica shows closelythe Christian build"

follows

the

lines of its pagan

In

front

of

the church

was

prototype. arcaded an

porch,

THE

STORY

OF

ARCHITECTURE

87

or

narthex^ which
built in

in

the

earlier of
a

buildings was

usually
form
an

the

form

open

courtyard.
a

to so as square, This courtyard, or

atrium, occupied
tended
more

considerable

area,

and the

disappear as space in valuable. Examples may

to

gradually came city beseen

still be

in

the

churches

of

S. Clemente

in

Rome basilica

and
of

S.

Ambrogio
The

in Milan. apse, the

^^^

semi-circular

in

the

the of

early Christians, occupied the

the
wall

central

portion
^^""T^|

opposite
and the chief
accom-

entrance,
modated and The in the

T"*^""""

bishop
officers.

clergy officiated
the raised the of which As
more

fT t

-?rj(

" "[!""""""""""""
*

'**i|

|tj
I.XJH-1"
-"MM*MMM^^

before
front altar.

space in apse,
was

|!"I!I!!II!!!I
FlG"

the ritual

29._pian
Outside the

of

S.

Paul's

the

Walls,

became
in

rate, elaboto

order

increase
were

the

accommodation,
formed ing widenby slightly The service

rudimentary
"

transepts

sometimes
"

as

in the the

basilica of S. Paul

others
a

building at this part. who were assistingat the

space, and in front of the
screen
or

choir

and

considerable
nave,

of the
a
"

low

marble
were

required for their use a portion enclosed altar,was by a railing ; pulpits, or

side the of
nave,

ambos,"
the

reserve.

In

the

each arranged on remaining portion of the faithful who

were

this
or

in

aisles,sat
for
no

had

been within

tised, bapthe
were

others

admitted other
or

church.

Probationers

and

worshippers
atrium.

allowed

only in the narthex

in the

88

THE

STORY

OF

ARCHITECTURE

then, in these first efforts of the early of Christians, the embryo plan, or arrangement parts, which afterwards developed into the typical mediaeval cathedral plan. The division into nave
see,
*

We

and the
for

aisles

"

borrowed
most

from

the

pagan

basilica

"

is

treatment

Christian

widely adopted in buildings worship at the present day. The

narthex
at

influence cathedral

of the

plans, as
where in
nave.

be traced in many may Westminster Abbey and

Durham,
its

the westernmost character

In the

bay
from

is wider, and
those of the

piers different
of the
see

remainder
we

foreshadowed

early basilicas, too, the transept and the resulting

To
meet

cruciform

plan
for
were

of

later cathedrals.

the

demand

extra

accommodation,

rudimentary
of the space
nave:

transepts
between
was

formed apse
and

by

an

extension
end of

the

the

the

this

from all other and kept free from columns that the officiating obstructions, in order clergy of might not be hampered in the administration the ritual.

period possessed little themselves did they concern inventive genius, nor about architectural effect. The accepted generally from bears, foreborrowed their pagan type of building, satisfied them and never was changed the unless exigencies of the service demanded alteration. So an long as the apse sufficed for
The builders
of

this

the

accommodation
officers in for its retained

of whose

the
use

limited it
was

number

of

higher
was

reserved, it

primitive form, though made of mosaic. incrustation gloriously brilliant by an the office of the clergy assumed But as greater

importance,and

the

ritual

grew

more

exclusive

90

THE

STORY

OF

ARCHITECTURE

the

churches represented in modern by the reading-desk and the pulpit, situated on

are

basilica

either side of the choir.

In almost

cathedral
natural

feature, then, the Gothic every times represents the plan of mediaeval

development of the old basilican church of the early Christians. One be change should in the position made has been mentioned, which of the bishop's seat. The of the altar and early
Christian
the the

basilicas

resembled
the
seat

their prototypes,
in the
centre

as

bishop occupied
apse, which had

of

formerly been assignedto the chief magistrate; this seat became, in fact, the bishop'sthrone, and was raised up above the level of the surrounding clergy,the altar, of the seats in front of the meanwhile, being placed centrally
apse. In
a

few

of

the

later churches
as

is stiltadhered

to,

this ment arrangein S. Peter's at Rome, in the

where
of in In the

the

Pope's
and

throne

is situated altar of

middle dome.

apse,

the the

high
centre

occupies a position
the

front, under
western

great

generally, however, the positions have been changed : the altar occupies central a position against the wall of the apse, elsewhere at the and the bishop is accommodated
cathedrals side of the choir.
was

Great
to
was

reverence

paid by the early Christians

saint
to

the

remains

of

the

whom

the
"

church

and font usually baptistery dedicated, whose circular or a polygonal building adjoined the basilica. At a later period the shrine was placed the In due the altar,in the apse. under course saints led to the belief in efficacy of various the erection of secondary altars ; and, the apse
"

THE

STORY

OF

ARCHITECTURE

being recognised as the natural position for an build to apsidal altar, it became customary
recesses

for

its

accommodation.
were

At
on

first side

the of

secondary
the and full
were

apses
recess,

added
as

either apse

central

but

the

main

extended

developed
width either

choir, occupying the the of building, the apsidal chapels relegated to the transepts or were
the main

into

the

ranged

round

central

apse,

an

arrange-

FIG.

30.

"

Development
a

of

Basilica.

ment

which

became

special feature
basilica
was

of

French
in the
at

cathedral
"

architecture.
exterior
manner

The

of

the

treated

simplest depended
rather

architectural

possible, with no embellishment, while

the accessories for

attempt
the its

interior

upon

beauty,

than
were

inside
with
of

The walls architectural form. upon rich with veined marbles, and brilliant
"

mosaic

the

most

decoration, for early basilicas are

of centuries.
"

the

of permanent golden mosaics after wall and the

as

all of
"

forms

these

still undimmed apse

the

lapse
over
"

The

space

its arch

the

triumphalarch,

it

was

called

92

THE

STORY

OF

ARCHITECTURE

were

rich with picturesworked especially small of them almost glass cubes, many in drawing, but all finely decorative.

in these

childish

Inlaid

marbles

were

used
a

for
sort

the

floor, in
known of

geometric patterns, forming

as

of mosaic

opus Alexandrinum
be
seen

"

fine

specimen
in the

which

may

in

our

own

country
In

of Westminster
are

Abbey.
odd
mixture

found

an

of many of columns

presbytery the buildings and capitals,

: buildingsof pagan Rome plain and fluted shafts are placed side by side, Ionic columns contrasting with Corinthian, as in with Doric ; small S. John Lateran, Corinthian capitals upon large columns, shafts of different and lengths raised upon bases of unequal heights,

collected

from

the older

so a

on

for, in Ruskin's
basilica

words,

"

the

architect

of

and gathered his columns he could find them, as an ant picks a heterogeneous collection, sometimes, up sticks built up with little intelligent skill, guilty of little of history ! architectural style,but brimful Restoration in later days has destroyed much of the interest,historical and otherwise, of these early basilicas. Sta. Maria Maggiore, though to restored in the Renaissance extent period, some the panelled ceilingwas when added, still retains the best its original aspect, and affords almost basilica in Rome. example of an old- Christian It is a three-aisled building in the form of a long with the usual rectangle, apse, and with a narthex extending along the whole of the front. The nave of Ionic columns, is flanked by five colonnades all the columns being, in this case, of one design. Above the columns the clerestory wall is carried

Romanesque where capitals

"
"

THE

STORY

OF

ARCHITECTURE

93

upon in as and

an

architrave, not
Paul's of the

S.
most

Outside
other

upon the

series S. S.

of

arches,

Walls,

Clemente,

basilicas.

Clemente,

although rebuilt in the eleventh century, retains its old plan, with the choir enclosure, ambos, and baldaquin in a good state of preservation. During
of the
on

fifth the

and

sixth

centuries

the

city

Ravenna,
the erection the finest of
was

Adriatic

coast,

was

second

only to
the
to

old

capitalin importance, and witnessed of churches which were hardly inferior which herself possessed. The Rome
these"
the

principal
Ravenna
"

ancient
in the

cathedral

of

destroyed
a

make
other

way have

for

modern

last century to building; but of the

churches,
and

two

of the basilican

type of especial
Nuovo

interest

been
S.

(A.D.525)
the
at
a

preserved Apollinare
"

S. in

Apollinare
Classe

latter situated

in three

distance

of of

(A.D.549), what was formerly the port, miles from the city.
churches
as

The of the

plan
Roman Rome

these

is similar Ravenna

to

that

basilicas ; but
in

differed

from

possessing few pagan temples which of the new might be despoiled for the adornment all the details that buildings,it was necessary worked required in the basilicas should be specially for the Thus in to places they were occupy. Ravenna meetVith does the incongruous not one of the Christian medley which characterised many
basilicas of
Rome
new were

Rome.

The

features

of

classical

to

imitated, but they were subjected to influences, and the task of adapting them the new requirements called forth the best
powers of the

inventive

architects.

94

THE

STORY

OF

ARCHITECTURE

special interest in the Ravenna churches is the dosseret, or impost block, in shape like an inverted was pyramid, which interposed between the capitaland the springingof the arches
"

feature

of

form

in

common

use

with

the

architects

of

period carried on extensive trade with an was Byzantium, and subjugated by the Byzantine Emperor Justinian in
at

Byzantium.

Ravenna

this

537.
Oriental
can

Thus

the

details

of presence in the ings build-

be

readilyaccounted

for. these

addition to But, in details,there are found entire

reference

in
"

Ravenna
to

buildings
must
now

which made"

be
a

constructed basilican
name

upon To

plan
the

essentially different
type.
of

from

this

stylethe
has

tine Byzanit
new

been

given, since
the

FIG.

1.

-Capital with
basilican
of

originated from Eastern capital

stantine

which
at

Con-

dosseret,Ravenna. The

founded

tium. Byzanin

form but

of
_

church

was

adopted
be

all parts many

'

Italy,and
with

continued

to

built for

centuries
More of

interior.

slightmodifications of the made externally, changes were

the

for, instead
characterised elaborate
as

barn- like

treatment

which

the

we early basilicas,

find somewhat marble

veneer,

exterior Miniato
as

decorations
in

of

at

S.

wall

arcades,

at

Florence, or Pisa, Lucca, and

"

picturesque Pistoja.
must
now

BYZANTINE

ARCHITECTURE.

We

THE

STORY

OF

ARCHITECTURE

95

return

to

notice

the

new

development
Christians
were

which

was

taking place
their in that

while

the

first basilicas

in Rome.
scarce,
"

city

were

and

erecting builders Intelligent architectural styles

the corrupted a result to which ments monuprevailing practice of destroying ancient and to new transferring their materials had buildings for reuse largely contributed. was era was But, while Rome languishing,a new for ancient beginning to dawn Byzantium, to which Constantine transferred the seat of the empire in him the fourth century. Under the new capital situated the highway of commerce between upon East and West rapidly in importance. grew Architecture kept pace with the other developments,

had

become

"

"

but it
Some

was

carried

out

under

new

conditions.

of construction, principles well as the art of decoration and as by mosaics Rome marble, were adopted from ; moreover view the of Constantine, with lowering the importance of the old capital as a rival,carried off from the principal Roman buildings numbers of columns, capitals, other architectural and such could be reused in his Byzantine ornaments as of his architects,as well undertakings ; but many the majority of the artisans he employed, were as of Greek Asia Minor and descent, hailing from the East. Byzantium, too, by its trade was brought

of the fundamental

into

direct
so

contact

with

other

nations
an

of

the

far

East,
for

that

there and

brilliance

sprang up rich decoration the

Oriental which
at

taste
once

manifested The

itself in

architecture. the Roman

divergence
in the

from church

observable

plan.

styleis readily The simple, rec-

96

THE

STORY

OF

ARCHITECTURE

almost unknown tangular,three-aisled basilica was in Byzantium, where its place was taken by a square, vaulted building. In approaching a typical Byzantine church, such as that of Hagia Sophia at Constantinople,or S. Mark's, Venice, the spectator's broken is the attracted by sky-line eye formed by a series of roof-domes, so different from old basilica roof. the uninterrupted line of the the distinguishingfeature The dome, in fact, was its constant of Byzantine architecture ; and use, the spaces, had of roofing over for the purpose
..._.,.,
^

much radical
from
to
cross

to

do

with

the

change of plan the long rectangle

square, of form
or

the

Greek-

The
was

building. Byzantine dome

upon

carried

four

FIG.

32."

Diagram.

enclosinga square, in the diagram, shown as tween bethe triangular spaces

the

arches

circular
"

dome

and
upon
seen

the arches
-which

being
the
dome
course

filled in with

pendentives,"
It will

really rests.
of masonry

be

that

each

forming the

of its pendentives is kept in position by reason (shown by the dotted convexity,so that the dome at the lines) rests securely upon course, upper the the level four of

the

crown

of

the

arches

"

i.e. upon

pendentives. The most magnificent example of the Byzantine style is the great church at Constantinople, built of during the reign of Justinian by Anthemius Tralles and Isidorus of Miletus, A.D. 532-538, and

9'8.

THE

STORY

OF

ARCHITECTURE

Byzantine architecture resulted in a great variety of plans. At the Ravenna, for example, where art of Rome mingled with that of Byzantium, we
have S. the
seen

that

in

some

of S.

the

basilicas

"

e.g.
"

Apollinare in Classe
Roman

type
Oriental

of

Apollinare Nuovo clothed with building was

But other

and

details of

character.

churches

differed

The of baptistery radicallyfrom these. S. John, the surviving portion of a basilica of the fifth century, shows a simple octagonal plan. complicated, is the Octagonal also, but more of S. Vitale, where the central exquisite church dome is carried each eight piers, between upon of which is
a

semi-circular
'an

niche

or

apse

; around

these
walls.

is

carried The

aisle bounded

by octagonal

general disposition of the central with its portion is suggestive of the Pantheon eight niches, and is,indeed, almost identical with the temple of Minerva Rome. Medica at Little attention was paid to the architectural
-

treatment

of the exteriors of

; but

the

richness

of

the

interiors

the

churches

of
a

the

interest and an gives them by buildings of any

Byzantine style passed beauty hardly surThe vaulted

was

age.

system
which

of

construction expanses

which

unbroken
were
"

disturbed
smooth
was

mouldings

very surfaces

adopted produced of wall and ceiling, little by projections or

upon which
a

tive decora-

of mosaics. gained by means become Figure-sculpture and painting had almost lost arts at this time, and the drawings of the mosaic-workers were rudely simple ; but
the materials with which the artists for

effect

worked much

their

atoned symbolical glass-pictures

THE

STORY

OF

ARCHITECTURE

99

that

was

marvellous lines of

lacking beauty
the
"

in and

the

design, splendour
The

and
to

imparted the simple

"

architecture. of

custom

which
walls of
riching en-

originatedin Rome the piers with and

the

incrustingthe precious marbles,

elaborate marble
to

lower and

floors with

pavements
the

of opus Alexandrinum^
effect of
."" There

contributed brilliance.

general
marble
and the

splendour
was

and rich

much

carving also
of the

of

the

surfaces.

The

undersides

arches

between or them, were triangular spandrils, spaces covered with delicately incised patterns ; the carved of the columns in were exquisitely capitals leafcrisp low relief,with symbolical emblems, basket-work incised with decoration, etc., and

patterns.
features
were

Sometimes
of the

the

volutes architecture

and of
was

other Rome similar

classical the

suggested,but
the illustration Above
the
on

general
the
at

form

to

p. 94.

capital was
we

impost-block, or
Ravenna
"

dosseret,which
familiar
a

noticed

very

feature

in of

reminiscence architecture
Like the of

Byzantine work, and probably the fragmentary entablature of

Romans. in the the midst church any of

the

of the

Parthenon

the
of

tecture archi-

Greece,
west,
of

great

Sophia
class. the

remains

unrivalled the

by
most

Hagia building of its

result of

Further

beautiful

of Byzantium is the church S. Mark The at Venice. church, which original stood where S. Mark's now stands, was destroyed by fire. In 977 the new buildingwas begun, and was probably carried out mainly by builders from the Byzantium, for, with exception of minor

influence

ioo

THE

STORY

OF

ARCHITECTURE

details of later date, it is purely Byzantine in acter. charThose who have not visited Venice will be

photographs and drawings, with the form of S. Mark's richly incrusted front,a fagade Ruskin in his draws worthy of the picture which Stones of Venice of pillars and : a multitude white domes, clustered into a long low pyramid of coloured it seems, light partly ; a treasure-heap, of gold, and partly of opal and mother-of-pearl, hollowed beneath into five great vaulted porches, ceiled with fair mosaic, and beset with sculpture of alabaster, clear as amber and delicate as ivory. And the walls of the porches there are round set of variegated stones, jasper and pillars porphyry, and deep-green serpentine spotted with flakes of and marbles, that half refuse and half yield snow, to the sunshine, Cleopatra-like, their bluest veins from to kiss/" the shadow, as it steals back them, undulation, as a revealing line after line of azure sand ; their capitals receding tide leaves the waved
"
"

from familiar,

"

"

'

rich

with

interwoven

tracery, rooted

knots
and

of

leaves of acanthus herbage, and drifting and mystical signs, all beginning and
the

vine, ending in
"

them, in the broad archichain of language and of life volts,a continuous angels, and the signs of heaven, and the labours of men, each in its appointed season the upon earth ; and above these,another range of glittering with white arches pinnacles, mixed edged with scarlet of delight, amidst flowers, a confusion
; and
"

Cross

above

which

the

breasts

of

the
of

Greek

horses

are

seen

in blazing

their breadth

golden strength."
had little influence

The

Byzantine style has

THE

STORY

OF

ARCHITECTURE

101

became, and has continued to be, the recognised style for buildings of the Greek Church, though it has naturally received When modifications. Constantinople fell many
and Russia it into the hands
was

upon Greece

the

architecture

of

Western

Europe.

In

of

the

Turks and
so

revived,
mosques,

tecture (1453),the old archiwas applied to the it

was

building
exert

of

that

destined
the

to

considerable
of the

influence

upon

building

forms

Moslems.

MOHAMMEDAN
WE have that

ARCHITECTURE

in its early days Christianity little influence, upon had architecture, and that it did little towards asserting itself in this direction Far during the first 300 years of its existence. it with different was religiou.s respect to a new which the Byzantine movement sprang up while the height of its power, in the at empire was
seen

sixth which whole

once

century
countries

of

the

Christian
the
an

era

"

movement
over

rapidly

infected with

East, sweeping
every the new
was

irresistible upon of

leaving its impress the leader Mohammed, from A.D. 570-652. So

of his he influence
was

sudden
a

at tide, and phase of art. faith,lived the growth

that

within

century

after

his

death

acknowledged as the Prophet of God in Arabia, Egypt, and Syria,in Persia, in India as far as the Ganges, along the north of Africa, and in Under these the circumstances Spain. architectural a Mohammedan, new style, up, grew

102

THE

STORY

OF

ARCHITECTURE

Christian differing widely from the contemporary architecture,and differingalso in each of the various countries in which it prevailed. The the banner-bearers of the Arabs, who were nomad and warlike race, but a new Prophet, were not they were great builders; they possessed, in of their own before the fact, but littlearchitecture As might be expected period of their conquests. then, the earliest Mohammedan places of worship, or as they are called,were insignificant, mosques, place of simple form. Even and at Mecca, the birthof the Prophet, the only temple of the sacred Arabs the Kaabah was nothing more than a square of little architectural importtower ance.
" "

The
and

Koran, the sacred

precepts, contained
of

book
no

of

religiousduties
for the

instructions

ing regard to the buildof worship. The of places of assembly or faithful had their stated times for prayer when, Mecca, they went turning their faces towards through the prescribed forms; but for these followers Mohammed
with ceremonies it
was

not

necessary

that
each

there
man

should could
Nor of of

be

any

assembling

together:
upon his
"

his prayers offer up the were mosques

own

housetop.

required as in the case temples of other religions for the purpose image of object or an enshrining a sacred the one was place sacred to Deity, for Mecca
"

the
all

Mohammedans.
At

first, then, there

with
the
new

was

little

building in

nection conas

such : religion mosques erected were were merely shelters for purposes and retirement, of simplest form and, prayer

of in

THE

STORY

OF

ARCHITECTURE

,103

the When

majority of
the without

cases,

Arabs
an

adapted from began to erect

of native the

old
new

buildings*
mosques,
own,

being
were

architecture

their

they

obliged
a

to

employ
of

architects

an"

workmen"

fact which

accounts

for in

the
the

able considerdifferent

differences
countries. The
most

styles found
of
at at

important
of Amrow

the Cairo

early works
.

werg

the mosques
El Aksah

(A.D.690) buildings generally

cloisters with
a

D. (A. 642) Jerusalem. These

and

of

earlier

took

the roofs

form
one

of

arcaded

flat timber

story
On
the

high,
side and

enclosing
towards contained
was

large

Mecca several

courtyard. square the cloister was much

rows

deeper
On
this

of columns. of the of end

the

also at

magnificent mosque Cairo, built towards

Here the of arcades

Ibn
of

plan Touloun,
the
ninth arches

century.

pointed
On the arcades wall
on

series spring from the building nearest deep ; in the centre is the

columns. Mecca the

outer

side
are

of five

of

the

this

side

prayer-niche, indicating the of the indispensdirection of the sacred one able city, features of the mosque-plan. At an early
mihrab,
or

date which

minarets
the

were

added
to

"

slender
was

towers

from
to

call

city. The minarets varied assumed much elegant forms, and added picturesqueness to the exterior design. Usually they were base, the a octagonal, upon square marked by a part being circular, and upper the prayer-call was projecting balcony from which
sounded. flat and The roofs of the earlier

Mohammedans

prayer throughout the

made

the

of wooden

construction,

mosques but towards

were

the

I04

THE

STORY

OF

ARCHITECTURE

end and
most

of the

tenth

century
roofs

was vaulting

introduced
one

the

vaulted

soon

became
the
in

of

the

as characteristic, they were

most

ful, beautiIn

of

the

features
of the

of

Saracenic

architecture.
the

the

tombs

Caliphs, built
of

eleventh

century, and
Sultan all at

in the mosques

of Barkouk Kait this

Hassan

(1355), and
we

(1149), of Bey (1463),

of

Cairo,

find

not

only

form

roof,

increasingskill in workmanship and richness in design. that the architecture of Every example shows decorative rather the Arabs than was essentially structural. decorated were Externally the domes rich and with intricate geometric designs ; similar elaborate but more treatment was applied to the
but whole
of the

interior.
"

The

dome"

after

the

carried was on pendentives, Byzantine fashion with which honeycomb richly decorated were This ornament. stantly concorbellingwas honeycomb in their roofs, for it used by the Arabs the of effective method proved an fillingup the awkward corners practice of resultingfrom The carryingoctagonal walls upon a square base. whole lavish of

the. mosque

interior

was

treated

with

decoration, in which colour played a most panelled out with important part. Ceilings were beams with enriched and carved were intricately harmonious resplendent with patterns ; niches were roof-corbels ; all the coloured honeycomb brightly with exquisitemarbles incrusted wall surfaces were of tiles,in which with brilliant arrangements or of invention the Arab his fertility showed equally with In accordance with his feelingfor colour. in the Koran, no imitation of the rules laid down

106

THE

STORY

OF

ARCHITECTURE

Rahman.
form of
a

This

consisted

of

an

arcaded

hall in the
"

parallelogram 420 feet by 375 feet thus than any Christian church with area covering a larger The the exception of S. Peter's at Rome. height than 30 feet; the ceiling not more however, was of wood was richlycarved and decorated, and was -three columns carried upon of thirty seventeen rows arches. each, all having two tiers of horse-shoe The of mihrab-niche, indicating the direction Mecca, was richly incrusted with delicate carving This with mosaics. and at Cordova, sanctuary
which
was

rebuilt

in

the

tenth
"

century,

is

sidered con-

beautiful the most by Fergusson to be architecture in and elaborate specimen of Moorish Spain, and of the best age." Unfortunately but in its original little of the great mosque remains
state.

Fate
at

has

been known

kinder
as

to

the

great citadel
"

palace
Mecca

Granada

the

Alhambra

the

of

travellers in
was

great work

Alhamar, century.
the

after in

completed

Spain at the present day. This begun in 1248 by Mohammed-benand was his expulsion from Seville, the beginning of the fourteenth
who
are

Those

have

not

been
the

able

to

visit

opportunity of studying the wealth of its design in the magnificent ing illustrations and drawings of Owen Jones : interestreproductions of parts of the building,by this be seen the Crystal Palace. at artist, may
Alhambra
afforded
The

Alhambra

is
art state
"

considered
a

the
due

gem
as

of

Hispano-Moresque
to

distinction

much

preservation as to the Two delicate large courts beauty of its work. the greater portion of the ground-plan : occupy
its

excellent

of

THE

STORY

OF

ARCHITECTURE

107

these, the Court of the a by light arcades, with Lions, is surrounded central fountain supported by twelve lions, from
the
more

celebrated

of

which interior of

it is

takes covered

its

name.

The delicate

whole

of

the

with

ornamentation

the harmonious exquisite beauty, to which richness and charm. colouring adds wonderful ing earlier buildThe Alcazar at Seville,an (castle) the Alhambra, than was more probably even much magnificent, but it has become dilapidated, has been destroyed by alterations. and its character Of greater interest, in the present day, is the in the same Giralda city,a building in the form of
a

massive

grand

tower, not unlike square scale. Unlike the Moslem

Moors with in

minaret builders
never

on

in

the

East, however, the

in and connection the

Spain
not

built tecture, archi-

minarets

their appears

mosque
to

Giralda for the

have call to

been

constructed

purpose

of

the

prayer. Mohammedan

architecture

flourished

in

Spain
The

until the reconquest of the country and the expulsion of the Moors Moors whence eleventh which the had

by

the Christians 1492.

in

in also the them

obtained
were

footing
out at

Sicily,
of the

they
very

driven

end

century,

leaving behind strongly influenced the

builders who
succeeded

buildings
of the in

architecture them

Christian

island.

Upon
Turks into church in

the

capture
the of

of

Constantinople by
churches there Mohammedans. the
once

the fell The

1453,
hands

Christian the

the
of

Hagia Sophia, at Byzantine builders, was

masterpiece
converted

of

the
a

into

io8

THE

STORY

OF

ARCHITECTURE

mosque, for the

new

and, strange
architecture

to

say, served sprang up

as

the
to meet

model
the

which

the in

minated, style culreligiousrequirements. This new in the Suleimaniyeh, just a century later, built bv Soliman the Magnificent great mosque

J553-

VI

ROMANESQUE
WE
must
now were

ARCHITECTURE back
to

hark

where Italy,
upon
seat

the

early

Christians The

left at work of the

their basilicas. of

transference
to

government

by

Constantine
of the
a

decay

buildingfor
continued demand for

to

Byzantium, and the consequent Roman intelligent empire, checked period in Italy. But as Christianity an was increasing spread, there
accommodation
on

the

part of

its

called builders to were adherents, and upon provide it, first in this town, then in the other. the fifth to the from Throughout the Dark Ages
"

tenth
was

century

"

considerable

amount

of

was done, but very little architecture cities in worthy of the name, except in those and Venice, it was developed which, as at Ravenna under Byzantine auspices. Meanwhile, however, the Church was strengthening her authority and style of broadening her influences, and a new fications architecture slowly developed, with natural modiarising out of climatic and other local conditions and throughout gradually spread Western new architecture, based Europe. This and of the early the traditions of Rome upon
" "

building produced

THE

STORY

OF

ARCHITECTURE

109

Christian
of

builders

of

that

received city,

the

name

Romanesque. Rome's influence was impressed Although the well as Byzantine style of architecture upon that which here call Romanesque, we as upon it is desirable to keep one style quite distinct
from the from other. the The
two

showed

marked

ences differ-

beginning ; and when the Churches of and Rome of Byzantium diverged upon questions affecting the ritual and the creed, the still greater in the architecture divergence became
of the of the Eastern Eastern
"

and

the

Western
"

Churches.
Orthodox

That

Church, so-called has never departed from the Byzantine the has influence of models, and Byzantium thus spread throughout Greece, Asia Minor, and Russia. the other Church On hand, the Western has spirati for her earliest inRome to always looked and has drawn the mother-city for upon her architecture, though different countries have, characteristic their own naturally, developed
Church
the

features.
To

deal

first with
may

Italy. During the

be
said
to
"

formative with
was
"

period,
the
was

which

have such

ended
as

tenth almost

century,
were

architecture

it

entirelyecclesiastical.
the natural
outcome
were

The of the

basilican
situation
to
serve

churches in
as

temples, with their choice and marble columns wall-linings, available for the Christian were despoiler. But from Rome conditions other prevailed: away materials were necessarily simpler, and greater was originality requiredon the part of the architects,
where
on

where Rome, models, and

basilicas

to

hand classic

all sides

no

THE

STORY

OF

ARCHITECTURE

in

designs with dignity and Bitter experience also had interest. taught the of replacing the low wooden roofs of the need basilica by a of vaulted more enduring form
to

order

invest

their

construction. about that in Italy then, it came three distinct styles of Romanesque architecture were or developed : the Basilican, Early Christian have continued to which, as we prevail seen, the in Rome and the Tuscan, Lombard, or
In

due

course,

""

"

Pisan. The

Lombard

style, as
the of the

the

name

flourished

chiefly in
north
on

cities of

the

denotes, Lombardy
on

Plain, in the to Bologna

their

from Italy,
east.

Milan
two

the west

These

neighbours,Piacenza, Verona, and contain good examples of the style in (Verona), S. Ambrogio (Milan), the
of

and cities, Pavia, all S. Zeno

cathedral

Piacenza,
The old

and

others. of S. many Zeno

at

church

Verona,

of the

twelfth
The

century, shows
was

characteristic features.

fagade
a

fine breadth

of

simple in composition, with a flat surface,emphasised at intervals

filled in with arcaded slender carved columns under

by
and the

series of arcades

arches, or slopes of
the interior other

by
the

corbels

gable. Long,
into three division

slender

divided

front

parts, thus
form

pilasters suggesting
basilica ;
was

the
in

nave-and-aisle

of the

respects

the

basilican

lost

roof vaulted the was wholly externally, for concealed by a simple low-pitched gable. A roseof the centre window occupied the space under this a beneath the gable, and projectingporch The columns of the portico the doorway. marked

THE

STORY

OF

ARCHITECTURE

in

rested upon
features of
to

the

backs

of have

crouching
visited

lions the

"

familiar
old

all who

cities
riched en-

Lombardy.
the
severe

Elaborate, grotesque
and of the atoned upper

carving
of

entrance,
treatment

somewhat

for the

the

portion

and always solemn facades were their slender and columns dignified, and, with the crisp lightlyprojecting arcades, relied upon for vigorous effects Italian sunlight for relief and shade ; ^elsethey were inclined to of light and these gloominess and severity. Tennyson, visiting dull sky, noted how cities under a front. The
"

Stern Of

and

sad

(so

rare

the

smiles

sunlight) look'd the Lombard piles ; Porch-pillars on the lion resting, And aisles. sombre, old, colonnaded

churches, as at S. Zeno, Verona, and cathedral at Piacenza, found was a bell-tower, campanile or square simple in form and always well-proportioned. churches Internally the plan of the Lombard resembled with such the old basilicas, tions modificaof as were required by the introduction
many the the width massive of for
a

In

connection

with

of

the

vaulted
nave
rows

roofs

"

e.g. the

reduction of

in

the the

and
of and floor the

the

substitution

sturdy
times Some-

piers
the
a

graceful columns.
were

crypt

shrine
of the

found

beneath
raised

choir, the

choir

being

general floor level. The unlike the not was Tuscan-Romanesque Lombard, modified by the different social conditions which existed in Florence, Pisa, and the The finest neighbouring cities of Tuscany. where the Romanesque examples are found at tisa,

few

steps above

112

THE

STORY

OF

ARCHITECTURE

the cathedral (A.D. 1063buildingsin the Piazza noo), the baptistery (A.D. 1153), and the leaning form one of the most tower 1 174) (A.D. interesting architectural groups in Italy. The Tuscan more designs are lighter and elegant than those of the northern cities. Timber adhered with the ceilingswere to, in connection basiltcan forms, permitting the use of columns
" "

FIG.

33."

Cathedral

and

Leaning

Tower,

Pisa.

instead
divisions. covered

of

piers
The
a

for

the

interior
were

nave-and-aisle

fagades
lavish

almost of

entirely

with

arrangement

wall- arcades

in the Pisan seen as galleries, buildings; into divided or they were panels of dark and The white marbles, as at S. Miniato in Florence. arcading was highly decorative, the tendency to instances become monotonous being in most of the averted by skilful and varied treatment

and

different

tiers. for

The

tower constant

at

Pisa

forms

an

exception,

the

repetition of

bands

H4

THE

STORY

OF

ARCHITECTURE

treated
of the

with

colour

decoration, after
interiors.
of

the

manner

Mohammedan

During the first

era

ten

centuries

the

Christian

architecture of

made

outside
came

more

Italyand under directly

to

little progress in Europe, countries of the eastern which Roman

influence.
a

alone, in the West, had

of the

become the

Spain centre flourishing

of the in Moors. Western
was

art, thanks

incursion chaos

this Throughout in a Europe was rife, and progress

period
state

society
or

of

; lawlessness

in

architecture The

in

any

of

the
as

fine
an

arts

was

impossible.
some

church

alone,

institution,showed
its monastic walls the

little vitality, for

turmoil
was,

within
was

prevailed a
scale

unaffected
on an

by

external

which peace and unrest.

Building
checked of
1000

extensive

the
;

by a very wide-spread impending end of the

but
of

moreover, belief in the theory

world

in

the

this check the

to

was

temporary
led
many
an

year for one,

the

fear

dread

event

conscience
or

contribute
in them

to liberally

to

seek found

refuge
these

; the

new

uneasy the monasteries, fore, century, thereand

institutions

wealthy

before. been A never they had architecture great activityensued, and considerable make began to progress
as

powerful period of
at
once

in

all

directions.
Almost
were

all

the

new

buildings
the
centre

and ecclesiastical,
to

importance builders naturally

and their
to
source

of

looked
of

Rome

as

their

technical
was

help
a

and

inspiration. But,

many,

Rome

far-off
new

occasions

taught

the and new country, devices which and methods

THE

STORY

OF

ARCHITECTURE

115

soon

made

the

term

Romanesque
under
"

very

prehensive com-

title, for

this

head

round-arched conveniently classed all the of Europe which prevailed throughout the west introduction before the of the true Gothic, and Norman which in the in England culminated buildings of the eleventh and twelfth centuries. architecture of each The country, governed by marked and local conditions traditions, was by showed the distinctive features, but at its own time a same general similarityof style. Almost constructed with all the buildings were the same a object, and it became question of solving the
" "

be may " Gothic

the problem, problem in different ways namely, of combining the vaulted roof construction with the basilican plan. The heavy barrel-vault massive walls and and of the roof demanded piers, the of the semicircular arch use required piers The at frequent intervals. or very sturdy columns somewhat ponderous, stylewas of necessity resulting that relief was so sought in rich carving and in a of recessed the architects multiplicity spaces ; and did not successfullygrapple with the difficulty
same
"

"

"

until the introduction centuries Gothic

"

"

in the twelfth

and

thirteenth the

of ribbed

which, vaulting,
the

with

pointed
of
struction, con-

arch,
and

revolutionised

conditions

complete
called
more
"

builders the a happy gave solution of What their problem.

"

and is

Gothic the

architecture

is in

than

logicaloutcome

Romanesque ; the transition is the as, in English architecture, is the transition from round-arched Norman the pointed styleof the to
thirteenth

realitynothing of the progressive natural a one, just

century.

The

"

name

Gothic

"

is

an

un-

ii6

THE

STORY

OF

ARCHITECTURE

are apt to regard it as a one, for readers terrupt foreign and distinct style, breaking in upon, and inthe continuityof, the architecture of the

fortunate

period.
architects the

It is in arch

only by following the

their that constructive
we are

Romanesque

difficulties with
to

appreciate what did the Gothic for their architecture, principles and the extent to which they enlarged its scope. France. In the Romanesque To turn to now buildingsof this country may be traced the results influences. of various southern of the Many marked churches Byzantine features, the possess
outcome

round

able

of
on

very

considerable
the

trade
on

which south

was

carried

between

ports

the

In the church Venice, and the east. at Perigueux (A.D. 1047) the plan strikingly resembles that of S. Mark's, Venice interior : the is roofed
over

coast, of S. Front

with

domes

in

similar

manner,

but
of

they are having

constructed
false The
none

in stone, externally roofs

as

instead of

wooden

the

domes

S. Mark's.
in

interior of the
of church.
same

buildingis
Cahors
is
a

finished

stone, with
the

the

rich interior decoration At

of

Venetian of the in

domed

cathedral from
a

date, undoubtedly

copied

In other Byzantium. parts of influenced the designs were the country by the as buildings, such examples of classic Roman In those found at Nimes, Aries, Avignon, etc. Dame the churches of Notre at Avignon and find Corinthian S. Trophime at Aries we capitals, enrichments, and other features borrowed pilasters, directlyfrom the classic models. excellent examples of some Auvergne contains churches, built of the lava of this Romanesque

church

THE

STORY

OF

ARCHITECTURE

117

well-known
the
an

volcanic
of Notre and in

district.
Dame du

Let Port

us

consider

church excellent is used

at

Lava is

typical example of the construction, and some

Clermont, the style.

effect colours. covered and
a an

gained by the use of lavas of different The plan of this church shows a long nave by barrel vaulting, with small transepts the apse is carried Round apsidal end. small small of apsidal chapels. These
built round the main
apse, form what

series
apses,

is called

FIG.

34.

"

Plan

of

Notre

Dame

du

Port.

chevet, which
cathedral

became

an

essential
a

feature of

in

French

plans.

Such

the a lofty chapels, ranged round and cathedral, produces a singularlyinteresting feature was interior effect. The introduced dignified builders, and probably origiby the Romanesque nated in the Auvergne district, it is found where churches in the Romanesque at Issoire, Le Puy, The Gothic architects Clermont, and elsewhere. that it figures in the the retained chevet, so of the great French of cathedrals plans of most that period.

group end of

small

u8

THE

STORY

OF

ARCHITECTURE

The the

chief

constructional builders

with difficulty had the

to

which
was

Romanesque
method
roofs of

contend

the

support
which
as
we

for covered

massive the
naves.

barrelThe trouble
up their
so

vaulted old
of

Romans,
side-thrusts
roofs
mass

saw,

and and

strains domes

escaped the by building

in solid

vaulted
that without
a

concrete,

the

box.

any But

the walls securely upon lateral thrust,just as a lid rests upon stone vaulting exerted a lateral thrust, which be required to counteracted of by means tresses. heavy abutments, or butThe shows of Notre
an

rested

illustration section du

outline Dame

Port,

which of Here

indicates the method

buttressing adopted.
the thrust vault tend walls This of

the
over

great
FIG.

barrel
nave

35."

Section Dame du

through
Port.

the

would the

to

Notre

push apart
which
use

it rests.

upon thrust
over

is counteracted the

aisles.
an

by the glance

of half-barrel vaults
the section it will show

at

that

such

impossible to light of clerestory the upper windows; the part by means vault was therefore brilliant nave dependent upon weather it from of gloom. In state to relieve a some examples, as at Autun (A.D.1150) clerestory windows vault were introduced, the nave being raised above sufficiently high for the purpose
arrangement
the
roofs of
were

made

the
not

side

aisles ; but

the

constructive

methods

equal to

the task, for in almost

THE

STORY

OF

ARCHITECTURE

119

all

cases

the

vaults

reconstructed.

gave Towards of

way

and end

required
of the

to

be

the

twelfth

flying buttresses to resist the it possible to combine story clerelateral thrusts made with barrel vaults ; but the difficulty windows surmounted until the not was satisfactorily in the thirteenth introduction of groined vaults
century
the
use

century.
We
cannot

take
France

leave without

of

buildings of
works
of the

great Norman
the

Romanesque the touching upon dukes so intimately

"

the

connected island.

with

architecture

of

our

own

the abbey 'example among churches of Normandy, and of the noblest one the Abbaye-auxbuildings of the time, was S. Etienne, at Caen, begun in 1066 or Hommes, of better known to us by William Normandy William in commemoration the as Conqueror of his victory at church is lofty Hastings. The in its proportions, with aisles,and transept. nave, Its east end was of a simple in the form originally superseded by the chevet\ apse, but this has been the west front is finelyproportioned and is flanked between which the rests. by two nave towers, The later the towers crown are spires which additions. The and aisles are nave vaulted, and a by a series of flying clerestoryis obtained buttresses. The system of vaulting is of interest as illustratingthe stage which preceded the introduction of the the sequent conpointed arch, and
The
" "

best-known

solution which
were

of

the

constructive

difficulties of

the builders constantlybaffling

this

period.

120

THE

STORY

OF

ARCHITECTURE

Another

Norman
or

church

of

note

aux-Dames,
fine
many

S.

Trinite, at
S. in

Caen

church

of

Mont

Michel

Abbaye(1083). The has undergone

is the
like

alterations
and

later

times, and,
in has lost

cathedral

other

churches

Normandy
much

many and of

Brittany (and in England), its original character.

GERMANY.
"

Romanesque
somewhat

architecture

in

many Gerof for the

followed that there

two

of
was

North

Italy, as

closely on the lines might be expected,

between

constant

communication

countries,and a large German population in Milan. of Lombard-Romanesque Indeed, the be said to have emanated North from Italy may Germany. Aixcathedral Of the earlier buildings the at la-Chapelle, built by Charlemagne (about 800) is interesting, imitation of as an architecturally S. Vitale and the at historicallyas Ravenna, It crowning place of the Western emperors. is a polygonal building of sixteen sides, surmounted by an octagonal dome. Before the thirteenth century the art of building
did
not

make

great progress

in

Rhenish other than Germany Saxony and provinces ; in the districts of the Rhine, however, be architecture said have to Romanesque may fully than in any other country developed more in Europe. The exterior of the Rhenish churches characterised was by picturesque grouping of of arcaded cesses reoctagonal turrets, the introduction the lower decorate to portions of the wallof open arcaded thq galleriesunder space, and

any the

parts of

122

THE

STORY

OF

ARCHITECTURE

of

half its width. the

The

transepts

are

at

the

west

with a crossing is covered Byzantine carried on dome has been pendentives ; the nave in Capitolio vaulted later period. S. Maria at a and S. Martin (1150), both in Cologne, show similar characteristic features,and make, with the of the Apostles, one Church of the most ing interestof churches which the Romanesque groups period produced. Other good German examples of Mayence the cathedrals are (tenthand eleventh Worms centuries), Spires, and (both of the eleventh century),each of

end, and

which of the

has

vaulted

nave

twelfth century.

SPAIN.

"

Comparatively
work in this

little
FIG.

Romanesque
be found

37.-Plan of Church of the Apostles.

under the dominion
in 1062

is to
for
a

throughout
the
Moors.

Spain, period
capture series until

great part of the country

of

was

The.
for
was
a

of Toledo
of
successes

paved
rule

of the the

Christians

the way ; but it

not

1492

that the

Moorish

was

entirelydestroyed
churches
on
as

by
of

fall of
to

Granada.
have

Such
of

were

built appear
the French

been

constructed

the lines

churches of S.

Auvergne.
at

The
is
a

church

lago
nave

Compostella (1080)
and

good example,
chevet.
was a

with
most

transepts, choir
a

and

In made

instances, however,
French

departure
erection

from
on

tradition
over as

by
the

the

of

dome
nave

pendentives
transepts,

the in

ing cross-

of

the a"

and

old is

cathedral

Salamanca

century). It (twelfth

THE

STORY

OF

ARCHITECTURE

123

strange that
of

no

details of the
traces

Romanesque
of the
on

churches Moorish

Spain
may

show

of influence

architecture this be

which

abounded
for the
to

accounted

by

every side, though the the fact that

heartilyhated everything that belonged

Christians
ENGLAND.
to appear architecture to
"

Mohammedans
them.

and

The

inhabitants

of

Great

Britain

have

troubled
the

themselves Norman churches

little about Prior

before
numerous

conquest.
were

this

period
only
"

erected remains

by
are
"

the

Saxons

and
to

the prove

Celts, but
that these

the

sufficient of the

primitive Romanesque
with little technical

early builders period" were

"

endowed
Earl's
at

skill. the

The

tower

of

Barton, in Northants, and

are

little church

Bradford-on-Avon

perhaps
of the remains the fact

the

best

ing existThe

examples
rare occurrence

of

the of

work

Saxons.
at

Saxon
to

the

present
with the

time advent

is

probably
of the

due

that,
ruder
way

Normans,

the
to

primitive
for the the

buildingswere
new

destroyed
swept
the led
to
so

make

style which

rapidly over
use

country.
in the much its of
use

Possibly, too,
construction in vogue

generous

of

wood
was

decay.
earlier

Timber

appears later stone

among have to work.

"

the

Saxons,
the

and

influenced Their

details

their

triangular-headed window
"

window mullions baluster turned openings and are certainlysuggestive of timber construction. the Norman, the Before the landing of William influence of the Normans was beginning to make itself felt, for" England's insular withstandi position notit was impossible that the country
"

I24

THE

STORY

OF

ARCHITECTURE

should
such

be

unaffected
strides

by

the

art
a

which few

was

making
of

gigantic
The

within

miles

its

seaboard.
the

Norman

conquest
of the of

(1066), and
by the

subsequent occupation
and
ecclesiastics

country

barons
a

rapid social revolution,and As the an organisations of the island. political of the result immediate change there set in a period of extraordinary activity in the building beys, of churches, aband castles, of which by means
the invaders
to
were

effected Normandy, speedily transformed

enabled
1i
more
s

estab-

themselves

securely
the lands

upon

from plundered the conquered Saxons. Many

churches
FIG.
Saxon

were

38.
Earl's Barton.

founded
Norman while his
to

by

the

Window, with had

himself,
followers
surpass side of

vied
all

one

another been
seen

in their efforts
on

that

the

other

the

Channel.

The
term
"

Romanesque,
the Norman

or

"

to

use

more

familiar
which the

architecture in
"

period, during imported by the invaders

for
a

prevailed
a

England,
i.e. from

lasted the

little more until the

than

century
of

conquest
Between
on

accession dates

Richard

I. in
were

1189.

operations

carried

building throughout England

these

THE

STORY

OF

ARCHITECTURE

125

with
of
our

almost

incredible
but

activity.
do in
a
we

Not

only

great cathedrals

find extensive number

in many remains

of Norman in
are

work,

vast

of churches and
a

every

part of the

country
to

fragments
fact that

details

complete Norman structure once occupied the site, from has of the originalwork v/hich almost every trace disappeared. It has been computed that no less
found, pointing
than

the

after

churches 7,000 the conquest.

were

built within

century

The

Romanesque,
is marked characterise

"

or

Norman,"

cathedral
to

of

England
which

by
the

features

similar

those

buildings of Romanesque Its general appearance is sturdy, Normandy. with solid walls, cushion-shaped capitals,
Massive On

arches, broad

and

round and

ponderous

columns,

short

low.

the its Continental with Compared prototype, cathedral, such as that of Durham typicalNorman or Peterborough, is longer in proportion to its in the width, the length being especiallymarked choir. takes the end A east place of square the the apse chevet of French or cathedrals, and more important. A great central transepts are and the crossing of the nave over tower, carried of the English plan. transepts, is also characteristic Internally there was generally the intention to suggested by the massive piers and columns
" "

vault

over

the

aisles

and

the lack

nave.

The funds
or

vaulted
other

roofs, however,

through
and

of

considerations, were low-pitched roofs

seldom

Flat, completed. wooden ceilings were

126

THE

STORY

OF

ARCHITECTURE

easily able to insert large secure lightand lofty effect at little cost. The wooden roofs, however, liable to were injury from fire,and, in many burned instances, were or destroyed, so that in several cathedrals,as at Gloucester, Durham, and Exeter, they were replaced at a later date by stone vaulting. The Norman details of our churches, with few exceptions,are extremely simple. The piers were often perfectly plain and round, as at Gloucester ; sometimes clustered, as at Peterborough ; or, as clustered round and used at Durham, piers were were alternately. Doorways simple in outline, with little of the added circular-headed, and ornamentation which appeared in the gables of the later Gothic entrances capitals ; richly carved decorated the clustered columns of the opening, and the archa profusion of carving covered The little variety; mouldings. design showed the zig-zag ornamentation, easilyshaped with the occurred with endless repetition, varied axe, birds'-beak well-knoWn occasionally by the observer casual moulding, familiar to the most of Norman Window treated work. openings were sometimes more simply than doorways, but were enriched with the zig-zag,as at Iffley Church, The Oxford. near cushion-shaped capitals, of the Greek suggestive of the sturdy echinus Doric column, were usuallyleft quite plain,though the Norman took pleasure in carving quaint mason
were
" "

these substituted; and as supported, the builders were clerestorywindows, and to

light and

devices
the

or

grotesque faces

stones projecting

the caps, upon of the external corbel

or

upon

courses,

THE

STORY

OF

ARCHITECTURE

127

buildings had been completed. In the in the staircase at Canterbury Cathedral, shown have illustration of a frontispiece,we good the Norman's method of treating the arched openings.
after the Portions of many
at

of
a

the

old Norman
date. The

structures

have
list

been

rebuilt
the

later

following

of the principal monuments Less period in England. important, though not less interesting, the examples found are among the parish churches throughout the country :
" "

includes

Canterbury
Carlisle

Cathedral
. . .

Crypt.
Nave. Nave.

Cathedral
. . .

Ely

Cathedral Cathedral
.

Winchester Waltham Durham

Transepts.
Choir. Galilee

Abbey
Cathedral

Porch, Nave, Chapter-house.

and

Peterborough
Rochester Norwich Hereford Christ

Cathedral
. . .

Nave.
Nave. Nave.

Cathedral Cathedral
. .

Cathedral
. .

Nave. Nave
.

Church,
....

Oxford

and

Transepts.

Gloucester Tower of London

. .

Nave. White

Chapel.
London.

S. Al ban's Church

Abbey.
the

of S. Bartholomew

Great,

VII GOTHIC
THE
as we 01

ARCHITECTURE
architects had made the the

Romanesque
have
seen,

on

Continent,
in the the twelfth

great progress
middle
most

art

building by
had

of of

century, and

mastered

the

problems

128

THE

STORY

OF

ARCHITECTURE

puzzled their predecessors, so that their architecture especially throughout Europe of in the north and regained much west, had its lost dignicy. But they had not yet arrived
which

had

"

at

successful roof

method
was

of

roof

treatment.

The

wooden

unsatisfactory,and
many
to
a

led

to

destruction while
which old
"

by

fire of

the had

alternative

been
was

used
too

Romans,
solid their
upon When

building; this, the barrel-vaulting, in the buildings of the ponderous. True, the
substantial
with

lids "of

concrete

which

the
no

Romans lateral

covered pressure

vast

buildings exerted
walls, but
massive the took
more

the

their
walls

enormous

weight required equally

them.
the for
to
as

vaults the

.masonry still were form

place

carry of concrete,
to

to

difficult

support,
tended

arched the
"

of
"

the

heavy
a

vault lateral
not

force
we

walls
so

apart
it massive
or

exerted

thrust,

make

say the

that

was

walls

necessary, and strong,

only
also

to to

but

reduce
It
was

the

span, in their that

width

of the find
a

vaulted
solution

spaces.
to
a

efforts to the

these
new

difficulties

builders about

hit

upon

principle which
a

brought
art

revolution
ribbed

in the

of

nothing building the

"

less

than

principle

of

structural
as

the vaulting, which, in fact, formed known basis of the styleof architecture

"Gothic."
The
term

Gothic

is

as

unfortunate the natural

as

it is

inapt.
of

Gothic

architecture

is

outcome

to seems suggest though the term of the art, break in the progressive character a has doubtless and proved a stumbling-blockto to regard the students, by leading them many

Romanesque,

130

THE

STORY

OF

ARCHITECTURE

of concentration the

of strains

and

of balanced

thrusts

"

Early Gothic builders took up the constructive the builders problems just where Romanesque fresh added were being baffled by them, and soon dignity and grandeur to their work. Let us see what to these new extent principles The affected design and illustration construction. shows the plan of a highly developed Gothic building of simple form, Sainte Chapelle in Paris, built IX. by Louis (1243-1247). The upper unbroken feet in 100 chapel here is an room, 60 feet in height, length, 33 feet wide, and

FIG.

39."

Plan

ot

Sainte

Chapelle.
of

roofed

over

with
from

series

groined
The
"

vaults

springing
the
as we

slender is taken

columns.

thrust

of

columns
see

by
"

buttresses
carried Now have

in the

the

plan

and walls.

very up the
note

sturdy,
entire

height
massive
to

of

exterior

that the
necessary

walls, which
such
a

would

been
in

support
have

superstructure

disappeared. The wall vault have, so each to speak, been turned round their axes, and placed at rightangles to their upon of series form to as a original direction, so sufficient to withstand buttresses,with abutment the thrust of the groined roof-vaulting. These
work,

Romanesque lengths between

THE

STORY

OF

ARCHITECTURE

wall

the between spaces required for constructive be filled with

buttresses
purposes,

are

no can

longer
fore there-

and

large windows, destined soon, rich further development, to become natural as a with the gloriesof stained glass. Sainte Chapelle, a Gothic In a design such as without church aisles, the problem of dealing the thrusts is presented in its simpler form, with
as

the walls which when aisles

at

take
are

the thrusts

are

external

walls.

But

introduced side fresh arises. of the

the
a

nave,

difficulty
The
cannot

tresses butnow

be

vertically carrie^d for down, they

would aisles
mass.

block
with To

up the their

of their

permit being ranged

the external the
T
'

along
,.

face

of

/-

aislefeature into the

-i

TIG.

40.

"

Romanesque Gothic, with

Contrasted

walls,a new is brought bridges over

at
once

play the flying buttress,which intervening space, and supplies

"

the of

vaulting

piers and the walls them over are now relieved, by the of the more serious part of their burden, buttresses, and have of to perform only the simple task are carrying the vertical weight, the builders enabled make but slighter them to not only lofty, and more graceful.
As

necessary the nave.

counter-thrust
the
nave

to

the

roof-

132

THE

STORY

OF

ARCHITECTURE

The

flying buttress, then,

feature presence of Gothic

soon

became

characteristic
its necessary design in some
were

building. True, the exterior hampered

its decorative
seized it become the upon. that in

respects, but
ornamental cathedrals

sibilitie pos-

speedilyrecognised and
did it has

So many
ot

ornate

and

French

appearance in
to

its

being a purely position for no

eye with

decorative
other
reason

feature, placed
than

delight
"

the
and than
true

and

repose

design with grace, that suggestion of aspiration rather is inseparablyconnected which with
to
"

endow

the

Gothic
The

Grecian

gluts
as

me

with
"

its

perfectness,
;

Unanswerable
But Still

Euclid

self-contained

ah

! this

other, this

that

never

climbing, luring fancy Imagination's very self in stone. While the buttress
into

still to

ends, climb,

enabled
his

the

builder

to

duce intro-

of the chief design as one elements of effect, the pointed arch the solved of bridging over at difficulty varying widths any The Gothic could architect thus required height. give play to his fancy and imagination, little troubled fettered by problems of construction, and unof precedent. by considerations Gothic The cathedral has been styled "a roof of stone with walls of glass,"and not inaptly; for the walls, no longer requiredto be of massive little construction the weight, became to carry than either of masonry of glass, more or screens, in the between the buttresses, to filling spacer, and to give effect to the keep out the weather

height

THE

STORY

OF

ARCHITECTURE

133

design ; and no treatment secure so glorious a result

of

of
as

these did the

spaces with the

could

introduction

great
of

traceried

windows

filled
was

coloured

glass
were

beautiful glass. So the period that it

the

richly painted
its

at

once
:

made

influence

felt upon increased in

architecture and
"

the

windows
as

size,

the

walls,

far

as

illuminated. Far more were important," possible, introduction of the remarks Fergusson, "than of painted the invention the pointed arch was is really the important formative glass, which much architecture ; so principle of Gothic so, the be more would that there name meaning in if it were called the painted-glassstyle instead bear in We of the pointed-arch style. must
* '
. . .

mind

that

all

windows of the
to

in

all

churches
were

erected

after the
or

middle intended
the

twelfth

century

filled,
all the

were

be

with filled,

painted glass,

and the

that

changes

in principal and guiding motive into subsequently introduced of the

architecture

age

was

to

obtain

the

greatest
for its

possible space display."

The extensive
of of

and

the

best

localities

use

of

glass

soon
"

led
window that

to

great

development
The
areas a

another

feature

nature

the

glass required
be
spaces.

tracery. the window

up

which

it filled should of smaller

divided

into

number

Thus,

although

feature Gothic of perhaps no design appears than the elaborate tracery more purely ornamental of the windows, it has, like almost all decorative raison d'etre^ forming, in parts, a constructional frame. of the Gothic fact, part of the skeleton The attention given by designersto tracery led it,

134

THE

STORY

OF

ARCHITECTURE

by gradual stages, from simple beginnings to a period of florid elaboration,so that by this feature, more readily than by any other, it is possible to the various periods in the history of Gothic trace
architecture.

FRANCE.

"

Gothic its

architecture

in

France,

the

into three be divided birth, may periods,of which the approximate dates are : (dr. 1160-1270). Early Period Period Middle (dr. 1270-1370). Florid or Flamboyant Period (dr. 1370-1550).

country

of

The

second
of

half

of the

twelfth

century
the this
at

was

period
cathedral
a

with extraordinary activity

French time
was

builders.
and

The

Church

its of popular institution. Many cathedrals, built by the careful but unscientific the builders,were collapsing under Romanesque in were weights of their ponderous vaults, and

strong

urgent need
structures
were

of

renovation.

In

other

parts

new

required,and with such energy did the bishops,backed up by the people, set to work that, at the end of the twelfth century, as many sixteen cathedrals were being built or entirely as them to give only the reconstructed, among familiar names being those of Bayonne, more Lisieux, Laon, Tours, Poitiers,Troyes, Chartres, Paris. Dame at Bourges, and Notre marked The by buildings of this date were of the groined vaulting, simplicity of treatment
" "

of the

the

arrangement

of

parts, and

of

the

detail

carving was simple and vigorous,the windows and frequently grouped in long and narrow, pairs beneath a pointed arch, the head pierced

THE

STORY

OF

ARCHITECTURE

135

with

circular

as light,

in

our was

plate-tracery. The
marked
on

interior exterior

division

into

bays
series

the

by

uniform A

buttresses.
lead and
or

steep wooden
the space
at

tiles, completed

allowing vaulting.
Notre Dame

inside

pinnacled flying with roof, covered structure, protecting for the lofty stone
of

of the (1163-1214), one shows a earliest, perfectly symmetrical plan with semi-circular east end, richly sculptured triple in the chief gables, western portals,rose-windows Paris and French Later
most

of

the

characteristic of the thirteenth Dame

features

of

the

cathedral
in date of

century.
was

than

Notre

the

cathedral

Chartres'( 230), the 1194-1 northern spire of which, added

century,
contrasts

graceful rated richly decoin

manner

the

sixteenth with the

in

an

instructive

simple and beautiful lines of The companion. magnificent windows

Pride of

its southern
"

Each Who To

the loved make

bright gift of
their her beautiful

some

city, and
with

France, mechanic guild. thought gold well spent piety

"

are a

filled with

glorious setting of
of the interest in

stained

glass,
of

lastingmemorial
all

and

enthusiasm

which their
In

classes beautiful

displayed
cathedral found its

the

building

temple.
the of

Amiens

(1220-

highest expression : to Chartres, in sublimity to Beauvais, in decorative splendour to Rheims, and in loveliness of figure-sculpture It to Bourges. has nothing like the artful pointing and moulding

1288), pure Gothic "in dignity inferior

136

THE

STORY

OF

ARCHITECTURE

of the arcades of

of And

Salisbury" nothing
yet, in

of the
more

might
than

Durham.

all, and

these,

outshone or ways, of Amiens deserves

Viollet le

dral overpowered, the cathethe name given to it

by

M.

Due

'
"

the

Parthenon

of Gothic

Architecture.'"1
As the

type

of

French

Amiens

is contrasted

Gothic, the cathedral of later with that of Salisbury

French cathedral

(p. 147).
Almost

invariablythe
a

plan
of

showed

semicircular

or

apsidal arrangement

FIG. 41."

Plan

of Amiens

Cathedral.

the east
square

end.

At
so

Laon

and
in

Poitiers

we

find
in

the
the

end,

general
"

England;

but

typicalplan the east end had a series of radiating an already chapels,forming a chevet arrangement of the Notre in church noticed Romanesque in the illustration at Dame Clermont, and seen
of

Amiens The

Cathedral.
were

transepts
us
:

hot

so

fully developed
and
ones.

as

with Paris

Bourges has none, has only rudimentary

1

Notre

Dame The

at

main

Ruskin,

"

The

Bible

of

Amiens."

138
S.

THE

STORY

OF

ARCHITECTURE

Michel, portions of which, however, have

Of the
the

been

re-built later. Period buildingsof the Second noteworthy is the unfinished cathedral of
The
most

Beauvais.

foundation
of

dates

from of

portion
slenderest carried

the
of until In

design
all the

1225, but the greater the this loftiest and

"

French second the

cathedrals

"

was

not

out

half

of

the

thirteenth carried
of

century.
Gothic

this

design
the

builders
limit

the

daring, and in a few years the slender supports collapsed, the and entirely building required to be almost As it now reconstructed. stands, the height from the pavement the top of the vaulting is not to principles to
extreme

less

than

160

feet!

Similar of

measurements

at

Ely, a longer cathedral give less than 75 feet.

Few

the

English type,
Period
for
were

cathedrals

of

the

Middle Ouen

completed,
enthusiasm

except
had

after

long delays,
In S.
at

the

Rouen, have a fine example, built between we 1320-1350, later date. with of a additions Limoges (1272) is still extensive scale, but an was begun on year, incomplete ; Toulouse, begun in the same sixteenth not was century; completed until the
waned.

Narbonne

is still unfinished.
amount
were

Yet

there

was

no

inconsiderable
and

of

building
made
to

carried the

on,

additions many designs which have and

earlier

interest.
are

The

Rouen,

features of rich

their beauty greatly enhanced at great rose- windows, as of this period. detail the is and

Profusion of tracery

florid elaboration
or

curves

marked work

Third,
in

Flamboyant,
church

Period.

Such

seen

the

of

THE

STORY

OF

ARCHITECTURE

139

S. Maclou which
at
was

at

Rouen
to

; finer still in the

rich of

facade
Rouen In

added

the

older the
may

cathedral

the of

each

beginning of these examples

are
an

sixteenth

century.
the

be noticed tracery ; the

of

development the porches

of

of elaborate

striking gables over

windows

network open without

stone, suggestive glass. Notable

the of
at

are examples of the flamboyant work of Troyes and of Rheims, the church de Ville at Dieppe, and the Hotel

facades S. Jacques Rouen, of

The minated cul-

the

same

date

as

the of

cathedral the

front

(1500).
century
the

florid

architecture in such

sixteenth work
as

sepulchral all dignity of almost church of Brou, in which composition is frittered away in a dazzlingprofusion of lace-like carving,marvellous masterpieces of the
craftsmen's
art Flemish
"

fantastic

carvers, masons,

Lombard smiths

German

from

gilders, Spain

"

but

decadent
Gothic

form

of architecture.

confined to not spiritin France was but pervaded every branch ecclesiastical buildings, of secular architecture. domestic and a Many French as Troyes, Provins, or Bourges, town, house retains fine specimens of the later Gothic : witness the of Jacques Cceur picturesque house at Bourges (1443). Tne more important buildings in shop-fronts and of stone were designs ; but smaller scale the half-timbered on a fagade, with its overhanging, steep-pitched gables and fully moulded beams and brackets, was more frequently With later domestic seen. buildings details become less distinctly Gothic, but the high gables
The

140

THE

STORY

OF

ARCHITECTURE

and

steep

roofs
as

and
we

other
see,

Gothic

traditions builders

survived,and, the designs of

the sixteenth

shall

stronglyinfluenced
of

the

French

Renaissance

and

later centuries. Gothic

GREAT

BRITAIN."

architecture

in

Great
"

into three usually divided periods Early English, Decorated, and Perpendicular the duration of which coincided fairly accuratelywith the thirteenth, fourteenth, and fifteenth centuries shall,therefore,not be greatly respectively. We at fault in regarding Early English Gothic the as typicalstyle of the thirteenth century, Decorated of the fourteenth,and Perpendicular of the fifteenth and later centuries. Needless to say, the periods another to the some overlapped one extent, and style did not suddenly change with the advent
"

Britain

is

of

each

new

century.

The

course

of

architecture

throughout the periods was uninterrupted, as we shall see by noting the leading characteristics
of each
:"
-

Century. Long, lancet-headed windows; angle-buttresses narrow, set squarely; deeply undercut mouldings to the arches ; slender,detached columns doors and to windows capitals,with crisp, bulbous ; circular foliage piers; little ornament, ; clustered except the dog-tooth. ness Decorated, or Fourteenth Century. Greater richof detail ; buttresses enriched with crockets, niches, etc., and often set obliquelyat the angles ; windows and wider more important, and divided by mullions, the upper part filled in with metrical geoor (later)elaborate flowing tracery ;
" "

Early

English, or

Thirteenth

THE

STORY

OF

ARCHITECTURE

141

mouldings foliage in
forms and of

shallower the

and

less less
;

numerous

; carved

capitals
leaves,

oak
;

etc.

crisp, with finely carved

natural

figures
"

ornament. ball-flower Perpendicular,or FifteenthCentury and Later. with numerous mullions, and with Larger windows vertical tracery carried through to the top of the transomes by horizontal arch, often intersected ; all wall surfaces almost panelled, in imitation of finished the window treatment ; doorways frequently

bosses

with

square

mouldings ; period, flattened

centres

arch; weak, shallow octagonal piers; arches, at the later

over

label

the

at

the

; open

timber

struck apex, and roofs of elaborate

more

from

four

tion, construc-

with

carved

figuresof angels ;
ornament.

elaborate
with

vaulting; richly ornamented

; Tudor-rose

parapets

ments battle-

There

was

no

Gothic

England
thirteenth that the

to

compare

era cathedral-building with the early part of

in
the
seen

century
a

in

France.

We Norman had

have

period following the

very active one, and ecclesiastical such
even

Conquest
covered the
were

had

been

island

with

buildings as
that for time. the

unrivalled

in
were

France

at

These

grand
to

structures wants.

sufficient
as

immediate

But

the

Gothic
new

people's tide began

were was

its presence gradually introduced progress,

make

felt,the
into
new

features which

work

in

and, after a period of transition, began to details and the round supplant the sturdy Norman wholesale no arch, though there was pulling down and rebuilding of cathedral churches, such as was
witnessed the
in France.
of

Thus
are

it

comes

about

that

cathedrals

England

less

homogeneous

142

THE

STORY

OF

ARCHITECTURE

than
or

those
two

of

our

French

neighbours, for,with

one

of exceptions, they represent a mixture and are in reality Norman which J styles, structures have been remodelled and enlarged by the Gothicl

builders. istic emphasise a characterpeculiarityof the English cathedral planits remarkable length in proportion to its breadth. The builders, probably for conAnglo-Norman structive showed a preference for narrow reasons, it would have been naves as impossible to ; and widen the naves without pullingdown the buildings, the additions all in the subsequent Gothic were direction of emphasising the length rather than the width, so that in several of our English plans find the proportions of length to breadth we as At Gothic an great as 7 to i. Salisbury, entirely the dimensions are building, 78 feet 450 feet and The 6 to i. respectively almost long, narrow of the English cathedrals for naves are ill-adapted a service, or for enabling a congregation to see what was t^iVing place at the altar ; but there were in compensations, for,as Fergusson points out, pictorial effect they surpass everything erected the with on Continent, unless greatly increased dimensions of height or width. fore, Whether, thereit were hit upon by accident or design, its beauty was immediately appreciated, and formed the governing principle in the design of all the] It was a English cathedrals. discovery which has added effect which the sublimity of to more
to
"

This

fact

tended

"

characterises

most

of

our

cathedrals the

than

any

other

principleintroduced
The earliest
traces

during
of

Middle in

Gothic

Ages." England

are

THE

STORY

OF

ARCHITECTURE

143 in
course

found Pointed

in

Norman

buildings which
middle
were

were

of erection

during the

of the twelfth
at

century.

Malmesbury Abbey (1130) and at Kirkstall Abbey (1160),and almost equally early examples of ribbed vaulting found Furness at Cathedral, Abbey, Worcester are doubt imported and elsewhere. The ideas were no from France, but they developed in a different and probably owed much of their development manner, It is to Canterbury, to English architects. look for the first application however, that we must of Gothic a on complete and extensive scale. Canterbury at this early date had already seen much cathedral had been rebuilt in history. The the tenth by Odo, but the archbishop century the Lanfranc, Norman, appointed by William of the old destroyed the whole building, and rebuilt it on in 1070. a largerscale But, like the
arches introduced old Roman had emperors, the

abbot-builders

of

those

predecessors'work, and within twenty years it was again pulled down, rebuilt by Ernulph. and His Conrad, successor, built it on extensive a more scale, including in his design the "glorious choir the of Conrad," finest work that executed had in England been date at that When this choir was again (mo). the monks destroyed by fire in 1174 missioned comWilliam of a Frenchman, Sens, to The of restoration. new superintend the work choir, designed by him, affords the earliest example of the Gothic in an important style carried out in English building and a complete manner.
days
" "

littlerespect for their

Four

years

after

the work
was

had

been

put
a

in

William

of Sens

killed

by

fall from

hand, scaffold,

144

THE

STORY

OF

ARCHITECTURE

and who

his

place
out

was

carried

variation.

The

by an English architect, his predecessor'sdesign with little new choir, thus completed,
some

taken

(1175-1184)
cathedral of

bears

resemblance
is
an

to

the

plan
of

and

the east

Sens, and details, with end, and a

in its French distinctly apsidal arrangement

stone

vaulted
The

roof.

difference the
new

between
and
"

the old work the Gothic and

of
mo

of

1175

the

Norman
"

is very and studied

marked,
be
at

may

the

point in the arcading where the

new

abuts
the

against
The shows

old.

illustration the
-

FIG.

42.

Part

of

Arcade, side

Canterbury.

plain, cushion shaped Norman capital this at point, o n supporting

its arch with sturdy round the Gothic the other roughly axed zig-zag, on with work its chiselled mouldings and carved

the

one

the

ornament.

The had

great progress
between
a

which

the
is

art

made

these

dates

building emphasised by
of
was
"

Gervase,

contemporary
progress
of

writer,who
the

an

witness eye-

of the

work.

The

pillars

146
with
an

THE

STORY

OF

ARCHITECTURE

axe

and
is

not

with

chisel

but

here, almost

appropriate sculpture. No marble innumerable columns are were there, but here ated a ceiling of wood, decorones. There, there was is a vault, with excellent painting; but here and of stone light tufa." beautifullyconstructed all this, he And wisely remarks, will be better understood by inspectionthan by any description. been had used Gothic When throughout once became it soon importance, a design of such throughout

FIG.

44.

"

Plan

of

Salisbury Cathedral.

In 1185 Hugh of Burgundy generally adopted. set was appointed Bishop of Lincoln, and at once of which end his cathedral, the east to work on Gothic he rebuilt in pure St. Hugh's choir style.
"
"

But round

in

various
arch

parts of the
in
use,

country
in

the

Norman

conjunction with the beginning of the pointed arch, until the which mencement thirteenth period the comcentury, from in England may of Gothic of the sway
continued be
said Within cathedrals
to

date. the
were

early years enlarged

of in

the the

many style, and the

century

THE

STORY

OF

ARCHITECTURE

147

the as others, such works west porch of Ely, the presbytery of choir of the Rochester, Fountains Winchester, of the choir the Church, Temple Abbey, and this of for the But London. typical church look date to Salisbury (1220-1258), an we was foundation, which designed and entirelynew built throughout in the Early English, or thirteenth century, style. A comparison of this with the plan cathedral of the same date of a typicalFrench Amiens (1220-1275) (p.135) bringsinto relief the the English and the points of divergence between

period gave magnificent

us, among

"

"

French

models
AMIENS

"

SALISBURY

Proportion
Semicircular chevet.

of

length
3
to
I.

to

Proportion
breadth,

of about

length
6 to
I.

to

breadth, about
east

end

with

Square-.east end.
Double

Transepts unimportant, with slight projection. very Imposing and richly decorated triplewest porch. Lofty vaulting (140 feet in an height), requiring elaborate system of flying
buttresses Circular
west

transepts, with

deep
almost

West

projection. porch small,

mean.

Low

vaulting (84 feet),with simple exterior treatment.

for support. in the rose-window elaborate

Lancet with

headed little

windows

front,and

tracery.

tracery.

risingabove the crossing of the nave and transepts, was a leading feature in the the where English cathedral design,as at Salisbury, spire rises to the height of 424 feet,and dominates the whole effect was an design. Such impossible in the French building, for the lofty vaulting and
central

The

tower,

f4"
the

THE

STORY

OF

ARCHITECTURE

high-pitched roof
that
any

gave
at
a

such

structure
was

attempt

height dominating
immense of

to

the

feature
mass

rendered

futile

by
The

reason

of the

of

the

building.

central

spire

Amiens

FIG.

45.

"

Durham

Cathedral.

appears

equal
while feet

to

insignificant, yet in that of Salisbury, the

north and would south add

height
more

it is
our

almost

loftiest of

spires;
than
200

the

towers,

high, which cathedral, do not The loftyFrench

dignity to an English rise above the ridge of the roof. designed cathedral, in fact,was

THE

STORY

OF

ARCHITECTURE

149

to

be

seen

from

the

as inside,

Ruskin,
Amiens outside

in his

eulogy
in French

of

French

Gothic,

and
"

of The

cathedral of is
a

particular, admitted cathedral, except

be

for the

its

sculpture,

side of wrong which find how the threads you go the inside or right-side pattern." In
as

thought

of

always to the stuff,in that produce England our

"

designs are
side
"

less them

ambitious, but
;

there is

is

no

wrong

as something the essentially English about mighty pile of with its three Durham, dominating towers, as there is about Wells with its charm and quiet or Salisbury and its close of dignity,

to

and

there

"

Red With

brick

and

ashlar and

long

and

low,
lit.

dormers

with

oriels

We further

must

not to

overlook

one

fact,however, which

emphatic differences between the French and the English Gothic teriors. exThe French building was essentiallya cathedral of the church, the seat bishop, who munity represented the active religiouslife of the comhelps
:

explain

the

it

was

desirable be

that

his

seat, his

dral cathe-

placed in the midst of the busy life of the city, justas would be the case with an important civic building. The English building, the other hand, was in many not on cases primarily to a cathedral, but an abbey church, attached a The the abbey owed monks, to whom monastery. its foundation, sought for their habitation a secluded spot, rather than the busy city,so that they might meditate undisturbed in their cloisters, in pray their church, fish perhaps in their stream. As the old order went changed; but the on, years

church, should

150

THE

STORY

OF

ARCHITECTURE

cathedrals
have

of

England,

in

many

of

their these

features,
earlier

always retained

the

impress

of

days.

abbey of Westminster quiet surroundings originally

The
to

(1245-1271),whose
have
now

given place
a

the

bustle
of

of the

London
French

life,presents
and

curious

English plans. The and deep, square as nave thoroughly transepts are English in arrangement and detail as the east end,

blending

with
a

its
a

chevet
1 The

and
is

p s id French.

chapels,
unusual the
"

height
"

of

vaulting
and the

100

feet

consequent
of
are buttress,

development the flying

also

of

French

suggestive fluence in-

Towards the
FIG.

the close

of

thirteenth and

century

46.
"

Geometrical

Tracery. the desire foradditional

richness
tation ornamena

brought
of in
were

about

gradual change
This
was

in the

racter cha-

the

architecture. of in the

most

marked which

the

treatment

window
divided

openings,
into

increased

size and

separate

in the upper lightsby mullions, formed part into These geometrical tracery. geometrical designs or soon curvature, place to lines of double gave flowing tracery, which the English architects treated with great skill, istic became the characterand which feature of the Decorated style during the fourteenth century, culminating magnificentlyin

THE

STORY

OF

ARCHITECTURE

15*

such and

works the
east

as

the window

west

window of

of

York

Minster

Carlisle

Cathedral.

Hand
the

in har.d

with

the

openings we development in the glass-staining. In majorityof thegreat

church windows of filled
c o

window

increasingimportance of siderable find, as in France, conthe

art

of

decorative the

fifteenth

century

England were with richly

oured

.JL

1-

stained
the

glass,

but
of

iconoclasts seventeenth did

too

the

century
work

their roughly. tho-

only
too
"

The
"

glass
rous idolattaste

was

for the

of and

the
met

Puritans,
with
at
no

quarter
hands.

their para' the of the dlesex," FIG. Mid47.

"

graph
"Petition
Weamen

from

of in

Perpendicular Window.

1641,
12,000

which

signatures,helps to explain the extraordinary disappearance of most of the "We glass from our desire," English churches. it says, whose that prophane glasse windows idolaters superstitious paint makes may many be humbled and dashed in pieces against the that they are conscious tels us ground ; fcr our
"

bore

diabolicall

and

the

father

of

Darknesse

was

the

152

THE

STORY

OF

ARCHITECTURE

inventor

them, damnable pride." The change from

of

being
the

the

chief

Patron

to

forms of gracefulwindow to the stiff rectangular lines of the the Decorated almost like a reaction. Perpendicularperiod seems

Gothic
were

builders
seized with

at the end

of the fourteenth
to

century

emphasise in every possible way the vertical lines of the design, so ing the dominatthat the perpendicular line became
" "

the desire

feature inside

of every

detail.
was as

The

whole
into
a

wall

face, sur-

and

out,

divided
the

series

of

ends, between the buttresses, well as the wall spaces as of glazed panels. series treated a as they were The exterior of King Henry VII. 's Chapel at elaborate Westminster Abbey is an example of
at
'

rectangular panels,and occupied the whole space

enormous

windows
west

the

east

and

Simultaneously with this was developed the beautiful,and essentially of vaulting known as fan-tracery, English, form in the familiar to us ceilings of King Henry VII. 's Chapel, Westminster ; S. George's Chapel, and the chapel of King's College, Windsor; Cambridge,
this method
of
treatment.
"

That

branching
a

roof

Self-poised, and scooped into Where light and shade repose, and Lingering wandering on
"

thousand where
as

cells,
music
to

dwells

loth

die.

The

chapter-house,
to

which

forms

graceful

adjunct
feature Norman

many
this

of
to
was

our

peculiar
times

cathedrals, is another In English architecture. rectangular in form, as at

this date
the

Bristol

after (1155); but shortly

154

THE

STORY

OF

ARCHITECTURE

vaulted it.

porch,
on a

with

libraryor
in

other

rooms

over

Except
or

in

isolated in the open of

scale, as instances, vaulted

small

these

porches,
not
we

were ceilings

found find

Instead parish churches. timber roofs, treated with often with skilful

of them

remarkable

ingenuity, and
means
a

great elaboration.

By

outward reduced carried

development of roof-truss the thrust of the ceilingagainst the walls was minimum roof was .thus easily to a ; the and the exterior design was not hampered
difficulties.
The
trusses

by
were

structural

and

brackets

richlymoulded, and the ceilingspaces treated in a highly decorative Fine manner. examples of these roofs are found in the Perpendicular churches of Norfolk, in the halls of many of the old castles and of the colleges of and Oxford Cambridge, notably that of Christ Church, Oxford. Largest
and of
most

famous

of

all

is

the

great

roof
a

Westminster

Hall,

London

(1397),covering

feet in length by 68 feet in width. space 239 There full of interest few fields of study more are than that found eyes
a.nce

these

old

parish
the

churches.

Much

history,
be may have who

would
written
to
:,ee

otherwise
upon

have
walls

been

lost,
those

by

with

it ; nor is more than a slight acquaint* each features of characteristic the

to to

period necessary the historyand

of the work. and of with

enable

the

student

to

read

In

assign a date to the construction distinguishingthe periods, all

are

mouldings Mouldings
decorated

ornaments

of

very

great value.
were

the any

thirteenth
ornament

century
other of the

seldom
the

than

which

took

the

place

axed

dogtooth, zig-zag

THE

STORY

OF

ARCHITECTURE

'55

bold, undercut mouldings gave strong effects of lightand shade, and required little enrichment carved foliage was crisp, ; the bulbous, treated conventionally,
of the Normans. The and curved
wards, boldly outappearing -to
out

grow of

of

the

face. sur-

The

mouldings
Decorated less
were

the
were

period

fined, dedom sel-

and

undercut

the

istic, naturalfoliage was representingoak and vine leaves, Or FIG. 48." Early English Capital, the sea-weed, and In ball-flower supplanted the dog-tooth ornament. the Tudor-rose, portcullis, Perpendicular work and fleur de-lys appear ornaments as richly upon panelled wall surfaces; mouldings wide and shallow, and of secondary were and Norfolk In importance. Suffolk the panels on the exterior wall surfaces werefrequently filled in with with flint work. Wooden shut
screens

elaborate

tracery

off

the
49. Ball-flower FIG.

chancel.
In is the

strikingcontrast
almost entire

to

later

times of
nicipal mu-

ornament.

absence

buildings throughout the four centuries "the king, succeeding the Norman conquest: the baron, and of the the bishop were the estates neither nowhere," and realm; the people were

56

THE

STORY

OF

ARCHITECTURE

municipalities nor
existence. In the addition
to

guilds could
the

assert

an

pendent inde-

buildings mentioned
of

are following : styles

"

good examples
EARLY ENGLISH

the

above, respective

Worcester Fountains York

Cathedral

Choir.

Abbey.

Cathedral Cathedral
....

Transepts.
Choir.
Southwark

Ely
St.

Saviour's

Church,

Peterborough Cathedral Glasgow Cathedral. Boxgrove Priory, Sussex.

West
.

Front.

DECORATED

Ely
York

Cathedral

Lady
Nave. Oxford. Choir

Chapel

and

Lantern.
Cathedral

Merton Tintern

College Chapel, Abbey

and

septs. Tran-

Ripon Cathedral
Lichfield
Cathedral.

East
.

End.

PERPENDICULAR Gloucester
Cathedral Choir and West

Front.

Chapel, Warwick. Beauchamp Bath Abbey.

Manchester Winchester

Cathedral.
Cathedral

West

Front.

Magdalen ITALY.
are

College, Oxford. Gothic

^Yhich architecture,from causes took seek, never deep root in Italy utterly unsuited place, the style was

"

not

far to first

In
to

the

the brilliant climate

of the country.

The

Italian

THE

STORY

OF

ARCHITECTURE

157

the from cool resort a as regarded his church windows the small eternal glare of the sun ; and with its gratefulgloom, were of the basilica, more of the walls of glass the his liking than to his neighbours. Again, style in vogue amongst the time of the Roman from empire, classical been tradition had strong throughout the very The country, and had permeated its architecture. familiar Italian with, and was justly proud of,
" "

the

classical

forms of Western

of

Rome,
the

architecture The works

Europe

the which upon had been modelled.

Romans, had been marked simplicity of parts, by breadth, solidity, of horizontal and lines; by emphatic treatment it was hardly to be expected that the narrow, lines and of vertical lofty aisles,the multiplicity of detail of the mouldings, and the minuteness
of his ancestors, Gothic builders the did Italian relied
was

should

find

favour

with

him.

Moreover,

scientific
not

never

for interior

struction conprinciples of Gothic appeal to him, for the mediaeval constructive a designer. He wall effect upon large unbroken

were surfaces, which mosaics, or veneered

decorated with rich and

with
rare

frescoes

or

marbles.
was was

When
received

Gothic
as
a

grafted
Italian of Roman the

upon Gothic

introduced, therefore, it which foreign or imported style, the older forms, with the result
was never

that

divested
It owed whose

itself of the

influence
to

traditions.

its introduction travels

mendicant

monks,
with and

into contact the these earliest monks" of

brought them civilisation. the outer Many of built by were largest churches
or

Dominicans founder

Franciscans. of the

S.

Francis

Assisi,the

Franciscans,

158
died
in

-THE

STORY and of the

OF

ARCHITECTURE

1226,
one

church
most

which

enshrined

his

body
of

was

the
as

remarkable
as one

examples
the earliest.

Italian

Gothic,
S.

well
a

of

Although
church shows of

designed by
Francesco Italian

German
at

architect, the

Assisi in its

(1228-1253)
composition.

strong

influence

to Internallythe architecture is quite subordinate the decorative for which the wall spaces paintings, with which were intended, and they have been

filled. lower

The

church

is built in two

stories

in the

the vaulting over high altar is enrfched with frescoes by Giotto ; so small,however, the light, the window-openings, and so dim that are it is not possibleto fullyappreciate the detail of the paintings,unless it be for an hour or two on the brightestdays. S. His Francesco

church

the

contains

the

shrine

of

S. Francis.

the Franciscans,and the Dominican followers, brotherhood responsiblefor (founded 1216), were of the earliest and most important Gothic many at churches, including S. Francesco Bologna, the Church of the Frari at Venice, S. Anastasia at S. Maria at Florence, and Verona, S. Maria Novella Minerva (1280),the only important Gothic sopra church The in
most

Rome. successful

examples of the style in an imposing Italy are the cathedrals, built upon scale, and showing, in almost instance, the every of the Italian treatment of Gothic :" peculiarities Milan (1385-1418), the largest of all mediaeval churches Seville; Siena (1243), Orvieto except (1290), Florence (1294),Ferrara, and the church of S. Petronio, Bologna (1390), projected upon of Milan, but scale than the cathedral vaster a

THE

STORY

OF

ARCHITECTURE

159
these

never

completed.
with is little,

In the

there
to

them from distinguish and Siena buildings. At arch is freely used, while effect is gained by the use
of

designs exception of the details, the earlier Romanesque

some

of

Orvieto
a

the

round interior

striking
of The alternate

bands

fagade in each is a rich composition of coloured case marbles, three with gables, and a deeply recessed triple mosaics. porch, enriched, at Orvieto, with gorgeous
The
love of the Italians for colour decoration in of stained preference to the brilliancy glass finds expressionat Orvieto, where small window-openings
are

black

and

white

marbles.

filled with The

slabs of rich translucent

of

alabaster.

cathedral del

Arnolfo fifteenth

Florence, begun in not Cambio, was completed

when the dome
was

by 1294 until the

century,
but
that

added
a

by
of

Brunelleschi.
scale ; whole

Here

everything
made

is

on

colossal

the

architect

the

mistake

thinking
which,
would in

with
a

invest the largeness of parts would dignityand grandeur. The vast nave, French design of similar importance,

have here

been

subdivided

into

ten

or

twelve

bays, is

spanned by four great arches, which left bare, with are hardly a moulding or a vestige of detail to give scale to the composition. The walls above bare and are colourless, and cannot fail to disappoint. Of the dome shall speak we of the later, when dealing with the architecture
Renaissance. In is the in the of direct
contrast to

the

Duomo
at

at

Florence

remarkable

cathedral

Milan, bewildering
a

of multiplicity The

its detail.

its parts and the elaboration exterior design is lost in

160

THE

STORY

OF

ARCHITECTURE

perfect
and

forest

of

pinnacles, decorated

with

rich

intricate tracery,"
A
mount

of

marble,

hundred

spires!

niches, filled with statuary, the crowns nave-piers, in place of the usual ceiling is painted in imitation of capitals. The elaborate fan-tracery. of the Milan Cathedral one (1385-1418) was latest of the important Gothic buildings erected the still regarded as in Italy, but a style was foreignimportation,and had not become, in any In proof of this we national find, one. a sense, miles of Milan, a few within temporary a building conin the with cathedral, yet dissimilar of Gothic every feature, and showing hardly a trace
In the interior
a

belt of

influence.

The
at

famous

Carthusian
in

monastery,
the

or

Certosa,
of

Pavia, begun
terra-cotta.

1396, was
Here

built entirely

vaulting is Gothic, but in other respects the external design, with its picturesquely grouped turrets, round arches, is thoroughly Romanesque arcaded and galleries,
brick
and in character. addition. The The

marble

facade

is

Renaissance

Italians, as
rather

we

have

seen,

were

great

decorators
art

found
such

natural
as

and Gothic constructors, expression in small decorative

than

works

Maggiore is a characteristic specimen of this jit Bergamo work fascinatingin its clothing of Gothic detail, to rely as yet built up in so unscientific a manner for security a system of iron ties and clamps. upon
monuments.

porches and The porch

tombs,
of S.

or

in

secular

Maria

"

And

here

it may

be mentioned

that the

use

of iron

62

THE

STORY

OF

ARCHITECTURE

and

which

remarkable
church
""_"_

of

highest expression in the Doges' Palace (1354) adjoining the S. the centre of the Mark, most
"

found

its

I".' :;.:_'.'_'

-r~rm

beautiful
group that of

architectural
adorns
or

city
the

Europe,
The its

any of sign, de-

world." with

double
and

story

of

arcades

traceried

arches,

is familiar,

from and readers the

illustrations
to

photographs,
in

world,
the

all parts and has fame pen it

of
ceived re-

added from

loving
to

of
presented re-

Ruskin,
all

whom "a

model

of

perfection." "The front of the Doges' Palace," he writes, "is

the chaste
name

purest
model

and

most
can

that I

FIG.

50.

Fa"ade

of

Doges' Palace.

(but one) of the fit applicationof colour to public buildings. The sculpture and mouldings are all white ;
but
the wall surface is

blocks of pale rose, the chequered with marble chequers being in no wise harmonised, or fitted to the forms of the windows looking as if the ; but surface been had and the dows wincompleted first, be impossible, of it. It would cut out
...

THE

STORY

OF

ARCHITECTURE

163

believe,
fair."

to

invent

of all that is in
most

magnificent arrangement dignifiedand building most

more

Many
found

choice

examples
banks of the and refined

of

Venetian

Gothic
none

are more

along
than

the

the and

Canal,
ornate

beautiful
and

Ca

d'Oro,

the

Pisani

Foscari

Palaces.

GERMANY.
was

"

In

Germany
the

Gothic
France.

architecture Its

borrowed

two

fine For

from directly was irregular,and exceptions, produced churches Romanesque

ment developor

style, with one nothing to equal

was a

the

of the

earlier centuries.

many

grafted styleswhich
1 2

it years after its introduction the Romanesque stem, upon

"

merely
fusion of

is

seen

in

Magdeburg

Cathedral

(begun

the massive lines of the TO), constructed on clothed with the twelfth-century churches, and details. little later, in A more graceful Gothic the church of S. Elizabeth at Marburg (1250), find an we essentially German type of building, the
nave
"

hall-church," in which

the

clerestory of the

disappears, and the side aisles are raised to the same height as the nave. French Strasburg Cathedral, designed upon a principles,has a rich fa"ade, and large rosewindow in the west gable. The magnificent cathedral at Cologne, finest of all,is an enlarged edition of a French little from that plan, differing of Amiens, the but with double aisles to nave. The work of building this cathedral carried was on slowly. Begun in 1248, the choir was very completed in 1322, and ihc leinainmg works, after being proceeded with intermittently, were entirely

164

THE

STORY

OF

ARCHITECTURE

suspended
century.

until
The

the

middle

of

the

nineteenth

and transepts were pleted, comaisle, in from the originaldesigns,in 1848, and was complete in all respects, with 1863 the church the exception of the great Western spires, 500 feet The in 1880. added style is high, which were uniform throughout, but the later details lack the Gothic. Cologne is vigour of thirteenth-century of all Gothic the largest cathedrals, with the single
nave,

exception of Seville. Gothic Fine examples of fifteenth-century

found among the German town-halls.

are

In SPAIN, ETC. Belgium the most BELGIUM, the cathedral of the period was important church ing at Antwerp plan, show(1360),with a remarkable
"

three total width

aisles of 160

upon

each

side

of the

nave,

and

feet,equal to one-half the entire front florid west length of the building. The century) is a rich example of the later (fifteenth
Flemish
are

treatment.
at

Other

cathedrals

of

interest

found

Brussels, Ghent, Liege, and

show the

Louvain,
It
was

all of which in the

influence

of

France.

municipal buildings,however, that the new gium Belmore thoroughly nationalised. style became famous has some examples of trade-halls and by the burghers during the town-halls, erected most period of their cities' history. prosperous the The cloth-halls at Ghent, and Ypres and Loutown-halls of Brussels, Ghent, Bruges, and notable vain are examples. The rich fa"ades are of the in the treated somewhat manner floridly by a Gothic, and are surmounted fifteenth-century by several stories of dormer steep roof, broken

THE

STORY

OF

ARCHITECTURE

165

windows.
the

lofty tower

generally forms
churches and Toledo of the and

part of
were

design. In Spain the earliest Gothic of Burgos (1220) cathedrals

which

the

(1227),
French Gerona

both
at

show

the

influence At the Barcelona thrust

cathedral
internal

Bourges.
take

buttresses

of the

vaults,

as

Seville they do at Albi in France. (1401-1520), the largestof all mediaeval

was

Cathedral

churches,

of

built upon the site of similar dimensions, a fact

"

Moorish

which

mosque explains the

peculiarityof its plan a huge rectangle, with east end, measuring 415 feet by 298 feet, square of 124,000 and covering an feet. area marked in Spain are The later works by great fluence inelaboration of detail. Possibly the decorative of the Moors (expelledin 1492) contributed for such and accounted ment to this, profusion of ornaof San in the sepulchral church is found as in many de los at Toledo, and Juan Reyes and cathedrals additions to the churches out throughthe

country.

VIII

RENAISSANCE
IN the

ARCHITECTURE
we

preceding chapter
tradition
"
"

have the

seen

that
of the

classical Roman the

any
to
one.

derived

from

allow too empire was strong in of Gothic be received there with to principles ceased The Italian never degree of favour. look upon the style as a foreign, or imported The very name with which it, they branded

days Italy to

66

THE

STORY

OF

ARCHITECTURE

"

Gothic,"which
intended
their
own was

has

now

lost its
"

was

to

distinguishthe
national

original meaning, barbarous style

"

from

architecture.
it
was so

When

the

Gothic
the

style

used,

modified

by

Italian

architect

that many
As

of

its characteristic
an

features

quite disappeared.
at

example, the
the with
not

great cathedral
nave
a

Florence into 60 four feet.

was

divided
of almost

span

noted, in which colossal bays, each The designer did

was

realise and

that

these

classical

ideas

of

fatal when largeness of parts were Gothic designs. Arnolfo del Cambio, the architect of the Yet of the cathedral of Florence, was one greatest Italian architect No builders of the Middle Ages. has enjoyed the proud privilegeof stamping his more individuality stronglyon his native city own
"

spaciousness applied to

than

Arnolfo.

When

we

take

our

stand
at
our

upon
feet this

the
owes man.

hill of her The

Samminiato,
in

the
a

Florence
measure

physiognomy
tall tower

great

to

Vecchio, the bulk of and the long, oblong mass of the Duomo, all Giotto's his. S. campanile, are Croce, the and the Brunelleschi's dome, cupola on of Orsammichele, church though not designed by he had planned."1 him, are all placed where embraced a Arnolfo's plan of the cathedral carried be classical feature to a huge dome
of the
Palazzo
"

"

upon died could

an

octagon,
the

143

feet
as

in he

diameter had

; but

he

before be

dome, constructed, and

as

designed it,
him
no

he

left behind he

information
1

to

the

method

had
in

intended

to

Symonds,

"The

Renaissance

Italy."

THE

STORY

OF

ARCHITECTURE

167

Nothing further adopt for covering the octagon. done until,in 1417, as the result of a public was competition, the task of constructing the dome intrusted to a was competitor named young is Brunelleschi. Now, the story of Brunelleschi the story of the origin and growth of Renaissance architecture in Italy. The Renaissance, or revival of classical forms and the result of a great in art was literature,
intellectual
movement

which

manifested

itself in thence

Italy during the fourteenth century, and the whole of Western spread over Europe.
causes

contributed became
Greek old and

to

the

which

general, of
and Latin classical details

the ancient in the

Many the fashion, revival : reading and studying authors ; the existence,
"

of Italy, styles

inherited asceticism
the Added which

classical of of the the

studied; the tradition ; perhaps, too, the Middle Ages, against which
Renaissance Gothic
was a

monuments, might be

from

which

freedom
to

reaction.

this, the
were as

builders

into

Italy,was,
to

we

style of architecture, endeavouring to introduce have unpopular, and seen,

climate. his Brunelleschi

unsuitable
These

the

brilliant Italian
gave

tunity. opporthe age of twenty-two he had unsuccessfully competed with Ghiberti for the great bronze At of

conditions

doors after
way

the

Baptistery. Having
his

left

Florence made his

this, with
to

friend
he time old the

Donatello, he
worked
to
as
a

Rome,
all his

where spare of the grasp

giving
endeavour

architecture
to

Roman
true

goldsmith, the study of the empire, in an principles of the

to

classical

style.

On

his

return

Florence

his

168

THE

STORY

OF

ARCHITECTURE

mind
the of

was

full of

tha

great scheme
than those of
no

for

completing
in
was course

Duomo,
erection
much of

which, though it had

for
more

been
years,

still best
the

unfinished.
was manner

Amongst
difference

in

authority there
as

opinion
great
have
in

to

the and

covering the
we

octagon
Florence

It was not, as apses. the that council was

said, until 1417

which

held

the definitely settled this great question, when some competitors submitted extraordinaryschemes. that the dome should One advised be supported by a central pillar suggestion, which ; another seemed find favour, was that the to over space

which be

the

dome
a

was

to

be

built

should

be
were
"

G""ere.dwith
to

huge
was

mound

of earth.

Coins the

mixed

with

the

earth, so

that
"

after
to

the

dome
the

complete
the

might
it !

people be willing
sake
of

remove

soil from
would

site for in

the

the

money
to

they
have
of

find
the

Brunelleschi who the felt dome

appears

been

only architect
to

confident without
was

being
of

able

construct

the

use

accordingly
had

the work internal supports, and little him ; but intrusted to so

confidence

the
"

authorities his

in

him

that of

they
the

appointed Ghiberti bronze doors, who

construction"
to

successful

rival

knew

be

quite unfitted
many

for the

nothing of architectural his colleague. Ghiberti was made task, and Brunelleschi
to

unsuccessful
Vasari
ruse
:

attempts

get rid

of

his

partner.
successful "One

amusingly
he

describes
"

his

last,

morning,"

instead Brunelleschi],

Filippo [that is, says, of appearing at work,

hot

stayed in bed, and

calling for

fomentations,

170
one or

THE

STORY

OF

ARCHITECTURE

the

other

should

continue

his your

own

work

therefore
have

I have

concluded
the

that,as

excellencies
as

divided the

divide

salary,it would of labour, that each

show how useful much
to to must

be
us,

well

to

being
may

thus

stimulated honourable
are

to

he

knows,
"

be

and

the

Republic.
done the

There

two

difficult
the

things

be

bridges

upon

which is to Let the

which

cupola.
will take This in hand

stand, and the chain bind together the eight sides of the Ghiberti take one of them, and I time be lost.' other, that no more
masons
"

arrangement
the
at

settled could from

Ghiberti.
make the

He

took

chain, but
last removed
were

nothing of it,
works.
in the
struction con-

and

was

Great

difficulties
of the

experienced
the work
was

dome,

and
so

frequently
words of
an

delayed in progress, old writer,the vain

"

that, in

the

Florentines

considered

that

jealous of their dome, which bade fair to rival the beauty of the blue ethereal itself." vault It was the completed in 1434, in 1462, after Brunelleschi's lantern being added
were

the

heavens

death. While
carried which

the
out

dome
several

was

in

hand
works

Brunelleschi
in

smaller

Florence,
his in
temporaries, con-

had

considerable
and turned
new

influence their

with

thoughts
of the

the
most

direction

of

the

style. One
the the Pazzi earliest

delightfulexamples is of S. Croce, perhaps

in the churches each of of which
nave

Chapel (1420) pleted building comwell-known S. the and

Renaissance

style. Other
Lorenzo

his
has

are a

S. small

dome

over

Spirito, crossing
are

of

the

and

transepts.

All

the details

THE

STORY

OF

ARCHITECTURE

171

copied from the study had made

The

Roman him

models, with
familiar.

which

careful

second
in

great
Florence
man

exponent
was

of

Renaissance

architecture who
was was
a

Alberti

(1404-1473),
dome

young

while

Brunelleschi's

swelling out against the sky. Alberti was of a valuable ardent scholar, and the author an the art of building,a book which treatise on was, of his life, important work perhaps, the most for it became popular, and greatly influenced very the designs of his contemporaries and successors. a careful Brunelleschi, as we have seen, had made of Rome, but study of the imperial architecture in his own designs he in no way reproduced it. the great leading principles He merely borrowed of Roman construction, and carried out the designs
in

accordance
:

with
was

his

own

ideas.

Alberti

was

pre-eminently a scholar, and had distinct leaning towards a everything Latin. in Latin, and written his great work Even was Roman details and his partiality for pure models is evident in his buildings. In his Ruccelai Palace at see Florence, for example (1460), we the first instance of pilasters applied to the fagade ; these into each introduced are story (as in the Colosseum), the orders being superimposed, and each carrying an entablature. Another the by Alberti was important work Novella in Florence" fagade of S. Maria an he introduced applied-marble facing, in which In this pilastersand a true classical pediment.
different church volutes
nave
we see

he

the

earliest the

instance

of the

use

of the
was

higher walls of with those of the aisles, feature which a

for

connecting

172

THE

STORY

OF

ARCHITECTURE

constantly imitated
of

difficult

ment by later designers. The treatthe church of the most one facade was the problems which early Renaissance to

architects had
no was

solve,and
made for
to

attempt
a

was

in many of thexhurches solve it. The problem

new

one,

the

architects

could

get

no

the ruins of the baths, theatres, or help from it necessary invent their to temples, but found with clothe them classical to own fagades and The details. result was for lack of sincerity, a the external casing had no structural connection with the buildingwhich it was designed to mask

The
Francesco

churches
at

of

S. Andrea
are

at

Mantua

and

S.

Rimini latter is of the

Alberti.
an

The

by important works worthy of careful study as

of the

illustration

methods

Renaissance.
was a

In

this

instance

the
was

Gothic dressed

church up with

remodelled, and
of

entirely profusion

classical

detail

and

ornament.

Alberti's

complet in-

the work, while very beautiful,exposes methods of principles of the Renaissance : falsity the builders regard disthere was to a tendency among "that only law, that Use be suggester of home this fact is borne Beauty," and at Rimini the visitor. The architraves, and pilasters, upon other classical features
are

with

which

Alberti

has

merely a series of surface do with the to deceits, having nothing more structural strength of the design than the paintings
clothed the interior
upon time de'
more

the

walls.
at

Architecture
at

this
under

period
the
of

was

having
of

great
and

Florence
a

patronage
vast

Cosmo

Medici,
than

nobleman wealth.

influence

regal

Under

Brunelleschi's

THE

STORY

OF

ARCHITECTURE

173 of

lead imbued
those
"

there with

soon

sprang
same

up

band

architects
created

the

whose spirit, of

genius
the

magnificent
Florentine

monuments

Renaissance

these palaces. Chief among the Riccardi are (1430) by Michelozzo, the Strozzi (1489-1553) by Cronaca, and the Palazzi Antinori, latter from Pandolfini, the a Guadagni, and all characterised are design by Raphael. These by solidity and strength, for they required to be fortresses well as as palaces : the walls were in large blocks, heavily of masonry, rusticated." In this rustic work, as it is inaptly named, a deep the joints, which the face from channelling marks of the rough stonework projectsboldly. In some
"

the

cases

the

rustication it
was

extends

over

the

whole

to the lower generally confined This treatment gives a pleasing variation story. of light and time shade, suggesting at the same of sturdiness which is in harmony with the a note and temper of mediaeval Florence. spirit In the Palazzo is a good Strozzi, which type of the Florentine palace, the rustication is treated the whole simply, but covers facade. A serious in the design of many defect of these buildings is apparent here the uniform height of the stories,as indicated by the string-coursesat the level of the window-sills. This, together with the somewhat monotonous repetition of uniform detract the from to windows, tends grandeur of the design. To the defect is redeemed extent some by the great, finely proportioned cornice, which the building, and makes crowns every other feature subordinate and of secondary importance. These reflect windows heavy walls and narrow
"

faQade, but

174

THE

STORy

OF

ARCHITECTURE

the The
and

disturbed torch-rests
the

civic

life

of

this

great
the tell

republic.
courts,
own

of

wrought metal,
entrances,
all

dim

gloomy

their

the habits of caution trace we history; in them the Florentine which, of necessity, characterised leaders. And be as designs they must studied, and their merits weighed, amidst their own sunny in and connection with the history surroundings, which they helped to make ; for it is impossible from to judge them their reproductions in the form end of Westin sunless

clubs

London.

Seen

in

Florence,

these

buildings are
pages which of he who

great

history,
passes Fitness
one

read. may is indeed

of

the elements

of true and
Can

architecture,
FIG.

51."

Renaissance

Capital.

few

buildings

than

these

to

represent the
of the

1a y greater claim fit expression and the the times which

embodiment

spirit of
of

produced them.
In Florence many
were
"

the

architects in the
were

of

the

fifteenth of
on,

century
craftsmen
one

trained in the

workshops
carried

the

rooms

which
arts

under

roof,
and

of

the

painter,

the

goldsmith,

craftsmen decorative

sculptor. By these details were the new developed in and accessories, such as altars, pulpits,

the

THE

STORY

OF

ARCHITECTURE

175

monuments, delicate and subordinate

finer than

is most the work of which many the refined ; indeed, in many cases, much works architectural are artistically in

buildings in which they are placed. in marble, details were These invariablyworked with delicate exquisite carving mouldings, and in Florence in low relief. The pulpit of S. Croce in the beautiful in form, and is a fine example
the
"

execution Great

of

every

detail.

activityin building prevailed in other cities of during the Florence, Italy, outside and Venice. fifteenth century, and notably in Milan almost the earlier period was Rome at entirely Florentine second-rate artists, dependent upon there much and of the work was unimportant.
Milan
new was

the

first of

the
;

cities and

in

which

the
the third work of

architecture

took
come

root

here, for
with the whose

first

time,

we

into

contact

great Renaissance
S. Peter's Bramante many
we

Bramante, architect, in the eventually culminated great

in Rome.
was

design
when

not

born
Florentine

until

1444,

of have

the noticed

great
were

buildings which
Like native works

his of
were

nephew,
the in small

the
town

already in existence. a great Raphael, he was

of

Urbino.
his

His

chief

Rome,

but

among
a

be mentioned may church of S. Maria

buildings in Milan considerable portion of the the little delle Grazie, and

San Satiro. of S. Maria octagonal sacristy presso The most interesting example of the Renaissance is to be found Milan at Pavia, where style near Gothic the in added to a fagade was 1491, with This front is covered Certosa, or monastery.

176
a

THE

STORY

OF

ARCHITECTURE

profusion of marble richly and ornament, delicately wrought, like the ivory carving of a for its position. casket, but quite inappropriate
The half
a

Renaissance

movement

in in

Milan

was

about
in

century
the

later

than

Florence, having,

fact, been
In The Venice

introduced

there

by

Florentine
in

artists.

style was
at

still later

appearing.

well satisfied period were with their architecture, and well they might be, for,as we; have seen, the Gothic style, tinged and enriched by Byzantine influences,had produced buildings of exquisite beauty and design. The security and prosperity of the city rendered such fortress-like
unnecessary

Venetians

this

architecture
; moreover,

as

that
was a

of
state

Florence of
war

there and

between
the
not two

the

Florentines
one

the

cities hated

another
Venice

Venetians, and cordially. It is

should

then, surprising,
borrow
her forms

that of

be
from

slow

to

architecture
the

her

neighbour. reluctantly ;
the

She
at

adopted
small
as

first in

Gothic

forms,

in the
The

style somewhat details, grafted upon Porta flart^ of dellg,

tms

design ol

gateway

is wholly Gothic in composition, but the mouldings, and the sportive Cupids appearing amidst the classical suggestions. In the foliage,are internal forms are quadrangle the Renaissance more evident, mingled with the Gothic pointed

arches.

dei of S. Maria delightfullittle church ^iracoli^one of the earliest examples 6F~the new of Byzantine tradition. the influence styleTwesee the This influence is suggested, externally,in cupola and the semi-circular roof and pediment,
In the

178

THE

STORY

OF

ARCHITECTURE

Florentine
are

model

in the Renaissance

palaces,which

along the banks of the "finest in the world," the Grand curved street Canal. The is a good Spinelli Palace type of the Venetian the fagade has three well-defined building. Here The lowest stories, crowned by a bold cornice. story has a central door, with steps leading down the canal ; on the to or first, principal,floor is almost a balcony,an indispensableadjunct. The windows in a are manner grouped irregularly, Venetian to most common palaces, the central ones being massed together, while those on either side stand free notable the a improvement upon and Roman monotonous spacing of the Florentine Vendramini Palace palaces. The (1481) shows
"

chieflyfound

similar
Rome

features.

during the greater part of the fifteenth and Renaissance architecture stagnating, century was But in made no practically headway there.
the first half
was

of

the

sixteenth

century

so

great

an

impetus
that the this

movement given to the Renaissance its culmination in this short period witnessed contributed which city. The causes chieflyto

result

were

the

succession

of the

strong and

ambitious

Julius II. to the Papal chair, and, with and his accession, the in wealth great increase of the Church in Rome. Wealthy families, power whom the troublous times of the preceding century had driven to the city, and soon out, returned in palace-building. another began to vie with one a style found Among the architects the new great Rome who became in Bramante, to exponent
what

Brunelleschi
appears

had
not

been
to

to

Florence. been
an

Bramante

have

especially

THE

STORY

OF

ARCHITECTURE

179

original genius ; but he had, before coming to Rome, the advantage of profiting by the originality of his predecessors in Florence and Milan. His work is marked by great varietyof treatment, and, in general, by simplicity and good proportions. One of his earliest designs, the Palazzo Cancel-

FIG.

53.

"

Courtyard,

Cancellaria

Palace.

laria,has a treated, with

between borrowed
the shows

simple fagade rather monotonously strips of pilastersspaced in pairs windows. The yard arcadmg of the courtand arches a composifcroff'of columns,
the Florentine

from

architects, which
builders. many other

became

popular with later Renaissance These like so columns, by-the-bye,

have buildings,
a

details of Roman

strange history.

l8o

THE

STORY

OF

ARCHITECTURE

formed originally of Pompey the first part of the great theatre theatre of Rome, built about 55 B.C. stone During the Middle Ages this building suffered the usual used as a quarry for stone and was and marble, fate,
are

They

monolithic

and shafts,

"

from
was

which almost

the

basilican

church

of

S.

Lorenzo

built. Bramante entirely pulled down the greater portion of the in order to basilica, build the great Cancellaria palace for Cardinal of the Riario,using,amongst other materials,fifty
columns for

old

his two-storied culminated

arcade. later in

Bramante's

work

the

great

design of S. Peter's. Julius II. had employed for Michelangelo to design a colossal monument next set his mind himself,and the ambitious pope
the erection of a vast mausoleum upon the monument. Bramante entrusted was
to
cover

with

the His
cross

apsidal end to each haste with the crossing. The over arm, and a dome which the work carried on led to a collapse of was of the main some walls,a catastrophe which was this After followed by Bramante's death in 1514. the original variations in the design underwent many the hands of a succession of architects Raphael the painter,Giuliano da San Gallo, and Peruzzi, others. devised EactroT these a new plan among and made alterations to the original fundamental with made scheme, so that little real progress was the structure for many At last, after a years. handed over chequered career, the building was in 1546 to Michelangelo, then than seventy more his energetic control the of age. Under years
"

work, and began his design took the form with four equal arms

great task
of with
a

in

1506.
"

Greek
an

cross

"

THE

STORY

OF

ARCHITECTURE

181

work
years.

progressedwithout
He

interruptionfor eighteen reverted, in the essentials, to the

with with such

cross, but plan of Bramante, a Greek original a projecting portico to the front, and square the crossing. With the mighty dome over

did he prosecute the work that, at his death energy the in completed, with 1564, the design was

exception of
He unfinished

the

east

front
a

and

the

dome

covering.
of all the under

left behind

him

complete
were

model

parts, which
of the

completed
Fontana,

Vignola, Giacomo
the end So

della Porta, and

before

century.

far, the design of Michelangelo, based upon little adhered been that of Bramante, had to with
variation the of
; but
to

in the

seventeenth Paul

century
set

Maderna the task

architect

Pope

V.,

himself

added two bays to the improving upon it. He into thus transforming the plan from a Greek nave," and Latin destroying the proportions, a cross, the existingtasteless facade,which and he erected from completely shuts off the view of the dome the front. The splendid colonnade, which encircles added later by Bernini the piazza, (1629-1667). was S. Peter's,thus completed after an interval of The in existence. church 1 60 years, is the largest feet 600 and choir, almost central vast aisle, nave, into only six bays ; the nave in length,are divided itself has four bays only. Over the crossingof the transepts haffgsthe great dome, 140 feet in diameter, risingto a height of 400 feet. With so few parts, in a building of such colossal dimensions, it follows
"

that scale.

all the

parts

must

themselves

be

on

vast to
an

Internallythere is nothing to give scale the building,and enable the eye to form to

82

THE

STORY

OF

ARCHITECTURE

estimate

of
as

the
a

parts,
and
so

in

of size ; there is no multiplicity Gothic the eye, design, to confuse

lies a apparent size. Herein Rome serious defect in the design. disappoints much me perhaps, in especial,"writes \ S. Peter's, be Clough, and this impression of S. Peter's must for the colossal scale shared by almost every visitor, of the interior, in the absence of smaller is details, the observer. the fagade is lost upon Externally, ruined by the clumsy work of Maderna; but from a distant point of view the mighty dome, dwarfing all and other buildings, air, seemingly suspended in midis an be forgotten. never impression that can increase the
"

"There's
that will,

kind

of

miracle
you.
out

in

it.

Go and

where

you

dome may

follows

Again
the
rest
"

again,storm
remains."

and
And when the

mist
it is
one

blot

that

perhaps only in
is enabled
to

this

dim, blue distance,

the

contrast

great

mass can

with

that the mind surrounding buildings, gauge the immensity of this great work

fully

of

angelo. Michelcarries
the

The
us

story of the
to

building of

S. Peter's

down

the

seventeenth

century.

During

in progress, 150 years that the work was architecture passed through various the

Renaissance

phases.
a

In

middle

of upon

the the

sixteenth

century
orders

treatise
had led

by
a

Vignola
influence
more

classical

great
to

his contemporaries, and upon of the formal and direct imitation old Rome.

classical

details of

Many

notable
"

the greatest architects of the time Palladio, and Sammichele

correct

"

buildingsby angelo, Vignola, Michelwere studiously

the free

and

simple

in

unlike detail,

and

inventive

work

of the

earlier

period.

The

desire

THE

STORy

OF

ARCHITECTURE

183
a

for of

simple
treatment,
two

and

grand
use

effect led of
one
"

to

new

method order
bracing em-

the
or

colossal the
was

three

stories

Palladian
not

order,
first to familiar

as

it is

called.
this which read

Palladio but

the made

introduce

treatment,
he
wrote

it

was

by
was
our

book

widely
has

upon in England, and in this direction.

the

subject,which greatlyinfluenced
No Italian tect archi-

architecture left his

stronglyupon English architecture Palladio. as Possibly his influence was, in part, due tolHe fact that he taught, better than of obtaining good effect else, the method any one a design cheaply and simply, that he could make rich without and grand without great dimensions much expense," by the somewhat unworthy use his coated with which he of plaster or stucco buildings.
so
"

impress

"

FRANCE.

"

While the

the old

Italian national

architects architecture France

a

were

busily reviving
their
own

in
was

country, the
and full of
movement

Gothic

style in
and
no

vigorous
the But
wars

vitality j

for

long

time

Renaissance
at

had fifteenth

effect

the the

end

of

the

century,

it. upon when the into

tact con-

of with

French became

the
s

kings brought them Renaissance palaces of

fired with ambition
and

Italy, the
to

monarch these their

imitate

splendid residences,
train several Italian

in brought back architects, whom they

extent, the great employed to reproduce, to some In France, however, palaces of their own country. have the foreign artists could not things their own but classical details, They introduced many way.
the

national

Gothic

traditions

were

very

strong,

84
for

THE

STORY

OF

ARCHITECTURE

details could long time only the minor be introduced, while the general plan and position comof the designs continued to be unaffected. There ensued, then, a long period of transition, classical details were when Gothic grafted upon at the chateau designs, in the way we find them Here the portion which built for of Blois. was curious Louis a XII., about blending 1500, shows of the styles : the general impression is of a Gothic influences are distinctly seen building,but the new in the stronglyemphasised in the mouldings and lines. It was horizontal until the reign of not the new architecture became Francis I., when that .the classical forms fashionable, began to assert dominate themselves and the design. The to Transitional work this period, the beautiful of Frangois Premier," as it is called,is full of charm, the Renaissance of Italy in three differingfrom characteristic features,as the result of the influence in France. tradition of Gothic These special features of composition are (i) a picturesqueness of outline ; (2)the steep-pitched roof, with the and natural development of dormers and high chimneys; and (3) lack of symmetry and of formality of plan. best examples of the FranQois Premier The style the the are palaces built by the king himself north wing of the chateau of Blois (1525) with its famous external staircase,the great palace of At Fontainebleau, and the chateau of Chambord. Chambord (1526) we find greater formalityof plan than usual was during the earlier period, and an elaborate roof almost overweighting the design with multitude and tall chimneys, of dormers a
and
a
"
" " "

crowned

in the

centre

with

fantastic lantern.

86

THE

STORY

OF

ARCHITECTURE

fa"ades. Thus
extensive
an

of

completed, all European

record of

the

Louvre

is the most

palaces, and
of progress has two main

supplies
French

excellent

the

Renaissance. with

The

design
order of

stories,
and

Corinthian

pilasters below

these is a low attic story. composite above ; over Some of the sculptured work, by Jean Goujon, is thian especially good. The well-known imposing Corincolonnade in of the
east

front,almost
work of

600 the

feet
court

length (1688), was physician Perrault. Another building of

Hotel de Ville of in
an

the

the

early period

was

the from

Paris, begun about

1550

the

designs
In the

fire.
for

but since destroyed by Italian, great palace of the Tuileries,designed de

Medici

Catherine
several in

by
were

Philibert introduced
; two
at

Delorme for the

(1564),
first time the the

features

French

architecture

of these"
across

bands

of rustication

carved

intervals

and pilasters of

the

walls,and
story crowned

the

broken
with

ments pediFrench

the

attic

statuary
broken

"became Renaissance.

speciallycharacteristic
The in introduction

of of

later the

imitation,perhaps, of Michelangelo's in Medici work the chapel at Florence, was probably due to Catherine's suggestion. Be that the idea found with the French, it may, favour as and has remained the feature popular with them the present day. to

pediments,

Towards architecture the

the had

end lost

of

the

sixteenth of the

century

the

much

period, and many of Henry IV. in detail (1589-1610) are coarse and inferior in design : the least interesting portions

Transitional

of earlycharm of the buildings

THE

STORY

OF

ARCHITECTURE

187
date from

of

the

Louvre

and

of

the

Tuileries

this

period. Of a little later date are two great be noted the should French palaces which Luxembourg (1615),with a fagade rusticated like in Florence, the garden front of the Pitti Palace and the palace at Versailles, built at enormous XIV. for Louis cost by J. H. Mansard (1645-1708) tonous a singularly monovast, uninteresting pile,with if we the chapel fagades, and except with hardly a redeeming feature in its design. successful architect, but a more By the same in Paris, with des Invalides design, is the Hotel
" " "

great
wood is

central
The

dome

like

that

of

S.

Paul's

in

London.
of

loftyexternal
with
a

cupola
;

is constructed
true

covered

lead

the

dome,
In it will

of all

stone,
these noticed often

built

on

smaller later

scale

inside.

designs
that

of the

Renaissance

be

there

stateliness

is greater formality, symmetry, of design, but a lack of the

of the earlier period. One picturesque charm special feature of the Gothic style,however, was always retained in the French buildings the steepin the and seventeenth pitched roofs ; and Mansard roof eighteenth centuries the massive formed a very prominent feature in the design.
"

"

"

have architecture, we seen, had run its course uninterruptedly in England for fluence centuries, little disturbed by foreign inmany the Tudor Gothic of True, the sixteenth somewhat a degenerate form, century was it was but fine buildings, and producing many the domestic mansions of the style such as we find at Haddon Hall, in Derbyshire (about 15^0)
"

ENGLAND.

Gothic

"

"

"

88

THE

STORY

OF

ARCHITECTURE

hospitable requirements of the time. It was that there natural, therefore, should have intervened, as in France, a long and period of transition before the newly interesting imported classical details could displace the older
"were

well suited

to

the

Gothic This

forms. Transitional the

period

commenced

practically

the (1558), when reign of Elizabeth attention court classical to began to give much studies,and to introduce numerous foreign artists and craftsmen. At this time, and especially during the early part of the century, there were enormous numbers of foreigners in England French, Dutch, others ; in fact, the presence of so Italians,and aliens led to a good deal of unpleasantness many
"

with

and

even

to

riots.
as

The

native

workmen

plained com-

they have complained ever numbers that the foreigners brought over articles, which ready-made they sold in
" "

then

since of this work this

country,
to

and done

thus

lessened
the native

the

amount

of In

be

by

craftsmen.

minor way, in the first instance,foreign ideas and into the classical details began to find their way

Perhaps the first important step in this the of the direction, however, was employment Italian artist Torrigiano, in 1512, to design the tomb of Henry in Westminster VII. Abbey, a design which he carried out in the style of his native country. Similarlyan Italian would design, in his own Renaissance style, a chimney-piece here, a monument there, so that the classical forms became, as in France, familiar first through the
country.
medium
came

of such
more

accessories.

As

classical culture

into

vogue,

books

upon

Renaissance

THE

STORY

OF

ARCHITECTURE

189
from Under Italian these
to

art

and

architecture
were

were

translated

into

English,and
the
a

freely read.
features classical and

influences

Gothic

tended orders

appear, dis-

and
adorn Soon while

clothing of
surfaces

the
these the
as

wall

entrance

became
and

incorporated in
details
came new

forms the sway

underwent
more

began to doorways. the design, a gradual

and
more

change,
under The familiar

builders of the

the

movement.

noble
"

mansion

of

Elizabeth's

time, the
work" brick-

Tudor-chimnied
to

pile of
Transitional

mellow

period. In of these buildingsit is interesting the classical details gradually crept in, how to note first while at the general Gothic dispositionwas Haddon Hall unaffected. At (1540) the Tudor tions element predominates, passing, in the later addiinto the earliest Elizabethan. and alterations, the characteristically Here see English feature, we the great square bay window, divided into smaller and of mullions transomes. lights by a number is seen, influence of the Perpendicular Gothic The Hall, where the design is almost too, in Hardwicke windows, so that overpowered bv the enormous the rhyme. belongs examining one
this
Hardwicke More

Hall,
than

glass

wall,

The true. pierced parapet, literally which the building,is a feature of frequent crowns find it pierced into in occurrence : places we the form the piercing takes patterns ; sometimes the design Hardwicke At of a sentence motto. or of shows the initials, E.S., of Elizabeth, Countess
seems

to

be

190

THE

STORY

OF

ARCHITECTURE

FIG.

55." Tower,

Wollaton

Hall.

Shrewsbury,
Hall, Notts

who

built
"

the
an

mansion.
"

Wollaton
in the

(1590),has

earlyexample,

parapet, of the fantastic

tower

strap

quite peculiar to English

of

a feature ornament, Renaissance. The angle

Wollaton

in

the

illustration shows

also

THE

STORY

OF

ARCHITECTURE

191

the

free

use

of the

three

orders, and
wall surfaces

the with

method classical

in vogue details. Inside features

of

clothing the
Elizabethan
the

the
were

mansions

the

prominent

staircase of oak broad, massive the great hall, or, less frequently,of stone, and timber panelled or hung with tapestry, with open minstrels' roof, bay windows, and gallery. In often found a on largermansions great gallerywas the first floor, extending, in some cases, the whole House, length of the building, as at Montacute and the gallery is 20 feet wide near Yeovil, where less than feet in length. no 170 mansions of the period are Few more interesting than Burghley House, in Lincolnshire, built for the celebrated Lord the building Burghley. On there are several dates, ranging from to 1587, 1577 that it probably took about ten so years, between been these Letters which have dates, to build. Lord found the building, from referring to throw workmen, Burghley to the builders and the manner in which some light upon building carried in those on operations were days. The workmen tions, direct to the employer for instrucwrote and the details of all the design were referred, not to the architect,but to the employer himself. The latter would settle many questions without of the outside assistance, but for some obtain sketches more important features he would or suggestionsfrom different architects in London, that the ideas of several architects so might thus be embodied in the same building. In Burghley House of the greater part of the design is the work John Thorpe, an architect who was at the time head

192

THE

STORY

OF

ARCHITECTURE

to have profession. The employer appears been personallyresponsible for much of the detail : he would of his information naturallyglean most from books, and, in this instance, was thoroughly imbued with the are orders," which imposed super-

of

his

"

in carried which caps, In

to
are

the

Italian

manner.

The
of the

craze

is

excess

in the
like

treatment

chimneys,
bases and

shaped

columns,

with

entablatures. small carry of the designs a good deal of the many builders the introduced : was personal element
and

by restrictions,and, if a a designer had what he considered happy idea, he that we free to embody it in his design, so was occasionallyfind quite childish freaks perpetrated. and In an interesting notes collection of sketches London, by John Thorpe, in the Soane Museum,
were

not

hampered

orders, and some plans and drawings of a house which Thorpe The plan of the building designed for himself. is in form of the designer's initials, the J.T., the two portions of the building being connected Beneath the plan he had written : by a corridor.
there
are some

careful

studies

of

the

letters,J and T, Joined together as you see, Is meant for a dwelling-house

These
two

for

me.

the symmetrical, in other cases Montacute House, arrangement was quite fanciful. with its vast gallery,already referred to, showed in those uncommon days, in the shape a plan not of E letter the perhaps a courtier's graceful But the courtiers compliment to Queen Elizabeth.
"

Although in the plans were

some

of

the

more

classical

designs

194

THE

STORY

OF

ARCHITECTURE

he

not regular,but inclined to Gothic, says, "is with mixed little of the Doric Ionic." and a If,

Italian failed to then, a contemporary recognise been the styleof the period, though it had duced introfrom his own country, it is small wonder that we find difficulty in tracing and accounting for all the features. forms and Certainly this is one of the Jacobean work curious and puzzlingtransitional styles most known in history. Buildings of the same date show an and extraordinarydiversityin both the amount

Elizabethan

and

the
In

character
some cases

of

the

classical features
are.

introduced.

the

designs

mediaeval

with
of

the

Gothic
as

uncertainty
put
in

details left out, and a classical forms what to

buildings good deal

should

be

Evelyn, when visiting it in his diary as "a mixed Audley End, noted fabric betwixt ancient and modern, and, without of the stateliest in the kingdom comparison, one ; and Samuel Pepys was puzzled by the architecture, but admired of the ceilingsand the stateliness the form of the whole, and drank admirable most a drink, a health to the King." place.
"

their

"

It end

was

but

natural

that
a

this
to

confusion
the
more

should
correct

in

and
man

reaction,and of dignified use

a

return

the

classical the

orders. disorder

The gave

under

whose
who may

influence be

first great styled our Renaissance was architect, Inigo Jones. Inigo Jones (1572-1652) had studied in Italy, especially at Vicenza, the birthplace of Palladio, way,

and

where
master's

he

came

under

the

influence
to

of

that he

great
deavoured en-

work.
to

Returning
introduce the

England,

monumental

style of

THE

STORY

OF

ARCHITECTURE

195

Palladio, and
at

in
one

the of

Duke his

of first

Devonshire's

villa duced, repro-

Chiswick,
on a

works,

he

smaller His when

at

Vicenza. arrived
an

scale, Palladio's Villa Capra great opportunity appeared to

he received the

have
to

commission

for palace at Whitehall The I. Charles designs for this great building, the noble composition of the Banqueting Hall and sufficient to place the only portion erected are of the the foremost masters Inigo Jones amongst of this facade, with The Renaissance. treatment with pilasters stories ornamented rusticated its two and engaged columns, is suggestive of Palladio, noticed, frequently superimposed his who, as we stories under one orders, instead of grouping two Palladian order in the so-called style. in his opportunities than fortunate More Jones Sir his great successor, Christopher Wren, was the central history, figure in English Renaissance the left his impress so who unmistakably upon

design

immense

"

"

'

new

London
was
a

\Vren made the for

after the great fire. up of age, and had just thirty-four years for himself as an architect, when name which sprang in 1666

great fire of London

him. One of his

cleared
works

the

field

completed after the fire was Temple Bar, erected in 1670, and later (in 1878), in which centuries removed two and had of excellent we an example of his style, his judicious use In connection of ornament.
with that his ecclesiastical Wren
was

earliest

work upon very

it must
to

be remembered

called
at
a

build
cost.

large churches
His church

hurriedly, and

small

designs were hampered and invariablyby lack

by various considerations, of funds, but he succeeded,

196
almost
in
a

THE

STORY

OF

ARCHITECTURE

without

simple
the

and

exception, in obtaininggood effect inexpensive manner.

cathedral
who had of S. Paul
was

Before

old Gothic

destroyed by fire, Wren, to survey it,had given an

he the
stated that the columns

been

instructed

adverse
were

report, in which

giving way

under

He made various weight of the heavy roof. recommendations, but the debate upon his report "dragged out, in the usual way, for many months, and until the question nothing was really done was finallysettled by the great fire and the total "destruction of the building. In a strikingpassage in Evelyn's diary, dated six August 27th, 1666" the fire broke he states that out days before and several he, with Wren experts, surveyed the that day, and concluded that structure a new "and had we building was a mind," necessary; he says, noble it with to build a cupola, a form not in England, but of wonderful as yet known grace." Some passed, however, before the years
"

"

committee be
restored

could
on

settle their

whether old

the
or

ruins

should
an

lines,
be
new

whether
;

entirely new
was

not

design should until 1675 that the

S. Greek

erected

and
was

it

cathedral
WTren's

put

in

hand.
As

with
was a

Peter's
cross,

at

Rome,
four agree
to

original
;

plan
the from

with
not

equal
this it In

arms

but

authorities the

would

departure
ingly accordexterior

ecclesiastical
unto two
a

form, and
Latin
cross.

was

extended

the

design
.a as screen

we

see

stories of

the

Corinthian
for A
it

order,

"but the

upper with detracts

story
from

is

sham,
it.

is

merely
such
of

nothing behind
the

deceit
merit

this

architectural

THE

STORY

OF

ARCHITECTURE

197

dignity which be lacking to the otherwise would composition. the The west dome, resting upon front, and surrounded by a fine peristyle, lofty drum, a successful the most features, leading most are "The critics to endorse Fergusson's encomium. "he exterior of S. Paul's, says, "surpasses in beauty class of design all the other examples of the same
the

design, though

it

adds

which
out
a

have

yet
whether
or

been
seen

carried
from
ternally ex-

and,
at

distance

near,
one

it is, of

least,
and
most

the

grandest
churches has the

beautiful
S. Paul's

in

Europe."

advantage over S. Peter's in that it was completed within the of thirty-five years, space the under superintendence of S. Peter's, on architect. one the other hand, suffered from various cupied ocinterruptions,and
a

century
architects

and

half

in
FIG.

while twenty building,

a

dozen

popes had hand a

and

56.
through

Section

Dome,

S. Paul's.

in its

construction.

The
in S.

illustration

shows dome
up

the

method

by

which,

Paul's, the
is carried
a

is built

cupola
form wide
at

in

brickwork
with
an as

The inner up. in the almost

of

hemisphere,
top.
The

opening
we see more a

20

feet the

the

dome,
a

it from

on outside, is constructed covered scale,in woodwork

much

imposing
brick cone,

with

lead ;
the

built up
lantern.

between Thus

these the
"

two,

carries which

heavy
so

stone
con-

dome,"

forms

198

THE

STORY

OF

ARCHITECTURE

spicuous
the
are

feature

is, in reality, merely

domes
"

sham
"

true

the

masonry inner

the the

structural central

portions
cone,

cupola, and

which

is invisible.
As

construction, and,
in S. Paul's and
at

indeed,
cannot

as

architecture,
with is not had

this feature domes

same seen

compare
; there

the
the

Florence of

at

Rome

honesty
either of

treatment.

Wren

never

these Had
he

Italian with

domes,
method
a

but

he of

was

doubtless construction.
would Italian

familiar

the

their

been built
he

given
upon
was

free these

hand, he
earlier

probably have principles ; but

of

influenced his method

by
was

considerations
the certainly The
as

expense, cheaper of the of S. Paul's

and
two.

interior

is

hardly
fault

so

impressive
of the

the

exterior,but
not

this is the
in

style.
not

quite the way does, for it is on a smaller scale,and one impressions from expect such great disappoint
internal excessive effect of the dome

It does

S. Peter's does it.

The
the

is marred

by

and of the lengths of the nave choir. is hardly conAt first,on scious entering, one the great of the dome ; after approaching it, length of the choir detracts from its grandeur.
In Wren's
numerous use

relative

London of the

churches

he showed and
at

great skill in the

simple materials
limited
funds
most

in his

making the disposal. In

features have
were

most

of

designs the many the steeples, which

the first
to

successful may
to

he

claim

to

English Renaissance architecture. notable A example is the beautiful and finely proportioned steeple of Bow Church, Cheapside. But the steeple belongs

been

introduce

THE

STORY

OF

ARCHITECTURE

more

truly to

Gothic

chitecture, ar-

where
an

it forms

appropriate crowning
of the whole sign. de-

feature

The
horizontal mark all

emphatic
lines which
positions com-

classical render

the

steeple,with its diminishingstories piled

Renaissance
one

upon of The

the other,
an

what some-

anomaly.
Theatre southern Greenwich the of

Sheldonian

at

Oxford,
o

rt i o n

Hospital, Trinity College library, Cambridge, and the garden front of Hampton Court Palace, are Sir Christopher among Wren's most important His genius secular works.
is
more

evident

in

such in

as buildings

these

than

his

London

churches.

It would

be
of

too

much
man

to

expect
he in the

should

any be

that

successful
a

hundred

designs of half churches,

at

all

built
and

the

same

time,
funds. Wren work
FIG.

from

limited
seem

It would

that the

monopolised

Steeple Mary-le-Bow.
57.
"

of

S.

zoo

THE

STORY

OF

ARCHITECTURE

of

the

latter

half

of

the

seventeenth

century,

for

during this building of

from
names come

very

any his hands. into

Wren's

pupil,who
and churches

period there was hardly a did not come importance which With the eighteenth century new prominence, notably Hawksmoor, succeeded Vanto his practice,
active

brugh,
London
S. of The

Gibbs.
of

Hawksmoor
S.

gave

us

the

Mary Woolnoth ; S. Mary-le-Strand

greatest work
of of

George, Bloomsbury, and Gibbs, the interesting designs

and S. Martin's-in-the-Fields. the Vanbrugh was nation's the gift to the designed in the ponderous

of Sir
"

John

mansion Duke

Blenheim
"

Marlborough symmetrical stylewhich the architect affected,and which is seen again in Castle Howard, Yorkshire. in England during the greater part Architecture of the eighteenth century was, to a large extent, a architects The of matter were names.greatly of Palladio, whose under the influence drawings been had greatly in vogue. published and were there his lead in Under a was tendency, even domestic buildings, to sacrifice everything to
symmetry
looked there
on,
was

and

stateliness.
houses
were

Bacon's
now
"

dictum

was

reversed, for the

not

built

to

be

lived

in."

With

all

this,however,

tecture comparatively little noteworthy archiproduced. The work of the century, taken little originality or a as whole, shows high artistic that merit ; nothing more be said of it than can it was a respectable sort of architecture,hovering between dignity and dulness.

Among,
Sir
William

the

later

architects

of

the

century,
most

Chambers
of

building

designed the the time, Somerset

portant im-

House,

202

THE

STORY

OF

ARCHITECTURE

of Europe Throughout the continent comparatively few notable buildings have been In France, as produced during the past century. and the Tuileries were have noted, the Louvre we built was completed, and the new Opera House has in Paris (1863-1875). Austria produced, several fine public halls and theatres,the among the House of Parliament great Opera House, and Theatre, all (1843) in Vienna, and the Dresden classical lines. less on German or designed more the in architecture early part of the century Schinkel received an impetus under (d. 1841), who at Berlin, with its designed the Museum the Court columns, and great portico of Ionic the Greek forms Theatre, also in Berlin, in which are admirably adapted to the requirements. Other well-known buildingsare the Propylaea at Munich,

sideration.

and

the

Walhalla

at
von

Ratisbon
Klenze

"

copy

of

the "In

Parthenon,

by

(1784-1864).

revival in general," writes Hamlin, "the Greek Germany presents the aspect of a strong striving the part of a limited number of after beauty, on artists of great talent, misled by the idea that the forms be galvanised of a dead civilisation could
into The
new

life in
was

the

service

of

modern

needs.

disappointing, in spite of the excellent construction, and planning, admirable detail of these studied buildings,and "carefully foredoomed the movement here, as elsewhere, was
result
to

failure." In

England

the

past century
Each and of the Renaissance within

has three
"

been

one

of

successive
"

revivals.

great styks
has had its
recent

Greek, Gothic,
it is

"day ; but

only

comparatively

THE

STORY

OF

ARCHITECTURE

203

has been that any definite progress years of a distinct national towards the formation of the and architecture. interest Revett and In the

made

style
Stuart
of

early part
the upon the

of

the

century

aroused and the

by

of publications
monuments

others

Greece,
Greek used in

sculptures by
details.

importation of Lord Elgin, led

Doric with and every

the
to
a

Parthenon
craze

for
were

Ionic

orders

design, without regard to propriety,provided only they were any and detail of strictly correct proportions. Every church its classical portico,every house had was
connection
a

slavish

church

from copy of S. Pancras, the

Greek

model.
the

In

the
produced re-

London,

architect

of the Erechtheum Caryatid Porch at Athens, and copied his steeplefrom the Temple of the Winds. Greek The revived stylefound its highest expression in S. George's Hall, Liverpool, the by Elmes and Cockerell ; and so closely were in this building that, classical details adhered to in architect failed in the Fergusson's words,
"

his

endeavours Hall

George's
to

if you are feature any

able
which

to

detect lead

in

S.

would

the building might not belong suppose of Augustus." age of enthusiasts Meanwhile, a small band
"

you the to

had

revival of the for the preparing the way ture. architecalmost neglected and forgotten Gothic The on publication of Britton's great work The caused Cathedral Antiquities of England was people to reflect that, after all, Gothic many the great national more style, and, as such, was suited to the English requirements than the Greek book Rickman's temple forms could possibly be.
"
"

been

204

THE

STORY

OF

ARCHITECTURE

upon

the

Gothic

in ment, once lack great did not

the move" styles followed, and soon gained strength. progress,

It
as

leaders

"

writers

as

well

designers : Pugin, Street, and, weightiest of all, into the scale, and their influence Ruskin, threw
the

Gothic

revival
many Houses

became notable
of

an

established
chief

fact. among

It

produced
them the

buildings ;
at

Parliament

Barry in begun by Sir Charles Perpendicular style,and the New London, by Street.
But while the Gothic school
movement
was

Westminster, the 1839, m

Law

Courts

in

at

its

height,

become extinct. by no means neously simultaThe two out styles were being worked that was in a way quite unprecedented. At culminating Liverpool the classical style was the same in S. George's Hall, begun in. almost the inception of the Gothic year (1840) that saw the Greek had
Houses architect time of Parliament Gothic in London
; moreover,

the
same

of the

the such busy with Small Club. Treasury buildings and the Reform Battle wonder, then, that there resulted a great of the Styles,"which was waged fiercelybetween bitter over the opposing parties. It was especially Offices the great competition for the Government in 1857, the result of which, to quote the late was quite typical of the J. M. Brydon's words, Won by a classical ding-dong of party warfare. of a in favour annulled was design, the decision Gothic building,to be reversed again in its turn, and in classic by a Gothic finally carried out architect against his will."
"

at the buildingwas classical designs as

"

The

last part

of the

century

has

witnessed

in

THE

STORY

OF

ARCHITECTURE

205

to England and, indeed, through Europe, a return in a large number the Renaissance seen principles, classical forms the are of designs in which skilful with often with treated freedom, and methods of and materials to new new adaptability The construction. closing years of the nineteenth

century
the future forms

foreshadowed
use

the of iron

vast

influence exercise and

which in

extensive

is to

the
all

buildings are now than gigantic frameworks becoming nothing more with and of iron a steel, covered clothing of thousands of years," For recent as a masonry. writer it, large building in the puts every
" "

works architectural upon Commercial of design.

upon

world masonry floors

was

constructed
to

with the

enormous

walls framework

of of

hold

up

inner

substantial and a partitions. It was there seemed of construction, and worthy method of changing it. But need one no day a daring the world idea, astonished by builder, with an reversingthis order of construction, and building hold framework inner to an strong enough up
and of masonry. instantlysuccessful, so that the

outside

walls

The

invention

was

to-day the
The

construction

of

tall with

building is
a

'

not

architecture, but
result of the utilitarian

ing engineerall this,

stone

veneer.'" of the

and of

the the

outcome

requirements
"

day,

is

American
on

"sky-scraper"
passenger
"

"a
cars

steel

bridge standing running up and down

the List ten
every
one
"

end, with
within it
a
"

which,
The

within
in

years,

has

become

familiar

feature

almost shows
structures

great American
of the

city.
of
these

illustration

greatest
Row

extraordinary
New York

the

Park

Buildings in

jiimiilllltf sin III! ll M

FIG.

58." American

Sky-scraper.

THE

STORY

OF

ARCHITECTURE

207

in
"

course

of stories

construction. of this
to

Comprised building
accommodate
are

in less

the than

numerous

no

950
of result

rooms,

designed people
of
!

population
us

4,000

The

photograph
weeks' work

gives
upon the

the this

only
structure,
with

twelve and which the the

gigantic rapidity completed

accordance

illustrates such

wonderful

building
is of carried the

may
out

be
in

when v/ith

construction methods

twentieth-

century.

SELECTED

LIST

OF

BOOKS

Fergusson
Hamlin

History
Text-book

of

Architecture.

of of

the

History for

of
the and

Architecture. Fletcher

History
Amateur.

Architecture

Student,

Craftsman, fo
in

Statham

Architecture Readers.

General

Lanciani

Ancient Modern

Rome

the

Light
Christian

of

Discovery.
and

Roger

Smith

"

Slater

Classic

Early
and

Architecture.

Roger
Parker

Smith
...

Renaissance

Gothic

tecture. Archi-

Introduction Gothic

to

the

Study

of

Architecture.

Ruskin
M
. . .

Slo?ies Seven
" ..

of

Venice.

Lamps Italy.

of of the

Architecture. Renaissance

Anderson

Architecture
in

Oliphant
Symonds

Makers The

of Florence.
Renaissance
in

of of
in

the

Fine

Arts Blomfield Short

Italy.
Renaissance

History

Architecture Gotch

England.
ture Architec-

Early English
Art
208

Renaissance in

England.
Illustrated. Isles. British

Bond

Cathedrals the

Phythian

in

210

INDEX

EARL'S

BARTON,

Saxon

work

LEANING

tower

at

Pisa,112.

builders, 85. 39Louvre, 185. Egyptian columns, 28, 29. inscriptions, 25. MAISON Carree, Nimes, 71. Elgin marbles, 46, 203. Mansard Elizabethan mansions, 189, roof, 187. Mausoleum at Halicarnassus, 191, 193. 56. English cathedral plan, 142. Michelangelo, 180-186. Ephesus, temple at, 53. Mihrab, or prayer -niche,103. Erechtheum, 52. Milan Etruscan Cathedral, 160. tombs, 59Mohammed, 101. Evelyn's diary, 194, 196. Mosaics, use of, 88-91. Mosque at Cordova, 105. FAN-TRACERY, 152. Fire of London, 196. Mouldings, Gothic, 154. Flying buttress, 131, 132. Mycenae, Lion Gate at, 36.
Franciscan monks
as

at, 123, 124. Early Christian

Lighting

of

Greek

temples,

ers, buildNEWGATE

157.
GIOTTO'S

Norman

Prison, 201. work, examples of, 125. Port, 117.

of,

tower, 161.

127.
features Notre Dame du

Glass, painted, 133, 151. House Golden of Nero, 69. Gothic, meaning of, 129. Greek temple plan, 39-41. HALL, 187, 189. Hagia Sophia, church of,97. Hardwicke Hall, 189. Henry VII., tomb of, 188. Houses of Parliament, 204. Hypostyle Hall at Karnak,
ADDON

OPERA

Opus
H Orders

House, Paris, 202. Alexandrinum, 92.

of

Roman

ture, architec-

65.
PALLADIO,
Pantheon,
Parish

183, 195.'
in

77. churches

England,

23INIGO
Ionic

153-

JONES, 194. order, 49, 65.

191, 192.

Parthenon, 41, 44, 48, 202. Pavia, certosaat, 160, 175. Pepys, Samuel, 194.
at, 32. Petrie's discoveries in Egypt, 19,

Persepolis,ruins

JOHN THORPE,

8.3-

KARNAK, temples at, 22, 25. King's chamber, 15. King's College Chapel, 152.

Pompeian decoration, 83f 82. houses, Pyramids, 13.

INDEX

26. RAMESSIUM, Ravenna, churches Ribbed Roman Rusticated

Sky-scrapers, 205, 206.

at, 93.

vaulting, 15, 128. temple plan, 66.

masonry,
1

House, 201, Spinelli Palace, 178. Strozzi Palace, 173.

Somerset TEMPLE

73, 186.

Rimini, 172. George's Hall, Liverpool, Thebes, 21. Theseum, 40. 203, 204. S. Mark's, Venice, 99, 177. Tiryns, walls at, 35. S. Martin's-in-the-Fields, 2OO. Tracery, development of, 133, S. Mary-le-Strand, 200. 150. S. Pancras, London, Transepts, origin of, 88. 203. S. Paul's Cathedral, 196-198. Triumphal arches, 74.
at

S. FRANCESCO

Bar, 195. Theatres, Greek, 56.

S.

S.
'

Paul's-outside-the-Walls,
86.
VOCAL

Memnon,

23.

S.

Peter's,
197.

13,

180,
1 10.

182,
WESTMINSTER

Abbey,

150,

S.

Zeno, Verona,

153-

Chapelle, Paris, 130. Salisbury Cathedral, 147,149.

Saxon

Sainte

Wingless
53Wollaton

Victory, temple of,

Hall, 190.

remains, 123.
excellence of

Sculpture, Greek, 46. Seville Cathedral, 165.

Wren,
XERXES,

Sir

C., 195, 198, 199. of, 32.

Hall

Printed

by Hasell,

Watson

"Sf

Viney, Ld.,

London

and

Aylcsbury.