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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.
"
...
...
...
...
"
"
Columns
... ... ...
...
28 31
... ...
,,
7-
Column
... ...
"
8."
,,
from
Persepolis...
... ... ...
33
,,
9.
10.
"
"
Gate,
Mycenae
...
... ...
36
...
"
through
of
the Greek
Treasury Temple
...
of
Atreus
...
37
39
II.
"
"
Small
the
12.
,,
of Doric
Parthenon
...
... ...
41 42
"
13."
14.
"
Order
Restored
...
Parthenon
"
44
"
15.
16.
"
"
Capital,
Order
showing
...
Colour
Decoration
...
47
,,
...
...
50 52
54
,,
1718.
"
"
Capital
from
the
Erechtheum
... ...
"
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.
"
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-
"
of Basilica
"
...
...
94
"
,,
96
and
Cathedral
,,
Tower,
Port
...
Pisa
... ...
112
"
Plan
of Notre
"
...
117
118
"
35-
"
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
"
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.
"
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
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
undertakings.
inhabitants
of
ever
With the
architecture,so
go. No
other
to
country
of
bears
testimony
as
Egypt
Other
the
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
no
literature
the is
pages
a
"
history.
in of
There
voicefulness
the
these
old
and
temples along
banks
the
Nile
gives
THE
STORY
OF
ARCHITECTURE
li
realityand
built
them.
to
the
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
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
"
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
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
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
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
the
to
of tombs the
upon
of
three
years,
and
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.
as
the the
"
Great
Pyramid,"
Its
of
three.
builder
who
to
was
closed
temples
this
course
B.C.), subjects
which The
labour
to
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
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
object
apparent
as a
of
;
this
possiblyit was
A
intended
blind.
the
corridor,
of
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
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
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
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
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
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
with the
such
most
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
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
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
their
not
rule, the
inhabitants
of
ascended
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
country.
enabled
which
By
to
their
erect
labour
and the
temples
him The
"
structures
placed
"
in
of
the
was
which
country.
to
Memphis,
delta of
north,
Thebes
its but
nearer
the
the
of
in
the
magnificence
have
come
remains
which
to
us
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
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
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.
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
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
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.
Upon
Rameses the
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
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,
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
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
FIG.
6.
"
the
was
Egyptians
the
one
of
important
use
features
the
to
column.
Its
within
buildingswas
add
to
the
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
form,
the dim
relied
lightof
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
of
the
was
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
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
THE
STORY
OF
ARCHITECTURE
31
That
the
the
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,
form is
^ented,
iprototype
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
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
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
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
(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
breath
bard lost
praises told,
death.
all
nameless
They
"
lacked, however,
more
The
no
brave
men
who
old
book
to
us.
few
period
supply
THE
STORY
OF
ARCHITECTURE
35 of
we
possess
scanty.
of
bravely of writings of
deeds
old
these it is
but
in
to
poets
"The
impossible
fiction.
Ruskin
his
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
race
in
Greece
at
the
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
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
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
of
two
subterranean
with
chambers
one
in
communication
another.
larger chamber
over
is kind
with
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
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
series of horizontal
courses,
that each
THE
STORY
OF
ARCHITECTURE
37
course
thus
meet
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
long and
tons.
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
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
succeeding centuries. no doubt, Suggestions were, Egypt and from Asia, but in the
of Greece appears
to
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
Corinth
centuries
"
is after of
not
the
defeat
the
earlier
than
38
THE
STORY
OF
ARCHITECTURE
"
culmination age
at
Athens
A
a
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
the
sanctuary,
"
"
from
temple,
in
to
the
enshrined
it.
To
deity provide
THE
STORY
OF
ARCHITECTURE
39
for this
image
Thus
was,
in
the fact,
chief
purpose
temple.
smaller
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
in which
placed the
treasury
the
in
which
to
posit de-
Stone,
was
votive
the
the construction
except
were
in of
the
wood
Plan
of
Small
marble
roofs and the
perishable disappeared,
been
Greek
Temple,
with method
has
adopted by the of the temples ; for with one the walls of all known temple at Agrigentum windowless. The buildings of this kind were question of the lighting of the Greek temple has given rise to much speculation,the most able acceptadmitted theory being that the light was of windows the over through a row high up
"
"
internal
colonnades. 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
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-
with
mounting Sur-
shaft
"
is
plain,
of upon
a
sturdy
square
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
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
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
number
(mutules), projections
members lines
of
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
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.
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
subtle
correction the
lines,to
counteract
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
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
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
"
was
induced
to
consent
to
the
removal thus
a
of saved
whole from
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
these, as
of
well
the
groups the
statuary
the
which work
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
world."
remember
THE
STORY
OF
ARCHITECTURE
4?
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
the
elder
Builders Each
days wrought
and
of with
unseen
Art
greatest
care
"
minute
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
of
richness
and
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
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
of
even
turned
keel
beams,
planks,and
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
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
"
"
it rests
a
terminates
on
each
as
scroll,which
is known
"Ionic
The
volute."
does the
not
column like
pavement,
a
Doric
stands of the
moulded
base.
Upon
the Doric
a
surface
are
twenty-four grooves,
those each of other
than from
by
fillet.
three
facias ;
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-
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
treasures
of
the
as
alterations
it
wars
was
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
Elgin
century,
in the
Athens
last
vestibule
to
which
opening
the
in
the
between
columns. The
now on
first
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
Wood,
1871.
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
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
"
"
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
THE
STORY
OF
ARCHITECTURE
55
the
choral
competitions ;
in the
capitalfrom
the
this
ment monu-
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,
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
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.
erected tomb
by
a
Artemesia
(dr. 350
was
B.C.).
splendid
structure
in
the
Ionic
rated richlydecostyle,
the
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
arch, they
never
appear,
to
have
made
any
58
THE
STORY
OF
ARCHITECTURE
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
possessed
a
great constructive
of
had
certain
amount
artistic
FIG.
20.
"
Cloaca
Maxima.
perception,
considerable
of Rome.
which influence
enabled
upon
them
to
exercise
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
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
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
were come
influence
of
the
art
noticed
in the
that
the
most
important
Etruscans arch. whom
and
was
works
of
use
the
scientific
two
of the of
was
The the
architecture
great nations
treated
a
preceding chapters
"
have
essentially
trabeated
were
"
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,
of the
THE
STORY
OF
ARCHITECTURE
61
over
the the
some
Macedonians,
influence
in
168
B.C.,
of Rome.
At
the
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
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
"
"
" "
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
into
vogue,
by
means
of
it
vast
was
possible to employ
unskilled
of every
labour
class
this,to build,
cheaply and only on a vast scale,but at once speedily. This material was concrete. is an artificial conglomerate made Concrete by mixing together lime or cement, sand, water, and The lime, in its moist gravel or small stones.
not
carbonic
of
acid from
the
air and
turns
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
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
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
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
the the
beautiful
their architecture.
poor Ionic
5. The
with
Composite,
in which
attempt
volutes of the
at
were
an
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
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
date the
of
early
cases,
As
Professor
Middle-
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
their
character,
the
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
utilitarian,
been
useful
have
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
excelled materials
kind. and
art
construction, and
were
used How
numerous
by
comes
of
the
most
enduring
the
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
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
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.
"
"
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
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
of the
portico.
72
THE
STORY
OF
ARCHITECTURE
After pour
the
into
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,
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,
communicating
the
arena
wild
beasts'
dens,
rows
in
which
contests gladiatorial
and
of
around
this,
accommodation
to
80,000
the
was
spectators, who
sun's rays
were
a
by
built almost
was a
with faced stone, and concrete, planned to allow the whole audience the
arena.
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.
statues
of for
Dacian
captives,are
of much
date,
of
manner
forum
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
in the above
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
to
break
out
the
entablature this
specialcase,
afford the
of
an
each
support
of
for the
sence pre-
examples
ness
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
seemed
not
so
to
them
blaturc.
complete
that
it became
to
insert column of
the
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,
the
at
a
end very
taste
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
is
of
crete, con-
affords
striking
of that
Plan
pIG of
26.
Pantheon,
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,
the the
mass,
dome
concrete
vaults
exercise
lateral
into
thrust ;
a
becomes
rests
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,
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
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
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
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
type
to
building
Rome,
which
influence
Rome
the
a
great commercial
of the
commercial and city, attention of the people far more This business religious affairs. in large, lofty buildings called
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
this
that
few
Rome
exist.
The has
fate of
the
great Basilica
referred
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
feet
wide, consisting
flanked
one
by
is
a
double
circular semi-
roofs.
At
end
recess,
which, upon
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
court,
tablinum
the
alee, were
the the side
more
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
sometimes
vary the the
three,
to
aspect according
state
were
the
time The
and
rooms
of
his
digestion.
the
the
offices
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
"
"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
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
it.
influence
Rome
herself
First
"
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
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
in the
Catacombs.
The
religion had
until it
influence
architecture
Emperor
sooner
Constantine
it taken its of
had the
upon by the
than
strength
and there
became
apparent,
demand
for
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
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
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
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
atrium, occupied
tended
more
considerable
area,
and the
still be
in
the
churches
of
S. Clemente
in
Rome basilica
and
of
S.
Ambrogio
The
semi-circular
in
the
the of
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
choir
and
considerable
nave,
of the
a
"
low
marble
were
ambos,"
the
reserve.
In
the
this
or
in
aisles,sat
for
no
had
been within
tised, bapthe
were
others
admitted other
or
church.
Probationers
and
worshippers
atrium.
allowed
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
influence cathedral
of the
plans, as
where in
nave.
Durham,
its
bay
from
is wider, and
those of the
piers different
of the
see
remainder
we
foreshadowed
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
basilica
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,
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
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
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
the
all of
"
forms
these
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
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
: 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
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
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
be
readilyaccounted
for. these
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
which
at
Con-
dosseret,Ravenna. The
founded
tium. Byzanin
form but
of
_
church
was
adopted
be
Italy,and
with
continued
to
built for
centuries
More of
interior.
for, instead
characterised elaborate
as
barn- like
treatment
which
the
we early basilicas,
exterior Miniato
as
decorations
in
of
at
S.
wall
arcades,
at
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
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
Oriental which
at
taste
once
manifested The
itself in
divergence
in the
from church
observable
plan.
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
the
Greek-
The
was
carried
four
FIG.
32."
Diagram.
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
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
age.
system
which
of
construction expanses
which
unbroken
were
"
disturbed
smooth
was
mouldings
very surfaces
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
THE
STORY
OF
ARCHITECTURE
99
that
was
marvellous lines of
lacking beauty
the
"
in and
the
design, splendour
The
and
to
architecture. of
custom
which
walls of
riching en-
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
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
the
of the
Parthenon
the
of
tecture archi-
Greece,
west,
of
great
Sophia
class. the
remains
unrivalled the
by
most
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
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,
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
century
countries
of
the
Christian
the
an
era
"
movement
over
rapidly
infected with
East, sweeping
every the new
was
irresistible upon of
sudden
a
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
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
"
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
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
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
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
deeper
On
this
the
also at
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
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
made
the
of wooden
construction,
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
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
Hassan
(1355), and
we
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
minaret builders
never
on
in
the
Spain
not
minarets
their appears
mosque
to
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
obtained
were
footing
out at
Sicily,
of the
they
very
driven
end
century,
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
1453,
hands
Christian the
the
of
masterpiece
converted
of
the
a
into
io8
THE
STORY
OF
ARCHITECTURE
and, strange
architecture
to
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
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
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
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
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
cathedral
Piacenza,
The old
and
church
Verona,
of the
twelfth
The
century, shows
was
characteristic features.
fagade
a
fine breadth
of
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
ten
centuries
the
Christian
architecture of
made
outside
came
more
influence.
a
become the
art, thanks
incursion chaos
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
within
was
prevailed a
scale
unaffected
on an
by
external
Building
checked of
1000
extensive
the
;
world
in
the
was
temporary
led
many
an
the
fear
dread
event
conscience
or
contribute
in them
to liberally
to
seek found
refuge
these
; the
new
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
of
looked
of
Rome
as
their
technical
was
help
a
and
inspiration. But,
many,
Rome
far-off
new
occasions
taught
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
" "
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
"
"
"
"
in the twelfth
and
thirteenth the
of ribbed
which, vaulting,
the
with
pointed
of
struction, con-
arch,
and
revolutionised
conditions
complete
called
more
"
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
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
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
constructed
false The
none
instead of
wooden
the
domes
S. Mark's.
in
interior of the
of church.
same
buildingis
Cahors
is
a
finished
stone, with
the
the
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
at
Lava is
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
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
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
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
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
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
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
alterations
and
later
times, and,
in has lost
cathedral
other
churches
Normandy
much
many and of
Romanesque
somewhat
architecture
in
of
was
North
Italy, as
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
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
is to
for
a
throughout
the
Moors.
Spain, period
capture series until
was
The.
for
was
a
of Toledo
of
successes
paved
rule
of the the
Christians
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
Mohammedans
them.
and
The
inhabitants
of
Great
Britain
have
troubled
the
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
endowed
Earl's
at
skill. the
The
tower
of
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
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
enabled
1i
more
s
estab-
themselves
securely
the lands
upon
churches
FIG.
Saxon
were
38.
Earl's Barton.
founded
Norman while his
to
by
the
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
"
prevailed
a
England,
i.e. from
lasted the
than
century
of
conquest
Between
on
accession dates
Richard
I. in
were
1189.
operations
carried
THE
STORY
OF
ARCHITECTURE
125
with
of
our
almost
incredible
but
activity.
do in
a
we
Not
only
great cathedrals
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
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
seldom
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
" "
light and
devices
the
or
grotesque faces
stones projecting
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
.
Transepts.
Choir. Galilee
Abbey
Cathedral
and
Peterborough
Rochester Norwich Hereford Christ
Cathedral
. . .
Nave.
Nave. Nave.
Cathedral Cathedral
. .
Cathedral
. .
Nave. Nave
.
Church,
....
Oxford
and
Transepts.
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
vaults the
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
only
also
to to
but
reduce
It
was
the
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
less
than
principle
of
structural
as
the vaulting, which, in fact, formed known basis of the styleof architecture
"Gothic."
The
term
Gothic
is
as
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,
THE
STORY
OF
ARCHITECTURE
wall
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
take
are
the thrusts
are
external
walls.
But
the
a
nave,
difficulty
The
cannot
tresses butnow
be
block
with To
up the their
of their
along
,.
face
of
/-
-i
TIG.
40.
"
Contrasted
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
counter-thrust
the
nave
to
the
roof-
132
THE
STORY
OF
ARCHITECTURE
The
soon
became
characteristic
its necessary design in some
were
respects, but
ornamental cathedrals
sibilitie pos-
speedilyrecognised and
did it has
So many
ot
ornate
and
French
appearance in
to
its
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
of
as
could
introduction
great
of
traceried
windows
filled
was
coloured
glass
were
richly painted
its
at
once
:
made
influence
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
architecture
age
was
to
obtain
the
greatest
for its
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.
which
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
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
features
of
the
cathedral
in date of
century.
was
than
Notre
the
cathedral
the
in
an
instructive
its southern
"
Each Who To
bright gift of
their her beautiful
some
city, and
with
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
136
THE
STORY
OF
ARCHITECTURE
of the arcades of
of And
Salisbury" nothing
yet, in
of the
more
might
than
Durham.
all, and
these,
by
M.
Due
'
"
the
Parthenon
of Gothic
Architecture.'"1
As the
type
of
French
Amiens
is contrasted
(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
Notre
Dame The
at
main
Ruskin,
"
The
Bible
of
Amiens."
138
S.
THE
STORY
OF
ARCHITECTURE
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
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
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,
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
rich of
facade
Rouen In
added
the
older the
may
cathedral
the of
each
sixteenth
century.
the
of elaborate
windows
are examples of the flamboyant work of Troyes and of Rheims, the church de Ville at Dieppe, and the Hotel
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
shall
stronglyinfluenced
of
the
French
Renaissance
and
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.
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
label
the
at
the
; open
timber
from
four
tion, construc-
with
carved
figuresof angels ;
ornament.
elaborate
with
parapets
ments battle-
There
was
no
Gothic
England
thirteenth that the
to
compare
in
the
seen
century
a
in
France.
We Norman had
have
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
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
" "
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
stone
vaulted
The
roof.
difference the
new
between
and
"
of
1175
the
Norman
"
marked,
be
at
may
the
abuts
the
against
The shows
old.
illustration the
-
FIG.
42.
Part
of
Arcade, side
Canterbury.
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
of in
the 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
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
Low
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
height
more
it is
our
almost
loftiest of
spires;
than
200
the
towers,
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
for the
its
sculpture,
side of wrong which find how the threads you go the inside or right-side pattern." In
as
thought
of
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.
(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,
of
French
Towards the
FIG.
the close
of
thirteenth and
century
46.
"
Geometrical
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
window
of
decorative the
fifteenth
century
.JL
1-
stained
the
glass,
but
of
the
century
work
only
too
"
The
"
glass
rous idolattaste
was
for the
of and
the
met
Puritans,
with
at
no
quarter
hands.
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
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
'
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
Bristol
154
THE
STORY
OF
ARCHITECTURE
vaulted it.
porch,
on a
with
libraryor
in
other
rooms
over
Except
or
in
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
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
enable
the
student
to
read
In
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
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
good examples
EARLY ENGLISH
the
above, respective
Cathedral
Choir.
Abbey.
Cathedral Cathedral
....
Transepts.
Choir.
Southwark
Ely
St.
Saviour's
Church,
West
.
Front.
DECORATED
Ely
York
Cathedral
Lady
Nave. Oxford. Choir
Chapel
and
Lantern.
Cathedral
Merton Tintern
and
septs. Tran-
Ripon Cathedral
Lichfield
Cathedral.
East
.
End.
PERPENDICULAR Gloucester
Cathedral Choir and West
Front.
Cathedral.
Cathedral
West
Front.
Magdalen ITALY.
are
"
not
far to first
In
to
the
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
Europe
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
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.
mendicant
monks,
with and
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
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
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.
alabaster.
cathedral del
Arnolfo fifteenth
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.
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
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.
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
world." with
double
and
story
of
arcades
traceried
arches,
is familiar,
illustrations
to
photographs,
in
world,
the
of
ceived re-
added from
loving
to
of
presented re-
Ruskin,
all
whom "a
model
of
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
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
ment developor
the
of the
earlier centuries.
many
grafted styleswhich
1 2
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,
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
"
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
Louvain,
It
was
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
the
(1227),
French Gerona
both
at
show
the
cathedral
internal
Bourges.
take
buttresses
of the
vaults,
as
Cathedral
churches,
of
Moorish
which
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
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
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
was
divided
of almost
span
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.
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
"
"
an
octagon,
the
143
feet
as
in he
diameter had
; but
he
before be
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
Many the fashion, revival : reading and studying authors ; the existence,
"
of Italy, styles
inherited asceticism
the Added which
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
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
this, with
to
friend
he time old the
Donatello, he
worked
to
as
a
Rome,
all his
giving
endeavour
architecture
to
Roman
true
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
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
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
appears
been
only architect
to
confident without
was
being
of
able
construct
the
use
accordingly
had
confidence
the
"
authorities his
in
him
that of
they
the
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],
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
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
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
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
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
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
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
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
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.
Alberti.
an
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
of
the elements
of true and
Can
architecture,
FIG.
51."
Renaissance
Capital.
few
buildings
than
these
to
represent the
of the
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
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
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
Urbino.
his
His
chief
Rome,
but
among
a
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
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
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.
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
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
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
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
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
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
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
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
"
"
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
the
subject,which greatlyinfluenced
No Italian tect archi-
stronglyupon English architecture Palladio. as Possibly his influence was, in part, due tolHe fact that he taught, better than of obtaining good effect else, the method any one a design cheaply and simply, that he could make rich without and grand without great dimensions much expense," by the somewhat unworthy use his coated with which he of plaster or stucco buildings.
so
"
impress
"
FRANCE.
"
While the
the old
Italian national
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,
of with
French became
the
s
Italy, the
to
imitate
splendid residences,
train several Italian
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
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
the
the
early period
was
the from
1550
the
designs
In the
fire.
for
Catherine
several in
by
were
Philibert introduced
; two
at
(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,
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
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
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
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
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
underwent
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,
strap
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
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
"
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
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.
"
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
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
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
Chiswick,
on a
works,
he
at
Vicenza. arrived
an
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
after the great fire. up of age, and had just thirty-four years for himself as an architect, when name which sprang in 1666
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
it must
to
be remembered
called
at
a
build
cost.
large churches
His church
hurriedly, and
small
196
almost
in
a
THE
STORY
OF
ARCHITECTURE
without
simple
the
and
Before
old Gothic
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
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
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.
dozen
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
of
hemisphere,
top.
The
opening
we see more a
20
feet the
the
dome,
a
it from
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
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
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
by
was
considerations
the certainly The
as
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
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
simple materials
limited
funds
most
in his
most
of
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
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
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
very
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
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
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
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
by
of publications
monuments
others
Greece,
Greek used in
sculptures by
details.
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
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
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
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
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."
"
"
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
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
" "
upon
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
stone
veneer.'" of the
and of
the the
outcome
requirements
"
day,
is
American
on
"sky-scraper"
passenger
"
"a
cars
steel
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
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
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
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
Lighting
of
Greek
temples,
ers, buildNEWGATE
157.
GIOTTO'S
Norman
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
Roman
ture, architec-
65.
PALLADIO,
Pantheon,
Parish
183, 195.'
in
77. churches
England,
23INIGO
Ionic
153-
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.
INDEX
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
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-
Sainte
Wingless
53Wollaton
remains, 123.
excellence of
Wren,
XERXES,
Sir
Hall
Printed
by Hasell,
Watson
"Sf
Viney, Ld.,
London
and
Aylcsbury.