Historic 
 chitecture 
 
 for the 
 
 ome=Builder 
 
 I 
 
 
 
 Walter J. Keith
 
 r
 
 HISTORIC ARCHITECTURE. 
 
 for the 
 
 HOME, BUILDER 
 
 By WALTER J. KE,ITH 
 
 (illustrated) 
 
 THE, KEITH CO.. Publishers 
 
 Minneapolis, Minn. 
 
 1905
 
 BOOKS BY WALTER J. KE,ITH. 
 
 HISTORIC ARCHITE.CTURE. FOR 
 THE HOME. BUILDER. 
 
 272 pages, illustrated. $2.00. 
 
 KEITH'S ARCHITECTURAL STUDIES. 
 
 In 14 Volumes. Home, Church. School 
 
 and Store Building Plans. 
 
 Each $1.00. 
 
 THE BUILDING OF IT 
 
 A Book on Construction. 
 128 pages, illustrated. $1.00. 
 
 INSIDE OUR HOMES 
 
 A Collection of Interiors. $1.00. 
 
 THE KE-ITH PUBLISHING CO 
 Minneapolis, Minn.
 
 Urban PlanOlQl 
 UbMiy 
 
 '(Out of the olb ficlbca, 
 OTontctlj itl tljia nctw coritc." 
 
 — orhumin-.
 
 Copyright, 1904, by Walter J. Keith. 
 All Rights Reserved.
 
 PRE.FACE. 
 
 The i)uri)Oso of iIk' author in oflcrint;" this re- 
 sume of historic architecture to the pubHc, is not 
 so much to i)rcscnt a compenchum of facts and 
 theories, as to awaken an interest in these splencUd 
 monuments of the past lor tlieir intrinsic l)eauty 
 and vahte. It is not intended here to expound 
 the principles of vauUs, thrusts and pressure, 
 nor the use of the ihiuu;" buttress. All this is in 
 the text l)ooks and discussed by standard au- 
 thiiriiies. Xor is a minute history of each archi- 
 tectural period, with the ])art jilayetl by this or 
 that nation in its development, attempted. Our 
 I Mil}- aim is to arrive at some portion ni the spirit 
 and meaning;- oi the architectura.l eftorts of the 
 centuries, antl to ];ercei\e that this spirit is the
 
 quickening" impulse of all we have or strive for 
 in the architecture of to-day. 
 
 The author hopes therefore that the non-tech- 
 nical outline presented will prove of interest to 
 all home-builders, to the end that their sympathy 
 anil enthusiasm, awakened by the beauty and 
 loveliness of these ideals, may inspire the archi- 
 tect to his best endeavors. 
 
 Such a condensed view of so extended a sub- 
 ject would be imj)0ssible except for the assistance 
 ol)tained from authors who have treated the dif- 
 ferent branches of it exhaustively. The number 
 and variety of the works thus consulted make 
 any specific acknowledgment of the indebtedness 
 of this volume, other than this general one. im- 
 practicable. 
 
 In conclusion, the author hopes that this mod- 
 est volume may open to the reader new sources 
 of interest and pleasure, in tracing the connection 
 Ijetwcen the buildings of to-day and the historic 
 architecture of the past. W. J. K. 
 
 Alinneapolis, Minn., Januar}-, 1905.
 
 CONTENTS 
 
 Chap. 
 
 I Egyptian Architecture , 
 
 II Greek 
 
 III Roman ..... 
 
 IV E,a.rly Christian and Byzantine 
 V Romanesque Architecture 
 
 VI Gothic Architecture . 
 
 VII Renaissance Architecture 
 
 VIII English Architecture 
 
 IX English Domestic Architecture 
 
 X Modern Architecture 
 
 XI Modern Domestic Architecture 
 
 Page 
 
 3 
 
 23 
 
 41 
 
 67 
 
 81 
 
 91 
 
 122 
 
 150 
 
 174 
 
 192 
 
 208
 
 Part I 
 
 HISTORIC ARCHITECTURE, 
 
 Introduction 
 
 The arcliitcctnral work of the present is ever 
 linked to that of the past ; and because of this we 
 find absorbing interest in a stud}- of those glor- 
 ious examples which have come down to us, 
 whether preserved from the ravages of the cen- 
 turies or restored bv the skillful anfl enthusiastic 
 architect of to-day to their original form. 
 
 A knowledge of the history of architecture is 
 helpful in all the arts of modern civilization, for 
 the world's progress and development is written 
 in ihc architecture of the nations. 
 
 "To luiild. to I)uild ! 
 That is the nol)lest art of all the arts." 
 
 r.ut the art of architecture is as far above mrre 
 
 building as TTenr\- Ir\in""s actincf of Othello is
 
 beyond the performance of a local stock com- 
 pany. For merely to enclose space is the least 
 function of architecture. But to enclose a given 
 space so that the various divisions of it shall be 
 arranged to best meet their uses, to invest the 
 outer walls with beauty and a harmonious dispo- 
 sition of parts, to add to this appropriate lines and 
 members and refined decoration, and above all 
 that artistic feeling, which though indescribable 
 yet pervades true architecture like the perfume of 
 the flower — these are — faintly indicated — the fea- 
 tures of the art of architecture. 
 
 In those marvelous creations of the past, in the 
 perfect harmony of the Grecian temple, in those 
 Gothic towers of stone and light lit by "vast lan- 
 terns of delicate tracery," we find the most won- 
 derful of man's wonderful inventions. 
 
 And while we enjoy these beautiful ideals, we 
 may also glean from them much of practical ser- 
 vice for our own needs. For true architecture 
 concerns itself with the unpretentious dwelling of 
 the home builder, as well as the Grecian temple 
 or the glorious ecclesiastical cathedral.
 
 Sphinx and Pyramids 
 
 EGYPTIAN ARCHITECTURE 
 
 It is a far cry from Cheops" tomb to a modern 
 Twentieth Century home. An exhaustive his- 
 tory of the art of building from earhest times 
 would be wearisome to the average reader and 
 require volumes. In a resume of this nature it 
 is possible to touch only the more salient points 
 in tracing the connecting links. 
 
 Of prehistoric architecture, if we may call it 
 by that name, nothing remains to tell the story ; 
 nor are those rudimentary beginnings of man's 
 first efforts to provide for himself shelter and a 
 dwelling, of interest except to the scientist and 
 the student. 
 
 \\'e will begin our story therefore with the 
 earliest records of architecture worthy the name — ■ 
 the tombs and i)yramids of Egypt. These won- 
 derful structures were not the work of primitive
 
 man. but of a nation tar advanced in civilization, 
 and with a constructive knowledge in some direc- 
 tions which is unsurpassed at the present day. 
 On the banks of the Nile still are standing those 
 colossal structures, though "washed by the pass- 
 ing waves of humanity" for more than 5.000 
 years. 
 
 Will any work of modern architects show such 
 endurance? We trow not. For grandeur and 
 massiveness the Egyptian monuments have never 
 been equalled in any age or by any people. The 
 great pyramid of Cheops, the oldest of the pyra- 
 mids, covered an area of 13 acres, twice the size 
 of St. Paul's at Rome, and 100,000 men were 
 twenty years in building it. ]\Iarvellous ingen- 
 uit}- is displayed in solving architectural prol)- 
 Icms ; such for instance as strengthening the roof 
 of the chambers within, so as to withstand the 
 crushing weight of the mass overhead. ^lany 
 of the blocks of stone weigh as much as 50 tons, 
 yet they are worked into place with the greatest 
 exactness. The polished granite slabs that line 
 the interior are so perfectly fitted together that 
 the joinings are imperceptible. Egypt has well 
 been called the cradle of architecture, and the 
 achievements of these ancient builders continue 
 to interest and mystify engineers of the present 
 day. 
 
 How they were able to quarry those immense 
 granite blocks and to transport them to great dis- 
 tances, how they raised them to such heights as 
 would stump our engineers with their best tackle, 
 how they contrived to cover large surfaces of 
 polishecl granite, that most stulibnrn of all ma- 
 
 4
 
 tcrials, with fissures and hicroi^lN phics of the most 
 minute "kind and highest finish — furnish inter- 
 esting types for speculation. With the best morl- 
 ern tools of tempered steel it is difficult and costly 
 to carve even plain letters in granite, and it is 
 impossible to imagine how they accomplished 
 these delicate carvings. 
 
 Familiar as are the forms of the Pyramids and 
 the Sphinx, they form a group which is always 
 full of interest. 
 
 The Great Sphinx has long ranked as one of 
 the wonders of the world. It w^as probably built 
 even before the pyramids that f^ank its side^^. 
 With the exception of the paws, which are of 
 masonry, and the small temple or sanctuary that 
 was built between them, the whole gigantic mon- 
 tunent is carved out of solid rock. A drill 2"] 
 feet deep has been passed into the shoulder and it 
 has been found solid to that distance. The height 
 from the platform or base to the top of the head is 
 lOO feet. The total length is 146 feet. The face 
 of this gigantic sculpture, though battered 
 through the centuries and the excavator's pick, 
 still looks out over the valley with its wonderful, 
 awe-inspiring smile. 
 
 There is much about Egyptian architecture to 
 interest the general reader. Its character was 
 largely influenced by the religious beliefs of the 
 nation. The Egyptians were a deeply religious 
 people, with a firm belief in the resurrection of 
 the bod}'. Hence their custom of embalming, and 
 the solidarity and strength of the granite struc- 
 tures in which their dead were deposited. This 
 desire for immortalit}" expressed itself in the 
 5
 
 Sphinx and the j^yrainids and i^ave its impress 
 to all forms of Egyptian ornamentation, a part of 
 the suhect we shall mention later. 
 
 The Ee^yptian columns were of several orders, 
 in their later development from the first square 
 post or pillar used to support the lintel of their 
 tombs. A form of column similar to the Greek 
 Doric, wath fluted shaft, tapering outline and 
 square abacus, was used in the tombs at Karnac, 
 but they made little progress in perfecting its 
 form. Square outlines remained the character- 
 istic of their work and were never softened into 
 rounded or arched lines. Their neglect of the 
 arch is a curious feature of Egyptian builders, 
 though it is evident they were familiar with its 
 ])rii.ciples, as is shown in the magnificent brick 
 vaulting of some of the kings' tombs lately ex- 
 cavated. 
 
 The grandest architectural work of the Egyp- 
 tians is in their built temples, ranging in an- 
 tiquity from about 2000 B. C. The most beau- 
 tiful and perfect specimen we have of these, 
 though not the largest, is the temple at Edfou in 
 upper Egypt. Though small compared to Karnac 
 the whole edifice covers about as much ground as 
 St. Paul's, London, and the facade measures 250 
 feet, 70 feet more than St. Paul's. Recent exca- 
 vations have revealed it in almost its original 
 grandeur, although, — "Whoever enters that gate 
 crosses the thrcshhold of the past and leaves two 
 thousand years behind him. In these vast courts 
 and storied halls all is unchanged. Every pave- 
 ment, every column, every stairway is in its 
 place." Even the roof, with the exception of a 
 7
 
 few stones, is perfect. The magnificent pylon in 
 front is absolutely perfect. The plane of the 
 temple displays the national peculiarities. The 
 prand form of the propylea in front shows the in- 
 clined outline which pervaded every structure, 
 and between them the doorway or grand entrance 
 to the columned courts within. The peculiarly 
 Egyptian type of architecture, which depends for 
 its effect upon the inherent impressiveness of 
 outline alone, is here perfectly illustrated. The 
 sculptured enrichment over the doorway shows 
 the symbolic form of vultures wings outstretched. 
 The covered portico within the entrance measures 
 1 10x44 feet and consists of three rows of six col- 
 umns, each 34 feet high, and opens to an inner 
 court also composed of rows of columns. These 
 columns display the general features of Egyptian 
 columnar composition. They are perfectly cylin- 
 drical, have no fluting but a series of grooves and 
 arc inscribed with hireoglyphics. The principal 
 ornamentation of the capitals consists of lotus 
 flowers. The spaces between the columns are en- 
 riched with exquisite taste in a simple but elegant 
 lotus motif. The entablature of the portico^ con- 
 sists of an architrave and a coving, which is 
 divided into spaces by vertical flutes, and which 
 has been thought to be the origin of the Doric 
 frieze. The spaced compartments between the 
 flutes are enriched with hieroglyphics, except in 
 the center, where a winged globe is sculptured. 
 This l)cautiful example of Egyptian architecture 
 displays its principal features ; the unbroken con- 
 tinuity of outline, the pyramidal tendency of com- 
 position, tb.c l)oldncss and breadth of every part, 
 8
 
 and the simplicity ami dignity of the enrichment. 
 ]\lorc impressive still in its immensity is the 
 wonderful temple of Karnac. Like the mediaeval 
 cathedrals of Europe this temple was the work 
 of successive kings, and the inscriptions that 
 cover its walls are the sources of histor}' and a 
 knowledge of the people. The immensity of this 
 temple can be realized by comparing with St. 
 Peter's at Rome, which covers only half as much 
 ground. Its Ilypostile Hall, familiar to all trav- 
 elers in Egypt, is the most wonderful apartment 
 in the world. In length it is 340 feet and width 
 170. its massive roof carried by 16 rows of col- 
 umns, 9 in each row and 43 feet high, the shafts 
 of the two central rows rising to the lofty alti- 
 tude of 62 feet and carrying capitals which meas- 
 ure 22 feet across. So vivid a description of this 
 wonderful structure is given by Ferguson, that it 
 is here reproduced. "Xo words," he writes, "can 
 convey an idea of its beauty, and no artist has 
 yet been able to reproduce its form so as to con- 
 vey to those who have not seen it an idea of its 
 grandeur. The mass of its central piers, illum- 
 ined by a flood of light from the clerestory and 
 the smaller pillars of the wings gradually fading 
 into obscurity, are so arranged and lighted as to 
 convey an idea of infinite space ; at the same time 
 the beauty and massiveness of the forms ami the 
 brilliancy of their colored decorations, all com- 
 bine to stamp this as the greatest of man's archi- 
 tectural works, but such an one as it would be 
 impossible to reproduce except in such a climate 
 and in that individual stxle in which and for 
 which it was created."
 
 Columns of E-gyptian Temple at Karnac
 
 The columns of this trciiieiulous portal cast a 
 shadow twelve feet in hreadth, such as a tower 
 might cast, and are crowned hy cajntals which 
 might support the heavens. The capitals arc 
 carved lotus flowers full blown, and it would re- 
 quire a hundred feet of tape line to measure 
 around the curving petals of those stupendous 
 lilies. They still glow with color laid on four 
 thousand years ago, color as fresh as if put on 
 yesterday. 
 
 It is indeed a i)lace too wonderful for words. 
 So vast, so awe-inspiring, that no words can con- 
 vey an idea of it. 
 
 Karnac the wonderful, Karnac the magnifi- 
 cent ! There is indeed no building in the world 
 to compare with it. "The Pyramids are more 
 stupendous, the Coliseum covers even more 
 ground, the Parthenon is more beautiful ; yet in 
 nobility of conception, in vastness of detail, in 
 artistic beauty of the highest order, the Hall of 
 Pillars exceeds them every one." 
 
 We have noted that the Egyptians were the 
 originators of the column, and this temple, as 
 well as their later ones, show how important a 
 feature it became. Its usefulness in conveying 
 a feeling of mystery and awe in addition to the 
 constructive effect, was early recognized by them 
 and later by all cathedral builders. The chief 
 forms of capitals they used were the bell-shaped — 
 the clustered lotus bud and the palm cai)ital. 
 The bundles of reeds tightly bound together 
 ami plastered with nuid, which may be seen at the 
 present day in use as columns in Egyptian build- 
 ings, were undoubtedly the origin of the clustered 
 11
 
 and banded lotus column, and were probalily 
 copied first in wood and then in stone. So beau- 
 tiful a motif appealed to the Grecian architect, 
 who elaborated it into the flowing lines of their 
 fluted shafts. 
 
 Some mention must be made of the Egyptian 
 obelisks, which were mostly monoliths of red 
 granite, the face of the stone highly polished and 
 covered with carvings. The Roman emperors 
 transported many of these across the sea and 
 set them up at Rome, and it is of course well 
 known that one of the finest of these obelisks, 
 Cleopatra's Needle, graces our own Central Park 
 in New York. 
 
 These slender shafts, eight and even twelve 
 times the diameter of their base in height, were 
 set in front of everv great Egyptian temple, their 
 tapering forms rising against the deep blue of the 
 Egyptian sky and casting long shadows across 
 the white sand of the pavement. 
 
 Color was a chief resource of the Egyptian 
 builder, who used it in profusion upon the walls 
 and columns of his structures. In the dim light 
 of the tem])le interiors, carving and mouldings 
 • — which they scarce employed at all — were at a 
 <lisadvantage. Hence brilliant coloring was re- 
 sorted to for decoration. The Egyptian colorist 
 used the primary colors in all their intensity. The 
 atmosphere of the dry climate and the color- 
 destroying quality of intense sunlight, to a cer- 
 tain extent modified this intensity and brought 
 into harmony the vivid blues and scarlets that 
 would l)e intolerable in tbe norlb. 
 
 In their decorations tbeir religious beliefs were 
 
 12
 
 expressed, and their symbolism was of a lii,L;Ii 
 order. It subordinated the physical to the ideal, 
 and their ornaments, whether deHcate or gro- 
 tesque, express sentiments purely spiritual. 
 
 The Lotus, or Lily of the Nile, was their favor- 
 ite illustration of divine energy in the resurrec- 
 tion ; and the vulture, the emblem of the soul 
 triumphant in death, embodied the idea of the 
 vulture's power to create living substances out of 
 dead and decomposed matter. A'ultures were 
 frequently embalmed with the l)odies of dead 
 kings and with equal solicitude. The long wings 
 of the vulture enclosing the body adapt it effec- 
 tually to decorative art, and it is the first example 
 of the wing decoration so profuselv used upon 
 Egyptian temples. Other frequently recurring 
 emblems were the winged globe or Good Demon, 
 and the Scarab^us or beetle. 
 
 The wealth of ornament and decoration lav- 
 ished upon every Egyptian building can only be 
 touclied upon here. Every surface was a field for 
 decoration and their wonderful skill in the use of 
 gorgeous color, the motifs of their decorative de- 
 tail which they drew from nature, the play of 
 light and shade from the overhanging cornice'and 
 slopmg walls, ever continue to interest the archi- 
 tectural student. Xor have they ever been 
 equalled for grandeur of conception, dignity and 
 massiveness. 
 
 13
 
 i?djm.^M^ 
 
 Winged Griffin Assyrian Wall Decoratioi 
 
 ASSYRIAN ARCHITE^CTURE, 
 
 Ass\rian architecture, though next in point of 
 antiquity to the Egyptian, has few points of re- 
 semblance. They made little use of the column, 
 which occupied so important a place with the 
 Egyptians. Their halls showed none of those 
 columnar forests, no grand pylons, no cloistered 
 court, and they used sun-dried brick in place of 
 the huge stone blocks of the Egyptian. Their 
 si)hynx is the winged bull, which guarded the 
 portals of the palaces. These human-headed 
 animals with the body and legs of a bull, with 
 enormous wings projecting from the shoulders, 
 stood in i)airs on each side of the doorways of 
 
 14
 
 palaces, which it is thought liad no doors or lin- 
 tels hut were open to the roof and protected by 
 curtains. Some of these figures were 20 feet 
 high and had delicately carved grarlands of leaves 
 and roses encircHng their heads. The illustra- 
 tion shows an ancient Assyrian wall of sun- 
 dried brick with sculptured bull. How they ac- 
 complished these reliefs on such a surface is still 
 a matter of si)ecuIation, as nothing remains but 
 fragments. There are, however, enough of these 
 to show that ancient Assyrian art attained a high 
 degree of refinement. 
 
 The plans of Assyrian buildings differed from 
 the Egyptian in the immensely greater length of 
 their rectangles. Eastern architects used this 
 rectangular outline to a great extent, and gave 
 grace and beauty bv carrying up a minaret or a 
 dome, an octagon or a circle from an ordinary 
 square hall. These excavated sculptures show 
 that this was sometimes done by the ancient 
 Assyrian builders. The sculptured slabs which 
 lined the lower walls of their palaces are all that 
 are left of them ; but these tell us much. They 
 even tell us that the private houses were several 
 stories high, the ground floor only having a door. 
 The roofs were flat and fire-proof, thick layers 
 of earth on strong beams, and on one of the 
 sculptured slabs which represents a town on fire, 
 the flames are stopped by the roofs and are forced 
 out of the windows. These sculptured slabs are 
 so numerous that in one ])lace alone there are 
 over two miles in length of them. They represent 
 in low relief the national history and domestic 
 life of the people. 
 
 15
 
 Bull Capital. Palace of Artaxerces
 
 PERSIAN 
 
 Of ancient Persian art or architecture we know- 
 little. That it was developed at the same time 
 as the (Irecian we know, but on utterly unlike 
 lines, Thoui^h the remains of their edifices are 
 columnar in form, they bear no resemblance to 
 the Greek temples, and their capitals are crowned 
 by the human-headed Assyrian bull, instead of 
 the refined forms of the Greeks. There are ruins 
 of one or two palaces, from one of which has 
 been copied the illustration, showing the double 
 bull's heads with the singular volutes beneath. 
 The little we know of their architecture shows a 
 style unlike any other, though with a certain 
 grandeur, as indicated by the design of their col- 
 unms and their gigantic size, the capital alone 
 from which the illustration is taken being 28 feet 
 high. 
 
 INDIAN ARCHITECTURE, 
 
 The ancient architecture of East India has little 
 interest for the western mind. The peculiar and 
 fantastic forms of their pagodas and temples 
 seem to have no foundation in true principles of 
 art, and their decorations, though profuse, are 
 unmeaning and grotesque. 
 
 In some districts, however, recent investiga- 
 tions disclose architectural remains of more dig- 
 nity and character. Some of these are illustrated 
 in the photograph shown, taken from a model 
 of an ancient temple in Camboja, India, which 
 was exposed at the Paris World's Fair in igoo. 
 
 The picture affords us a strange peep into a 
 civilization now in the profoundest decay, the 
 17
 
 tcmpk- bcin_<4' supposed lo be about 50 A. D., 
 wlien Camboja enjoxed a period of threat splen- 
 dor. 
 
 Inside the temple are .grouped reproductions 
 of the most precious specimens of Hindoo sculp- 
 ture and architectural decoration. In the center, 
 the sacred le.qenclary lion stands on a pedestal 
 l)et\vecn two massive and richly decorated pillars, 
 which are extremely interesting as displaying a 
 Roman-Doric character, as also the ovolo mold- 
 ings of the beautiful cornice. Leaving to archae- 
 ologists the discussion of their origin, the great 
 beauty and dignity of this ancient temple appears 
 to fully justify the extravagant accounts of some 
 travelers, and may easily be classed as one of the 
 most extraordinarv architectural relics in the 
 world. 
 
 The later architecture of India possesses some 
 very beautiful examples of pure eastern art, per- 
 haps the most noted being the exquisite Taj 
 Mahal at Ogra, India, so often described by 
 travelers, a composition showing strong Sara- 
 cenic influence, being an extension of the ^Moorish 
 type of architecture into the southern Orient. 
 Xo photograph can do justice to the white beauty 
 01 the marble structure standing upon a platform 
 of white marl)le and crowned by its matchless 
 dome, "bathed in wondrous light, such as might 
 dwell in the windings of a pearl shell." 
 
 At each corner of the marble platform rise 
 dainty marble minarets, each composed of four 
 marble C(^lumns, which complete the simj^le 
 beauty of this architectural pearl. Beneath the 
 marble dome rests the tomb, enclosed by an ex- 
 
 19
 
 quisite screen of trellis-work in white marble, a 
 masterpiece of the Indian artist. The only light 
 admitted to the enclosure comes though the inter- 
 stices of the marble trellis-work, producing a soft 
 and chastened gloom inexpressibly impressive. 
 
 The architectural details of this graceful sep- 
 ulchre are enriched with precious stones, agate, 
 bloodstone, jasper, etc., used with a taste and 
 judgment almost equal to the design itself. 
 
 Xear the Taj ]\Iahal is the Motf Masjid, or 
 Pearl Mosque, the most elegant mosque of India. 
 The court yard is of white marble and the mosque 
 proper is entirely of white marble inside and out. 
 except for a frieze bearing an inscription inlaid 
 in black marble, from the Koran — the sole orna- 
 ment, beside the exquisite lines of the structure 
 itself. 
 
 ^^ 
 
 20
 
 'Greeia ^Architecture is 
 the flowering of geometry." 
 
 — Emerson 
 
 21
 
 Vm ,y. 
 
 mmmmmmmmrrrfffffmmmmmmm'f'f'^f^ 
 
 wmijm^mmmmmm^mminTm^umnT 
 
 *5^ 'y"'i 
 
 I 
 
 
 Mausoleum at Halicarnassus
 
 2 
 
 GREEK ARCHITECTURE 
 
 From the dim and m_\stcrious twilight which 
 envelops the strong but primitive architectural 
 conceptions of the ancient Egyptians to the re- 
 fined and KSthetic construction of the Greeks, is a 
 long step in history. For the Parthenon, that 
 glorious building which is the familiar example 
 and exponent of classic Greek architecture, was 
 built less than 2,500 years ago. Nor have we now 
 so much of the original structure standing to tell 
 the story of its own beaut}-, as can be seen of the 
 great Egyptian temple at Karnac of a date two 
 thousand years earlier. How long this master- 
 I)iece of Greek art might have defied Time's 
 spoiling alone, we cannot tell, for the more brutal 
 and savage hand of man destroyed it. For two 
 thousand years the Parthenon preserved most 
 of its original glory, at least its outlines, but in 
 168- it was rent asunder by an exploding bomb, 
 and is now but a ruin. Fortunately, before its 
 
 23
 
 destruction, drawings of most of the difit'erent 
 details had been made, so that we have in the 
 ] resent a complete knowledge of this masterpiece 
 of the past — ''That mingles Grecian grandeur 
 witli the rude wasting- of old Time." 
 
 All architecture may be resolved into the two 
 primary constructive methods of inclosing space, 
 viz., the lintel and the arch. 
 
 The straight beam or lintel across supporting 
 columns was the earliest and simplest method of 
 l)uilding. the method used by the Egyptian baild- 
 crs. The stablitiy of the lintel type appealed to 
 them, was adopted hv the Greeks and blossomed 
 into the classic beaut\- of the Grecian temples. The 
 Greeks took from the Egyptians the main fea- 
 tures of construction, but expressed them in 
 terms of beauty rather than grandeur, and in 
 exquisite refinement of detail. The sculptural 
 perfection which is so marked a feature of Greek 
 architecture was in part the expression of the 
 national love of physical perfection, a national 
 ideal so strong' as to be part of their religion. The 
 Greek shrine or temple was the setting- for these 
 wonderful sculptured statues, and was itself 
 adorned with sculptural details of idealized 
 beauty. Xor is the harmony and proportion of 
 the classic style altogether an inherent part of the 
 st\le itself, for we too often see sad abuses 
 of it ; the taste and judgment of the skilled archi- 
 tect are needed to determine the proportions of 
 the columns and of the entablature, in order to 
 secure liarmonv nf composition. 
 
 The Greek architect lai:l stress on columns an 1 
 horizontal lines, and obtained from his admirable 
 
 24
 
 arrangement of them, together with the hreadth, 
 fitness and bt^lchiess of everv part, those pecuhar 
 qualities of sini])Hcity and harmony which are 
 the distinguishing features of Greek architecture. 
 His judicious arrangement of moldings to pro- 
 duce effects of light and shade, heightened by the 
 fluting of the columns and the peculiar forms 
 of the columnar capitals, were only second to the 
 graceful and elegant outlines of the structures 
 which are such wonderful compositions of beauty 
 and harmon}-. 
 
 The most important feature of Greek archi- 
 tecture is the use of the three principal orders — ■ 
 the Doric, Ionic and Corinthian, with the differ- 
 ent capitals and moldings pertaining to each. 
 
 The Doric was the earlier, and was no doubt 
 suggested to the fertile imagination of the Greek 
 by Egyptian edifices and use of columns. The 
 Doric column was a tapering shaft divided gen- 
 erally into twenty flutes, and crowned with a 
 simjile capital which supported a broad, square 
 abacus that projected a deep shadow on the 
 moldings below. 
 
 The entablature is supported by these columns 
 and a distinguishing feature of the Doric order 
 is the trigl_\])h or vertically channeled plate which 
 divides the frieze of the entablature and forms 
 sunken panels to receive sculptured ornament. 
 
 The characteristics of the Doric order are dig- 
 nit\- and strength, imitating, says the ancient 
 architect \'itruvius, "the naked simplicity and 
 dignity of the man." while the Corinthian order 
 imitates "the dclicac}- and the ornaments of a 
 woman." 
 
 25
 
 Temple of Neptune at Paestum 
 
 For all the higher architectural effects, the 
 Doric order, though wanting the grace and deli- 
 cacy of the later Ionic and Corinthian orders, is 
 perhaps unrivalled. It is evident Alilton held it 
 most impressive, for in his description of the 
 building of Pandemonium, the marvelous city 
 created by Satan out of a hill of gold, which he 
 exhausts even his wonderful vocabulary in de- 
 scribing, he speaks of the "Doric pillars overlaid 
 with golden architrave." 
 
 The best preserved example of ancient Greek 
 Doric, on the wdiole, that remains to us, is the 
 temple of Xeptune at Paestum, which is supposed 
 to date at least 500 B. C. The earlier Doric col- 
 mnns were much more massive than later ex- 
 amples like the Parthenon, and in this temple 
 they have a diameter of 6 feet 10 inches at the 
 base, but tapering markedly at the top. The col- 
 umns have each twenty-four flutes, and are 
 crowned by deeply projecting cajMtals, which su])- 
 
 26
 
 port a massive enlaljlaiurc. This entablature, 
 though massive, is well upborne by the columns, 
 which rest on a horizontal and spreading base- 
 ment, for the fitness and proportion of every 
 part was the crowning quality of Greek archi- 
 tecture. 
 
 The temple was constructed of a coarse, cal- 
 careous stone from the neighboring hillside, but 
 completely covered both inside and out with a 
 fine, hard stucco, formed of lime and pounded 
 white marble, which took a high polish and was 
 not distinguishable from real marble. \'eneer 
 construction was, however, not characteristic 
 of the Greeks, though much in use by the Roman 
 builders. The Greek architecture, with its pure 
 and severe outlines, did not invite shams or pre- 
 tense. And this temple is almost the only in- 
 stance where the construction was not solid. The 
 work was, however, of a high order, and the 
 glistening marble surface relieved by color decor- 
 ation and carving as in all Greek temples. 
 
 The Theseum, as it stands today on the Acro- 
 polis at Athens, is a conspicuous example of 
 Greek Doric architecture modified by Byzantine 
 influence. The temple in fact for many years 
 in Byzantine times served as a Christian 
 church, and is now occupied as a museum for 
 antiquities. The Theseum was built of Pentelic 
 marble, which now has taken on a golden brown 
 hue from centuries of exposure to the elements, 
 the date of its erection being fixed at 500 B. C. 
 The coft'ered marble ceiling still survives, and the 
 temple is probably the best preserved example of 
 ancient Greek architecture. 
 
 27
 
 ^^'itllOut the abundant quarries of fine white 
 marble that were stored in every Attic hillside, 
 the wonderful sculptures of those columned tem- 
 ples would prol)ably never have been attempted. 
 
 The Parthenon — that exponent of architectural 
 perfection — was built from th-e finest marble, 
 quarried near Athens. It represents the highest 
 expression of Greek art, and displayed every 
 refinement known to the Greek architect. The 
 Parthenon, literally interpreted, means "maiden's 
 chamber," and was the stately shrine for the 
 colossal statue of the goddess Athene, forty feet 
 hiigh and made of carved ivory and gold. This 
 statue was the work of the matchless sculptor 
 Phidias, as also many of the sculptures of the 
 building. The temple itself was built of marble, 
 and raised on a foundation platform. The dis- 
 tance from the platform to the point of the gable 
 was but sixty feet, yet it is considered the most 
 exquisitely proportioned building in the world. 
 
 The long, low, sloping roof was an architec- 
 tural result of climatic conditions. No steep, 
 storm-shedding roof was needed in that sunny 
 isle 
 
 "Where the winds of the north becalmed in sleep, 
 Their conch shells never blow." 
 
 and the projecting cornice was all that was 
 needed as a shield from the weather for the beau- 
 tiful frieze below. 
 
 The gable ends — the pediments — were filled 
 with sculptured reliefs, and the frieze referred to 
 continued around the columned arcade. The 
 building was profusely decorated with color and 
 gold ornaments, used to rclirve the too dazzling 
 
 28
 
 M'WMiMM 
 
 Temple of Theseus Athens 
 
 whiteness of the marble in that brilHant sunshine. 
 Color indeed was a feature of the Greek temple 
 whose exterior as well as interior decorations 
 were rich with color, while the walls and col- 
 umns were toned down to a yellowish ivory like 
 the softening tint that time gives. 
 
 With this slight general outline of the edifice, 
 we may proceed to examine the different features, 
 for in the Parthenon we have the noblest example 
 of Greek classic architecture of the Doric order. 
 The long, unbroken lines of the columns rise 
 directly from the stone platform without a base, 
 and taper toward the top — not in a straight line 
 but with a slight, subtle curve or swelling of out- 
 line, which was one of the refinements of Greek 
 architects, and used to counteract the tendency 
 of a long, perfectly straight column to look hol- 
 low in the middle. This curve created an optical 
 
 29
 
 illusion, being too slight to be noticeable to the 
 eye, varying only three-fourths of an inch in a 
 height of thirty-two feet. Another device of 
 these ancient architects was to remedy the ap- 
 ])earance of a "sag," or droop in the center of a 
 long, horizontal line, by slightly curving upwards 
 the architrave, or beam across the top of the col- 
 umns — towards the center, so that it appears to 
 be perfectly straight, while in reality curving 
 tipwards to the extent of three inches. Another 
 subtle correction was applied to the setting of the 
 columns, because vertical lines have an apparent 
 tendency to "spread" or diverge at the top. So 
 the columns are set with an inclination inward, 
 so slight that the eye does not detect it, but 
 an effect is given of perfect repose. All these 
 refinements of construction are made use of by 
 the modern architect of culture, who bestows care 
 and thought upon his designs. 
 
 The tapering fluted shafts were crowned with 
 capitals of simple beauty, beneath a broad, square 
 abacus which threw a deep shadow on the col- 
 umn below. This play of light and shade, and 
 the deep shadows cast by the insulated columns, 
 is one of the enchanting effects of Greek ar- 
 chitecture. 
 
 Above the plain architrave, or supporting mem- 
 ber of the entablature, ran the frieze, in the 
 Doric order, divided into square panels separated 
 by slightly projecting blocks which were grooved. 
 These blocks occurred over each colunm and once 
 between, and this regularity of repeat is a feature 
 of classic design. The spaces between the blocks 
 or "triglyphs," were filled with sculptured reliefs. 
 
 30
 
 The celebrated frieze of the PartlTenon is a band 
 of reHef four feet in width around the temple, 
 within the colonnade. The sculptures upon it 
 represented the processional in the "rand festival 
 of the goddess Athena, whose temple and shrine 
 the Parthenon was. At this festival was yearly 
 
 Parthenon — Restored 
 
 presented to the goddess a new robe, woven by 
 the most skillful high-born ladies and carried by 
 the noblest daughters of Athens. In the proces- 
 sion were all the statesmen and generals, the 
 crowned victors of the sports, the chariots and 
 sacrifices, the flower of Athens, on horses with 
 brilliant trappings. All these were reproduced 
 in this beautiful frieze, which told the story of 
 the great festival in honor of its goddess in the 
 wonderful bas-reliefs sculptured upon it. 
 
 Above the frieze is the cornice, the lower por- 
 tion carried along horizontallv o\er the frieze 
 while the upfier meniluTs f(^ll(^w the sloping lines 
 
 31

 
 of the roof; the triangular <.\rdcv thus enclosed is 
 called the pediment, and this pediment is a very 
 telling architectural form for which we are in- 
 debted entirely to the Greeks. Xo suggestion of 
 it is found in Egyptian architecture, but it is the 
 crowning feature of every Greek temple. Like 
 many other things which seem so simple after 
 they have been done, it has been incorporated in 
 much of our modern architecture, and resulted in 
 the grand gables of our Gothic architecture. The 
 pediment of the Greek temples was a leading ar- 
 chitectural feature, and contained the finest 
 sculi)tures. It has been said that "to stud}- the 
 execution of the Parthenon pediments, is the lib- 
 eral education of artists ; to imitate it, the despair 
 of sculptors." 
 
 These sculptures were the work of Phidias 
 himself, among them the noble statue of the re- 
 clining Theseus. With other of these fine sculp- 
 tures this statue belongs to the Elgin collection 
 in the British Museum. The back of the Theseus 
 has been called the finest tiling in the world, and 
 serves to show the surpassing excellence and 
 relip-ious care, of Greek workmanshij:) ; for the 
 statue was fifty feet above the ground, and more- 
 over its back was turned towards the wall, where 
 no one could possibh- see it, and serves to exem- 
 ])lif\- ihe painstaking lal)or of those workers. 
 
 \vhen ..r 1 11 1 £ . 
 
 in the elder days ot art 
 
 Ikiilders wrought with greatest care 
 
 Each minute and unseen part." 
 
 Another fine example of the Doric order of 
 Greek architecture is shown in the temple of 
 Theseus, at Athens the Theseus whose sculptured 
 
 33
 
 back was so fine. Here the shafis are slender 
 and the molding refined. The leadini;" features 
 are similar to the Parthenon ; indeed, although 
 great stress is laid upon the different "orders" of 
 Greek architecture, and the correct carrying out 
 of the detail belonging to each, there was but this 
 one main t\pe — that of the pedimcnted temple 
 with its colonnade. This form was worked out 
 by the Greeks in a manner never surpassed, and 
 the details with which they adorned the form 
 have a perennial charm from their chaste and 
 exquisite beauty. 
 
 Besides these three principal species of col- 
 umnar arrangement, the Greeks emplo\"ed anoth- 
 er, in w'hich the statues of women took the place 
 of columns. These columnar figures were called 
 Caryatides, and the onl}' existing example is the 
 ruined south portico of the Erectheion at Athens, 
 here finely photographed. 
 
 This famous Caryatidean portico was a pro- 
 jecting wing of the principal Ionic structure and 
 shows square plinths supporting six majestically 
 draped, female figures upon which rest the en- 
 tablature. 
 
 The Erectheion appears to have been designed 
 as a foil to the stern severity of the Parthenon 
 which it faced, for the east facade of this triple 
 temple is extremely light and graceful in char- 
 acter, showing oriental influence in the decora- 
 tions within the portico. Rising on the brow of 
 the Acropolis, 
 
 "where in Legend tinted line 
 The peaks of Hellas drink the morning's wine." 
 with its delicate Tonic c<^lumns terminating in 
 35
 
 "golden curls," oriental fret work and brilliant 
 frescoes, it presented a striking contrast to the 
 stern beauty of its vis-a-vis, the Parthenon. The 
 temple was built entirely of white Pcntelic mar- 
 ble, except the frieze, which was of black marble. 
 At the left we have a glimpse of the Caryatidean 
 portico as restored. 
 
 The Erectheion, while very beautiful in itself, 
 is an exception to all rules, and forms altogether 
 one of the most heterogeneous compositions to be 
 found in ancient architecture. The modern 
 church of St. Paucias, London, is a modified copy 
 of the Erectheion. 
 
 The Doric order of structure gradually devel- 
 oped the more delicate type of the Ionic and Cor- 
 inthian styles, in which appeared the added fea- 
 tures of a happily designed base to the column, 
 the carved moldings of the entablature and the 
 beautifully designed and ornamented capitals of 
 the columns. The Ionic capital is richer and more 
 elaborate, terminating on each side in a feature 
 like a scroll called the 'Tonic volute." The col- 
 umn is more slender and more deeply fluted ; the 
 frieze has no separating triglyphs, but is either 
 plain or enriched with an uninterrupted design 
 carved in relief. The projecting cornice was 
 treated with "dentils," a detail in common use in 
 all modern design. The general characteristics 
 of this order appear in fact frequently in present 
 day architecture, and one sees the interesting 
 capitals and flutes everywhere, even in the detail 
 of furniture design. 
 
 The most notable examples of Greek Ionic are 
 th.e temples of Wingless \"ictory and the Ercc- 
 
 36
 
 tlicion at Athens. The hitter has already been 
 alluded to as refined in composition, thoui,di 
 showings much variet}' of detail and considerable 
 irrecjularit}- of plan. 
 
 Althoui^h in Egypt the grandest structures 
 next to their mighty temples are the tombs, in 
 Greek architecture these are of little interest. 
 Quite the finest among them was the tomb of 
 Mansolus at Ilalicarnassus, from which our word 
 "mausoleum" is derived. It consisted of a lofty 
 base, on which stood an oblong Ionic edifice sur- 
 rounded by 36 columns, and surmounted by a 
 pyramid of 24 steps. The whole structure, 140 
 feet in height, was crowned by a chariot group 
 in white marble. Up to the tenth century this 
 edifice was in perfect condition, but was then 
 destroyed and is here conjecturally restored. 
 
 The Corinthian capital, or third order, was the 
 creation of the later period of Greek architecture. 
 The bell-shaped capital was surrounded by two 
 rows of acanthus foliage, which developed into 
 spiral volutes at the angles, and combined to form 
 an exquisite decoration. The honeysuckle was 
 another favorite form of the foliated capital. An 
 example of round foliated capital — less common 
 than the square — is given in the bcautifrd little 
 structure called the Choragic monument of Lvsi- 
 crates, at Athens, which has been restored, and is 
 the onl\- example of this i>ure Grecian order re- 
 maining. In those capitals one-third of the space 
 is occupied ])y calicos and tendrils sui:)porting a 
 honeysuckle against the abacus. This small 
 structure is considered (ine of the most lx>au- 
 tifnl compositions in its style ever executed, 
 37
 
 t 
 
 
 
 1 
 
 ^<ir> 
 
 ,^^ 
 
 
 e % 4 « i t ( 
 
 Choragic Monument of Lysicrates
 
 The bold and simple base, admiral )l_v propor- 
 tioned to the rest of the structnre, the col- 
 umnar ordinance, the richly ornamented dome, 
 are all arranged with the most exriuisite harmony 
 of composition. It is simple without being: poor, 
 and rich without being meretricious. 
 
 In nothing is Greek architecture more distin- 
 guished than in the beauty and grace of its mold- 
 ings and ornaments. The general outline of the 
 moldings is curved and flowing, the Hogarthian 
 line of beauty, in effect, though of Greek mold- 
 ings Hogarth could have known nothing. Th.e 
 familiar egg and dart molding comes to us from 
 the ancient Greeks. A technical description of 
 these features does not lie within the scope of the 
 present work, which aims more to present the 
 general composition of the historic style, as the 
 foundation underlying all our modern architec- 
 ture. 
 
 The domestic architecture of ancient Greece 
 would be a most interesting study if we had any 
 data on the subject. I'ut unfortunately no re- 
 mains of their domestic structures exist, and our 
 (inl\- knowledge of them is derived from the 
 allusions of contemporar}- writers. It is probable 
 they were modeled after the fashion of the houses 
 excavated at Pompeii, a city largely influenced 
 by Greek ideas, though probably the Greek house 
 was less luxurious. That it was characterized 
 by the same beauty of form and perfection of 
 finish wdiich pervaded not only their public build- 
 ings, but even their implements of war and arti- 
 cles of domestic use. seems a forecrone conclusion. 
 
 39
 
 "While fancy brings the banished piles to VieW. 
 And builds imaginart; Rome aneW." 
 
 40
 
 ROMAN ARCHITECTURE 
 
 In tracini^ the architectural development of the 
 Roman people, withotit going back to the early 
 Etruscan period of which hut few records remain, 
 it is well to consider the character of the nation 
 and the contrast between its civilization and that 
 of the Greeks. For although Roman architecture 
 was, speaking broadly, the architecture of the 
 Greeks, the former was practised by a strong and 
 virile race, and into it was grafted a new con- 
 structional principle — the principle of the arch. 
 
 The Roman was practical, hard headed, ambi- 
 tious. W ith conquest had come great wealth 
 and power. He developed a great love for 
 luxury, pomp and show. With none of the 
 esthetic Greek's love of beauty for itself alone, 
 he imported Greek architects to design for 
 l.im. just as he gathered spoil of every sort 
 from all the world. Xeithcr did the religion of 
 the Roman exert any decided influence over his 
 architecture as in the case of Egypt, for he was 
 not religious. He had his gods it is true, and 
 oflfered them pcrfunctorv honors and sacrifices, 
 
 41
 
 Mt ^l
 
 but even tlie tcniiik's appear to liave been utilized 
 for other purposes than that of worship. The 
 pubHc Hfe of the Roman centered in the great 
 l)aths, the tlieaters, in the lofty basilicas where 
 public business was transacted and which after- 
 ward were remodeled into the churches of the 
 early Christians. 
 
 Rome was a great commercial center and re- 
 quired large and lofty buildings. It was the 
 demand for vast structures adapted to the busi- 
 ness and pleasures of a commercial and amuse- 
 ment-loving people that evoked the arch, the vault 
 and the dome. A great area is not easih' covered 
 by the horizontal beam and the column. The 
 great temples of the Egyptians were forests of 
 columns and divided into comparatively small 
 compartments. Immense concourses of people 
 could not assemble in such an interior, and so the 
 flat lintel of the Greek temple was superseded 
 l)v the Roman arch. Temples, palaces, amphi- 
 theatres, basilicas, rose at the bidding of great 
 wealth, and were made possible by this new con- 
 structive invention, which moreover enabled the 
 builders to utilize inferior material. Almost all 
 these vast theaters, l)aths, acqueducts and palaces 
 were built of brick, though man}- were faced with 
 stone or marble and have marble porticos and 
 columns. They also made great use of stucco as 
 a surface for decoration. In short, they built 
 for utility and for show, caring little for artistic 
 feeling, though excelling in the practical inven- 
 tions and possessing a thorough knowledge of 
 construction, as attested bv their great acque- 
 ducts. roads and theaters still in existence. 
 
 43
 
 TixC building materials of the Romans and the 
 manner in which they employed them are very in- 
 teresting-. At first the volcanic conglomerate of 
 ashes, sand and charcoal called "tufa," was used 
 for the main walls, while at points of pressure, 
 such as piers or arches, the harder "pepperino" 
 was inserted. The Colosseum is a particularly 
 elaborate example of this mixed construction. 
 Some of the volcanic products which lie in im- 
 mense beds under and around the city of Rome 
 when mixed with lime form a very strong hy- 
 draulic cement of enormous resistance and dura- 
 bility, in many cases exceeding the most massive 
 stone masonry. 
 
 Although the Roman builders used blocks of 
 stone in their walls, sometimes as much as 8x15 
 feet in size, they fastened them together bv iron 
 clamps, onl\- setting them in cement to obtain a 
 smooth and level surface. The concrete material 
 so much employed in their construction was ex- 
 tremely hard and durable, and faced above the 
 foundation walls with brick or marble, or stucco. 
 "When stucco was used, they studded the face 
 of the wall before the concrete was hard, 
 with iron or bronze nails, to give a hold for 
 the stucco. The marble slabs used in such 
 profusion as linings to walls were fixed to 
 them by long clamps of metal hooked at the ends, 
 so as to hold in a hole made in the marble slab. 
 The quantit}- nf rich marl'ks brought into Rome 
 from Greece and other countries is beyond cal- 
 culation, so lavishly were buildings enriched with 
 them. T'lnormous (|U'nUilies of Lib\-ian mari)le, 
 of a rich yellow color deepening to orange, and 
 
 44
 
 Circular Temple of Vesta 
 
 even pink, were used tor wall-linings and columns 
 and even pavements. Six large columns of the 
 Pantheon are of this marble. Another variety 
 was blood red in color, and employed on small 
 cornices antl interior moldings. There were 
 many varieties of mottled marble, and some ba\- 
 ing wavy stratas, of while and pale green. A 
 seri-transparent and beautifully marked oriental 
 alabaster, very hard, was used in enriching the 
 baths and elsewhere. It was the boast of Au- 
 gustus indeed that be "found Rome brick and 
 left it marble." 
 
 45
 
 With this glance at Roman character and 
 materials, let us return to the earlier period when 
 Greek influence dominated construction. That 
 the Greek temple type prevailed extensively in 
 early Roman architecture is attested by the many 
 ruins scattered throughout Italy and other por- 
 tions of the Roman empire. One of the most in- 
 teresting of these is the little circular temple of 
 Vesta at Tivoli, the circular, inner cell sur- 
 rounded by an outer circle of beautiful Corin- 
 thian columns, each 32 feet in height, the circle 
 being 156 feet in circumference. 
 
 The classic roof of this temple, originally cov- 
 ered with Syracusan bronze, is long since gone 
 and has been replaced by a wretchedly incongru- 
 ous one of red tile. Xo shrine in Rome was so 
 sacred as this little circular building which con- 
 tained the sacred fire that if allowed to go out 
 would have endangered the existence of the city 
 itself. 
 
 The original temple was destroyed about 500 
 B. C., and has been conjecturally restored from 
 the columns, cornice sections and other fragments 
 of the architectural features found in the exca- 
 vated Forum. 
 
 Near the temple itself stood the house of the 
 vestals, containing beside the three chambers for 
 the six vestals, a bath-room, bake-house and 
 servants' offices. The rooms proper and the bath 
 are lined with polished marble of great beauty 
 and rarity and the floors are of tesselated mosaic 
 of porphyry and marble, showing in many places 
 the clumsy patchings of restorations in the fourth 
 and fifth centuries. 
 
 46
 
 Corinthian Capital. Temple of Mars 
 
 The excavations of recent years have laid bare 
 the remains of this very interesting building, 
 Avhich appear in an unusual state of preservation 
 in spite of the erection of later buildings over 
 tlieni. The concrete walls were faced with brick 
 and decorated with colored stucco; the columns 
 were also stuccoed and colored crimson, while 
 the stone gutters along the roof were bright blue. 
 The inner walls were paneled and decorated in 
 simjile designs of leaves and wreaths. Though 
 the last vestal disappeared in the fourth century, 
 tliis building continued to be occupied for sev- 
 eral hundred }ears later, but was finallv blocked 
 up and buried under the accunuilated rubbish of 
 Rome's many conlkigrations. 
 
 The illustrations show ilir temple of \'esta as 
 
 47
 
 restored, and a restored capital of a column of 
 Mars. These temples were situated on the Capi- 
 tolinc Hill, that mass of architectural magnifi- 
 cence gathered from the spoils of the whole Hel- 
 lenic world. The i)hotograph is a fine example 
 and gives us a very clear idea of the beautiful 
 Roman Corinthian capital crowning columns 
 having twenty-four semi-circular fiutes. The 
 capital is composed of two rows of acanthus 
 leaves, each row consisting of eight leaves ranged 
 side by side, but not in contact, with tendrils 
 and foliage. The abacus has molded faces and is 
 enriched with a rosette or flower in the center of 
 each face overhanging tlie tendrils of the capital. 
 Unlike the Greek Doric and Ionic each example 
 of the Roman Corinthian is a law unto it.self, 
 and dififers from every other in the distribution 
 of its various parts. Besides the Corintliian 
 pro])er, the Romans used many other varieties 
 based upon that order; one called the Com- 
 posite appearing frequently in their triumphal 
 arches. They had still others, in which human 
 figures and animals, with a variety of foliage 
 and other peculiarities were introduced. The 
 Corinthian was the favorite order of the Ro- 
 mans who cared little for the simple severity 
 of the Doric, and preferred the richer ornamen- 
 tation of the Corinthian. 
 
 The photograph shows the beautiful tem])!e 
 of Wmius and Rome, as conjecturally restored 
 from fragments remaining of the cornice and 
 columns and descriptions of contemi)orane<ms 
 writers. The temple was originally planned bv 
 the Emperor Hadrian, tliat ancient (Hlettantc and 
 
 49
 
 connoisseur in fine arts. He showed his design 
 \.itli proud satisfaction to Apollodorus the archi- 
 tect of Trajan's Forum, who remarked that "the 
 deities, if they rose from their seats must thrust 
 their heads through the ceihng." We can im- 
 agine what happened to Apollodorus. 
 
 This magnificent temple 400x200 feet was 
 built of brick with columns of gray granite, and 
 richly embellished wdth statuary and carvings. 
 
 In front of it stood the colossal bronze statue 
 of Nero, its head surrounded by rays that it 
 might represent Apollo. It required forty-two 
 elephants to move this colossal statue to another 
 position. 
 
 The most splendid of the temples of old 
 Rome, and indeed the only structure which 
 has come down to us in a fairly perfect state of 
 preservation, is the Pantheon, that model of an- 
 cient architectural beauty, wdiich even now ex- 
 cites the admiration of every beholder. The Pan- 
 theon presents more characteristic features of the 
 ancient Roman style, than any other one building, 
 and its interior is called by Ferguson one of the 
 sublimest in the world. Its immense circular 
 window at the top, some 30 feet in diameter, "that 
 one great eye opening upon heaven" says the 
 same authority, "is by far the noblest conception 
 for lighting a building to be found in Europe." 
 The structure was built of concrete covered with 
 brick and then veneered with marble. Many 
 theories have been advanced as to the part played 
 bv these tiers of brick arches, l)ut the thickness 
 of the concrete — 20 feet, while the brick facing 
 scarcely averages 6 inches — seems to show their 
 50
 
 The Pc.ntheon. Rome 
 
 superficial character. As tlic concrete itself 
 formed an excellent surface for the marble 
 veneer, it is difficult to see why the brick was 
 employed. The bricks were triangular in shape, 
 and the Pantheon is the earliest instance of the 
 use of burnt ])ricks. which before this were sun- 
 dried. This ancient temple whose 
 
 "Arch and vault without stain or fault, by 
 
 hands of 
 Craftsmen we know not. reared." 
 
 is a perfect type of Roman architecture. The 
 great dome, rising with majestic dignity from the 
 circular wall, crowns a rotunda 142 feet in diam- 
 eter and 143 feet high. Though the same size 
 as the dome of St. Peter's, it appears of vaster 
 proportions. Against the circular wall is built 
 an immense portico with a front of over 100 feet, 
 51
 
 supported by 16 Corinthian jjillars of red granite 
 with inarbk' cajjitals 36 feet high, and a pedi- 
 ment above ornamented b}- glorious bas-reliefs. 
 
 The i)ortico with its beautiful vista of white 
 marble i)ilasters formed a vestibule and was ap- 
 proached b}' a flight of six marble steps. Within 
 the portico were immense doors of solid Ijronze 
 which still remain, and wb.ich opened to an in- 
 terior whose sides gleamed with polished mar- 
 bles and whose roof glittered with sculptured 
 sih'cr and bronze. 
 
 All around the interior, in the recessed panels 
 where once were beautifid marble statues, are 
 now the tawdry ornaments and gilded, paste- 
 board figures of the Papal church ; rust and 
 grime have dimmed the precious marbles on the 
 walls ; the gleaming vault above has been 
 stripped and plastered and daubed, vet it is still 
 the most beautiful of pagan temples. 
 
 "Here underneath the great porch of colossal 
 
 Corinthian columns. 
 Here as I walk, do I re-people thy niches, * * 
 \\'ith the mightier forms of an older, aus- 
 terer worship." 
 
 The ruined Colosseum has been the theme of 
 many a traveler and poet. ] doubtless the re- 
 mains of this vast theater — the largest ever 
 erected — are impressive, es])eciall\' if the imagin- 
 ation be stimulated by a moonlight view. But 
 the great stone circle w-as remarkable as a con- 
 structive achievement rather than for beauty 
 even in the days of its ancient magnificence. A 
 curious feature of the construction of this vast 
 amphitheater is seen in the remains of the walls, 
 which are honeycombed with large earthen iars, 
 
 53
 
 t 
 
 t 
 
 ^I MII WW — W— P" 
 
 i: 
 
 "i 
 — • 
 
 t^ 1 
 
 ^■^-\ 
 
 ">• 
 
 
 - r. : : > 
 
 Arch of Titus, as Conjecturally Restored 
 
 inserted in tlie conerete mass of brick and mor- 
 tar and evidently used as a sort of arches, per- 
 haps to economize material. 
 
 Between 80,000 antl 90,000 people could 
 gather within that immense inclosure, to witness 
 the games and spectacles demanded by the pleas- 
 ure loving populace. 
 
 54
 
 The Colosseum, though showing the free use 
 of the column in its construction, which consists 
 of arches with decorative columns of all three 
 orders in the successive tiers, has little of interest 
 architecturally, except its immensity. The ex- 
 terior, with its endless repetition of arches and 
 useless columns is inonotonous ; and the canvas 
 roof could have had no heauty. 
 
 The ruined arches of the Roman Aqueduct, 
 which once stretched from the cool fountains nf 
 the Sabine hills to the great, teeming city, are 
 also monuments of con-structive energy which 
 even in their ruins excite our astonishment. 
 Though they do not rise to the level of archi- 
 tectural beauty, their immense length and size 
 and the obstacles surmounted in their construc- 
 tion give them interest aside from their pictur- 
 esque quality. The most famous of these aque- 
 ducts was 62 miles long, twice the length of our 
 famous Croton aqueduct in Xew York, and in 
 places the arches rose to a height of 180 feet, 
 and had a span of 75 feet. 
 
 At regular intervals, reservoirs were l)uilt to 
 enable repairs to be made at any point, the walls 
 covered with a cement so hard as to resist any 
 tool. 
 
 Triumphal arches in commemoration of Ro- 
 man victories, were a striking feature of their 
 architecture. As late as the second century, A. D., 
 there were about forty of these structures in 
 Rome. Restored by Pope Pius \TI to almost 
 its pristine elegance, the Arch of Titus is one 
 of the best known of these magnificent relics of 
 Rome's luxury, power and art. and one of the 
 55
 
 most beautiful. Upon its white marble pillars 
 are represented in bas-reliefs the conquerin^c^ 
 emperor in his chariot, bringing home to Rome 
 the costly spoils from the conquered Jerusalem, 
 borne by slaves and soldiers. A superb spectacle 
 the old Roman Forum surely presented, filled 
 with these triuni],hal arches, statues, and beauti- 
 ful temples, when 
 
 "The Forum, all alive. 
 
 With l)uyers and sellers, 
 Was humming like a hive.'' 
 
 Until the beginning of the last century the 
 site of the old Trojan Forum was buried twenty 
 feet deep under the rubbish of the adjacent hills. 
 Only an occasional column projecting beyond the 
 surface gave indication of what might be be- 
 neath. It was in fact a grazing ground for cat- 
 tle and called the Campo \'eccino — cow pasture. 
 A space about a quarter of a mile square is now 
 excavated, and most of the public buildings com- 
 prising the Forum have been located. The A'ia 
 Sacra, which led from the Fortun, was bor- 
 dered all the way by handsome temples and pub- 
 lic buildings, whose ruins now resemble city 
 blocks after a great fire. The \^ia Sacra passed 
 imdcr the Arch of Titus with its famous sculp- 
 tures, showing a procession of captive Jews with 
 the table of shew-bread. trumpets and seven- 
 branched candlesticks. s]:)oils of the great Tem- 
 ple of Jerusalem. 
 
 Fron> all the hills around, handsome structures 
 
 looked down upon this ancient Forum in its 
 
 jirime. Rut Rome outgrew it : and other fora 
 
 were added by successive emperors, and these 
 
 57
 
 in turn buried. The i-rieze shown is from the 
 famous Forum of the emperor Trajan, enriched 
 with exquisite sculptures in relief depictin- his 
 victories. '"" 
 
 Only a brief reference can be made to what 
 was at one period a conspicuous feature of Ro- 
 man arcliitecture— its ma-nificent baths. These 
 ^•ast structures, comprised public and private 
 baths of all kinds as well as rooms for refresh- 
 ments, libraries,, lecture rooms, amusement 
 rooms, gardens and fountains, and were fitted up 
 with more luxury and lavish adornment than the 
 most luxurious of modern clubs. Thev appear to 
 lave been built by the different emperors to currv 
 favor with the people, as the price of all this lux- 
 ury was the smallest coin of the realm. Thou-h 
 only roofless ruins are left of these vast stnrc- 
 tures.-great fragments of arches and walls and 
 ofty shattered ceilings,-one mav still define the 
 long halls and apartments and see patches of the 
 elegant mosaic floors with beautiful designs in 
 color wrought into them. Some of the splendid 
 marbles, vases and great porphvrv tubs of the 
 private baths, with portions of the carvings and 
 frescoes that enriched these baths, are now in 
 the \ atican at Rome. A restored section of the 
 baths of Titus is shown in the illustration oiv- 
 mg the detail of the facade facing the Colosseum 
 lie mam walls consisted of red and orange- 
 colored brick work. The columned arcade with 
 recessed niches filled with statuarv and stucco 
 decoration above the arcade, made 'an extremelv 
 brilliant and decorative facade. 
 
 These immense buildings covered sites a qtiar- 
 
 so
 
 tor of a mile s(|uar(.', and une, we are told, en- 
 closed an open swimming bath in which a thou- 
 sand people could bathe at once. The hot baths 
 were heated by a S}'stcm of pipes or flues lead- 
 ing from furnace vaults beneath. 
 
 The interesting ruins knowai as the Palace of 
 the Cresars, are upon the very foundation and 
 site of the city of Romulus and Remus, and far 
 down beneath them are the enormous blocks of 
 masonry of the old Roman wall, built of lava 
 rock, portions of which have been excavated. 
 
 The photograph shows a portion of the palace 
 conjecturally restored, from descriptions of 
 Tacitus and other historians. 
 
 The wonderful, excavated streets of Pompeii 
 tell us most that is known of old Roman house- 
 hold architecture. The Roman house consisted 
 of two parts ; the public part or rooms facing the 
 street used as shops, and the quite separate rooms 
 for the family life, oi)ening ujion an inner court. 
 
 In the private portion in wealth}- houses, the 
 large inner court was uncovered in the center, 
 while the roof of the "peristylium" around the 
 sides was supported by columns of the finest mar- 
 ble. The perist\le. now coming to be such a 
 feature of modern houses is derived from these 
 ancient Roman ones, but adapted to our use. 
 Leading off from this ]XTist}lium, was the din- 
 ing room, an iiiiportatit room to the old Roman, 
 who was apt to have two or three, so that he 
 could suit his view to the season or his temper. 
 
 What records exist of their house architecture 
 appear to show that little attempt at exterior ef- 
 fect was mack' and e\er\- thin-^- lavished u\mm\ 
 
 61
 
 interior adornments. Tlie exterior walls were 
 plain, generally of brick — even the columns, which 
 were covered with a coat of stucco. Even the 
 villa of Hadrian, which is the most extensive 
 Roman house having any considerable remains, 
 notwithstanding its size and general magnifi- 
 cence, has no indication of windows or of stairs, 
 and the moldings and ornaments are small and 
 insignificant. The mural decorations of the in- 
 teriors of the better class w-ere, however, very 
 beautiful, and were of a high degree of artistic 
 excellence. In the humbler houses the walls w'ere 
 simply painted flat in one color, but in the more 
 pretentious, the wall-spaces were divided into 
 panels by painted columns, and the panels fres- 
 coed with graceful and highly finished human 
 figures, landscapes of arabesques. The walls of 
 Pompey's house were painted to look like a for- 
 est with trees and birds, a style of decoration 
 we have seen imitated to a degree in modern 
 houses. Frequently the plinth or lower portion 
 of the wall was painted black or very dark, and 
 above this a deep red or blue or yellow. So that 
 our modern decorators with their decorative 
 "upper thirds" their panels and divided walls 
 are only proving once more that there is nothing 
 new under the sun. lUit although ancient Ro- 
 man houses were ])rofusely adorned with paint- 
 ings and statuary, busts, vases, candelaljra in 
 bronze, marble and gold, though the floors were 
 of exquisite mosaic work, and their columned 
 courts musical with the plash of fountains and 
 the songs of birds — yet we would think little of 
 them, with our modern ideas of comfort. Xot 
 63
 
 only had they no doors, — only archways some- 
 times curtained, — but no windows except occa- 
 sionally small slits in the upper story, and their 
 mosaic floors were cold. 
 
 Even in that land of the fig and the olive, of 
 vineyards ripening in the sun and 
 
 "Tuscan trees that spring 
 
 As vital flames into the blue." 
 
 the Roman householder — for all his frescoes, 
 must have been a — cold. Such furniture as they 
 had, was mostly of bronze or marble. The an- 
 cient historian Pliny, mentions the dining room 
 of an old Roman villa, as having an alcove of 
 white marble pillars shaded by vines, and fur- 
 nished with marble benches and "a marble basin 
 or fountain which served as a table, the larger 
 dishes being disposed around the edge, while the 
 smaller swim about in the form of vessels, or 
 little water fowl." 
 
 The abundance of easy building material ready 
 to the hand of the ancient Roman builder was 
 not an unmixed blessing. It produced a crude 
 masonry, which though standing like a rock, was 
 unpleasing to the eye, and so necessitated the 
 make-believe of veneer. 
 
 Their architecture became debased, a hetero- 
 genous mixture of the Greek classic orders with 
 Tuscan traditions. They transferred the Grecian 
 columns and capitals to their brick and stucco 
 buildings without preserving their purity. 
 
 One exception may be made, in the case of the 
 
 Corinthian capital, which in Rome assumed a 
 
 new and not less beautiful form and character, 
 
 imparting such variety to its enrichment that 
 
 64
 
 
 Frieze of Trajan's Forui 
 
 each example differed from every otlier, Init 
 without the loss of its ori^^inal and distinctive 
 character. 
 
 Let us remember too. that to the Roman we 
 are indebted for the constructive principle of the 
 arch, which opened to the architect unlimited pos- 
 sibilities. Though their architecture was made 
 up of borrowings from all the world, and its over- 
 loaded ornament and vulgar display are but the 
 mirror of the national character, wc must not 
 forget that he made possible, some of the grand- 
 est forms of later architecture. 
 
 ts
 
 *'}Vhat seemed an idol ht^mn, noW breathes of Thee, 
 Tuned bt; Faith's Ear to some celestial medodt;. 
 
 66
 
 EAKLY CHP.ISTIAN AND 
 BYZANTINE,. 
 
 A\'e now come to a period when we shall have 
 no temples or theaters or public buildings to 
 describe, where all these forms disappear, and 
 for nearly 700 years ecclesiastical forms, churches 
 and cathedrals occupy the sole attention of the 
 architect. Even dwelling houses are utterly ne- 
 glected ; and until the castle of the Xorman baron 
 arose, of which we shall speak later, there was 
 nothing built but churches. 
 
 Religion has ever been a chief factor in stim- 
 ulating the art of architecture; and just as pagan 
 Egypt, Greece and Rome embodied their loftiest 
 conceptions in their temples for worship, so with 
 tlie Christian faith, tliere arose forms of beauty 
 that culminated in the glorious cathedrals of the 
 middle ages. 
 
 -\s the early Christians grew numerous and 
 jjowerful, they came out of their catacombs and 
 hiding places, and began openly to erect places 
 of worship. At last came Constantine, and de- 
 creed the Christian religion to be the religion of 
 the Empire. Then began the building of the 
 basilicas, some of which were remodeled Roman 
 
 67
 
 St. Clement's Sasilica, R.ome 
 
 theaters, and columns, ricli capitals, marbles and 
 mosaics appropriated for the new ones. The ex- 
 teriors of these buildings possessed little archi- 
 tectural merit, nor were their builders concerned 
 about styles. Space was what they wanted, and 
 to meet the demand for extra accommodation, 
 the first rude transepts were formed by slightly 
 widening the space between the apse and the 
 end of the nave. Thus was foreshadowed the 
 cruciform plan of the mediaeval cathedrals, 
 while the division into nave and aisles of these 
 early basilicas, has been handed down to the 
 present day. 
 
 While little attention was given to architectural 
 form in these Early Christian churches, the in- 
 teriors were enriched with veined marbles and 
 golden mosaics that are still undimmcd. The 
 floors were inlaid niar])Us and ihe walls rich with
 
 pictures worked out in small brilliant glass cubes. 
 The illustration shows the interior of one of these 
 early basilicas, St. Clement's, at Rome, which 
 though rebuilt in the eleventh century, retains 
 the old plan, with its peculiar features in a good 
 state of preservation. 
 
 And so we see that this early Christian plan 
 and arrangement of a church interior was the 
 germ of the estalilished forms of later building, 
 and a type that widely influenced succeeding gen- 
 erations. 
 
 Byzantine Architecture 
 
 Just where the line should be drawn between 
 the Christian basilica and the early Byzantine 
 structures is not easy to define. The divergence 
 appears in the use of the dome, which was the 
 distinguishing feature of Byzantine architecture, 
 and which resulted in the square or Greek cross 
 form of interior instead of the long rectangle 
 of the Early Christian basilicas. 
 
 Instead of covering the circular wall of the 
 Roman temples with a dome as the Pantheon, the 
 Bvzantine architect placed his dome upon four 
 arches enclosing a square. 
 
 Tn viewing a typical Byzantine structure the 
 eye at once observes the 1)roken skv line formed 
 by dome rising upon dome and culminating in the 
 great central dome. Such a spectacle is the mag- 
 nificent church of St. Sophia at Constantinople, 
 considered the grandest specimen of Byzantine 
 art. Just as Greek architecture has the Par- 
 
 69
 
 Interior of St. Sophia. Constantinople 
 
 thenon as its grandest exponent. Egypt the won- 
 derful temple at Karnac, and Rome the Pan- 
 theon, so this vast interior with its series of 
 vaulted roofs and hrilliant and costly decora- 
 tions, represents the highwater mark of Byzan- 
 tine architecture. 
 
 Possessing little outward heauty, it is un- 
 rivalled in the grandeur of an interior never 
 equalled for rare, hrilliant yet harmonious dec- 
 oration, and in the masterly treatment of hroad 
 masses and minor details. 
 
 Like some ocean grotto, it seems hursting with 
 every imaginable revelation of light and color ; 
 with its marbles of many hues, cornices, friezes 
 and historic pillars, mosaics of precious stones 
 and crosses of gold, — every surface glittering 
 with prismatic gleams. Byzantine art was essen- 
 tially one of incrustation, the surfaces of build- 
 
 70
 
 in.c:s bein.s: covered with marljles and mosaics, 
 of which quantity appeared to be the character- 
 istic rather than quality. 
 
 The many influences affecting Byzantine ar- 
 chitecture produced a great variety of design. 
 The Itahan seaports came strongly under Byzan- 
 tine influence, and the church of St. ^Mark's, in 
 \'enice, was its most beautiful result. Rebuilt 
 in the latter part of the tenth century, except for 
 some minor details, it is purely Byzantine in 
 form. So admirabl}- does Ruskin, in his Stones 
 of Venice, describe this "vision out of the earth" 
 that a portion is here quoted. 
 
 "A multitude of pillars and white domes clus- 
 tered into a long, low, pyramid of colored light ; 
 * ''' '^ hollowed beneath into five great 
 vaulted porches, ceiled with fair mosaic and set 
 with sculpture of alabaster clear as amber and 
 delicate as ivory, — sculpture fantastic and in- 
 volved, of palm leaves and lilies and grapes and 
 pomegranates and birds clinging and fluttering 
 among the branches, all twined together, and 
 in the midst of it the solemn forms of angels, 
 sceptred and robed to the feet : * * * And 
 round the walls of the porches there are set pil- 
 lars of variegated stones, * * * the shadow, 
 as it steals back from them, revealing line after 
 line of azure undulation as a receding tide 
 leaves the waved sand ; their capitals rich with 
 interwoven tracery — drifting leaves of acanthus 
 and vine, and mystical signs all beginning and 
 ending in the cross ; * * * until at last, as 
 if in extacy, the crests of the arches break into 
 a marble foam, and toss themselves far into the 
 
 71
 
 blue sky in flashes and wreaths of sculptured 
 spray." 
 
 St. Mark^'s stands without a peer among the 
 churches of the world in respect to its unequalled 
 richness of material and decoration, arising from 
 the fact that it was constructed from the spoils 
 of countless other buildings from the fourth 
 century down. The church as it now stands is 
 wholly different from the early edifice built in 
 the tenth century, which was much smaller and 
 
 1 **: J^4'>4 . 
 
 St. Mark's Church, Venice. 
 
 of plain red brick undecorated. l\ut constant 
 enlargements were made and every \'enetian 
 doge, down to the time of Napoleon, added rich 
 decorations, until by degrees the whole walls, 
 inside and out, were completely veneered with 
 colored marbles or glass mosaics on gold 
 grounds, the plain white marble being reserved 
 for statuary, and then thickly decorated witli 
 gold. 
 
 We can scarcely conceive the splendour of 
 effect, as the whole wall surface of the interior 
 72
 
 is now thickly incrusted with dirt, but the gen- 
 eral plan of the decoration was an alternation 
 of richly colored marbles arranged in broad, 
 upright bands so that each color enhanced the 
 cfYect of its neighbor. The bands of colored mar- 
 bles were relieved by intervening panels of pure 
 white marble, sculptured in panels, string courses 
 and the like, and by moldings of white marble. 
 
 The exterior is as magnificently enriched as 
 the interior, with its sculptured arches, marble 
 screen work and wonderful collection of columns 
 of porphyry and precious marbles. As many 
 as five hundred of these costly columns are used 
 to decorate the church, especially the west front. 
 A volume might be written about this mag- 
 nificent 1)uil(ling ; but s])ace will not permit 
 further description. 
 
 St. Clark's is a mixture of Greek. Roman and 
 Byzantine architecture. The spoils brought liy 
 ancient Rome from classic Greece, are mingled 
 in the details of the decoration with those from 
 the Orient, .\labaster carvings stripped from 
 classic buildings were mingled with the gorgeous 
 and fantastic Oriental peacocks drinking from 
 a cup, which form part of the i)ainted decoration. 
 
 Its great, arched. Roman doorwaxs. the vast 
 mass of elegant marble columns with their classic 
 capitals, the great Byzantine dome, with the 
 smaller domes over each arm of the building — 
 all present a composite type, unique among the 
 world's great buildings. 
 
 Such a "confusion of delight" was the Bvzan- 
 tine type of architecture, a mingling of Roman 
 73
 
 grandeur. Greek taste and Oriental passion and 
 color. Its characteristics were unique, interest- 
 ing- and unusual, and though it had little in- 
 fluence in Western Europe, it had a glory of its 
 own which left its impress upon the domed 
 moscjues of its moslem conquerors. 
 
 Saracenic architecture is one of the most fas- 
 cinating divisions of our subject. The story of 
 the Mohammedan era, down to the fall of 
 Granada, is like a fairy tale, "crystalized in 
 architecture, ornament and design ;" a tale which 
 space will not permit us to follow. 
 
 By no means new in its constructive details, 
 Saracenic architecture added to the arch and 
 the dome borrowed from the Romans and the 
 pillars of the Greeks, a use of ornament and 
 color entirely its own. To the lavish use of 
 color was joined a stucco ornamentation of lace- 
 like character, unique and exquisite, and like 
 nothing else in the w^orld. The Aloslem struc- 
 tures, at first small and insignificant, became, as 
 the faith grew and spread, rich and imposing. 
 
 The mosc|ues were beautiful domes and groups 
 of galleried minarets, with a fore-court in front 
 surrounded by a colonnaded arcade. The court 
 contained a fountain for their frequent ablutions, 
 and gardens of orange trees and roses. 
 
 The domes were finely shaped and decorated 
 externally with an intricate interlacing of geo- 
 metrical designs, and shone in the sim like a 
 great inverted silver bowl. Within they were 
 highly colored and gilded, with many aisles and 
 forests of columns in whose arches swung gold 
 and silver lamps. 
 
 74
 
 Bronze Doors, Armenian Church 
 
 A form of ornamentalion peculiar to the 
 vSaracens and constantly used by them was the 
 honeycomb detail, by which they broug^ht to- 
 jc^ether points of juncture. Sometimes this 
 honeycomb work was extremely intricate, cov- 
 erins;' niche-heads and roofs. Its use appears in 
 the photog'raph of the Alhambra, on the arches 
 of the court. 
 
 The Saracens employed very high, sffuare and 
 recessed doorwaxs, but broug^ht down the actual 
 doors to the size required for use by elaborate 
 work over them. The workmanship of these 
 doors was often exquisite and the bronze hinges 
 even, were often chased in most beautiful de- 
 sig;ns. The carved woodwork was of the same 
 delicate and beautiful character. 
 
 The exquisite workmanship exhibited in the 
 illustration showing the doors of the sanctuary 
 in the Armenian church, is characteristic of Sar- 
 75
 
 The Alhambra. Granada
 
 accnic architecture, which lavished intricate and 
 elaborate decoration upon the building and its 
 tittings. The delicate piercing and embossing 
 of outer doors of bronze was a feature of their 
 art, and ^lichael Angelo may well have said 
 of these beautiful examples what he did of the 
 lironze doors of the Duomo — that they were 
 "worthy of being the gates of paradise." 
 
 Saracenic architecture indeed reflects the 
 luxuriance and splendor of Moorish power at 
 its zenith, as well as the culture of a people de- 
 voted to scholarship and learning, the romance 
 of chivalry and the Oriental love of color which 
 was its Arabian birthright. 
 
 We think of mosques and minarets in speak- 
 ing of the Moorish st\"le, and these were the 
 early features of the type. The famous mosque 
 of Cordova, in Spain, is the most important 
 example of their religious architectiu"e, with its 
 columned forest and the wonderful vistas of its 
 arched aisles. Its glory has almost vanished, 
 and little remains of its original grandeur. Xor 
 have time and fate been kinder to that "pearl 
 of Moorish art." the Alhambra, for most of its 
 delicate and enchanting decoration has been de- 
 faced or destroyed by vandals, though portions 
 were restored by Isabella, of Spain, in 1665. A 
 section of this famous "citadel palace" is here 
 illustrated, though doubtless pictures of it are 
 familiar to most. 
 
 Externally its towers of red brick present th'' 
 appearance of a fortress, severe and forbidding. 
 It is the wonderful interior, which has been 
 hap])il\ likened to a casket of jewels, which 
 
 77
 
 pives it distinction. The domed roof of one of 
 the halls is treated in a honeycombed stalactite 
 manner, nearly 5,000 pieces entering into its 
 construction. In the Court of Lions the light 
 Arabian arcades of open filigree work are sup- 
 ported by slender pillars of white marble. Here, 
 the fairy fretwork of the dome, and the slender, 
 fragile colonnade, are as fresh and unshaken as 
 if just created. The charm of the delicate orna- 
 mentation is enhanced by Oriental coloring of 
 remarkable beauty. Everywhere are evidences 
 of the delicate taste and artistic luxur}' of the 
 Aloors. 
 
 Pages could be covered with a description of 
 these exquisite effects, Init they are familiar to 
 most readers. Not so well knowm, perhaps, is 
 the Moorish legend of the origin of this ex- 
 quisite conception. Thus it runs : The great 
 architect had roofed the courts of the fortress 
 witli a plain dome, as others had done liefore 
 nim ; but dissatisfied, and wanting something, 
 ne sat praying to Allah for inspiration. Just 
 then a troop of slaves came dancing in, and be- 
 gan to pelt each other with handfuls of snow 
 from the great l)asketfuls brought but then from 
 the mountains. The snow fell on the black faces, 
 and la}' like wreaths of down, and on the fairer 
 faces it hung like ice-drops. They tossed hun- 
 dreds of snow-balls aloft, trying who could make 
 the most snow cling to the roof of the dome. 
 Suddenly they fled, and the good architect looked 
 up at the hanging tufts and pendents of snow 
 and smiled, for Allah had answered his pra\'cr. 
 
 78
 
 'There Was a stern round 
 toWer of other days," 
 
 — Childe Harold 
 
 79
 
 ROMANESQUE, ARCHITEC- 
 TURE 
 
 W'c must now rclurn to Rome and the early 
 Christians, whom we left buildini;" their basilicas. 
 while we traced the architecture of the East. 
 
 We are now entering the historical i)eriod 
 known as the Dark Ages ; and the transitional 
 period in architecture from the basilica type of 
 churches to the mediaeval cathedral. 
 
 As in the far off dim past, we find the re- 
 ligious feeling of the peoples dominating archi- 
 tectural composition and the church its chief 
 expression. A new style of church architecture 
 was developing, arising from the spread of mon- 
 astic and ecclesiastical influence westward and 
 northward, which was the result j^artl}- of new 
 climatic and local conditions. In the forests of 
 the north were no ruined Grecian or Roman 
 temples to convert into Christian basilicas. The 
 monastic architect of France and Germany and 
 the abbey builder of England, modified the 
 Roman methods of style by the materials of 
 81
 
 his particular territory, and the unskilled labor 
 at his command. The new architecture, based 
 upon the traditions of Rome, kept to its heavy 
 masonry and round arches, and added towers of 
 imposing strength. Naturally it received the 
 name of Romanesque, a term, however, which 
 may cover broadly many interesting buildings 
 showing variant features. The term Roman- 
 esque is used broadly to include all tliose phases 
 of architecture up to the thirteenth century 
 which were more or less based upon Roman 
 work. Its general character is one of great dig- 
 nity mingled with many picturesque features. 
 
 Speaking generally, the Romanesque type be- 
 gan its development in Italy in the tenth century, 
 extending over England and the continent in 
 examples of steadily increasing refinement till it 
 was merged in or supplanted bv the period called 
 Gothic ; although Gothic architecture is in reality 
 only the progressive development of the Roman- 
 esque, dependent upon the discovery of the new 
 principle in roofing, of ribbed vaulting, which 
 solved so many difficulties of the Romanesque 
 architects. So that under the term Romanesque 
 is often understood all the round-arched Gothic, 
 which represented a great group of churches 
 in Northern France before the introduction of 
 the true Gothic, and the Norman buildings of 
 England. 
 
 Roman art, j)ure and unadulterated by Byzan- 
 tine or Spanish influence, was the general 
 foundation of Romanesque Imilding. Looking 
 first therefore at the Italian development of 
 Roman building, the Gatheilral of Pisa, with its 
 
 82
 
 St. 2eno. Verona 
 
 kaning- bell tower and eircular baptistery, is 
 a mucb quoted example. The cathedral facade 
 is of black and white marble, and is a lavish 
 arrangement of wall arcades and i^alleries, th.e 
 tendency to monotonous effect of the repeating 
 arches being happily overcome by skillful and 
 varied treatment of the different tiers. In the 
 tower, which is of white marble entirely, this 
 varied treatment is lacking; and tne constant 
 repetition of tiers of arcades all of equal height 
 from the base to the summit, is wearisome and 
 ugly, in spite of its wonderful construction. 
 Whether the obliquity of the tower was inten- 
 tional with the Pisan architects, or came about 
 in the course of construction, has been much 
 disputed. The total amount of inclination 
 from the base to the cornice is 13 feet 8 inches. 
 The walls at the base are 13 feet thick, at the 
 top about half as much, and are of solid marble. 
 
 «3
 
 Ruskin, in his Letters, inquires of the Pisan 
 architect, as to why he built "his walls with the 
 bottom at the top and the sides squinting," and 
 says that he couldn't look at the north side with- 
 out being sea-sick. Many other people have a 
 similar feeling. 
 
 The old church of St. Zeno, at Verona, is an 
 interesting example of Italian Romanesque, the 
 plain surface of the facade broken by a series 
 of arcades filled in with slender columns, and 
 by arcaded corbels carved under the slopes of 
 the gable. In the center of the gable is a beau- 
 tiful rose window — a Romanesque feature — and 
 beneath this a projecting portico, the columns 
 resting upon the backs of crouching lions. 
 These 
 
 "Porch pillars on the lion resting, 
 And sombre, colonnaded aisles — " 
 
 arc typical of the Italian style of this period, 
 which was inclined to sternness, though elab- 
 orate carving over the entrance and the slight 
 projection of the columned arcades with their 
 play of light and shade, relieved the sever- 
 ity of the design. These arcaded galleries 
 are a constant feature of Italian architecture, 
 employed in every possible situation and some- 
 times, as in the case of the palaces, almost 
 covering the facade. St. Zeno shows also the 
 campanile, so important a feature of Italian 
 mediaeval style, occurring in connection with 
 most of the churches. 
 
 The beautiful twelfth century Cloisters of St. 
 John the Lateran, ar<' the only other examples 
 
 84
 
 Cloisters of St. John, the Lateran 
 
 we will give of Italian Romanesque. The Lat- 
 eran derives its name from the rich patrician 
 whose palace was the site of the basilica erected 
 on it by the first Christian emperor, Constantine, 
 who labored upon it with his own hands. The 
 Church itself has been many times rebuilt ; but 
 the cloisters are as originally erected, in 1 127. 
 These beautiful cloistei 
 
 "Centurial shadows, cloisters of the elk" — 
 are formed in square bays, the vault arches en- 
 closing arcades in groups of five or more open- 
 ings. The arches are supported on exquisitely 
 inlaid and twisted columns, with a lovely frieze 
 above of colored marbles. The court thus en- 
 closed is a garden of roses. The beautiful, 
 jewel-like, mosaic decorations of the frieze, and 
 tjie sk'nder. marble columns richly inlaid with 
 
 85
 
 Ar^ 
 
 
 
 iiH 
 
 
 Notre Dame La Grande at Poiters 
 
 liands of glass mosaic in delicate and brilliant 
 patterns of light and dark greens and creamy 
 tints of pale rose, are the interesting features of 
 these cloisters, and the work of a family of 
 famous architects and sculptors of that period. 
 
 The French buildings of this period appear to 
 hav€ been strongh- influenced by the remains of 
 the temples, amphitheaters, etc., left by Roman 
 occupation, which were scattered through the 
 country. They are marked by the heavy walls, 
 massive round arches and decorated doorways of 
 these Roman types, with ornamented capitals 
 and sculptured enrichments borrowed directly 
 from classic models. 
 
 The town of Poitiers, for example, contained 
 many extensive Romain remains of baths and 
 an immense theater. The church of Notre 
 Dame du Poitiers is an excellent and typical ex- 
 
 86
 
 ample of eleventh century French Romanesque. 
 It has a richly sculptured facade, in which the 
 colored lava, of which it is constructed, is used 
 with striking" effect. The exterior i)resents the 
 interesting feature of a group of small chapels 
 ranged round the end of the cathedral, form- 
 ing what the French called a chcret, the plan- 
 ning of which was the crowning glory of the 
 French mediaeval school, and the feature which 
 displayed conspicuously the wonderful ingenuity 
 and skill of French architects. To design a 
 simple rounding apse instead of the square end 
 of English churches, was easy enough, hut when 
 this was surrounded by an arrangement of small 
 chapels again, the difficulties became great. 
 Often these chapels around the apse produce a 
 crowded eft'ect, but when, as in some of the 
 cathedrals. onl_\- three were used, with unoccupied 
 bays between, the effect became beautiful. 
 
 The full development of the chcvct of which 
 we see the beginning in Xotre Dame du Poitiers, 
 will be seen in the later churches of the Gothic 
 ])eriod. 
 
 The very interesting Romanesque structures 
 of Normandy, are intimately related to the Ro- 
 manesque period in English architecture, which 
 is considered at some length in the general di- 
 vision of English architecture. 
 
 Probably there is no more striking example 
 of the Romanesque period, than the great Ger- 
 man cathedral at Worms. It is picturesque in 
 outline and in mass, while the details show a 
 tine decorative quality of design. Its four round 
 towers, two large domes with a choir at each end, 
 
 87
 
 f^ive an imposing- exterior, heightened by the 
 color of the red sandstone of which it is built. 
 The natural color of the stone appears in the 
 interior also, and adds to its dignitv and sini- 
 plicitx-. Only the lower part of the western 
 towers are as originally built in the eleventh cen- 
 tury, the other portions being added later, and 
 the elaborate south portal as late as the four- 
 teenth century. 
 
 The ornamentation of the older parts is in the 
 simple, almost rude, st\le of the earlv Roman- 
 esque, yet the whole effect is dignified and im- 
 posing. The arrangement of the Rhenish cathe- 
 dral, the picturesque grouping of octagonal tur- 
 rets, and the open, arcaded galleries under the 
 gable ends, the unusual, treatment of the openings 
 in the upper portion of the towers and the ar- 
 caded recesses of the lower walls, was extremely 
 decorative, and gave a special individual charac- 
 ter to the design. 
 
 Interesting as are these European examples, it 
 is in England we find the complete charm of the 
 Romanesque style, a style emliodying the rugged 
 temper of its tumultuous Xorman builders. In 
 the castle-like towers of Ely and Durham cathe- 
 drals, we shall find on English soil Roman- 
 esque types which suri)ass in interest even the 
 Xorman structures from which thev sprang. 
 
 89
 
 "The Gothic cathedral is a blossoming in 
 stone, subdued by the insatiable demand of har^ 
 many in man. The mountain of granite blooms 
 into an eternal flotaer, tjnith the lightness and 
 delicate finish of Vegetable beauty." 
 
 —Emerson, 
 
 90
 
 GOTHIC AP^CHITE-CTUF^E 
 
 Tlic period known as the Gothic era was a time 
 of unparalleled activit}' and architectural crea- 
 tiveness. 
 
 Wonderful as we have found the ruined halls 
 of Karnac, the perfection of the Parthenon, the 
 domes of pagan Rome and the hrilliant decora- 
 tion of the East — the Gothic period is the very 
 flower of advancing civilization ; when the world 
 began to shake ofT the chains of ignorance and 
 superstition, when petty tyrants no longer held 
 men down with an iron hand, when all its sister 
 arts took on fresh inspiration, and architecture 
 put forth its rarest and most perfect blossom. 
 
 The suggestion of aspiration, inherent in 
 Gothic architecture, the tall, slender spires and 
 gables of the new type, 
 
 "Still climbing, luring fancy still to climb". 
 are the expression of a great uplift, of feelings 
 long pent up in the misery and hopelessness of 
 the dark ages. 
 
 The Gothic tyi)e is not alone the discovery of 
 a new constructive ])rinciplt.'. or a l)alancing of 
 
 91
 
 thrust and connter-tlirust. It is the crystalliza- 
 tion of religious fervor, and of a passionate de- 
 votion that drifted all before it like the wind. A 
 great outburst of effort and a splendor of cre- 
 ative energy, followed the awakening of mediae- 
 val freedom, and the era of the great cathedral 
 builders is the grandest in the world's history. 
 
 Technicall}' speaking, the Gothic type was the 
 result of the revolution in building methods fol- 
 lowing the application of ribbed vaulting to the 
 j^rinciple of the arch. 
 
 The question of roof treatment, the question 
 whicli v<as the burning problem of the me- 
 dit-eval architects, was happily solved bv the dis- 
 covery of a new principle — that of ribbed vault- 
 ing; and it was this principle of ribbed T'a/////H_if 
 which produced the pointed arch, the structural 
 basis of the Gothic style. With this form of 
 construction, the roof became lighter, and could 
 span larger areas. The pressure being concen- 
 trated upon the points of support from which the 
 ribs spring, it was necessary only to strengthen 
 the wall at these points instead of making it 
 thick and massive throughout, and it could be 
 opened up in the form of windows. The walls 
 of Gothic cathedrals became in fact little more 
 than frames for the great traceried windows filled 
 with richly colored glass. For this reason the 
 Gothic cathedral has been not inaptly called "a 
 roof of stone with walls of glass," a felicitous de- 
 scription of its peculiarities. Traceried win- 
 dows, such a feature of Gothic architecture, those 
 marvels of "foliaged tracery thrcuigh slender 
 shafts of shapely stone" — may be l)roadly divided 
 
 92
 
 into the geometrical ami the l]o\vini,^ The latter 
 division includes both the riowing- and perpendic- 
 ular or lancet forms in Ejigland, and the flam- 
 boyant in France, and all may be grouped to- 
 gether under the general term of Decorated. The 
 minute distinctions between the various modifica- 
 tions of these forms, as they differed in different 
 sections of Europe and as the details were varied 
 in the transitional stages when one style was be- 
 coming merged into the succeeding one — are too 
 complicated to be of interest to the general read- 
 er. It is sufficient to say that during the whole 
 period of time when the simple lancet window 
 was being superseded by the more confused per- 
 pendicular, window detail was steadily verging 
 toward the pure Gothic. 
 
 It is usual to consider the pointed arch the 
 characteristic feature of the Gothic style. But 
 the supplanting of the Romanesque by the Gothic 
 was not merely the substitution of the pointed 
 arch for the round. The pointed arch is really 
 as old as the round and is found in some of the 
 earliest attempts of the arch in both Greece and 
 Rome. It was in use b}- the Saracens long be- 
 fore the so-called Gothic era, and borrowed from 
 them by the Italians as early as the eleventh cen- 
 tury. 
 
 The Saracens, though using the pointed arch, 
 never developed a style of ornamentation in har- 
 mony with it; and this the architects of France 
 and England did. Under their skillful han.ls 
 grew the light, clustered pillars, the mullions and 
 the graceful tracery. 
 
 93
 
 Noire Dame, Paris
 
 French Gothic 
 
 There is no cinintry richer in architectural ex- 
 amples than France. While all Europe has its 
 Gothic gems, and England takes second rank \vitli 
 none in a series of mediaeval structures of un- 
 paralleled impressiveness, Northern France is tlu- 
 royal domain of the Gothic style. A series of 
 churches there exist within a comparatively small 
 radius, of incontestable superiority, and so nearly- 
 equal in merit that it is impossible to say which 
 should have the preference. 
 
 Queenly as rises the cathedral church of Our 
 Ladv of Paris in her gray beauty above the 
 housetops of the city, the spires of Chartres upon 
 the hilltops, and the magnificent west front of 
 Amiens, are powerful rivals, while a host of 
 smaller churches, scarce!}" less inferior, claim our 
 homage. 
 
 The picture of Notre Dame at Paris shows one 
 of the earliest French churches marked by Gothic 
 influences. In the middle of the twelfth century 
 first 
 
 "Uprose this poem of the earth and air. 
 This medi?eval miracle of song." 
 
 With its richly sculptured triple western portals, 
 immense central rose window flanked on ea:h 
 side by lateral, arched openings in the two great, 
 square towers, the lofty gallery of open arches 
 supporting on its delicate columns the crowning 
 ])latform, row of twenty-eight statues filling th.e 
 niches over the entrances and innumerable details 
 of carving and ornamentation, — this famous fa- 
 cade remains today one of the grandest in Eu- 
 rope. 
 
 95
 
 The "great grey beauty," despite her scars and 
 ■wrinkles, joint injuries of time and man — is still 
 tlie queen of cathedrals. Before it suffered from 
 the ravages of the Revolution, Notre Dame was 
 compared with the Greek temple of Diana and 
 found more excellent. The cathedral is not, how- 
 ever, a pure type, but a specimen of the transition 
 stage from the Roman to the Gothic. Begun in 
 the twelfth century, the massive pillars of the 
 nave were set before the Crusaders brought over 
 the pointed arches, which rest upon th.e broad 
 Roman capitals intended to support round arches. 
 Between the sixteenth century Gothic delicacy 
 of detail, and the pillars of the nave, centuries in- 
 tervene. All great buildings are necessarily the 
 Vv'ork of time, and seldom is the original design 
 carried out in its completeness. Xotre Dame is 
 a marked instance of the grafting of the Gothic 
 type upon a Roman foundation ; the pointed upon 
 the circular arch. 
 
 The famous Abbev church of St. Ouen. built 
 in the fourteenth century in Rouen, is an inter- 
 esting example of French early Gothic. 
 
 Though the theory of Gothic design was com- 
 pletely understood in France a century earlier, 
 there was a continual progression toward lighter 
 pillars and larger window surface, with rich 
 geometrical tracery. The Gothic of this century 
 has more resemblance to the English, with much 
 the same treatment. St. Ouen was one of the 
 few churches begun and com|)leted in one cen- 
 tury, and has therefore more unity of design than 
 most of the great buildings. In .^t. Ouen we 
 lia-.e an instance of the lantern feature introduced 
 96
 
 Church of St. Ouen, R.ouen 
 
 on French cathedrals and which took the place 
 of a central tower. The row of six small chap- 
 els along- the side walls, between the buttresses, 
 is another feattire peculiar to French cathedrals 
 of the fourteenth century. Each chapel has its 
 pyramidal roof and each its large window. Small 
 chai)cls also circle the apse at the east end. Such 
 an arrangement of cha])els with fixing buttresses 
 on several stages rising from among them, is 
 called a chevct, and presents a most picturesque 
 and striking appearance. Some of these churches 
 seem indeed to be a perfect forest of flying Init- 
 tresses, pinnacles and spires. 
 
 The graceful church of Sainte Chapelle at Paris 
 
 may be instanced as a fine example of first pointed 
 
 construction in France and one of the earliest 
 
 churches where stained glass is found in its per- 
 
 97
 
 St. Chapelle, Paris
 
 fcction. iJesides the great rose window over the 
 entrance, the side walls are but frames for pic- 
 tures of glass, which it must be confessed oft ob- 
 scure "With painted saints and paraphrase of 
 God" not only "The soul's east window of divine 
 surprise" — but the natural eyesight itself. 
 
 A French cathedral rarely shows to such ad- 
 vantage as the English of the same style, because 
 of its situation in the heart of cities, crowded 
 and jostled b}- other buildings, so that much of 
 its beauty of outline lielow the roof is lost. 
 
 Of somewhat later date is the church of St. 
 Maclou, built also in Rouen, and wdiile hardly 
 rising to the dignity of St. Ouen, is justly cele- 
 brated for the beauty of its stained glass and its 
 organ loft, reached by a beautiful open staircase. 
 The building is not large, built of stone laid up 
 in a curiously irregular manner. It is said, in- 
 deed, that all the countryside round Rouen came 
 
 "to give votes for God 
 Each vote a block of stone securelv laid 
 Obedient to the master's deep-mused plan." 
 
 St. ]\Iaclou is a fine instance of the extreme 
 development of tracery as a principal architec- 
 tural feature, and of the slenderness of con- 
 struction which may be said to have reached its 
 utmost tenuousness in the fourteenth centurv. 
 Further, it could scarce be carried though be- 
 coming more general. The slender gables over 
 the arches of St. Maclou are mere triangles of 
 tracery, as delicate as window tracery, onlv not 
 filled with glass. Designed exactly as window 
 tracery is designed, they have an equal value as 
 ornamentation, and are unsur]iassed even l)y the 
 
 99
 
 lace work of the Alhanibra in their pecuHar 
 charm. The staircase to the organ loft before 
 alluded to is ornamented with extremely delicate 
 sculptured designs of later date, w'hich are as 
 rich in fancy and as delicate in execution as an 
 Oriental ivory. 
 
 The beautiful rood screen of the church of La 
 Madeleine, at Troyes, is of later date than the 
 church itself, and is an illustration of the late 
 fifteenth ccntur\" (lOthic which received the name 
 
 Church of St. Maclou, Rouen 
 
 of "flamboyant," from the flame-like shapes into 
 which the tracery of the heads of windows was 
 thrown. While this form of Gothic is far from 
 being- as dignified or refined as the late English 
 CJothic, and exuberant richness of detail was car- 
 ried to extreme lengths both in decoration and 
 
 100
 
 Screen of the Madeleine, Troyes 
 
 general design, there are many instanecs which 
 shiow a trul}- artistic feeUng. 
 
 In the choir of St. ]\Iadeleine we have one of 
 these instances ; for though over-florid, with none 
 of the restfuhiess of great architecture, it is a 
 brilHant and rich piece of decoration.. It may be 
 said that St. Madeleine is perhaps one of the best 
 productions of the gay and meretricious style of 
 the flamboyant period, a style which relied wholly 
 upon ornament for effect, and not upon design. 
 
 In France, as has been said, we find 
 
 "The minister's vast repose 
 Silent and gray as forest-leaguered clifT," 
 
 rising from the heart of bustHng city life, in con- 
 trast with English seclusion. Again, in com- 
 paring French with English Gothic, we find the 
 French cathedrals distinguished for their lofty 
 vaulting, while the English churches are longer 
 and lower. One reason for this difference is that 
 many of tlie English churches were enlarged and 
 
 101
 
 worked over from the original building in the 
 Romanesque style, not primarily intended for a 
 cathedral, but an abbey church attached to a mon- 
 astery. They have quiet surroundings, and while 
 less ambitious in design, the greater mass and 
 lower height, permit such pictorial effects as the 
 lofty spire of Salisbury and the central tower 
 of Lincoln. Such effects were impossible on the 
 lofty French cathedral which was designed for 
 interior spectacular eft'ect. 
 
 Besides these noted examples, there are many 
 smaller and scarcely inferior. Nor was the Goth- 
 ic expression of the art in France confined to 
 cathedrals. In some of the towns fine specimens 
 of the later Gothic houses are still to be seen with 
 their high gables and steep over-hanging roofs, 
 moulded beams and brackets, picturesque and in- 
 teresting. 
 
 ITALIAN GOTHIC. 
 
 It is impossible not to feel that the Gothic of 
 Italy is as a stranger in a far country. The 
 Italians never took kindly to the style, which 
 they regarded as the production of Goths and 
 barbarians. It was, moreover, not in harmony 
 with their classic traditions nor with their cli- 
 mate or building materials. While, therefore, 
 some Italian Gothic possesses much charm, it 
 never achieved the same brilliant success as in 
 Northern France and England. 
 
 In Italy, the use of the pointed arch was ac- 
 cepted as an unpleasant necessity but with no en- 
 thusiasm. They constructed pointed arches, it is 
 true, but with such ill grace that they would 
 
 102
 
 scarce have stood for a cla\- 1)ut for the iron rods 
 that held them tot;etlier ; and their window trac- 
 eries are hut indifferent copies of Northern ex- 
 amples. In the period when the Gothic style 
 was almost exclusively practiced in Northern Eu- 
 rope the Italians made but little progress in it, 
 and gladly responded to the first bugle call of 
 the Renaissance. The Italians never really un- 
 derstood the Gothic style and so never cared for 
 it ; they never let go of their round arches and 
 their love of color. 
 
 Still there were some Gothic beauties pro- 
 duced, and the queen of them is easily the beau- 
 tiful Campanile, or bell tower, of the Florence 
 cathedral, which Ruskin said was so perfect that 
 it ought to be kept in a glass case. In the or- 
 derly proportion of its lines, accurately adjusted, 
 and unbroken vertical ef^'ect, it is perhaps un- 
 <?qualled, though the cathedral cannot be said to 
 be a complete composition, taken as a whole. 
 Originally designed as a Gothic structure, the 
 cathedral, whose general lines are on that order, 
 is crowned by a dome modeled after the Roman 
 Pantheon. The exterior of the Duomo itself 
 is of red, green and white marble, arranged 
 in panels. The cathedral was two hundred 
 years in building, and for a long time it 
 was supposed the diameter of space was too 
 great to vault. The lofty dome, nideed, was 
 added two hundred years after the commence- 
 ment of the building, and from it Michael Angelo 
 modeled the great dome of St. Peter's at Rome. 
 It is said that when he left Florence to go to 
 Rome for that purpose, he looked back tenderly 
 103
 
 II Duomo, Florervce 
 
 to his beloved Duomo. and cried out: "A larger 
 dome I may build, perhaps ; but one more beau- 
 tiful I never can." "II Duomo," as the cathedral 
 is always called, is considered the most beautiful 
 church in Italy. The walls are adorned external- 
 ly with inlays of colored marbles and windows 
 have stained glass — a rare thing in Italy. 
 
 The campanile of Italian churches is altogether 
 (lififerent from the Ijell towers of other lands. 
 It almost never forms a part of the church edifice 
 proper, but is usually quite detached and fre- 
 quently placed at an angle with the main walls. 
 The tower of II Duomo is covered with panels 
 of variously colored marbles, from its base to 
 its summit, and enriched with sculpture. Slight- 
 ly projecting piers at the corners increase the 
 appearance of strength. The windows are not 
 large in the lower stories : but in the upper story 
 
 104
 
 each face of the tower is i)icrce(l Ijy a magnificent 
 triple window. 
 
 It was intended in the original plan to termi- 
 nate the tower with a spire, hut a deep and elabo- 
 rate cornice crowns it instead. Longfellow's trib- 
 ute to this campanile is so beautiful that we 
 give it here : 
 
 "In the old Tuscan town stands Giotto's tower, 
 The Lily of Florence blossoming in stone. — 
 A vision, a delight and a desire — 
 The builder's perfect and centennial flower. 
 That in the night of ages bloomed alone." 
 As compared with the churches of Northern 
 Europe, Italian Gothic churches were smaller and 
 simpler, and .retain many features of the basilica 
 tyj^e from which they sprung. Xor do the in- 
 teriors resemble Xorthern Gothic, consisting of a 
 large hall only, with a chancel for the choir. 
 
 In secular buildings, the Gothic architects made 
 frequent use of an inner, arcaded quadrangle, and 
 relied ujion these cloistered arches for their prin- 
 cipal effects. The famous arcade of the Doge's 
 Palace at X'enice is the single instance of "ex- 
 ternal arcades, which are so splendid as to be 
 alone sufficient to make the building famous. 
 
 The upper part is carried on a~ pillared gal- 
 lery by means of a novel but very successful 
 modification of Gothic window tracery, which 
 would seem too massive but for its manifest pur- 
 pose and intention. This unusual application of 
 decoration resulted in the most successful piece 
 of civic architecture in Europe, and one which 
 has been widely copied. 
 
 Like all the A'enetian palaces, it rises straight 
 from 
 
 "The level, quivering line 
 Of.-ih.e water's crystalline." 
 
 105
 
 Bk.
 
 c 
 
 without a Ijrcak nr projcctidii of anv sort, since 
 thfv ninst admit of j^ondolas coiniui;- strai.yht un- 
 der the wall. 
 
 This beautiful palace presents two fronts, one 
 facing the sea. and the other looking over the 
 lagoon. About half the height of each front i^i 
 :omposed of two series of arcades. 
 
 "\\'in(lows just with windows mating, 
 I )fX)r on door exactly waiting." 
 
 — Browning. 
 
 The lower story is bold, but simple and strong, 
 the upper lighter and terminating in a mass of 
 tracery. The walls above are faced with alternate 
 slabs of white and rose-colored marble, are 
 pierced In- large, pointed windows, and crowned 
 by a parapet. The colonnades are of solid Istrian 
 limestone, a very beautiful cream-colored stone of 
 extremely fine and close texture and taking a 
 high polish. Though not really a marble, this 
 stone has all the beauty of the finest white marble,. 
 and turns a lovel}- golden russet color with age. 
 Its extremely fine grain permits the beautiful 
 carving of cameo-like delicacy, which is profuse- 
 ly lavished over the whole facade. The carving 
 of all the capitals is very elaborate. In front of 
 the west or sea facade are placed two great mono- 
 liths of Egyptian granite, one red, the other grev, 
 which were brought as trophies to A'enice in the 
 twelfth century. Vroui between these pillars sen- 
 tences of death were read in those ages of Vene- 
 tian craft and crueltw The whole building is en- 
 riched with sculptured statues of great beaut'% 
 and makes an ineffaceable imjDression. 
 
 The Gothic palaces were arrau'^'-ed and designed 
 
 1C7
 
 chiefly for a front view, as the houses standing 
 in rows side by side were only observed in front. 
 A large proportion of the openings were grouped 
 together in front, while balconies, corner-win- 
 dows and other minor features invested these 
 Venetian houses with great interest. 
 
 The walling of these old palaces was always of 
 fine brick, usually of a beautiful red color, but 
 though so beautiful, it was seldom left exposed, 
 but covered with a veneer of marble slabs or else 
 coated with stucco profusely ornamented. 
 
 The abundance of beautiful colored and costly 
 marbles thus used gave the X'enetian buildings a 
 wealth of magnificent color that is found no- 
 where else in the modern world. The facades of 
 the Venetian palaces were entirely covered with 
 these splendidly colored marbles, and in addi- 
 tion, an even greater splendor was given by gold 
 and color decoration. One can but recall the 
 citv of Irak, in the Arabian Nights, whose walls 
 were built of alternating bricks of silver and gold. 
 
 Frequently, all of the sculpture enrichment on 
 the more magnificent palaces, both frieze, panels 
 and capitals, was thickly covered with gold leaf, 
 the flat ground being colored a deep ultramarine 
 blue, so as to throw the relief into greater prom- 
 inence. The less pretentious houses were cov- 
 ered with a fine, hard stucco, and this surface was 
 brilliantly decorated in color, especially blue, 
 which they used lavishly. Often the entire sur- 
 face was covered with a minute diaper pattern in 
 red, yellow and brown ochres, as in the case of 
 the upper story of the Doge's Palace. 
 
 Their employment of color is indeed so lavish 
 
 109
 
 Bell Tower, Cathedral at Siena 
 
 as to startle the eye accustomed to the grey som- 
 breness of EngHsh architecture. But it is part 
 of the southern style, and their more restrained 
 use of moldings is probably an offset to the mo- 
 saics and frescoes that cover the wall surfaces. 
 Then, too, the fineness of the white marlilc sur- 
 face upon which the Italian sun makes the small- 
 est molding cfifective, tends to greater flatness of 
 treatment. This flatness, it was the effort of the 
 colorist to overcome, the decoration of the vari- 
 ous moldings having the effect of bringing them 
 into more prominent relief from the main sur- 
 face. 
 
 In modern times these old houses, while ex- 
 ternally preserving; their magnificence, are, most 
 of them, whited sepulchres of decay inside. They 
 are made to do duty as apartments, and six 
 
 110
 
 floors arranged where formerly there were three, 
 and one window made to light two rooms. The 
 magnificent saloon is cut up into several small 
 rooms, and the walls covered with cheap 
 paper instead of the magnificent paintings of tlx- 
 past. The doors and windows refuse to shut, 
 and neglect and decay take the place of the old 
 stateliness and grandeur. The floors, of marhle 
 or brick or terrasso, are very cold, and unless the 
 brick is painted, the red brick dust that covers 
 them is very disagreeable. The tcrraszo floors 
 made by imbedding bits of colored stone and 
 marble in a thick layer of plaster, are very good 
 and pleasing. 
 
 In that oldest of Etruscan cities, Siena, where 
 the Italian sun 
 
 "Touches the Tuscan hills with golden lance" — 
 stands a fine specimen of pointed Gothic, the 
 Communal Palace in the Piazza del Campo. It 
 was designed by noted Italian architects of the 
 thirteenth century and is built of white marble, 
 with occasional courses of dark gray or black 
 marble. The light and elegant tower soaring from 
 one side of the palace, was added a century later, 
 and is striped like the church, in alternate black 
 and white marble. A rich and delicately arcaded 
 gallery binds the tower to the church on each 
 side. 
 
 The roofs of buildings which the Gothic style 
 in other countries made steep and sharply pitched, 
 in Italy, even in the Gothic period, remained flat, 
 often finished with a parapet, either plain or orna- 
 mental, which quite concealed it. Xor did they 
 emulate the Northern Gothic architect in the 
 II 1
 
 Cathedral at Burgos
 
 threat traceried windows of which he was so fond, 
 filled with brilliant stained glass. The bright- 
 ness of the Italian sunlight made this feature 
 unattractive to them, and tended to keep Italian 
 Gothic essentially different from other nations. 
 Still the great artistic taste of the Italian char- 
 acter has furnished many instances of softened, 
 refined and beautified Gothic, which are well 
 worth careful study. 
 
 SPANISH GOTHIC 
 
 The early Gothic work of Spain was developed 
 directly from the Romanesque, and shows much 
 purity and dignity. It can hardly be said, how- 
 ever, to possess a national character, as its archi- 
 tects were almost universally foreigners and 
 brought with them their local characteristics. 
 
 Strange to say, the Saracenic school of art, 
 which was concurrent in Spain through the 
 greater part of the Gothic period, appeared to 
 leave little impress upon Gothic buildings. The 
 Moors built their famous mosques and the palace 
 of the Alhambra alongside — chronologically 
 speaking — of the Gothic cathedrals of Milan 
 and Seville. In the parts of the country where 
 the Moors held sway, Gothic architecture ob- 
 tained no footing ; but there were many portions 
 of Spain never conquered by the Moors, and here 
 some very interesting Gothic buildings were 
 erected. "In old Castile" we find the most noted 
 example of Spanish Gothic, in the cathedral at 
 Burgos. The cathedral was begun in 1221, but 
 not finished till 300 \ears later. 
 
 113
 
 i^ -^ ''-v««?RP".,-Z!7^*^-B 
 
 La Giralda, with view of the Alcazar, Seville.
 
 The view shows the two towers of the western 
 facade with their openwork spires and the richlv 
 treated "lantern" in tiie background. The ca- 
 thedral ai)proaches very closely to the French 
 type of Gothic, having an effective horizontal 
 termination of arcades over the central portion 
 on the lines of the facade of Notre Dame, Paris. 
 The Ix'autifnl openwork tracery of the spires is 
 worthy of special attention. 
 
 Burgos is steeped in Spanish romance ; and 
 an interesting bit of it in connection with tlie 
 cathedral is the famous coffer of the Cid, which 
 is here kejjt in a groined and vaulted chamber. 
 Whetlier the sand with which he filled it when 
 he bargained with the Jev.- still weighs it down, 
 tradition saith not. Perhaps, of all that 
 
 "Fair land of chivalry, the old domain 
 Land of the vine and olive, lovely Spain" — 
 
 no part is more steeped with romance and the 
 glamor of the past than Seville. On the banks 
 of the Guadalquivir, famed in song and story, is 
 tliis old Castilian town, so long under Arab rule, 
 tliat even now the aspect of the town is essen- 
 tially Moorish. Seville contains treasures of art 
 and architecture, which are of special interest. 
 The great cathedral of Seville is second only to 
 St. Peter's, and larger than Cologne. 
 
 At the northeast corner of the cathedral stands 
 La Giralda, a bell tower of Moorish origin, 275 
 feet in height, and a most interesting example of 
 the Moorish-Gothic t3-pc of building met with in 
 some parts of Spain. The town is of Moorish 
 origin, the lower 185 feet having been built in the 
 twelfth century by the Arab chieftain, Yusuf. 
 
 115
 
 I PQ
 
 The original Moorish fountain in the court\ar<I 
 below is still preserved. The upper Dart and the 
 belfry were added three hundred \ears later bv 
 the Spaniards, as also the bronze statue sur- 
 mounting; it. The exterior is incrusted with del- 
 icate Aloorish detail, and is quite the finest speci- 
 men of pseudo -Moorish-Gothic in Spain. As the 
 eye is uplifted to this beautiful tower — 
 
 "Illuminate seclusion swung- in air" — 
 the wonder grows^ that such finished grace of 
 execution could have been the work of a race 
 we are accustomed to think of as barbarians — 
 the wild and warlike IMoors. La Giralda itself 
 is a massive, square, rose-colored tower, diapered 
 with fretwork and relieved l)y light balconies. 
 The solid, grey base and graceful superstructure 
 impart a mingled feeling of stability and light- 
 ness. 
 
 The foreground of the picture is occupied bv 
 a portion of the Alcazar of Seville, a palace ex- 
 celled in beauty and interest only by the Alham- 
 bra, but greatly injured by Charles Mil in his 
 zeal for alterations. Restorations in later times 
 have in a measure restored the Moorish work of 
 which it is now a very fine example. 
 
 BELGIAN AND GERMAN GOTHIC 
 
 The architecture of Belgium is essentiallv Ger- 
 man in spirit, both the general style and detail 
 all showing the same Teutonic character. Both 
 Belgium and Germany borrowed their Gothic 
 from France. Belgium coming most under French 
 influence by reason of its close proximity. 
 117
 
 Cathedral at Cologne
 
 I he richlv treated town halls of P.cjoiuni are 
 -nterestin;; sul.jects, well worth the attention 
 The general aspect of these iniildings is nohle and 
 hold m the mass and rich in ornament. The fa- 
 "H.us Town Hall of i5russcls offers an excellent 
 ilhistration of IJel-ic fifteenth centurv Gothic 
 
 The possession of a "helfry" was an important 
 privile-e of the mediaeval Belgian town, and the 
 tower at Brussels is one of the finest of these bel- 
 fries. The tower is set noblv into the buildin- 
 and Its angles are marked by slender turrets. 
 
 The main building presents several stories the 
 lower one carrying an open arcade and the two 
 upper filled with fine windows and profusely dec- 
 orated with statuary. The steep roof carries up 
 the eye to a lofty ridge and is crowded wit!i 
 dormer wmdows in several tiers. 
 
 The belfry tower rises from the center and is 
 finished by a richly ornamented spire. The gabl 
 ends are adorned by recessed arches and b^•''p^n- 
 nacles, but the long side of the building is con- 
 sidered of chief importance. 
 
 The Gothic style in Germanv is largely intlu- 
 enced by the national character. It bears general 
 points of resemblance to French and En-lish 
 (^othic. but no more, and except for one or\wo 
 glorious exceptions it is impossible to treat it 
 with the enthusiasm inspired by the beautiful ex- 
 amples described. The German medi.xval arch- 
 itect delighted in towers an.l spires, and plenty 
 of them. These spires became extremely elab- 
 orate and consisted almost wholly of ojxmi trac- 
 ery. Their ornamentation was jirofuse but rare- 
 ly elegant. There was a tendency to cover all 
 
 e 
 
 119
 
 surfaces with many lines and intricate and un- 
 meaning tracery, more confusing- than pleasing. 
 The value of the plain surfaces as contrasts to the 
 openings was often destroyed by a superfluitv 
 of mouldings and ornaments of various sorts. 
 
 The later Gothic work of Germany is far less 
 attractive than the earlier when German Gothic 
 bore a close resemblance to the French. Th.e 
 n:agnificent Cologne cathedral, the greatest 
 Gothic cathedral of Germany is an illustration of 
 tliis rcsemljlance, and has been styled the "grown- 
 u]i daughter of Amiens." 
 
 The plan of Cologne is one of the most regular 
 and symmetrical of the mediaeval cathedrals, and 
 lias been carried out with scarcely any deviation 
 from the original plan, though it has never been 
 completely finished. The structure is of stone, 
 vaulted throughout and surrounded by a forest 
 of flying buttresses with spires. Through 
 centuries 
 
 "The stone to conscious beauty grew" 
 in the building of this wonderful cathedral. 
 
 The magnificent boldness of the design and its 
 orderly regularity, with the delicacy and beauty 
 of the tracery, have caused it to be ranked as 
 the queen of Gothic cathedrals, though its uni- 
 form color gives it a somewhat cold and unin- 
 teresting appearance to many. This coldness of 
 color has, however, been greatl}- relieved by the 
 numerous beautiful windows presented to the 
 cathedral at vari(Uis times. 
 
 120
 
 "^he hasty multitude admiring entered: 
 and the Work, some praise, and some the ar- 
 chitect." 
 
 —Milton. 
 
 121
 
 RENAISSANCE. AKCHITEC= 
 TUKE 
 
 The mediaeval era saw the development of that 
 "miracle of song"," the Gothic type of architec- 
 ture to its greatest perfection. A change, how- 
 ever, was coming over the restless spirits of men, 
 and new fashions in buildings as in other things 
 were imminent. 
 
 Under the more favorable conditions of social 
 life as the pall of medijeeval ignorance and su- 
 perstition lifted and the iron hand of despotism 
 relaxed, men in general awakened from their stu- 
 pefied condition, and letters and culture were 
 revived. The study of Greek and Latin became 
 the fashion, bringing with it a knowledge of the 
 Greek classic design, in use centuries before. 
 
 The strain of old blood, the devotion of their 
 ancestors to classic ideas, reappeared in these 
 sixteenth century Italians, and they sprang back 
 into the forms of fifteen centuries earlier. 
 
 The Renaissance style is, therefore, a mixture 
 of Greek and Roman forms, in which both the 
 Greek lintel and the Roman form appear ; in 
 
 122
 
 which the culuuin is freely intro(kiced, but rather 
 as an enibelHshmcnt than structurally. That is, 
 the columns could be removed, and the struc- 
 ture still stand. 
 
 Tne plan of buildings became uniform and 
 symmetrical, as the picturesqueness of the Gothic 
 was abandoned. The architrave and pediment 
 were constantly employed, with classic porticoes, 
 and small pediments over windows. Lofty pilas- 
 ters, running through two and even more stories 
 of a building, were introduced by a noted Italian 
 architect, Palladio, who combined the dififerent 
 orders in the most daring manner, and who was 
 imitated by a host of less skillful designers with 
 disastrous results. 
 
 Openings were both square and semicircular 
 at the top, and much attention was given to the 
 treatment of windows, which in the facades of 
 the Italian palaces or wealthy houses were ad- 
 mirably disposed for effect. 
 
 In general the roof was low, the parapet alone 
 often forming the sky line, the pediment and the 
 dome being depended upon for effectiveness in 
 outline. The dome was, in fact, the crowning 
 feature of Renaissance architecture. 
 
 The sculpture of the Gothic period was but 
 little used on exteriors, except in the greatly de- 
 based form of the seventeenth century ; the archi- 
 tects relying upon richly colored marbles, molded 
 tracery and arcades, for the splendor of their 
 facades. The constant use of the column for 
 decorative as well as constructive purposes was 
 characteristic. They used it in the jambs of 
 doorways and in the place of the mullion in trac- 
 
 123
 
 criid windows. Tliey relieved llie harshness of 
 angles l)y employing columns as ornaments and 
 in many other ways. The doorways were often 
 very beautiful, and sometimes sheltered by ele- 
 gant and graceful porticoes. Round-headed 
 oj)enings were ranged alongside pointed ones, 
 l)Oth being used in the same building. 
 
 Balustrades were employed in various situa- 
 tions, most conmionly on upper stories before 
 windows or as parapets on the tops of buildings. 
 Pilasters were much used, in fact, almost taking 
 the place of columns on some buildings, and 
 fluted like columns. They are composed with 
 bases and capitals likewise, and support entabla- 
 tures just as columns do, being often used as an 
 excuse for appl\-ing an entablature. 
 
 It is seen, therefore, that symmetry, uniform- 
 ity and constant repetition, are leading principles 
 in Renaissance design, which admits both of sim- 
 plicity and elaboration. The earlier and purer 
 examples are marked by the former, while 
 grandiose effects characterize the later period. 
 
 The most conspicuous example of Italian Re- 
 naissance is, of course, the church of St. Peter's 
 at RoTne. It was intended to surpass any cathe- 
 dral in Europe, and in vastness at least the proj- 
 ect was carried out, though the tremendous scale 
 of the building fails of entire appreciation, ow- 
 ing to the front facade cutting off the lower part 
 of the great dome, so that to form a just idea of 
 the magnitude of the building it is necessary to 
 view it from the rear. 
 
 It was said by Goethe of St. Peter's, that "In 
 tiiis church one learns how art as well as nature 
 
 125
 
 can set aside every standard of measurement." 
 But all authorities are not agreed as to the no- 
 lileness of the resulting product. On the one 
 liand observers go into raptures of delight and 
 bestow on St. Peter's the foremost place in eccle- 
 siastical structures ; while many critics consider 
 it distinguished not more by its magnitude than 
 by its deformities, and the total absence of har- 
 mony in the connecting parts, "while gorgeous- 
 ness and poverty are the characteristics of its 
 detail." 
 
 It is universally agreed, however, that archi- 
 tecture has never produced a more magnificent 
 object than the wonderful dome, which was Mi- 
 chael Angelo's masterpiece and the realization 
 of his boast that "he would take the dome of the 
 Pantheon and hang it in mid-air." The last 
 eighteen years of his life were spent in creating 
 this wonderful dome, a work of the greatest 
 teauty of design and boldness of construction. 
 
 He did not live, however, to complete the gen- 
 eral design, and the present basilica is the result 
 of centuries of work by many artists, each to 
 some extent undoing the work of his predecessor, 
 and to a great extent destroying the simplicity of 
 the original grand design. 
 
 The magnificent dome, which is the chief glory 
 of the exterior, is also the redeeming feature of 
 the interior, its sublime concave adorned by beau- 
 tiful frescoes from the same great master. The 
 impressiveness of the massive piers and arches 
 and prodigious vaulting, is marred by the inap- 
 propriate and mixed character of the decorations, 
 wliicli include every period of the Italian Rcnais- 
 
 126
 
 The Farrvese Palace, R.ome 
 
 sance, and arc utterly out of place in a sacred 
 building. 
 
 The Farmese Palace, also at Rome, is to 
 the last degree an orderly and regular Renais- 
 sance composition, executed in brick walling, 
 with travertine dressings taken from the Colosse- 
 um. Columned pilasters appear as frames to 
 the windows, which have shallow pediments as 
 headings. The angles of the building are rusti- 
 cated, and there is a great height of unpierced 
 wall above each story of windows, and each story 
 is marked by well defined string courses. The 
 whole is crowned by a bold and highly enriched 
 cornice which was a special feature of the design 
 and an unusual one at Rome. 
 
 The building is a dignified and impressive 
 mass, and a fine example of the noble, palatial 
 mansions erected in the sixteenth century, before 
 the jirinciplcs of Roman architecture were turned 
 
 127
 
 St. Mark's Library at Venice
 
 toi)sy turvy b;.' laUr architects. The l^anicse 
 ]'alace is considered to be in ^Michael Angelo's 
 best and most restrained style. 
 
 The next g^reat sroiip of Renaissance l)uil(hn;j:s 
 is to be fountl at \'enice, wliere the style for a 
 long- time, however, retained many Gothic ele- 
 ments. As time went on, these were lost si;"ht 
 of, and the st}le matured into one of great rich- 
 ness, not to say ostentation. 
 
 Facing the Ducal Palace, on the west side of 
 St. Alark's Scjuarc, is the beautiful Library of St. 
 Mark, the work of a prominent sixteenth cen- 
 tury \'enetian architect, and considered l)y many 
 the finest thing of its time. The superb front 
 which faces the square is repeated on the facade 
 facing the sea. The design of this facade has 
 been rather closely followed in some nineteenth 
 century buildings, notably the Carlton Club front. 
 Pall Mall, London. 
 
 The main motive is seen in tbe entablatures 
 over engaged columns of 1>.e Doric order in the 
 lower story and Ionic in the upper, combined 
 with an arrangement of arcades between the col- 
 umns, the spaces so filled with beautiful sculp- 
 tured reliefs that almost no plain wall surface is 
 visible. The upper story repeats the design of 
 the lower and the entablatures are profusely en- 
 riched. 
 
 In the second story the Ionic columns are 
 raised upon pedestals, and the smaller impost col- 
 umns on each side, from which the arches spring, 
 are raised likewise. The wide frieze — three feet 
 in width — of the entablature above these columns 
 is thickly set with beautiful sculptured reliefs. 
 
 129
 
 Even the volutes of the capitals are filled with 
 foliage, and the keystones of both arcades repre- 
 sent sculptured heads, lion and human heads 
 alternating. 
 
 Though modern ideas have reacted from the 
 decorated facade, and inclined to plain, severe 
 treatment, it is impossible to view these master- 
 pieces of European architecture without feeling 
 the impressiveness of elaborate carving upon im- 
 portant buildings. It cannot be denied that these 
 beautiful examples of ancient art belong to a 
 higher and nobler order of architecture than our 
 plain, undecorated buildings. 
 
 St. Mark's Library is beautifully proportioned, 
 and the use of order over order with large arched 
 voids in the spaces between the columns pro- 
 duces a fine pictorial effect. The parapets and 
 statues crowning the top of the facade are in 
 the style of the period. The later Renaissance 
 architects, however, made but little use of 
 statuary, and even sculptures became rare ex- 
 cept for the fantastic and inferior decoration of 
 the gilded Rococo style, so marked a contrast 
 with the delicate and refined sculpture of the early 
 Renaissance. 
 
 The period of Italian style just alluded to, and 
 known as the Rococo style, was a debased appli- 
 cation of Renaissance principles. It consisted of 
 exaggerated and badly designed detail, columns 
 placed in front of pilasters and cornices made to 
 break around them. Other features are broken 
 and curved pediments and twisted shafts of col- 
 umns. Excessive ornnmcntation without regard 
 
 130
 
 to fitness or suitability and much gilding were 
 characteristics of the interiors. 
 
 The series of beautiful palaces and villas which 
 were erected in Florence, the suburbs of Rome, 
 and along the Grand Canal in \'enice, bear the 
 impress of a high order of artistic design. 
 
 The severe Florentine palaces belonging to the 
 early period of the style, displayed much plain 
 wall surface, and the classic orders were used in 
 a restricted, unobtrusive way and with pilasters 
 in preference to columns. They were the work of 
 the famous Florentine, Bramante, and are dis- 
 tinguished for great dignity and impressiveness. 
 At Venice, an almost endless series of palaces 
 and houses are to be seen, all of them rich, though 
 not of great size, for land was costly. The Ducal 
 Palace on the Grand Canal has been already re- 
 ferred to, which while embodying Gothic ele- 
 ments was rebuilt in part in the Renaissance 
 spirit. The marble front of the facade facing 
 the inner covirt is a wilderness of elegant carving, 
 statues, wreaths, columns, delicately wrought 
 balustrades and beautiful bas-reliefs. The panel- 
 ing of the great outer staircase is of beautifully 
 wrought marble of every hue, and everywhere 
 decoration is lavished with a prodigal hand. 
 
 In the architecture of these \'enetian palaces 
 one sees first a row of Corinthian columns up- 
 holding a richly ornamented frieze, while Gothic 
 arches form an arcade within the pillars and are 
 repeated in the second story. 
 
 The difference in style between the severe and 
 simple stateliness of the buildings in Florence 
 and Rome and the exquisite delicacy of \"enice 
 
 131
 
 Villa Medici, near Rome 
 
 is a noticeable feature. The beautifully carved 
 balconies and cornices of the latter, with their 
 rows of arcaded windows, are familiar pictures. 
 
 It seems passing strange that the Italian Re- 
 naissance architect, while laying so much stress 
 upon the use of the classic orders, should have 
 ignored completely the stately Greek portico, 
 which is scarcely known in the Italian national 
 architecture, though widely adopted in other 
 countries by architects practicing the Italian style. 
 In the Villa Medici there is a suggestion of in- 
 sulated columns in the entrance, but they are so 
 meager and so widely set as to produce a weak 
 effect not in keeping with the imposing front of 
 tlic building. 
 
 132
 
 As the ancient Roman i)atrician liad his villa 
 outside the city walls, so the wealthy Italian no- 
 bles oi the middle centuries built themselves 
 pleasure houses in the suburbs. The Villa Aledici 
 on the Pincian Hill, near Rome, inay be illustrated 
 as among- the most architecturally worthy out of 
 the many suburban villas of Rome. The "hill 
 of gardens and villas," as Ovid calls the Pincian, 
 so thickly was it set with the old Roman pleasure 
 places, was a favorite location for the villas of 
 the -talian Renaissance, and the Pincian Hill, 
 the site of the ]Medici Villa, is now, as then, 
 the favorite promenade of the Roman aristoc- 
 racy. There may be seen "a fashionable halo 
 of sunsets and pink parasols," in the broad 
 walks and drives of the terraces, and far in the 
 distance a silver line marks the sea melting into 
 the horizon. 
 
 Here in the days of imperial Rome was the 
 famous villa of Lucullus, where he gave his cele- 
 brated feast to Cicero and Pompey, for which he 
 ordered the menu by merely mentioning to a slave 
 that he would dine that night in the hall of Apol- 
 lo. The banquet is said to have cost a sum equal 
 to $10,000. 
 
 How extensive were these ancient villas 
 we may conjecture from Pliny's description 
 of his own, in which he describes forty-six 
 rooms. Pie tells us of dressing rooms with 
 hot and cold water, swimming ])ools and plunges, 
 bathrooms with suites, porticoes and galleries, 
 and a large pleasure place enclosed by plane trees 
 and vines, with fountains and marble summer- 
 houses. The Renaissance architects prided them- 
 
 133
 
 selves on accuralcl} cop_\ini; all these features 
 of their patrician ancestors, and their villas have 
 served as models in all other lands where wealth 
 has attempted poetic surrounding's. Not a few 
 modern American country seats are copied from 
 these Italian models. 
 
 The Villa Aledici fronts on a beautiful garden, 
 its facade — said to have been the design of 
 Michael Angelo — richly adorned with panels, 
 and niches nlled with classic carvings excavated 
 from the ruins of old Roman temples. The 
 brilliancy of its yellow walls is relieved by the 
 white marble panels and softened by the shadows 
 cast by the wings and the portico. 
 
 The Mlla Madama was another of the crea- 
 tions of Italian Renaissance. Though the build- 
 ing as it now stands consists of only the eastern 
 loggia and adjoining rooms, the decorations of 
 this interior have made it famous. 
 
 The Villa Madama is situated upon the slopes 
 of the Monte Mario, one of the highest and bold- 
 est of the hills lying- about Rome. A winding 
 carriage road brings one to this now deserted 
 villa, an architectural gem built from designs by 
 Raffaelle. The neglected halls contain beautiful 
 frescoes and arabesques, by celebrated artists of 
 the period, which fortunately have been engraved 
 before being hopelessly lost. The frescoes con- 
 sist of a series of beautiful pictures representing 
 the sports of Satyrs and their loves, while a deep 
 frieze on one of the deserted chambers still shows 
 angels, flowers, caryatides, etc. The entire sur- 
 face of the walls, pilasters and vaulting, are cov- 
 ered with decoration in i)laster relief and in 
 
 135
 
 fresco. One pilasicr. for inslaiicc, is carved all 
 over witli ears of wheat, some standing- upright, 
 some gracefully drooping. Another is covered 
 with a network of strawberry leaves, interspersed 
 with birds in difierent positions. These reliefs 
 h.ave all the charm of free-hand work, though 
 i:i reality they were executed from moulds. 
 
 Raffael, painter and sculptor, was also an 
 architect of distinction, a i)upil of the best of 
 Florentine architects — liramante. The architect 
 of the Mlla Madama was a pupil of Rafifaelle's 
 in turn, hence the charming frescoes. The Mlla 
 >.iadama was designed to reproduce the features 
 of a Roman villa in the Renaissance style, and is 
 the perfection of simple beauty in the Doric style 
 even in its ruined condition. The recessed and 
 arcaded facade facing the garden is especially 
 beautiful. It is impossible to convey in words, 
 th.e charm of these remains of an art and a social 
 life long since passed away. lUU they are still 
 fruitful models and an inspiration to the archi- 
 tect of everv asfe. 
 
 FRENCH RENAISSANCE. 
 
 Xot till the new style had become well estal)- 
 lished in the land of its birth did it reach France, 
 nor was it there received with much acclaim. 
 Xot easily did French architects let go of their 
 beloved Gothic vaults, ilying buttresses and trac- 
 eried windows, and even when Renaissance fea- 
 tures began to appear, the Gothic forms and prin- 
 ciples were retained, producing a transitional 
 137
 
 style, in which steep roofs and lofty towers were 
 mingled with rows of arcades and mullioned 
 Gothic windows with Renaissance pilasters, and 
 "statues, motley as man's memory.'' 
 
 The reigning- monarch of the sixteenth century 
 was Francis I., noted for his literary and artistic 
 acquirements. The Italian style appealed to him 
 and he made it fashionable. The buildings of this 
 early Renaissance were chiefly chateaux for the 
 nobility, and it is probable that the picturesque 
 country environment of these dwellings or castle- 
 houses had an influence in the retaining of so 
 many Gothic features. Unlike the Roman and 
 Venetian palaces where the facade alone was of 
 chief importance, these noblemen's houses were 
 seen from every side, and accordingly picturesque 
 effects were more sought than regularity. This 
 phase of architecture is illustrated in the famous 
 Chateaux of Blois — an immense castle, parts of 
 which were executed in three different periods of 
 French architecture. The exterior of the early 
 part shows extreme picturesqueness of outline 
 almost amounting to wildness ; while on the side 
 fronting the inner quadrangle, in the early Re- 
 naissance period, the parts are designed symmet- 
 rically. Both the individual features of the wing 
 and their combination are graceful and pleasing. 
 The elegance of some of the carvings is unsur- 
 passed ; the beautiful shell ornament which is 
 such a feature of Venetian decoration being freely 
 employed. The rich, crowning cornice, and the 
 dormers are elaborately carved, as also the shafts 
 of alternate columns of the arcade. Pilasters are 
 introduced between square, mullioned windows in 
 
 138
 
 each story of tlic facade. The brick walls are 
 profusely dressed with stone at the angles and 
 around the openings. The dormers, high and 
 sharply pointed, have little pilasters and rose w'in- 
 dows in the center of the gables. 
 
 These French chateaux, which are in truth 
 irregular Gothic castles with a coating of Renais- 
 sance detail, are among the most interesting ex- 
 amples of the architecture of the early French 
 Renaissance. 
 
 Many of the most interesting chateaux of this 
 period are to be found in the southern part of 
 France and are subjects of special interest and 
 admiration to travelers. Meantime another style 
 was making headway, as Italian architects were 
 imported to superintend buildings constructed 
 after Italian classic design. These imported ar- 
 chitects were responsible for the earlier buildings, 
 notably the palace of Fontainebleau, on which 
 three or four Italian architects were engaged, 
 among them the celebrated Vignola, who appears 
 to have had a more correct taste than perhaps 
 any other Italian architect of the sixteenth cen- 
 tury. The best part of French Renaissance was 
 due to his influence, and in his designs we find a 
 more modest use of the orders, a limitation of one 
 order of columns or pilasters to each story, rather 
 than the extravagances of the later French school. 
 The plan at Fontainebleau appears, however, to 
 have been extremely irregular, and it is chiefly in- 
 teresting for the sumptuousness of its interiors. 
 one of which is here presented. 
 
 The gables and dormers which had so persist- 
 ently held their own now gave way to pediments 
 
 139
 
 ^QJ^
 
 and Ixilustradcs. Vertical couplinij of windows 
 replace the Gothic nmllions, with horizontal en- 
 tablatures. The roofs remain high in French 
 architecture, and that peculiarly French feature, 
 the Mansard roof, was introduced at this period. 
 These high roofs allowed of dormers, a feature 
 quite unknown to Italian Renaissance, and these 
 dormers were treated with classic details, such as 
 pilasters and arched or broken pediments sur- 
 mounted by carved figures. Columns were used, 
 each story having its own order. Sculpture was 
 much employed in external enrichment, and 
 though often luxuriant, is usually in good taste. 
 Interiors of lavishly decorated wood and stucco, 
 treated in white and gold, were a feature of the 
 later French style in the Louis AlV. period, in 
 place of the carved wood paneling of the Gothic 
 period and of the early Renaissance. In France, 
 gilding and mirrors took the place of the stucca 
 work and costly mosaics of Italy. This style of 
 decoration is to our eyes painfully extravagant 
 and in wretcned taste. In the succeeding century 
 these ideas became greatly modified however. 
 
 Renaissance buildings of a domestic character 
 in France are distinguished from the Italian bv 
 their large extent and ample environment. Nar- 
 row fronts like the \'enetian palaces with open 
 arcades are replaced in France by more variety 
 of treatment, the surface of the walls being much 
 broken up and conveying an impression of large 
 space. 
 
 The domestic work of the French Renaissance 
 is in truth of more value and interest than the 
 great palaces of the period, as \'ersailles, which 
 
 141
 
 though of vast size, possesses no architectural 
 features of merit or interest. 
 
 As an example of the later work of the style, 
 the Opera House of Paris must be included, 
 though some delicate and pleasing effects are ob- 
 tained with a combination of marble, bronze and 
 gilding, slightly sprinkled with enamel, in the 
 detail of the facade. 
 
 SPANISH RE,NAISSANCE. 
 
 In Spain this style was introduced near the 
 beginning of the sixteenth century, and was 
 marked by the three phases of progression 
 which have been described in other countries. 
 The early style retained many essentially Gothic 
 features, such as pinnacles, gargoyles and para- 
 pets, and resembled the French fusion of classic 
 and Gothic. While the general design was sim- 
 ple, it was overloaded with extravagant ornamen- 
 tation, which, however excellent in workman- 
 ship, imparted a crowded and overladen appear- 
 ance to the structure. 
 
 To this order of Spanish Renaissance l)elongs 
 the Town Hall of Seville, built in 1559. which is, 
 however, one of the handsomest if not the hand- 
 somest municipal building in Spain. The exterior 
 is almost covered with a mass of sculptured orna- 
 ment, not only the capitals, but the shafts them- 
 selves of the columns being profusely carved 
 with an extraordinary variety of fanciful orna- 
 ment. The photograph gives the principal facade 
 of this building, in which, while well treated in 
 the mass, the individual features have been loaded 
 with an extravagant amount of ornament. The 
 
 143
 
 Town Hall, Seville 
 
 Stone work is profuseh- carved and the columned 
 pilasters slig'ht and fanciful in form, combining 
 baluster-shaped columns as if of wood turned in a 
 lathe, with Ionic and Corinthian capitals. The 
 same forms appear in the balustrade of the para- 
 pet. The pilasters themselves are decorated in 
 low relief, and fanciful sculpture of doves and 
 cupids is abundantly used in the frieze over each 
 division of the front and the openings. The iron 
 Rcjas or grilles in the lower story are effective 
 features. 
 
 To this phase succeeded a style marked by 
 plain and simple dignity, modeled on the best 
 examples of Italian Renaissance, and which pro- 
 duced many notable buildings, such as the Es-n- 
 rial palace at Madrid and the Alcazar of Toled i. 
 The uncompleted palace of Charles V. exhibits 
 this sixteenth century style. The plan of the 
 
 144
 
 palace was a square, 205 ket each way, and in- 
 closing a court 100 feet in dianietcr, where ap- 
 pears the fountain shown in the p'hotograpli, 
 which was a feature of the inner quadrangle wall 
 opening on a caurt. 
 
 To construct this palace, Charles V. had the 
 poor taste to tear down a great portion of tlie 
 Alhambra and build in the Renaissance or 
 the period a structure which never was completed. 
 Imposing in style, it is too cold and forbidding 
 to be linked to the lightness and grace of the 
 Moorish palace and its unfinished and roofies; 
 condition presents a scene of extreme desolation. 
 
 The treatment of the external facade, whicli 
 was two stories in height, was with columns of 
 the Ionic order above the lower story of rusticated 
 stone. Bull's-eye windows were introduced above 
 are arched openings in both stories. The palace 
 was built of a golden colored stone, witb the cen- 
 ter of each facade enriched with colored marbles, 
 
 Fountain of Charles V. Granad: 
 145
 
 Pellerhaus, Nuremberg
 
 with fine sculpture. Though never roofed in or 
 occupied, the building is considered the purest 
 type of Renaissance design in Spain, and an im- 
 portant specimen of the style. 
 
 The correct style of this middle period was, 
 however, too cold to suit the Spanish taste, and 
 later architects introduced the debased rococo 
 style of the seventeenth and eighteenth centuries, 
 in which fantastic and exaggerated forms are 
 employed without reference to good taste or suit- 
 ability. There are many interesting though 
 scattered examples of the Spanish architecture of 
 this period, chieflv in detached features of the 
 smaller churches and municipal buildings. 
 
 GERMAN AND BE.LGIAN 
 RENAISSANCE. 
 
 Probably few European cities retain their me- 
 diaeval aspect to so marked a degree as the city 
 of Nuremberg, wdiich is still surrounded by its 
 ancient feudal walls and moats. The general 
 type of its architecture is Gothic, but the rich de- 
 tails are usually borrowed from the Renaissance. 
 Most of the private dwellings date back to the six- 
 teenth century, and even the new houses imitate 
 the lofty peaked gables, oriel windows, red-tiled 
 roofs and stone balconies of the old dwellings. 
 
 The almost single exception to tliis picturesque 
 style is the Pcllcr-haus, an edifice in the Italian 
 style erected in the seventeenth century, and an 
 example of rich domestic architecture, showing 
 also the richly treated stepped gable of the roof, 
 in fantastic German style of this period. The 
 French method of an inner court-yard is here 
 
 147
 
 Ro^v of Houses at Brussels 
 
 adopted, and oriel windows running through both 
 stories above the arcade below. The stories are 
 marked by richly decorated cornices. 
 
 Buildings of pure Renaissance type are scarce 
 indeed in Germany, though there are some pic- 
 turesque buildings that present a curiously blend- 
 ed mixture of regular classic forms, but very 
 irregulai in their proportions and positions ; such 
 as fluted pilasters with capitals and a pediment, 
 with mullioned windows and high pitched gables, 
 and dormers breaking into the roof. The large 
 roofs, containing many stories, are indeed the 
 prominent feature of German town bouses of this 
 period, displa)ing many tiers of dormer windows 
 rising one above the other. 
 
 This feature is illustrated in the row of town 
 houses in Brussels, Belgium. Such architecture 
 possesses little interest for the seeker after beauty 
 of proportion and chasteness of detail. 
 
 148
 
 "And noil} thou bidds't me Vieto each lofty aisle. 
 Ghen mid the solemn grandeur muse aWhite. 
 These clustering pillars raised With Wondrous 
 
 toil. 
 The pointed arch and column Well combine; 
 A groVe-liXe. long perspective thus to giVe. 
 Where statued niche and blazoned panel line 
 She massive Walls." 
 
 149
 
 8 
 
 ENGLISH ARCHITECTURE,. 
 
 London Tower 
 
 In England, as in other lands, we find religious 
 feeling dominating its architecture. In this sea- 
 girt isle of our ancestors, the history of architec- 
 ture begins with the building of churches, and 
 therefore we must use churches and cathedrals 
 to trace its progress. 
 
 The first buildings of the kind were small and 
 rude, and of these almost no examples remain, 
 though fragments and details are preserved in 
 some of the rebuilt churches. In fact, the his- 
 tory of architecture in England is a pulling down 
 
 150
 
 of the st\Ie of one period to rc'])lacc with the in- 
 coming" fashion. 
 
 Of many of the noblest Enghsh cathedrals it 
 may be said — 
 
 "Here once there stood a homely wooden church 
 Which slow devotion nobly changed for this." 
 
 The Xorman form of Romanesque came in 
 about the eleventh century, and the great abbey 
 church of Westminster was first built in that 
 style by Edward the Confessor. 
 
 "In Xorman strength that abbey frowned 
 With massive arches broad and round." 
 
 The main features of the Xorman style were 
 massive piers, round-headed arches, small and 
 narrow windows and projecting buttresses. The 
 necessities of the times, rough and turlmlent, 
 when bands of marauders were continually 
 marching up and down with sword and torch — 
 gave the character of the fortress to all buildings, 
 both church and castle. Xorman castles were 
 military posts as well as residences, and planned 
 to serve both ends. There was always a central 
 tower or "keep," protected by a moat of water. 
 The "White Tower" — the central tower of the 
 mass of buildings known as London Tower — was 
 thus erected by William the Xorman in 1078, and 
 the present tower retains the appearance of plain- 
 ness, though not rudeness, which characterized 
 that ancient fortress and prison of state. An in- 
 teresting recent discovery within its walls may 
 here be mentioned. In making some repairs the 
 pick of the masons brought to light the well of 
 water, long centuries buried, which supplied the 
 original fortress with water. When opened up 
 
 151
 
 the well was found to still carry 30 feet of sweet 
 spring water. It has heretofore been a matter 
 of much speculation as to how the fortress w'as 
 supplied with water. 
 
 Besides the great abbey churches, such as 
 AX'estminster and Canterbury, many smaller par- 
 ish churches were built, and a fine example of 
 these is shown in the picture of Iffley parish 
 church in Oxfordshire, with its scjuare, massive 
 Xorman tow^er and its rose or wbeel window over 
 the entrance ; a perfect type of early Norman 
 ecclesiastical architecture, with its 
 
 "Massive arches broad and round, 
 On ponderous columns short and low." 
 
 Ififley church is wonderfully preserved consid- 
 ering its age, which must be about eight centuries, 
 though little is known of its histor}-. It bears, 
 however, strong early Norman characteristics. It 
 is peculiarly rich in doorways, having tliree of 
 great value, each dififerent from the other. The 
 southern doorway is enriched with sculptured 
 flowers, an unusual feature in Norman architec- 
 ture ; it contains also rudely carved imitations of 
 Roman centaurs. 
 
 Norman piles — "grim with the Northman's 
 thought" — have an interest all their own. By the 
 end of the eleventh century most of the early 
 great churches had been rebuilt in the Roman- 
 esque style, though retaining, as has been men- 
 tioned, many of the characteristics of the early 
 primitive structures, their massiveness and 
 strength, with even less of ornamentation. No 
 style in fact needed ornament less, and none could 
 better depend on sini]ilc statcliness and solemnity 
 
 152
 
 Iffley Parish Church. Oxford 
 
 of outline. The architecture of London Tower 
 shows how the early Xorman style could be 
 wrought into perfectly finished forms, though 
 devoid of ornament. 
 
 The early Xorman has been called '"the primer 
 of architecture in stone." Certain it is that the 
 
 153
 
 amount of ihonqht and contrivance evinced by 
 these early builders is truly wonderful ; and their 
 steady progress from the rudeness of neccssitv 
 and limited skill to the beauty, delicacy and rich- 
 ness of the later Romanesque is a most interest- 
 ing study. The pronounced individualitv 
 and originality of the Romanesque style have 
 found appreciation and admiration among mod- 
 ern architects, who have adapted its salient fea- 
 tures to the details of modern construction with 
 great skill, and obtained many fine effects. 
 
 THE GOTHIC E,RA 
 
 We now come to the story of the rise and fall of 
 the Gothic type in England, which is one of fasci- 
 nating interest. 
 
 To know anything of Gothic architecture one 
 must go to the cathedrals and churches ; for in 
 
 "brandling windows, 
 Pillars of clustered reeds, and traceried glass" — 
 
 shines the story of the true Gothic, and no where 
 is the story invested with more absorbing inter- 
 est than in the unrivalled series of buildings of 
 that era to be found on English soil. 
 
 The Gothic type found here its most congenial 
 home, with a home-loving people, whose instincts 
 prompted to a less formal style than the archi- 
 tecture of southern lands. 
 "Something more friendly with their ruder skies ; 
 
 The gray spire, molten now in driving mist. 
 
 The carvings touched to meanings new with 
 snow." 
 
 The first application of Gothic on a large scale 
 is found in the celebrated Canterbury cathedral, 
 
 155
 
 which as we have seen, had already been de- 
 stroyed and rebuilt several times. Of its first 
 original structure nothing" now remains except 
 some rough stones and clinging cement, part of 
 the masonry of the early Briton foundation. But 
 
 "Statlier still, 
 
 Grows the hoary, grey church, whose story si- 
 lence utters, and age makes great." 
 
 The effect of the great cathedral towers in 
 warm gray seen throug'h a long vista of dark 
 street is wonderfully grand. Its total length is 
 514 feet and the length of the choir 180 feet. 
 The central tower is 235 feet in height, the west 
 tower 152 feet. 
 
 The interior conveys a wonderful effect of 
 lightness and grace for so vast a space. The 
 "glorious choir" is the first important example of 
 the early Gothic style in England. At certain 
 points, the new work abuts against the old, and 
 a plain Norman capital supports on one side the 
 sturdy round Norman arch with its roughly 
 axed zig-zag cutting and on the other the pointed 
 Gothic arch with its more delicate ornamentation. 
 One who was an eye witness of this transition 
 work, describes it thus : "The pillars of the old 
 and new work," he says, "were alike in form ; 
 but in the old capitals the work was plain : in the 
 new ones exquisite in sculpture. There the 
 arches and everything else were plain or sculp- 
 tured with an ax and not a chisel ; but here, al- 
 most throughout is appropriate sculpture. No 
 marl)le columns were there — but here are in- 
 numerable ones. There, was a ceiling of wood, 
 decorated with excellent j^ainting ; but here is a 
 
 156
 
 East Window, Lincoln Cathedral 
 
 vault beautifully constructed of stone and light 
 tufa." 
 
 The cathedral was broug^ht to its present form 
 about the time Columbus discovered America. 
 
 Lincoln Cathedral is one of the most noted ex- 
 amples of the Early English or Pointed style in 
 the middle of the thirteenth century, and it, too, 
 is the work of successive Imildcrs. The central 
 
 157
 
 Salisbury Cathedral, England 
 
 portion still retains traces of the early Xornian 
 church, though the middle arch was subsequently 
 raised and pointed. A band of curious sculp- 
 ture runs across the front, representing Bible 
 scenes, a peculiarity of Norman decoration, and 
 the interior also shows remains of Norman 
 origin. The font particularly is very ancient and 
 a fine example of the Norman period. It is built 
 of black basalt, square in shape with grotesque 
 monsters carved on its sides. Over the central 
 entrance is a row of royal statues ; among them 
 is placed a statue of the Swineherd of Stowe, 
 who, tradition says, gave a peck of silver pen- 
 nies to the building of the cathedral. 
 
 The Central tower, the linest in England and 
 the highest, was formerly capped by an immense 
 timber spire, covered with lead, which rose to a 
 
 158
 
 lu'ight of 524 feet. The spire was destroyed by 
 a tempest ; but its lofty site and tower, consid- 
 ered tlie grandest and most majestic in the mod- 
 ern world, requires no spire. 
 
 The great East window is a fine example of 
 the decorative tracery of the Lancet style before 
 it changed from the Geometrical to the Flow- 
 ing. Its arches, supporting circles repeated on 
 difYerent planes, show the richness and freedom 
 of det.'iil of this early lancet work, and surpass 
 in beauty the more elaborate design of later 
 styles. 
 
 The whole eastern part of the church is per- 
 fect in its wa}', and it has been said that "Eng- 
 lish Gothic sprang into being in the Choir of 
 Lincoln." It seems quite true that the English 
 Gothic is distinct from any other style, and a 
 true original creation, with qualities entirely sep- 
 arate from the continental Gothic — a native 
 craftmanship, so to speak. 
 
 A description of Early Pointed would be in- 
 complete without showing the famous cathedral 
 of Salisbur\-, which has often been quoted as a 
 model of this style, because, more than the other 
 great churches, it represents it from one end to 
 the other, though in cotemporary portions, it is 
 far surpassed by parts of Lincoln. The reason 
 for this unity of parts lies in the fact that it en- 
 joyed the rare advantage of being begun and fin- 
 ished within a period of forty years, from 1220- 
 1260. 
 
 It is purely English in character, and Ferguson 
 declares it to be "the best proportioned and most 
 poetic design of the Middle Ages. 
 
 159
 
 Unlike Lincoln its most conspicuous feature is 
 the richly adorned Central Spire which is the 
 loftiest in England — 406 feet, and dominates the 
 whole design. 
 
 The cloisters, of — 
 
 "Red brick and ashlar long and low, 
 With dormers and with oriels lit" 
 
 are of later date than the body of the cathedral, 
 and of rare charm. 
 
 Salisbury is so well known a subject, that we 
 pass to the charming cathedral of Wells, in the 
 venerable city of that name, the three abundant 
 fountains of pure water giving the town its 
 name, springing to the surface near the east end 
 of the cathedral. 
 
 The delightful surroundings of W'ells strongly 
 emphasize a marked point of difference in the 
 idea of the English as contrasted with the 
 French cathedral. The latter was designed to 
 be imposing in a city, among other buildings ; 
 while the English chose quiet and sequestered 
 spots, away from the turmoil of life. These dif- 
 ferent ideas found architectural expression and 
 influenced the character of the design. 
 
 A feeling of devotion breathes from the clois- 
 tered court of Wells and recalls the beautiful 
 lines 
 
 "Oft have I seen at this Cathedral door, 
 A laborer pausing in the dust and heat, 
 Lay down his burden and with reverent feet 
 
 Enter and cross himself." 
 
 The West front of Wells has been called the 
 most imposing facade in England, not only for 
 its square and massive strength but uni([uc de- 
 
 160
 
 Side Vie-?v of Wells Cathedral 
 
 sign and harmonious cffccl. In a small plate it 
 is ini])ossible to convey the richness of detail, 
 with its wonderful mass of sculpture and deco- 
 ration. The front is 235 feet in breadth, and 
 in the decorated niches are said to be 600 sculp- 
 tured figures, half of them life size. 
 
 These sculptured stories were the public libra- 
 ries of the multitude at that time who had 
 neither prints nor books, but read their Bible 
 stories from these carvings — "a sign language 
 in stone." The towers of the west front in the 
 Perpendicular style were added in the fourteenth 
 century and are not a part of the real construc- 
 161
 
 
 |i|l-ti:fii 
 
 ■^**« 
 
 Litchfield Cathedral 
 
 tive design, as the}- stand outsido tlie aisles of 
 which the}' appear to form the end. The group- 
 ing of the three well proportioned towers is. how- 
 ever, considered as one of the finest architectural 
 effects in England. 
 
 The very beautiful west front of IJtchfield 
 cathedral is perhaps the most ]X"rfect specimen of 
 
 162
 
 Engli.sli Decorated Gothic. The artistic value 
 of towers and spires can hardly be estimated. 
 Their position varied, but a favorite and effective 
 placement was a pair of towers at the west end 
 of the building as shown in the picture of Litch- 
 field. This front shows the excessively rich or- 
 namentation of the Decorated period. 
 
 It is divided into three stages ; the lower one 
 occupied by the three doorways, the center one 
 being in effect a deeply recessed porch. The 
 hollow mouldings on either side are filled with 
 exquisite sculptured foliage. 
 
 Above this lovely doorway is set the beauti- 
 fully decorated central window, flanked each side 
 by a series of arcaded niches, filled with carved 
 statues and having pierced and trefoiled heads 
 with projecting canopies. 
 
 The flowing tracery of the gable above the 
 lofty spires divided into many stories and filled 
 with canopied windows, the angle pinnacles and 
 ornamented parapets of open stone work — all 
 make up an effect of unsurpassed elegance. 
 
 Westminster Abbey is full of exquisite exam- 
 ples of window tracery in the form chieflv em- 
 ployed in Early English Gothic. The splendid 
 arcade of windows which forms the triforium of 
 the choir is shown in the i)hotograph of the 
 choir. The beautiful vaulting — 
 
 ''The lift of higb-eml)owerc(l roof. 
 The clustered stems that spread in boughs dis- 
 leaved," 
 
 is a fine architectm-al study in the open roof con- 
 struction of Gothic churches. The vault was 
 indeed a feature of prime imjiortance, often in- 
 
 163
 
 Choir, Westminster Abbey
 
 volvini^- great structural difficulties, and such 
 marvels of workmanship, and com])osed of such 
 an infinite numhcr of parts, as to fill the beholder 
 \\ith unending wonder. 
 
 Not until this period were there any seats in 
 the churches. The early Church knew not seats, 
 except for the bishop or the preacher; the laitv 
 stood. If any were physically unable to stand, 
 such as delicate women or invalids, the floor 
 was the alternative. Even in the present, the 
 churches of the East, have no seats nor are thev 
 permitted except as an extra accommodation for 
 which one must pay. In the fiftceenth centurv 
 the sitting posture became recognized in English 
 churches, and oak pewing, often of a beautiful 
 character was introduced. 
 
 The study of English Gothic, from the Ro- 
 manesque churches to the grand cathedrals of the 
 middle centuries, is one of the most interesting 
 periods of architectural study. Xo other period 
 shows such unparalleled activity in construction, 
 and such ardor in design. But Italian archi- 
 tecture, which never had taken kindly to the 
 Gothic, began strongly to revive classic styles. 
 
 Fashion sends forth her mandates in other af- 
 fairs than dress, and a new fashion in architec- 
 ture was now decreed. 
 
 "Hence, doomed to hide her banished head 
 Forever, Gothic architecture fled." 
 
 Xew masters in architecture had arisen who 
 "knew not Joseph" and \Vho sent forth their 
 royal edict — 
 
 "That Gothic is not Grecian, therefore worse." 
 
 165
 
 R.adcliffe Library, Oxford 
 
 By the middle of the seventeenth century, 
 Gothic architecture liad }ield€d completely to 
 continental influence and the Renaissance was 
 thoroughly established on a firm footing. This 
 it has retained through succeeding generations, 
 though in modified form and not to the exclu- 
 
 166
 
 sion of other styles. Many notable huildini^s 
 were erected in England under its influence, 
 among- them Radcliffe Library at Oxford, which 
 is a type of the later Renaissance of the eigh- 
 teenth century. The building is a handsome ro- 
 tunda, embellished with columns and surmount- 
 ed by a dome resting on an octagonal base. It 
 was built in the period of the revived Italian, and 
 is considered by some authorities the grandest of 
 all the English-Italian designs of this time. 
 
 The great dome of St. Paul's was the result of 
 the revived Italian then dominant, when the 
 cathedral was re-built after the fire which de- 
 stroyed it in the seventeenth centurv. It was 
 constructed of white marble, but is now black 
 with age and soot. 
 
 The present edifice, though imposing, cannot be 
 said to possess the charm and poetic interest of 
 the old St. Paul's. It is said to occupy the exact 
 site of an old Roman temple, and truth to say 
 looks more like one than a church. Though 
 the intcri(M- has now become the mausoleum of 
 soldiers, statesmen and poets, and is filled with 
 great monuments, the tonil) of the architect. Sir 
 Christopher Wren, the first apostle of English 
 Renaissance, was for a long time the onlv one. 
 On it was the famous <i\)\i?ix\\—' ' Si inomimentum 
 qucsris circuinspice r (If you seek a monument, 
 look around.) 
 
 The vast expanse of the mighty dome cov- 
 ered with fresco, seems bald and bare, unbroken 
 by shadow and unsoftened by the dim light of the 
 Gothic vaulted arch. The dome was in fact 
 the distinguisning feature of public build- 
 
 167
 
 St. Paul's Cathedral 
 
 ings in the Renaissance, and took tlic place of 
 the tower, both in cliurches and secular buildings. 
 Tne celebrated dome of St. Paul's cathedral, so 
 familiar to all readers and travelers, was the first 
 important instance of the new style. Far more 
 attention was, however, given in the Renaissance 
 period to buildings of a secular character. 
 
 168
 
 The Royal E,xchange 
 
 The Garden Front of King's College, Cam- 
 bridge, illustrates the features of the style in its 
 earlier period, and the Royal Exchange Building 
 in London, its later development. 
 
 Large country houses of Italian design were 
 also built, many of them extremely incongruous 
 and unsatisfactory. The great cornices and 
 classic porticos with pediments, were better fitted 
 for sunny Italy than the cold, grey skies of Eng- 
 land, and these stately but cold buildings at their 
 best, were much inferior to the picturesque and 
 home-like dwellings of the earlier architecture. 
 There was a general demand for making every- 
 thing Greek, and before the middle of the eight- 
 eenth century the picturesque element had com- 
 pletely disappeared from the English architecture 
 of the period. The two views given of Hamp- 
 ton Court, the royal pleasure-house of the sover- 
 eign, well illustrate the design of this period. 
 169
 
 Garden Front, King's College 
 
 Lord Bacon's <lcscription of an Elizabethan 
 mansion, whicii he says "should have two sev- 
 eral sides of a great stately tower in the midst 
 of the front" — is well illustrated in the first 
 view. It contains j^ood examples of both early 
 and late brick-work. The l)rick is laid in an orna- 
 
 170
 
 mental diaper dcsigri. The west front, with its 
 great arched entrance Hanked by towers, is im- 
 posing- and feudal in character, and shows to ad- 
 vantage the charming oriel over the entrance 
 which was such a marked feature of the time. 
 
 n 
 
 
 ■^m 
 
 Hampton Court, West Front 
 
 The great eastern and southern quadrangle was 
 added in the Renaissance period and is the work 
 of its most famous architect. Sir Christopher 
 Wren. The quadrangle forms an arcade open- 
 ing upon a beautiful garden and is built of red 
 brick with stone dressings. The range of win- 
 dows preserved through the three stories form 
 its distinctive feature. 
 
 A free use was made of plaster, both outside 
 
 171
 
 and inside, not merely to cover surfaces but to 
 form architectural features. Rough walls were 
 faced with fine stone in important buildings and 
 with plaster in cheaper ones. In fact the con- 
 cealment of construction and interior arrange- 
 ment by a uniform facade was a feature of Re- 
 naissance architecture, in direct contrast to the 
 
 £.astern Quadrangle, Hampton Court 
 
 frank display on the outside of the w'orks within 
 which characterized the previous English style. 
 
 Columns and pilasters so large as to appear to 
 support the building, were used purely for dec- 
 
 172
 
 orativc purposes, a practice which is not un- 
 known at the present time. 
 
 In many cases the detail of the Renaissance 
 style is not at all suggested by the material, and 
 is quite independent of the construction. Cor- 
 nices and pilasters and columns are "put on" 
 purely as ornaments and look it, while facades are 
 
 ''Of brick, mock-pious with a marble front." 
 It is, in fact, as Ruskin has called it, "The archi- 
 tecture of pride ;" it expresses aristocratic feel- 
 ing — the pride of birth or of wealth. It is, how- 
 ever, capable of refinement and reserve, and of 
 expressing that real aristocracy which is of feel- 
 ing and high born courtesy, instead of the vul- 
 gar pride of possessions. No style afifords more 
 room for skill in planning than does the Renais- 
 sance, or repays such skill with better results. 
 It, therefore, commends itself in many of its feat- 
 ures to the modern architect, who finds a fertile 
 field for clever treatment of its possibilities. 
 
 The classic elements of Renaissance architec- 
 ture have given it permanence ; and svmmetrv. 
 strict uniformity and constant repetition of 
 features intended to correspond, are quaUties 
 that distinguish the purer examples of the 
 style, and have obtained for it a firm footing in 
 modern construction, in spite of the abuses into 
 which it has so often fallen and which have been 
 so fiercely denounced b}- its critics. 
 
 The earlier efiforts of our own American archi- 
 tects were patterned after the Renaissance tvpes, 
 and the colonial houses of the pre-revolutionary 
 period were echoes of the English Renaissance. 
 Some of the most dignified of American public 
 buildings are examples of the better character- 
 istics of modern Renaissance, which is not so 
 much a style in itself as a system of decoration, 
 in which a great variety of detail is applied to 
 every kind of material. It is, indeed, the most 
 widely known and best comprehended of all 
 methods, 
 
 173
 
 ENGLISH DOMESTIC ARCHL 
 TECTURE 
 
 Haddon Hall 
 
 In England, the artistic character of dwelHngs 
 began much earher and developed more freely 
 than on the Continent. The old manor house 
 shown is Haddon Jiall.. one' of the most noted 
 s])ecimens remaining of early Eng^lish domestic 
 architecture. • The building is of various periods 
 of architecture, the view given is the wing of 
 the early Norman period. Other portions are 
 additions and alterations of later periods. Even 
 this ])art of the building partakes more of the 
 domestic than the castellated style. The whole 
 
 174
 
 l)uilflinq- is a very fine exterior. Init the interior, 
 with the exception of hall, drawing room and 
 dining;: room is little better than a chaotic mass 
 of small, inconvenient and huddled apartments. 
 It is, however, a most interesting specimen of 
 early English domestic, and the arrangement of 
 terraces to suit the rapidly falling ground of the 
 site, is indescribably charming and picturesque. 
 Houses increased in size, convenience and deco- 
 rative character ; chimneys were provided instead 
 of the hooded fireplace with possibly a rude flue 
 up through the first story. The houses of the 
 better middle class had a small, wooden porch 
 over the entrance. The center hall had openings 
 to right and left, leading to the kitchen and other 
 offices which were now separated from the living 
 hall. Walls were now plastered, in lieu of the 
 wind}- arras wiiich formerly hid the roughness. 
 The beautiful wall tapestries, however, of silk, 
 wrought in thread of gold, which had grown out 
 of the primitive "wall-cloths" of the Saxons, were 
 far too decorative to discard, but continued to be 
 used in lieu of wainscoting until the end of the 
 fifteenth century. The richly worked tapestries 
 of Arras and Brabant replaced the needle work 
 of the mcdiccval chatelaine, and commanded lar^e 
 sums of money. Eventually, however, the rival 
 village of Worsted, produced a fabric which came 
 within the means of the middle class, and of 
 great beaut}-. A certain class of woolen goods 
 lias ever since gone by the name of tlie town. 
 
 Before the advent of chimneys in private 
 houses a chafing dish was used to warm cham- 
 bers. In this connection the plaint of an old 
 
 175
 
 Lodge Entrance in Old English 
 
 writer in the seventeenth century, after the gen- 
 eral introduction of chimneys — is significant to 
 ns !uxury-pampere(l, liot-water-heated moderns. 
 He says — "Now we liave chimneys; yet our ten- 
 derhngs complain of rheum, catarrhs and poses — 
 colds in the head. Then, had we none but rere- 
 dorses, and our heads did never ache." 
 
 The outside stair was, with the advent of cliim- 
 neys, replaced by an inner staircase, which 
 
 176
 
 gradually came to assume ,^rcat disunity and char- 
 acter and the small and winding- stair became 
 rectangular and spacious. The steps were of oak, 
 the balustrades richly carved in grand houses, 
 the chimne\ -piece richly paneled above the open- 
 ing. 
 
 Even the barns were now invested with archi- 
 tectural interest, the gables and doorways often 
 artistically treated and the roofs wonders of car- 
 pentry. Some fine examples of these fifteenth 
 century barns are still extant. 
 
 The charming antique given here, in the Earlv 
 English style, was the lodge entrance to a fine 
 estate, the owners having had the good taste to 
 preserve the original features and keep the build- 
 ing in repair. For picturesque outline and pro- 
 portion this old lodge may well serve as a model 
 for a building of its kind. 
 
 It is interesting to note the method of construc- 
 tion in this early practice of half timbered work. 
 Although it would be considered primitive and 
 unscientific by our builders, it had the quality 
 of permanence and a certain rugged charm. In 
 constructing the "post and petrel" work — as it 
 was called — the interstices between the studs 
 were filled in with a mixture of clay and chopped 
 straw, plastered on to willow withes, with wattles 
 introduced as a core. When the core was fairlv 
 hard, clay and lime were smoothed on both sides 
 and both timbers and panels colored in distemper 
 and carved more or less elalioratelv. 
 
 This (piality of ])erman<.nce is a feature of 
 these old houses which modern builders might 
 imitate to advantage. Here are dwellings built 
 
 177
 
 three and folir hundred years ago, yet well pre- 
 served hoth as to exterior appearance and hahit- 
 ability. It is true the climate of England is 
 favorable to such j)reservation, inasmuch as the 
 violent extremes and the fierce winds and suns 
 of our climate are unknown tlicre. 
 
 The illustration shows an old half timber house 
 built in 1500, but in excellent condition and let 
 out to families. 
 
 These gabled cottages with tall chimnc\s are 
 most impretending, yet their charm is undeniable, 
 and their style far su])erior to the dreary, square 
 block-houses that have replaced them in modern 
 times, which even, so far as real convenience is 
 concerned, have little advantage. 
 
 Strange to say, these excellent examples of 
 substantial construction afforded by the early 
 builders and right before their eyes appears to 
 b.ave little influence upon the character of Eng- 
 lish present-day methods, from which the glor\- 
 of other da}-s seems to have utterly departed. 
 Within the last decade, there has been an im- 
 provement in the construction of English houses 
 of the middle class, but previously to this modern 
 English houses, unless of some pretension, have 
 been of the flimsiest construction and of poor 
 material. Poor brick, bad mortar and careless 
 workmanship have been the common custom, re- 
 sulting in walls that would justify the prophet's 
 gibe — "If a fox go up he shall break down their 
 stone wall." 
 
 Far from resembling the mortar of their an- 
 cestors, which was almost invulnerable to the 
 blows of the Jiick. "I ('id not see in England" 
 179
 
 God's Providence House
 
 remarks a traveler of much perception a few 
 years a,qo — "in a new private building of mod- 
 erate pretensions, an\- mortar worthy of the 
 name." Xot only so. but small and badly joined 
 beams, weak and clumsy tenon and mortise work, 
 appear to have been the rule and not the excep- 
 tion. 
 
 In the fifteenth and sixteenth centuries great 
 changes took place in domestic architecture. The 
 beautiful perpendicular style of ecclesiastical 
 structures of that period began to influence dwell- 
 ings in all directions, with ever-varying and lux- 
 uriant beauty. The architecture of the period 
 was, of course, adapted in domestic buildings to 
 their dififerent uses. Thus, square windows in 
 a dwelling were more convenient than pointed, 
 except in situations of special dignity, and were 
 therefore used. The projecting bays and oriels 
 were also strictly features of domestic architec- 
 ture. The great oriel window of an upper hall 
 was a marked feature of this period as, also, 
 many little windows with diamond shaped panes, 
 with gable ends facing the street filled with carv- 
 ing. The beautifully carved woodwork of the 
 gables in sixteenth century houses is one of their 
 architectural features, and extended even to the 
 stables of great houses. The charmingly de- 
 signed group here given of these old timber 
 houses, might serve as a model and an inspira- 
 tion for many a picturesque architectural effect 
 of the present time. Indeed this faculty of mak- 
 ing dwellings picturesque was better understood 
 by these old builders tlian our own. 
 
 Note the simplicity of the constructive lines 
 
 181
 
 The Bishop Loyd House 
 
 and the skill with which the details, the timber- 
 ing of the gables, the oriel windows filled with 
 delicate, latticed panes set in quaint and unusual 
 places, producing an extremely ornamental fa- 
 cade, yet in good taste. Infinite pains were taken 
 with these details, and the carving in the black 
 and white gables of these old English houses may 
 
 182
 
 well be studied by tbe modern arcbitcct. Tbe 
 gable boards and cross beams, were favorite 
 places for tbe display of tbe beautiful wood carv- 
 ing wbicb was tlic i)ride of tbe English artisan. 
 The excellent examples given are pictures of 
 some of these carved gables in old Chester, noted 
 for choice specimens of tbe ancient work. God's 
 Providence House, the first example given, and 
 so named in grateful commemoration of im- 
 munity from tbe i)lague in the seventeenth cen- 
 tury, was built in 1652. Two hundred years 
 later it was carefully repaired, preserving tbe 
 style and as far as possible tbe original material. 
 The old builders applied many coats of tar as a 
 preservative, and whitened the plaster from time 
 to time, resulting in the black and white appear- 
 ance of the houses. 
 
 Aluch the same style of work is shown in the 
 Bishop Loyd House, also in Chester, with its 
 richly carved and pargeted front. 
 
 In this connection it is interesting to speculate 
 on the means the old designers used to attain 
 such satisfactory results. That they worked from 
 drawings is evident because in manv cases these 
 are extant; but that they carefully tested tbe 
 workings of their drawings and altered and 
 amended them from the various points of view, 
 seems also evident to produce such almost uni- 
 versally satisfactory effects. So marked and 
 palpable is this universal beauty of form in the 
 work of the old designers that much research 
 has been expended and old records explored, to 
 find out. if possible, some ancient code of rules 
 that may have guided their operations. 
 
 183
 
 Dorfield Hall 
 
 The brick houses of the middle centuries are 
 another interesting field for exploration and 
 stud'-. "Bricks, and especially red bricks," says 
 an interesting writer, "are almost always men- 
 tioned with great disrespect in connection with 
 architecture." While not so readily handled by 
 the ordinary architect, bricks are a material 
 which it would be almost impossible to dispense 
 with, and capable of varied and interesting effects 
 in skillful hands. 
 
 The illustration shows how well brick work 
 was understood at this period, the gable and chim- 
 ney well broken up into light and shadow and 
 well proportioned. Ordinary, rectangular brick, 
 unmolded, are the only medium here employed ; 
 even the coping being contrived by ingeniously 
 overlapping one brick upon another. This fine 
 old mansion of Dorfield Hall in Cheshire, is a 
 
 185
 
 handsome specimen of Mlizaliethan brick, relieved 
 only by the stone quoins of the angles. The en- 
 trance is given special prominence by the stone 
 flanking- of the angles. 
 
 In some parts of England there was a felicitous 
 combination of timber with brick, as in the old 
 inn shown in the picture, which shows brick 
 decorated with quoins around the openings, and 
 elegant black and white work above. 
 
 Many of the brick chimneys of this period 
 would make excellent copies for modern dwell- 
 ings. Some of these appeared to be octagonal 
 in snape, an effect produced by simply taking off 
 the angles at the corners. The courses of brick 
 project at the top and form a battlement and are 
 striking and happy in effect at small expense. 
 
 Brick and stone, to a great extent, superseded 
 timber, as the Gothic style was supplanted by 
 the Renaissance. In that curiously broken classic 
 called the Elizabethan, brick was extensively 
 used. The photograph of Aston Hall shows a 
 fine old mansion of the Jacobean form of Eliza- 
 bethan, and was built in 1618. It is constructed 
 of deep, red brick, with ornamental designs 
 worked out in still darker brick upon the facade. 
 The large bays and the ornaments of the parapets 
 are of stone. The porch is on the Doric order, 
 and shows the curious mixture of stvle of the 
 period, which has so often been imitated in 
 cheap, poorly designed modern dwellings. Aston 
 Hall consists of a center, with projecting wings 
 enclosing three sides of a court. The exterior 
 is rather plain, but the lofty towers of the angles 
 and the carved gables, impart a picturesque and 
 
 187
 
 ••«i;^
 
 imposin^t^ appearance. Some quaint verses are 
 carved on one of the stones over the entrance. 
 Ihis stately mansion was seventeen Aears in 
 building:, and has been well preserved. 'The in- 
 terior decoration is worthy of special notice. In 
 the great library is a sculptured stone frieze 7 
 feet 8 inches in depth, and a cornice above '12 
 inches deep, with a projection of 14 inches. One 
 division IS seven feet in length, with arabesque 
 relief, and separated by slightly ornamented 
 arches, each containing the figure of a Roman 
 Knight in armour. 
 
 The Elizabethan period, combined with its 
 picturesque and telling style, great incongruitv 
 of form. It is true, and a mixture of Gothic and 
 classic_ which was sometimes deplorable; but 
 there is a fascination in its plav of fancv and 
 romantic eehng. This style, variouslv denomi- 
 nated ludor, Elizabethan and Jacobean, was 
 produced by an admixture of Italian details on 
 a Gothic foundation before the entire abandon- 
 ment ot the Gothic for the full-fiedged Renais- 
 sance. It was characterized bv high roofs with 
 gables^ taking the place of dormers and bv the 
 excessive use of windows, making the plain walls 
 beautiful, when 
 
 "Shafts of sunshine from the west 
 Paint the dusky windows red." 
 
 The Tudor street architecture was also far 
 more interesting and picturesque than the later 
 s vie. The high gables, the over-hanging stories, 
 the angle posts, the tracerv and carving, gave 
 an interest and charm to town as well as coun- 
 try, sadly lacking in the monotonous and drearv 
 rows of modern street fronts. 
 
 Nor was the practical wanting, for at this time 
 
 189
 
 we have the introduction of lead piping laid alongf 
 roof copings to carry off rainwater. The spirit 
 of ornamentation extended even to these gutters, 
 and on handsome houses both the pipe and the 
 end pieces then used were profusely decorated. 
 
 The interior of an Elizabethan house of im- 
 portance was full of romantic charm. No better 
 idea of them can be gained anywhere than from 
 Scott's novels, especially Ivanhoe and Kenilworth, 
 Avhere are described the stately galleries, the 
 carved friezes and panellings, the stained glass 
 and enrichments of every possible description. 
 Magnificent staircases became a feature of Eliza- 
 bethan interiors. Before this, the stairs were 
 usually placed in turrets, winding round and 
 roimd a central newel, and were small and 
 cramped. They now occupied a prominent posi- 
 tion in the great hall, were square with many 
 landings and guarded b}' a rising balustrade of 
 oak, enriched by elaborate carvings. The stair- 
 case in Aston Hall before referred to had treads 
 six feet in length and risers of six inches only, 
 and the hall ceiling was thirty feet in height. 
 
 It will easily be seen what a magnificent fea- 
 ture such a staircase would be. The chimney 
 pieces also rose to the ceilings and were carved 
 in rich arabesque designs and foliage. Ceilings 
 were richly decorated, and furnishings grew 
 sumptuous. The oriel windows which added 
 such interest to the exteriors were equally charm- 
 ing inside, increasing comfort and convenience 
 by giving light where otherwise it could not Ije 
 obtained, and affording opportunity for stained 
 glass enrichments. 
 
 190
 
 "FoUotOing the sun, tuestWard the march of 
 
 poWer, 
 ^he rose of might blooms in our new World mart; 
 "But see, just bursting forth from bud to floWer 
 A late, slow growth, the fairer rose of art." 
 
 191
 
 10 
 
 MODILFkN ARCHITE^CTURE, 
 
 Let us now attempt to indicate the application 
 of the historic forms of design which we have 
 briefly considered, to the architecture of our own 
 land and our own time. 
 
 Ihe American architecture of fifty years ago 
 was a revival of all the various styles in a medley 
 of them all. A disinterested and impartial use 
 of Greek, Italian or Egyptian ideas in public 
 buildings prevailed, while private houses ranged 
 the gamut from Italian villas capped by Chinese 
 turrets, through Greek columns and classic porti- 
 coes, to French Mansard roofs and Queen Anne 
 bric-a-brac, in miles of the hideous abominations 
 when that caricature of style was the rage. How 
 then, can we apply the beautiful old forms we 
 have been studying to modern design, under con- 
 ditions and requirements so different from those 
 which dictated the old architecture? 
 
 A noted architect has told us how, when he 
 says that "out of the critical use of past tradi- 
 tion, we must build up a tradition of our own." 
 Not a blind and indiscriminate use of these old 
 forms, but an adaptation of features, and forms 
 of detail suitable to the position in which they 
 are used and to the material employed. This is 
 
 192
 
 in fact just what llic Renaissance architects (hd 
 in regard to classic st}le. The modern archi- 
 tect mav eni])loy the same method, not only with 
 reference to Greek and Roman forms, but from 
 all the great styles he may select details or gen- 
 eral resemblance, grouping and combining these 
 in the endless ])ossilMlities of design. 
 
 Many of our notable pul)lic buildings are 
 frankly copies or adaptations of the old forms 
 and motifs which have been described in former 
 pages. Madison Scpiare Garden, in New York, 
 for instance, is adorned by a tower modeled upon 
 the l:)eautiful La Giralda tower at Seville, illus- 
 trated in a former chapter. 
 
 We cannot, of course, look for a distinctly 
 original or national type of design; nor is there 
 anything to be regretted in that present condi- 
 tion Avhich permits us instead to make use of the 
 highest forms of design the world has know^n. 
 
 The great periods of Greek and Gothic archi- 
 tecture will always consciousl\- influence design, 
 and the best work of modern architects is de- 
 voted to adapting them to modern structural de- 
 mands and the uses of the buildings, while giv- 
 ing to these an appropriate local expression. To 
 thus secure a harmonious whole, in which the 
 masses, the proportions and the detail each have 
 their proper value, to give public buildings a 
 character suited to their objects, and to make 
 dwellings home-like, domestic and refined — these 
 are fields affording scope for the highest order 
 of architectural skill and satisfying the noblest 
 ambition. The scope of this vf)lume will not 
 jXTUiit an extended application of historic 
 
 193
 
 forms, to the public buildings or church archi- 
 tecture of today. The home-builder's interest is 
 chiefly centered in dwellings and domestic sub- 
 jects. To these will be devoted the greater part 
 of these closing chapters with only a brief and 
 cursory glance at buildings of a iniblic character. 
 
 In modern times, church l)uilding has become 
 quite a secondary matter compared to the promi- 
 nence given it in the middle ages. We no longer 
 spend millions of monc}- and centuries of time 
 in rearing vast cathedrals. X'evertheless it may 
 be stated that in general, church architecture is 
 still most influenced by the Gothic or ^Mediaval 
 style. It is true there are instances of the Renais- 
 sance or domed type of church, but the Gothic 
 IS after all felt to be the more ecclesiastical style, 
 and architects in general look for their inspira- 
 tion in church architecture to the middle ages. 
 Experiments have been tried in attempts 
 to impart a more secular character to church 
 edifices, but the}- are never a success. 
 
 The range is a wide one. under which we may 
 include examples of Gothic design in modern 
 churches, without fear of contradiction, and it 
 is not here proposed to illustrate the more noted 
 and costly buildings. The great mass of readers 
 are interested in moderate cost structures ; there- 
 fore we shall instance a few coming within this 
 category. 
 
 The design shown in Fig. i is an example 
 of adequate Gothic feeling ex})resse(l in a build- 
 ing treated in a free and modern manner. The 
 tower is a simple and solid sliaft of great plain- 
 
 193
 
 r*
 
 ness, \ct ii iniiircsses us wilh iis churchliness 
 as well as its beauty. In the west front the great 
 "Painted windows, freaking gloom with glow 
 Duskinj* the sunshine which they seem to cheer" 
 arc worthy of some mediaeval cathedral. The 
 t}pe is pure Gothic, expressed with simplicity 
 _\et with dignit}-. and conveying a decided re- 
 ligious sentiment. 
 
 In the Flagler Memorial Church at St. Augus- 
 tine, we trace a strong feeling of the i)criod 
 when the English Gothic was fused into the 
 Renaissance. On a reduced scale, we have the 
 dome of St. Paul's, while pointed gables and pin- 
 nacles, vertical openings and rose windows are 
 skillfully woven into a telling design of much 
 grace and distinction. 
 
 Glancing briefly at modern secular buildings of 
 a more public character, we are chiefly impressed 
 with their numerousness. 
 
 Great as was the architectural activity of 
 mediaeval times, it was as nothing compared with 
 the vast number of both public and private build- 
 ings constantly going up at the present day. The 
 great increase in population, commerce and 
 wealth, results in a vast amount of building, and 
 we may well be interested as to what manner of 
 building this is to be. Everywhere are rising 
 up structures to meet the demands of modern 
 civilization — colossal hotels, flat buildings, civic 
 bui. dings, the private residences of millionaires — 
 to say nothmg of long street fronts, business 
 blocks and the like, and the private dwellings of 
 the middle class. Instead of the slow growth 
 of centuries as in the past, towns spring up over 
 197
 
 night, consisting of long, straight rows of small 
 uninteresting dwellings, with here and there a 
 church and a school house. Too often in the 
 past school house and university huildings have 
 l)een given the character of a factory or a jail, 
 and an aspect of haldness and ugliness most re- 
 ])ellant. 
 
 "There is red brick which softening Time defies 
 Stand square and stiff, the Muses factories." 
 
 is a description that will appl}- to a large num- 
 ber of school buildings, antl if not red, the brick 
 is a dirty, nondescript, called by courtesy, cream. 
 A building which is to be the home of children 
 and youth for the great part of every daw could 
 ver}- properly assume a semi-domestic and pic- 
 turesque character. In the sketch from the 
 architect's wash drawings here presented for the 
 main Iniilding and dormitories of a college, we 
 can see how this expression of domesticity has 
 been successfully incorporated in the design 
 which mingles happily features which might 
 easily have been inspired 1)\- the stately type of 
 old Tudor architecture which accompanies the 
 desifjn. 
 
 199
 
 The Tudor style is a favorite one for colles^iate 
 work and our modern architect has here natural- 
 ized his Tudor lintels and Enc^lish Collegiate 
 Gothic into a home-grown product that is well 
 fitted to its setting. 
 
 One can scarce travel anywhere without find- 
 ing modern huildings modeled upon or even 
 copies, of these old forms. Well — and is this a 
 crime? Can the world hope to invent anything 
 better than these ideals of beauty, grace and re- 
 finement which have been handed down the cen- 
 turies? Why should we not copy after a good 
 model rather than adopt singular and startling 
 effects in the search after something new. It 
 is only at rare intervals in the world's history 
 that ideals are created. The average man must 
 copy the ideals. 
 
 Says a recent writer — "I should say without 
 qualification that adaptation is the soul of archi- 
 tecture ; presupposing the highest kind of talent, 
 most extended education and artistic suscepti- 
 bility." Of course this means that the adapta- 
 tion must be an intelligent one, a selection of 
 what is best in the great architecture of the past 
 and fitting it to the conditions of modern life. 
 So shall we not be 
 "Foreclosed of heaut\- 1)\- our modern date." 
 
 When we speak of Romanesque as applied to 
 modern architecture, we find the resemblance 
 for the most 'part to exist in external details 
 rather than the design as a whole. The entrance 
 is the feature of a building where a typical style 
 usually expresses itself most strongly. The 
 
 201
 
 Church Doorway. Fig. 7 
 
 corner doorway of a Boston church shown in 
 Fig. 7 is one of several features which give a de- 
 cided Romanesque feehng to the edifice. 
 
 In the facade of Fig. 8 we have the feehng still 
 further emphasized by the employment of the 
 short, and heavy columns so distinctly Roman- 
 esque in connection with the round arches of the 
 entrance, and repeated in the opening above. A 
 truly Richardsonian facade. 
 
 I-"igs. 9, 10, 1 1 illustrate the manner in 
 v. hich the exquisite stone carving of the middle 
 ages is reproduced in the ornamental detail of 
 202
 
 A Romanesque Facade. Fig. 8 
 
 entrances to modern buildings, though usually it 
 is modeled and not carved. The entrance is 'the 
 feature which dominates the whole building, and 
 the feature by which it is always sought to con- 
 vey the type of design. Sculptured" figures of 
 
 Stone Carving of E.ntrance. Fig. 9 
 203
 
 Carved Newel for Staircase, Fig. 10 
 
 animals played a large part in the decorations of 
 Ijuildings in the middle ages. To us, they seem 
 not specially appropriate to churches, but the 
 great cathedral of Notre Dame at Paris is a mass 
 of such carvings in stone, strange forms of beasts 
 ironi earth and sea and sky stretching open- 
 mouthed from every corner. These "stories in 
 stone" were part of the beliefs and imaginations 
 iuid superstitions of those times ; but though often 
 grotesque and almost horrible, they represented 
 the utmost skill and cunning of the carver's art. 
 Other instances of the application of historic 
 
 204
 
 forms to the present time are the m.Klern ex- 
 changes, bank buildin-s. office bnildin-s of the 
 large cities, in whicli modern arcliitects have 
 achieved such admirable results. Take for in 
 stance, the model public librarv buildino- illus- 
 trated m Fig. 12. whicli is in' its wav'as ad- 
 mirable as a Greek (emi)le. It is indeed easv 
 to see that tlie building has been modeled upon 
 classic design and is inspired bv classic feelin- 
 yet It IS adapted to modern uses and is in liaP- 
 
 205
 
 ^^- 'flKlJ 
 \ '^ LilJi 
 
 ; I ■ 1^ 
 
 =: I S
 
 nionx with its surroniulin^s. The ease and grace 
 with which the details of the Doric order are 
 handled, the refinement, simplicity and reserve 
 shown, are admirahle. \Miile far from reaching 
 the same level of architectural merit, the facade 
 of the small bank building Fig. 15 yet show's 
 how even an inexpensive and small building may 
 be redeemed from hopeless commonplaceness and 
 inferiority by a treatment which introduces de- 
 tail originall}- applied to higher purposes. It 
 is true that the designer has his orders some- 
 what mixed, and that the Ionic columns of the 
 entrance are Hanked by engaged pillars at the 
 angles of Byzantine type — but that is no more 
 than the ancient Romans themselves did, and 
 the little front is distinctly j)leasing. 
 
 237
 
 11 
 
 MODERN DOMESTIC ARCHI- 
 TECTURE 
 
 "I would have then our dwelling houses built to last, 
 and built to be lovely ; as rich and full of pleasantness- 
 as may be within and without; * * * * with such, 
 differences as might suit and express each man's char- 
 acter and occupation." — Ruskin. 
 
 Ill the historic architecture of the past which 
 we have been considering, dwelhngs played but 
 a small part. It is true the ancient Romans had 
 some notion of combining interior comfort and 
 luxury with architectural effects, but even their 
 houses were principally made up of many small 
 compartments ranged round an open court, and 
 wall decorations were the chief furnishings. 
 
 A modern house is very different from this; 
 privacy and comfort are the foremost things to 
 consider and architectural effect is secondary. 
 Even so late as the eighteenth century English 
 houses we have illustrated, much less importance 
 was attached to having everything comfortable 
 and convenient than is now the case. Nowadays 
 an architect gives much thought to the con- 
 veniences of the working part of the dwelling; 
 planning kitchen, pantries, basement, so that the 
 household machinery may be run with the least 
 labor. In the old days such a thing as "saving 
 steps" was never thought of. 
 
 In ancient architecture, attention was giveix 
 
 208
 
 almost wholly to exterior effects, and the "plan" 
 was little more than llie principal walls, with their 
 adornments. But the "plan," under the require- 
 ments of modern complex civilization is an en- 
 tirely different prohlem, and like the play — "the 
 jilan's the thing!" 
 
 i\othing can be more complicated than the in- 
 ternal detail of a modern home. One has but 
 to go through a modern house in process of 
 erection, to view the network of flues and pipes 
 and wires that represent the complete and sys- 
 tematic treatment of heating, lighting, drainage 
 and ventilation problems — to wonder how one 
 head could ever contrive that all these should be 
 exactly placed, should fulfill what was expected 
 of them, yet not interfere with the artistic ap- 
 pearance of the rooms when completed. Those 
 people who imagine they have "planned" a house 
 when they have laid out the various rooms of 
 a floor, labeled them respectively and marked 
 the "openings," have little conception of the real 
 work of the architect, who must bring all this 
 together and make provision for each practical 
 requirement. 
 
 THE, COLONIAL TYPE, 
 
 What is known as the "( )ld Colonial " style, 
 is a type of domestic architecture which has had 
 a decided Renaissance of its own in recent years, 
 and offers a fertile field for the application of 
 the classic forms before described. Its prototype 
 is, of course, the English Georgian of the seven- 
 teen century, brought over by the early colonists, 
 Imt carried out in its new environments with a 
 certain simplicity which invested it with a char- 
 
 209
 
 ;w;grtH 
 
 
 •^^L 
 
 !»■■
 
 actcr of its own. Historic associations doubtless 
 have quite a sliare in the favor with which this 
 type of builcHni;- has been received, and it has 
 influenced the style of dwellings even where there 
 is no attempt at a direct revival, showing itself 
 in a quite unconventional and indirect use of 
 Georgian detail such as porch columns and 
 rounded window heads upon cottages and the 
 lik-e, without pretension to any serious style. The 
 great majority of modern American brick houses 
 are modifications of either the Georgian or the 
 Jacobean types. These historic styles are 
 peculiarly appropriate to brick construction, and 
 are moreover ada[)te(l to the comparatively mod- 
 est dimensions of the majority of dwellings. The 
 improved forms of American hydraulic pressed 
 brick with their beautiful coloring and resistance 
 to the weather, have made this an extremelv 
 popular material. 
 
 The stately mansion in Fig. 14 composed from 
 red brick with trimmings of white wood, is a 
 fine example of the richness that is possible in 
 the severely pure Colonial style with modern 
 treatment. Certainly it is 
 
 "A noble pile 
 Baronial and Colonial in its style." 
 
 The feature of the building is the classic treat- 
 ment of the porte-cochere and entrance. The 
 stately portico in front is carried up to the second 
 story ; the supporting columns are of the Ionic 
 order while a deep entablature and dentiled 
 cornice runs entirely around the building. This 
 is crowned by a light and graceful balustrade. 
 The ends of the building are similarly treated, 
 and the whole forms an exceedingly impressive 
 facade characterized by absolute symmetrv of 
 design in all its i)arts. 
 
 211
 
 Old Mansion in Salem, Mass. Fig. 13 
 
 Fig. 15 is an example of a genuine Jacobean: 
 front, a photograph of an old brick mansion in: 
 Salem, Mass. The dominating feature is plainly^ 
 tlic entrance, repeated and emphasized in the 
 detail of the balconied window directly over it 
 212
 
 in its arched and cnil)rasurc(| sctlin.^;. Possiljly 
 this door was imported direct from the mother 
 conntry, as the handsome mahogany doors of 
 such a house of this period were quite apt to be. 
 Certainl}- the classic features then in use in 
 Eni;land were adopted in this Xevv England 
 mansion with fine architectural effect, in the 
 grouping of the entrance with the windows, the 
 beauty of the proportions, the simplicity of the 
 entablature and the grace of the Ionic columns, 
 their repeat in the framing pilasters of the door- 
 way and the window above, the use of the shell 
 ornament and traceried glass — all are features 
 of Colonial architecture at its best. Our an- 
 cestors paid more attention to their doorways 
 than do their descendants, and both design and 
 detail were invested with more of interest. The 
 doorway reproduced is an example of such 
 treatment. Although Colonial work in New 
 England differed in many particulars from 
 that in Pennsylvania and the South, the felici- 
 tous treatment of the entrance was common to 
 all sections, and instances are scattered all over 
 the country. It was indeed a happy chance that 
 brought our English forefathers sailing over seas 
 to their new home at the period of the classic 
 revival in England. They brought the memories 
 of the Georgian mansions with them, and 
 straightway proceeded to adapt these beautiful 
 forms to the ])lcntiful wood of the virgin forests 
 instead of confining them to brick and stone. 
 A'ignola's two-story columns were indeed some- 
 times formed of selected trees, of suitable size, 
 and the flutes chiselled out by hand. These early 
 architects were able to carry the spirit and detail 
 
 213
 
 of the simpler classic forms into wood, with grace 
 and fitness. It was a style well adapted to the 
 river banks or forest glades chosen by the Colon- 
 ists for their homes. The "white pillared houses 
 of the South" were extremely architectural in 
 composition and adapted to the southern climate. 
 The column feature of the Greek revival became 
 exceedingly popular, and it is reported of Thomas 
 Jefferson, who was a devoted admirer of the 
 classic style, that he employed all five of the 
 classic orders in the architecture of his own 
 dwelling. The veranda — so distinctive a feature 
 of American houses of today both North and 
 South, was originated in the South and was a 
 necessity of that climate. It developed into 
 double galleries, and gave opportunity for the 
 lofty pillars so dear to the Southern heart. The 
 veranda has grown to be a feature of dwellings 
 in all sections, and is a large part of family life 
 in the heated term. Of late, an effort has been 
 made by would-be purists in architectural circles, 
 to do away with this delightful adjunct to the 
 dwelling. It is true the veranda has been greatly 
 abused and often the house made a mere attach- 
 ment to the piazza, while interiors have suffered 
 from lack of sunlight and been rendered gloomy 
 and unsanitary from the heavy shading of many 
 porches. But anything can be carried to the ex- 
 treme and reach the point of abuse instead of 
 use, just as correct and logical reasoning can be 
 pressed so far as to become the "reiliictio ad 
 absurdiim/' The veranda is quite too sensible 
 and delightful a feature of dwellings to dispense 
 with, and will die hard. It has, on the contrary, 
 
 214
 
 Semi^Colonial Cottage. Fig. 16 
 
 bcxn exported from America to the Continent, 
 where it appears upon many of the recently built 
 dwelling's. 
 
 While porches offer great opportimity for the 
 use of classic features, sometimes the full order, 
 with pedestal, column capital and pediment being 
 employed, with a crowning balustrade or para- 
 pet, these stately eitects are not the only ones 
 possible. Much skill and ingenuity is shown ])y 
 architects in the use of posts and colunms on tlie 
 smaller houses, in a manner entirely orthodox 
 yet not out of place in a mixed design, and with 
 a touch of lightness more consistent with less 
 important work. Such a method of employing 
 Colonial models without a strict adherence to 
 the style is shown in the semi-Colonial design. 
 Fig. i6, where much charm is given to a simple 
 cottage exterior by the slender columns with 
 Ionic capitals, by the classic pediment over the 
 porch cornice and by the repeat of the half circle 
 in the front gable. 
 
 215
 
 Fi.c^s. 1/ and i8 show us a genuine old colonial 
 house of the Georgian type, a brick house built 
 at Bardstown, Kentucky, one hundred years ago 
 and recently restored by new owners who have 
 been careful to preserve all the original features 
 both of exterior and interior. Owing to its ex- 
 cellent state of preservation, and possession of 
 that quality of permanence before alluded to — 
 a quality as excellent in houses as in Shake- 
 speare's "low voice in women" — this was easily 
 accomplished. The small cut sliows the house 
 as originally built, and through, snowy branches 
 
 Built in 1806. Fig. 18 
 
 we get a glimpse of the restored facade with the 
 added portico sup])orted by Corinthian columns, 
 a feature frequently occurring in Southern 
 Colonial work though rare in the East. The roof 
 lines are unbroken except for a low pediment 
 containing a half circle window — a repeat of 
 the circular door head below. The ])hotographs 
 of the interior presented are very interesting, 
 as the detail of the woodwork is a fine example 
 of the best Georgian interior treatment of that 
 period. Whatever of primness and severity may 
 
 217
 
 have characterized the exterior of a seventeenth 
 century brick colonial house, in this one at least 
 it did not extend to the interior. Formal and 
 cold may be the entrance : 
 
 "But behind it. where's a trace 
 
 Of the starchness and reserve 
 
 And formal lines without a curve." 
 
 The curves of the arched and recessed niches 
 on either side the drawing; room mantel and the 
 grace of the beautiful Palladian window in the 
 dining" room are representative of the refined 
 working out of classic forms in the entire detail 
 of the interior. The eye rests with quiet satis- 
 faction on the beautiful mouldings, the wealth 
 of hand-carved flutes and beads and the delicate 
 modeling of the mantel detail shov.'ing the ter- 
 minating gold scrolls on either side the mirror 
 which were a favorite decoration of the period. 
 The fireplaces with their mantels carried up to 
 the ceiling, were among the main features of 
 Colonial interiors. Xiches, however, do not of- 
 ten occur in Colonial work though a common 
 decorative device of the period in England. In 
 the instance before us they have been treated 
 with fine efTect. the fluted shells in the arched 
 head touched with gold. This use of gold in 
 connection with white woodwork was a Georgian 
 feature of choice design imitated from the en- 
 richment of Greek temples. In old Colonial 
 houses, the remains of this gold leaf ornamen- 
 tation still show on the woodwork of parlors or 
 drawing rooms. All the carving and ornamen- 
 tation of the interior detail is hand work, whose 
 perfection is a silent protest against the cheap 
 
 219
 
 and meretricious niachine work of the present 
 tmie. In Fig. 20 we liave an adaptation of Xew 
 England Colonial to modern requirements, hav- 
 ing the merit of good proportion and pure de- 
 sign. The efifect of similar treatment of parts 
 varying in size and importance is happily illus- 
 trated in the three roof dormers, which together 
 with the central projecting bay of the second 
 story form the dominant feature of the design. 
 The windows are effectively placed and classi- 
 cally treated. The triple cluster of pillars at the 
 angles of the jjorch, are instances of carefullv 
 followed detail. The "white pillared porch" and 
 trim are relieved against the Inift' brick and gray 
 stone with excellent effect. 
 
 Fig. 21 shows similar treatment of Colonial 
 design. The application of classic motifs to 
 plaster construction, is a new departure in de- 
 sign, but the photograph of this beautiful Cal- 
 ifornia home in San lAIateo, proves it to be an 
 entirely successful conception. One of the an- 
 cient Greek- temples crowning the Acropolis, 
 could scarce be purer in design than this severe 
 and stately country house, so admirably suited 
 to its setting of classic groves— "Sequestered 
 among trees— a noble pile." 
 
 The dominant form is the rectangle, the ex- 
 terior having all the rectitude of classic design 
 in the treatment of its main feature— the lofty 
 columns of the portico, terminating in Roman 
 composite capitals of beautiful workmanship a- 1 
 supporting an entablature and cornice of chaste 
 and simple desio-n. A light balustrade crowns 
 the front projection and is continued in the 
 221
 
 ratlicr severe and unhrokeii line of the i)arapet 
 around the rest of the Ijuildini^. Below the cor- 
 nice is the sole ornamentation of the wall — a 
 continuous band of laurel leaves, beautifully 
 molded in relief. 
 
 The sole criticism upon this charming- design 
 would be the paucity of the windows and their 
 inferior treatment, which is not in keeping with 
 the nobilitv of the Sfeneral desifrn. 
 
 The Dutch c^amljrel roof offers another type 
 of Okf Colonial design which possesses in large 
 measure that essential charm of "hominess" 
 which appeals to a home loving people. It is 
 plain that the fine lines of these old roofs, with 
 the fascinating Dutch hoods at the eaves, have 
 been understood and appreciated by the architect 
 of this beautiful modern home, while all the 
 subtle rennemcnts of modern detail have been 
 added. A\'hen to these is added the color effect 
 of modern stains in the soft and velvety brown 
 of the shingles relieved by the deep cream of 
 cornice and trim, we have an irresistible con- 
 bination of old beauties and new. 
 
 It is surely a. happy thing to have been like 
 Holmes, in his delightful essay, 
 
 "Born in a house with a gambrel roof — 
 Standing still, if you must have proof — 
 
 It has not the "presence" of the stately old 
 Georgian palaces — that seem to hold themselves 
 far aloof from common clay. But its unpretend- 
 ing lines give assurance of a kindly welcome, 
 holding out a friendly hand to all. Nor does 
 it lack dignity and a certain nobleness of aspect. 
 It is peculiarly adapted to the less pretentious 
 
 223
 
 .cottage arcliitccture, and many and varied are 
 its applications. The gambrcl roof type lends 
 itself admirably to picturesque locations and the 
 unconventional character of a country house. 
 The charming example shown crowns a wooded 
 knoll with a view of blue water, and though fif- 
 teen miles out of the city is the owner's all-the- 
 }ear-round residence. The house is suljstantial 
 and rugged, but not assertive or aggressive. The 
 basement walls of many-hued cobblestone, meet 
 the low sweep of the roof of mossy green, and 
 both together softly melt into the landscape. 
 The grey roughness of the stone is softened bv 
 clinging vines and projecting balconies add in- 
 terest, as well as the Colonial treatment of the 
 windows. Such a house is a fit expression of 
 taste and feeling for quiet lovers of country 
 lanes and byways not too remote from other fire- 
 sides. The sort of place that is 
 
 'Town, yet country too; you felt the warmth 
 Of clustering houses in the winter time, 
 Supped with a friend and went by lantern home ; 
 Yet from your chamber window you could hear 
 The tiny bleat of new-weaned Iambs, and see 
 The children bend beside the prederous bank 
 To pluck the primrose. " 
 
 The overhang of the second story which is 
 such a feature of old English houses, grew out 
 of the desire to preserve the wall below from the 
 weather. The modern adaptation of this feature 
 considers its picturesque quality rather than its 
 preservative, and the additional space gained on 
 the upper floor. 
 
 In this pleasing cottage, both the gambrel ror,." 
 
 225
 
 and the over-han^- of the second story are used 
 to produce a feeling- of quiet comfort at small 
 expense. Such a house makes one think of an 
 old-time garden, with syringa bushes and a 
 clump of lilacs ; of gilly flowers and sweet- 
 williams, and all the rest of old fashioned asso- 
 ciations. 
 
 Probably no type has been more abused than 
 the Colonial. All the box-like structures — "four 
 square to the winds of heaven" — with a porch 
 and a few white posts clapped against the front, 
 are painted either white, or buff with white trim, 
 and dubbed Colonial. 
 
 The last few \ears have seen an era of Colo- 
 nial Renaissance. Everything Colonial is revived 
 • — not only architecture but furniture, wall paper, 
 dress — everything but the courtly manners. 
 There is ineed no form of domestic architecture 
 which appeals so strongly to the American mind. 
 The Colonial home had an atmosphere that no 
 other st}le excels, and moreover represents the 
 period dearest to the American heart, of the 
 struggle for freedom. The simple, straightfor- 
 ward designs of early American homes were 
 modeled on a pure style and so possessed per- 
 manent value ; a st\-le which when correctly car- 
 ried out and not depreciated by meaningless and 
 ostentatious ornament — never fails to please. 
 
 The style itself is not responsible for the va- 
 garies of architects and their clients, though 
 these have contributed not a little to bring it into 
 disrepute. 
 
 227
 
 SPANISH=AME.R1CAN 
 
 Some of the best of our modern American de- 
 sign has been inspired by the semi-Spanish style 
 of buildings transplanted to Mexico and south- 
 ern California by the ancient Spanish Dens and 
 the ]\Iission Fathers. 
 
 The steady warmth and brilliant sunshine of 
 that section was exceedingly favorable to such 
 a style, and its beautiful forms and vivid color- 
 ing are in perfect harmony with its local environ- 
 ment. 
 
 The class of house architecture evolved from 
 the rather primitive forms of the original quasi- 
 Spanish buildings of this section, show extremely 
 thoughtful and intelligent work, and is in a 
 high degree artistic and interesting. 
 
 The principal material used in this style of 
 construction is plaster or cement, which is some- 
 times partially combined with wood, as in the 
 example shown in. I-ig. 24. The Spanish-Ameri- 
 can style is, however, best and usually expressed 
 in strictly cement construction, except, of course, 
 the necessary f ram in-'; of the openings. And a 
 most effective medium it is for expressing this 
 fascinating Moorish type. 
 
 In the Ponce de Leon hotel at St. Augustine. 
 Fla., we have probably the finest example of 
 Moresque design in the country, as applied to a 
 large building. Hotel architecture is too often 
 an ugly hodge-podge of the more worthless 
 forms of design. Nobody seems to care how 
 these great caravansaries look except to have 
 them make a show. French characteristics of the 
 more florid sort are frequently adopted for hotel 
 
 229
 
 dcsig^i and even intensified, in meaningless deco- 
 ration. This beautiful southern buildinc:, while 
 engagin,Q; and festive in style, has real merit in 
 design. Two views are given, one showing the 
 building as a whole with the splendid pleasure 
 grounds in front, and the other, the inner court 
 behind the arcaded entrance. In the latter vievv^ 
 we have a glimpse of the central dome rising 
 
 "I-"air as the domes of Kubla Khan," 
 and of the upper arcaded gallery used for a 
 promenade. The photograph, however, fails to 
 reproduce the elegance of the ornamentation, the 
 delicately sculptured wreaths and arabesf|ues 
 over the entrance arches of the arcade, the detail 
 of the v.'indow framing and the light and grace- 
 ful balustrades. 
 
 The building itself is of cream colored plaster 
 with dressings and enrichments of light red 
 terra cotta and roof of red tile, a coloring ad- 
 mirably suited to the gay and festive character of 
 the structure and its environment of odoriferous 
 gardens filled with glowing bloom and sparkling 
 fountains. If the famous Spanish adventurer 
 for whom the hotel is named could come to life 
 under these graceful arches some moonlight 
 evening, surely he would imagine himself at 
 home in old Granada, perchance in the beautiful 
 garden of Lindaraxa. Perhaps no feature of this 
 example of Spanish Renaissance is more faith- 
 fully reproduced than the central tower, with its 
 hanging balconies and arcaded openings of the 
 top story crowned with a light and graceful bal- 
 ustrade and red-tiled spire. 
 
 \\ ithin the l)uilding. ever}thing contributes- 
 
 231
 
 •% \ 
 
 ■rS 
 
 %i^ 
 
 
 % 
 
 r'-.-£
 
 ' ^ '■%.' 
 
 \'^ ^ 
 
 Fresco Decor&tion. Fig. 27 
 
 to render the interior an abode of Oriental mag- 
 nificence. The walls are frescoed with the spirit 
 and grace of mural decoration in the days when 
 ]vlichael Angelo and his pupils executed their 
 wonderful frescoes on the villas of Roman pa- 
 tricians. A small section of one of the frescoes 
 in the Ponce de Leon is illustrated. 
 
 The Hotel Cordova while illustrating a differ- 
 ent phase of this architecture, is another instance 
 of the successful transplanting of ancient Span- 
 ish ideas to Western soil. One might almost 
 fancy they were gazing upon the Lonja of old 
 Cordova itself, to look up at the grey, massive 
 tower, and that some dark eyed beauty looked 
 down from the deep embrazures of the jMoorish 
 openings. The tower is most skillfully lightened 
 by the cornice decoration and the horizontal 
 treatment of its divisions. 
 
 233
 
 mi 
 
 Hotel Cordova with Moorish To'wer. Fig. 2 8 
 
 The Saracenic inrtuence which pervaded Span- 
 ish architecture finds a wide field in the Spanish- 
 American type, and its graceful and elegant forms 
 are marked features of the modern designs. Look- 
 ing at the example of this type in Fig. 29 one 
 might well fancy oneself in Spain, among the 
 groves of dark cypress on the mountain side, 
 looking down upon this Moorish palace in its 
 setting of rich valleys enamelled with olive or- 
 chards and orange groves and vineyards, with 
 the notes of some arrafia — ^loorish flute — faintly 
 heard in the distance. 
 
 234
 
 Mere, too, we have the typical "patio" or 
 inner court, a charm never absent from Aloorish 
 palace or humbler chvelling. Against the gray 
 plaster walls, the creepers cling like lace, with 
 the ruby blossom of passion flowers gleaming 
 among them and jasmine stars hanging in long, 
 swinging sprays. Luxuriant vines half conceal 
 the grey arches, and scarlet Poinsettias flame in 
 the angles. All the living rooms open from this 
 court, and the doorways thereto are filled with 
 wrought iron screens worked out in a scheme 
 of open work rosettes, floral lines and conven- 
 tionalized flower motifs, in true Saracenic style. 
 The floors are of ornamental tile, and the interior 
 walls have oriental decoration in color. 
 
 Certainly the Spanish prototype of this equally 
 fascinating }ifoorish design could not have been 
 fairer than these soft cream-colored walls, with 
 the graceful arabesque outlines of the roof treat- 
 ment and enriched with decoration in relief. 
 Kven the chimney caps are shaped like flower 
 cups. The characteristic red tile of the roof, 
 repeated in the hood over the main entrance 
 gives sufficient color relief, and the slender pil- 
 lars supporting the :\Iajava arches of the arcade 
 are typical Moorish features. 
 
 ^\ hile entirely different and more fanciful in 
 its architecture from the preceding example, 
 this residence is a fertile field for the study of 
 Spanish-American design. 
 
 The charming view of the patio, or inner 
 court, might easily have been modeled upon the 
 famous Court of Lions in the Alhambra, such a 
 dream of delicate beauty does it appear. Here, 
 
 237
 
 indeed, is the same Vu^hl and fragile colonnade, 
 its fretted arches supported by slender columns, 
 and ornamented with arabesques in relief and 
 fine stucco work. Here, as in its Spanish pro- 
 totype, the light falls from a lofty, vaulted dome, 
 and the brilliant sunshine gleams along the col- 
 onnades and sparkles over the fountain and the 
 rare flowers. It needs but little fancy to con- 
 jure up some black-eyed. Andalusian Dolores re- 
 clining on the couches and ottomans of the ar- 
 cade, behina the sheltering foliage, enjoying the 
 pure breezes from the mountains, the musical 
 drip of the fountain, and the scent of roses and 
 myrtles. 
 
 Smiilar in character but not so elaborate in 
 treatment is Fig. 31, with the square ^Moorish 
 tower so frequent a feature of old Spanish archi- 
 tecture, projecting from the center. The grace- 
 ful outline of the roof coping, the delicacv of 
 the columns, the slender bending arches, the ele- 
 gant filagree work, the grouping of the openings, 
 the jalconies and traceried windows are felicitous 
 adaptations of Saracenic motives. 
 
 Thus in "our Italy,"' — or Spain, as you will — 
 Moorish types of architecture have found a con- 
 genial home. It is an architecture fitted to a 
 background of mountains rugged and deeply ser- 
 rated in outline, mysterious with ]niri)le shadows 
 and snow}- peaks and an atmosphere suffused 
 with sunshine. The plaster walls, either in their 
 natural soft, creamy white or more deeply tinted 
 by artificial processes, appear to belong to the 
 scene. 
 
 Several examples of this type of architecture 
 
 239
 
 are given here, the one in Fig. ^2 showing the 
 plaster wall ornamented in Saracenic style with 
 an elahorate (liai)er pattern. The roofs, general- 
 I\- of tile a light red in color, are another marked 
 fcattire of this construction ; though sometimes 
 the plaster walls are combined with shingle roofs. 
 Fig- Z?) shows how the Saracenic forms of 
 decoration may he applied in the interior of a 
 modern home, being the window treatment of an 
 outdoor sitting room, a sort of "observation car" 
 adjunct, opening upon a lovely garden. The 
 clTect obtained by the circle of arcaded windows 
 filled wdth delicate tracery and divided by slen- 
 der pilasters with ornamental capitals, and its 
 choice and sequestered situation along the little 
 garden, are strongly suggestive of Moorish fan- 
 cy, and might belong to the bower of some Moor- 
 ish sultana. 
 
 The broad, low and simple lines of this ex- 
 ample of frame construction are extremely rest- 
 ful and pleasing, and indicate how the feeling 
 which is so marked in pseudo Spanish plaster 
 dwellings may to a certain degree be imparted to 
 a less symi^athetic material by the general lines 
 and the treatment of the openings, the hanging 
 balcony over the entrance and the air of seclu- 
 sion ctjnveyed by simply recessing" the entrance 
 to a sort of loggia effect. In the small one story 
 cottage, quite a Moorish feeling is effected bv 
 the outline of the roof gable and the arched 
 openings. 
 
 The Spanish Fathers who came to Christianize 
 Xew Mexico, as it then was, remembered well 
 their lessons in architecture tauc:ht bv the Mocr ■ 
 
 241
 
 Plaster Cottage. Fig. 34 
 
 ish conquerors of Spain, and used them when 
 they came across seas in the serrated cornice 
 lines, long facades, thick walls, red tiled roofs, 
 and other striking features of the California Old 
 Missions. ^lodern architects have heen quick 
 to seize the poetic heauty of these forms and fuse 
 them into a most attractive and unique Spauish- 
 .\merican type. That the type is capable of 
 much elasticity in application, is shown by the 
 accompan}ing photograph, so attractive that one 
 is seized with an immediate desire to build such 
 a house. It is, of course, a very free use of a 
 few ^Moresque features : such as the treatment 
 of the openings, which together with the soft 
 cream colored plaster and red tiles give a slight 
 Saracenic feeling to the design, yet enough to 
 make it perceptible, while the wide eaves and low 
 walls impart a homelike atmosphere as surely 
 as the thatched roof of an English farm house. 
 Altogether, the simplicity of outline and of de- 
 tail in this example of plaster construction, make 
 it one of the happiest instances of use of these 
 motives. 
 
 The ])Seudo-Spanish t\]>e of architecture, light, 
 
 243
 
 gay and graceful — is well suited to domestic 
 work, and beside ])eing quite unlike any other is 
 a perfectly legitimate architectural style. 
 
 The ]\Ioors were a no!)le race, who for eight 
 centuries held their footing in Spain and adorned 
 the land they had conquered not only by widely 
 encouraging art and learning in every field, but 
 with a beautiful architecture which could never 
 have been conceived by Europeans. Only the 
 poetic fancy of the Orient, full of splendour, 
 with a fascinating use of color, could conceive it. 
 In those southern lands, the bright sunlight 
 brings out each fine detail of the ornamentation, 
 and each deep shadow from molding and cornice 
 is clear cut and sharply defined. The use of 
 wrought iron in window gratings and balconies 
 was simple but efifective, and an effect easily 
 transferred to modern uses. 
 
 The patio or court, always a feature of the 
 Moorish dwelling, found instant welcome and 
 sympathetic treatment in an American Spain. 
 The easily worked stucco ottered a tempting field 
 for decoration, and is imperishable in that cli- 
 mate. The old Spanish haciendas and patios of 
 near-by Mexico were an additional inspiration. 
 The use of colored washes, changing the natural 
 grey or white of the cement to deep, soft, yellow- 
 ish creams, or suffusing it with a sea-shell pink, 
 or cooling it to tender greens — added to the 
 warm, rich red of the Spanish tiled roofs — im- 
 parted an interest, v^dien handled with skill, 
 which becomes an object lesson in the ur^e of 
 color in architecture. Such an object lesson is 
 one oi' t'le luuiicinal buildings in IMexico Cit\ , 
 
 245
 
 which is tinted a pale violet color with white 
 stucco decoration. There too you may see a 
 more reserved coloring in the shops, the fronts 
 colored a rich maroon with stucco ornamen.ts in 
 the same color. The late Banister Fletcher, an 
 architect of note, designed a liusincss front in 
 ( )xford street, London, where the rustications 
 were of hronze green enameled clay, and the 
 front enriched by dull gold ornamentation on the 
 pilasters. 
 
 The great Puritan movement of the seven- 
 teenth century took all the color out of life and 
 out of architecture, though before that it was 
 freely employed. "The world grew gray at 
 its touch," nor has it ever recovered from that 
 benumbing influence. 
 
 Even now we are shocked at any departure 
 from the cold and colorless exterior of what is 
 considered correct architecture. The one excep- 
 tion, appears in the ga\ly painted wooden houses 
 — birdcages, we should rather call them — which 
 are the hall mark of rni uncultivated taste, and 
 certainl}- no argument for an artistic application 
 of color in architecture. 
 
 Cement is a medium which may within a limit- 
 ed range, be modified or accentuated by certain 
 earth colors, such as yellow ochre, burnt sienna, 
 raw umber and the like, which when incorpo- 
 rated with this material may be combined with 
 the fine, creamy white of pure cement in more 
 or less elaborate design to produce unusual but 
 extremely artistic effects. These lowered tones 
 of color are appropriate where the bold, glowing 
 but refined color compositions of sunnier lands, 
 would be impossible without the atmosphere that 
 brings them into harmony. 
 
 247
 
 HALF TIMBEF. WORK. 
 
 The matter of pieturescjuc oulline in liouses, is 
 either too little regarded in modern building or 
 else it is completely misunderstood. Irregular 
 or picturesque effects are, of course, best adapt- 
 ed to a country site, as the liiuitations of city lots 
 and street architecture afford little room for the 
 play of fancy. Picturesqueness does not, how- 
 ever, necessarily inipK- irregularity, though that 
 appears to be the conception of its meaning by 
 many so-called architects who to quote a brilliant 
 writer, conceive the picturesque, as "anything 
 which may be likened to a 'pig with one ear.' * 
 :!: :;: Tlicsc arc the men who stick chimneys in 
 odd corners where they are sure to smoke, put 
 dormers on roofs where they are not wanted, 
 throw out oriels to bathrooms and corbel out 
 balconier- to closets." 
 
 Far from irregularity ])er se being synony- 
 mous with picturesqueness, the note of repose, 
 must never be wanting. A dwelling is pictur- 
 esque, when the various simple forms are con- 
 trasted in such a way as to please the eye, and 
 the design adapted to the site, the surroundings 
 and the necessities and materials of construction. 
 
 In building chimneys, for instance, what pic- 
 turesque effects may be produced by simple vari- 
 ations in the management of common brick. 
 Any laborer could lay them up, but it takes an 
 artist to devise the forms. 
 
 Compared with an English cottage or rural 
 home of red brick or mellow tinted stone, or 
 black beams and white plaster, with pitched roofs 
 and softened ontlines, how inferior in bcautv, 
 
 249
 
 Eaton Hall. Neo = Gothic Design. Fij 
 
 38 
 
 tnough they may be more economical to build. 
 More and more these old English models are be- 
 ing employed. That modern English architects 
 themselves appreciate the charm of their own 
 ancient forms, is shown by the revival of half 
 timber design in this peculiarly home-like man- 
 sion of Eaton Hall, Cheshire, Eng., a fine speci- 
 men of neo-Gothic work of recent times, and 
 showing to a marked degree the influence of the 
 old work surrounding" it. The building is also 
 interesting as an example of vertical method -un- 
 disturbed by any diagonal features of design. 
 
 The essentiall}- English character of the type 
 is indeed a subtle factor of influence in its favor 
 with Americans, who are but Englishmen trans- 
 ferred to America; and who feel unconsciously 
 the tie of blood and kinship. 
 
 It is not, howi'ver, mere sentiment alone, nor 
 yet the mellowing touch of time, that gives to 
 these old dwellings their peculiar charm, a charm 
 so often missing from modern work. Some one 
 
 250
 
 has define;! arcliitecture as "'riic poelic trans- 
 lation of material into structure," and it is this 
 which we somehow feel in the old work. The 
 spirit of our own age is not poetical; show and 
 ostentation are prevailing influences, and are ex- 
 pressed in much of our modern building ; but the 
 modest charm of these old houses will appeal to 
 many, who prefer the home sentiment to show. 
 
 While, perhaps, we ma\- not care to copy ex- 
 actly this distinctively English architecture, there 
 are certain ci'.aractcristics which can readily be 
 incorporated with advantage in our wood con- 
 struction. The modern architect, it is true, uses 
 his timlier v/ork for effect and not for construc- 
 tive value ; but he continues the spirit of the 
 ancient style though he may go about it by new 
 methods. 
 
 There still remain fortunately many specimens 
 of the fine old domestic English architecture 
 wl.ich prevailed in the fifteenth and sixteenth 
 century. Could it be revived in its old purity, 
 free from the hybrid forms foisted upon it by 
 importations of foreign styles, we would possess 
 far more interesting and individual dwellings. 
 Probably we shall never return to the workman- 
 sh.ip of those days when honesty and not sham, 
 ch.aractcrized construction. Then, walls were 
 built to stand, and chimneys were so strong as to 
 defy the picks of the workmen in later centuries 
 who were taking' them down. The carving in 
 these old gables is as perfect after 300 years as 
 when originally executed, and the oaken window 
 frames, stairs and floors as solid, apparently, as 
 when first set in place. The house was originally 
 
 251
 
 built in tliv' tiftfciuli cenlury Ijul has been re- 
 paired in later times. The quaint, h If timbered 
 building with its picturesque quadrangle con- 
 tains a Saxon chair i.ooo years old, but sturdy 
 and strong ; the Spanish cedar beams of the hall 
 look as well as if put up yesterday. In a re- 
 cent issue of a building magazine there appeared 
 an account of a six-room house begun and coni- 
 jileted from chimney to foundation stone, plas- 
 tered, painted and all — in one day. The man 
 who compassed this truly remarkable feat plumed 
 himself greatly thereon, and delivered a con- 
 gratulatory address to the crowd of workmen 
 \vho did the job. It seemed to us a sad com- 
 mentary on the feverish "rushing" of building 
 contracts, which is deadly to any true worth in 
 architectural work. 
 
 There is no denying that permanency is not a 
 characteristic of modern architecture, even in 
 expensive public buildings. The three qualities 
 insisted upon by the ancient Greeks as essentials 
 in architecture were permanence, loeauty and 
 convenience; and however much we may pride 
 (lurs'jlvcs upon excelling our teachers in the last 
 qnalit\-. we certainly cannot compare with them 
 in ilie first. The fault, however, lies with the 
 builder, not the architect, who must design to 
 suit the taste and purse of his client. 
 
 Tb.c half timber example in Fig. 40 is a proof 
 that modern architects are quick to seize the 
 salient features of this fascinating style. The 
 house is studied from one of the beautiful old 
 manors of the half timber period, which, begin- 
 nintr about fifty years before Elizabeth's reien. 
 
 253
 
 Modern Elizabethan Design. Fig. 41 
 
 cxlcnded to fifty years after. Xo lictter type 
 could have been chosen for the rugc^ed and pic- 
 turesque character of the site. 
 
 While the modern architect is learning lessons 
 from the old builders in sincerity of workman- 
 ship and in attention to picturesque outline, he 
 far surpasses them in the comfort and conven- 
 ience of his interiors. P^icturesque as the English 
 farmhouse is at a distance, our clapboarded and 
 painted boxes are at least dry and warm, with 
 abundance of light and cheer within, and this 
 cannot be said of the often leaky roofs and damp 
 brick floors of the English cottages. 
 
 The pleasing example of modern half timber 
 construction sb.own in Fig. 41 combines the 
 picturesque charm nf the old post and petrel 
 
 255
 
 work will] imuleni ideas of convenience. j)racti- 
 cability and comfort in a felicitous manner. 
 
 Observe how all the features which give charm 
 to this style of dwelling, are incorporated in the 
 exterior of the design — the long, sloping roof 
 with its shar])ly pointed gables treated with post 
 and petrel work, the delightful oriel window, be- 
 low, and bay of the front gable filled with small 
 diamond panes, the whole design expressing that 
 essentially English character of domesticity and 
 picturesqueness referred to, yet with the added 
 beauty and comfort of the porch composed in 
 perfect harmony with the feeling of the house, 
 and a floor plan embracing every modern com- 
 fort besides being admira1)ly arranged. A de- 
 sign which adds to the practical plan, the artist's 
 touch. 
 
 Many modern houses which are comfortable 
 enough in their interior arrangements, appear to 
 have had little intelligent thought giyen to an 
 appropriate and well proportioned external ef- 
 fect. 
 
 Some one has said "it is a solemn thing to 
 huild the outside of a house ;" and truly the feel- 
 ings of our neighbors and the passers-by are 
 worthy of consideration, even if architectural 
 merit makes no appeal to us. 
 
 It is not infrequently the case that modern 
 homes of wealthy people are modeled upon the 
 typical Elizabethan mansion set with 
 
 "Gables and dormer windows evervwhere 
 And stacks of chimneys rising in the air." 
 
 The great hall of the English mansion is faith- 
 fully reproduced in the interior even to the carv- 
 
 257
 
 
 .'^i 
 
 i J 
 
 ¥ A\
 
 ing of llic wainscoting and the i)anclling of tlic 
 
 ceiling. 
 
 "Within, unwonted splendors met the eye 
 Panels and tioors of oak and tapestry." 
 
 These great halls, or "chambers" as Shapespeare 
 called them — arc the prototypes of our modern 
 notion of a "living or reception hall." The Eng- 
 lish house of high degree, never lacked these 
 great halls with lofty roofs and window^s set 
 high in the wall. The picture given of one of 
 these "great chambers" shows the fascinating 
 mullioned windows, walls panelled up to the ceil- 
 ing which is elaborately treated with decorations 
 in relief. It shows, too, liow these old halls were 
 converted into the stately libraries of Elizabethan 
 and Jacobean times. American millionaires have 
 bL'en quick to appreciate the stateliness of these 
 ancient halls and have attempted to revive the old 
 features in their modern homes. They have re- 
 produced the great mullioned windows wuth their 
 hundreds of small, square panes and stained the 
 wood so skillfully th:it it cannot be distinguished 
 from the genuine, ancient article. 
 
 The (1:1 Colonial halls extending from front 
 to rear through the center of the house, w^ere 
 reminiscences of these old English halls in great 
 houses. They frequentl}- extended up through 
 to the third story, the lofty, vaulted effect adding 
 great dignity to the interior though it must be 
 confessed, at the expense of comfort. Xo greater 
 contrast to the "hat rack welcome" of the 
 cramped vestibule which does duty for a hall. 
 can be imagined, than the generous hospitalitv 
 expressed in those wide Southern Colonial halls. 
 
 259
 
 \\'hile no one would attempt to reproduce 
 mediasval architecture, or t(i imitate it even, at 
 the present time, it is not necessary to make an 
 exact copy of a style in order to express some 
 of its beauties. We cannot go back in our habits 
 or tastes to the middle ages — heaven forbid. But 
 we can recognize the charm of much of its archi- 
 tecture, and produce something which shall em- 
 body these fine features and 1)e in harmony both 
 v/ith them and with the requirements of the 
 twentieth century. These old buildings afford 
 valuable study objects for both the architect and 
 the home-builder. For the latter, because unless 
 he knows something of their beauties and of the 
 correctness of the principles underlying the work 
 of these old builders — it would be of little use 
 for the architect to present styles modeled upon 
 them. He would be dubbed a crank and full of 
 erratic ideas ; therefore he returns to the ordin- 
 ary and the commonplace, because that is what 
 his clients would understand. 
 
 Demand regulates supply, and if the people 
 want dreary rows of houses, one just like an- 
 other, they will get them. But the people will 
 not want them, if only these fields of study so 
 rich in architectural suggestions can be brought 
 to their attention and open their eyes to the pos- 
 sibilities of beautiful and picturesque form. 
 
 To be sure it is not every architect who, even 
 if he were desired, would be capable of designing 
 anything so picturesque as these old houses. For 
 to do this he nnist have the artist nature as well 
 as the draughtsman's pencil. To combine in a 
 quaint and jileasing manner plain, structural lines 
 
 261
 
 The E.gyptian Library 
 
 and simple details, to i)rocluce with taste and dis- 
 cretion work which, while treatinsf a design in 
 a picturesque manner, shall avoid fantastic ec- 
 centricities on the one side or mere conventional 
 correctness on the other — this is what constitutes 
 the difference between the architect who is also 
 an artist and the mere maker of floor plans. 
 An interesting- example of the adaptation of 
 historic forms to modern uses, is illustrated in 
 the Egyptian library, to which, however, the 
 photograph does scant justice. Egyptian 
 
 262
 
 symbols and motives of decoration are em- 
 ployed b}" the architect not cjnly in the detail 
 finish of the woodwork, but introduced in the 
 furnishings. Carved Egyptian heads form the 
 supporting- corbels of the mantel, and the 
 andirons below stand like the solemn pylot.s 
 of an Egyptian temple. The lotus motif, and 
 the wa^'y lines representing water appear on 
 the wood detail and the furniture, as also the 
 reed columns. 
 
 Outspread vulture"> wings, the Scarab?eus 
 the flabella, and other emblems appear exten- 
 sively in the stained glass and frieze and are 
 even carried into the eml)roidered pillows and 
 draperies in which care has been taken to em- 
 ploy the brilliant coloring used by the Egyp- 
 tians, modified to suit modern taste. The deep 
 royal blue, peculiar to their colorists is em- 
 ployed on the furniture coverings, while the 
 frames and the wood finish are enameled dark 
 green. The owners of this artistic room have 
 found these historic motifs and the significance 
 of the symbols used, a fascinating study. 
 
 The trouble is, the modern architect gets little 
 encouragement and less time to make a study of 
 design. His client is always in a hurry, and 
 after taking months to make up his own mind, 
 when at last he does, wants his plans drawn 
 over night. Then he wants "to get bids" and 
 move in by Christmas, though the cellar be not 
 excavated till just before snow flies. He cares 
 nnich about his plumbing and his "space" but 
 very little about the design. The architect has 
 very little chance to tliink about that, for he must 
 
 263
 
 see first and foremost to the mechanical detail, 
 and lie must do it quick — the practical part of 
 the business. It is well — nay it is vital — that 
 the architect should know brick and shingle, 
 sand and lumber; should thoroughly understand 
 heating and ventilating systems and just where 
 to run the network of pipes in a modern house 
 to ensure the health and comfort of its occupants. 
 He must know whether sixteen inch centers or 
 twenty foot studding are needed in a frame dwell- 
 ing and he must understand and take into ac- 
 count in his plans all the laws and variations of 
 heat and cold, dryness and dampness, radiation 
 and tenacity and their effect on all the metals and 
 other materials that enter into construction. Yea, 
 verily, these are intricate problems and the archi- 
 tect to whom we confide our hopes must be 
 equipped for their solving. 
 
 But beside all this, there is needed a cultivated 
 and trained taste, the artistic perception that 
 recognizes beauty of form wherever found, and 
 the ability — the ingenuity if you will — to adapt 
 suggestions from the architecture of all periods, 
 to modern requirements. 
 
 For such an architect and for such clients, a 
 great wealth of beauty exists in the architectural 
 records of the past. For them, suggestions are 
 gleaned from the faultless regularity and repose 
 of a Greek temple or the delicate carving and 
 traceried windows of a mediaeval cathedral ; 
 from the quaint gables of an English Eliza- 
 bethan house "with dormers and with oriels lit," 
 or the reeded pillars of an Egyptian tomb. 
 
 264
 
 UNIVERSITY OF CALIFORNIA LIBRARY, LOS ANGELES 
 Architecture & Urban Planning Library, 825-2747 . 
 This book is DUE on the last date stamped below. 
 
 irPHONiniElWlLS 
 
 NOV ?,8 i:-^-' 
 DEC A 1987 
 
 DEC 9 1987 
 6ECJ2 Aujeu 
 
 PSD 2339 9/77 
 
 UNIV. OF CALIF. LIBRARY. LOS ANGELA
 
 UCLA-AUPL 
 
 NA 200 K4 1905 
 
 L 005 858 113 3 
 
 ;jr <;nr''n^R'; nr^ii.;?,' 'jPR?r)Y tAr-]|_iTY 
 
 A 001 248 133 9
 
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