CHAPTER II

THE MODERN SITUATION

Following the trend of modern civilisation, architecture to-day, in so far as it is not continuing to imitate the past, is becoming, on the one hand, more cosmopolitan and, on the other, more individualistic. The free-trade in ideas, encouraged by travel and through the interchange of architectural magazines, is obliterating the distinctions of nationality. Moreover, the immense variety and the newness of problems that now confront the architect are tending toward a personal solution of them. They demand invention on his part and stimulate him to individual expression.

=The Student’s Attitude.=--Hitherto in this book we have studied the historic styles of architecture, in their origins and revivals; but, if it has served its purpose of awakening interest in the art, we shall for the future think less of styles and acquire the habit of studying a building very much as we study an individual. We do not estimate an individual, in the first analysis, at any rate, by comparing him with some worthy of history, but by his fitness to the present--the front he presents to society at large and his value in the specific part that he plays in the common life. Has he, for example, dignity and some other charm of character? Are his motives sincere? Does he possess the qualities that make his work not only well-intentioned but practically efficient, and so forth?

Similarly, we shall estimate a building not as a thing

apart from our lives, but as a product and expression of and a contribution to, the living present. We shall think of it in terms of life, as simulating the organic and functional qualities of a living thing. It will be all but a living thing, both as it takes its place amid the life of its surroundings and also as it serves the needs of life in its specific capacity.

Already we have thought of buildings as organic, as structures that have been built upon a well-considered plan, with parts that perform their individual functions in the common purpose. We have also noted that the character of the structure was affected by the actual methods of building and the material employed. We have learned to be critical on certain points. Was the plan a fit one for its purpose? Did the façades conform to or confuse or contradict the character of the plan? Did the design conform to the purpose of the building and the methods of construction, or was it, however handsome, in effect a sham? Was it overladen with arbitrary enrichments that had little or no relation to structure and were mainly or only designed for display? Did it sacrifice the necessities of the interior to merely æsthetic considerations?

And these processes of appreciation which we have acquired the habit of applying to buildings of the past, we have but to bring to bear upon the buildings of the present. For the architecture of to-day is true or false, good or bad, reasonable and admirable, not because it does or does not conform to such and such types, but because it succeeds or fails in meeting the practical and æsthetic requirements of to-day.

=Need of Public Appreciation of the Art.=--Hence the need of an intelligent appreciation of architecture on the part of the public. It is requisite for their own sake as well as for that of the architect. One of the great difficulties with which the latter has to contend is the ignorance and indifference not only of the public but also of official authorities. They do not give the sincere architect the encouragement of intelligent praise; they exercise no restraint upon the insincere and inefficient. They dismiss all responsibility for the result by “putting it up” to the “expert.” Architecture, in consequence, is liable to be regarded not as an art but merely as a profession. Thus aid and encouragement are given to those architects who practise it mainly or solely as a “business proposition.”

And in these days the responsibility of the public is more necessary than it ever was. For the problems of architecture are so infinitely more various and exacting, that they demand for their successful solution the co-operation of the layman. But, although people profess democratic ideas, they act in the matter of architecture as though they were living in aristocratic times, when respect was paid to birth, and not in times when we are trying to cultivate respect for common humanity. To-day, if we are true to our professed ideals, the tenement house of the worker is as important in the social scheme as the palace of the rich or the country house of the well-to-do. And it should be a subject of public concern.

Or, to consider another of the many new types demanded by modern conditions--the factory. It must meet the need of the specific industry. That is its utilitarian necessity. But there is also the humanitarian necessity that it shall be a fit place for the men and women who spend in it one-half of their waking lives. And, again, there is what we may call the communal necessity, as it affects the outside lives of the community, that the factory shall not be a thing of ugliness or drear monotony, sordidly devastating the possible beauty of the locality. For we have advanced little in civilisation if we are content to substitute for the grim castle of the Middle Ages, surrounded by its huddle of retainers’ huts, a grim fortress of industry, entrenched amid the mean homes of men and women, not considered in their individual and collective capacity as human beings, but massed under the mechanical term--“operatives.”

And what is true of the factory is true of the retail shops and department stores, city markets, warehouses, docks, and watersides, and of the hundred and one varieties of need created by modern industry and commerce. It is also as true of the provision for the cultural needs of the community in churches, schools, colleges, libraries, and museums, as well as for needs of recreation and health--theatres, concert halls, moving picture houses, dance-halls, baths, hospitals and parks. But why attempt to enumerate the innumerable problems that modern life presents to the architect? The point is that all involve sociological considerations, affecting intimately the lives of common humanity. Architecture, in fact, when properly considered and practised, is the great democratic art, which through co-operation of artist and layman, may become one of the greatest means of human betterment. How essential, therefore, that the understanding and appreciation of it should be fostered by public education!

Since this is the purpose of the present book, which only incidentally has suggested the history of the art, it is not possible or necessary to attempt to cover the modern manifestation of it in all the countries. It must suffice to allude briefly to those of Great Britain and the United States, in which architectural activity has been conspicuous, though the results are widely different.

MODERN MOVEMENT IN GREAT BRITAIN

In Great Britain the modern tendency has been especially marked in the direction of independence and individuality. It began with certain movements, which perhaps might be more correctly styled fashions. There was the =Queen Anne= revival, which, although it involved much that was tricky and much gerrymandering in construction, drew renewed attention to the capabilities of brick and its suitability to the climate. Further, from the fact that it gained the popularity of a fashion, it encouraged the public to take some sort of interest in architecture. And this interest was further stimulated by the “Morris Movement.”

=William Morris’s Movement.=--It was the limitation of William Morris, that in his zeal for things Mediæval he had no toleration for any other forms of decoration. Moreover, he assumed that the art of the Middle Ages was created solely by craftsmen working in harmonious co-operation. He refused to believe that their work was controlled by a master designer and inveighed in general against architects as the cause of everything that is objectionable in subsequent architecture. In both respects, therefore, his influence was reactionary rather than helping forward. But, on the other hand, it has lasted and borne valuable fruit in promoting a regard for honest craftsmanship, on which he laid essential stress, and in reviving a recognition of the parts played by painting and sculpture and the decorative arts generally in alliance with architecture. Accordingly, one indirect result of Morris’s influence has been the increased attention given to the character and quality of simple masonry, a refreshing and salutary reaction from the notion that the interest of architecture depends on picturesque variety of detail and ornament. There was even a group of young architects who, inspired by Morris’s idea of craftsmanwork, sought to confine their designs to the simplest elements of building. They would be first, last, and all the time, builders; all precedents of architectural detail should be disregarded; they would confine themselves to the simplest abstractions of structural elements and out of these in time a new decorative vernacular might be evolved.

It is interesting to note the analogy between this aim and that of Matisse and others in painting. In both arts it represents a revolt against the sophistication and mechanicalism that are apt to result from the repetition of school-learned styles. It would dig away the surface and get down to the sub-soil, in which elemental principles are rooted, in order to encourage a growth that more nearly may conform to modern needs and ideals.

On the other hand, there is the obvious objection, too obvious by the way to be accepted as conclusive, that the past has so grown into the present, the inheritance has become so integral a part of present understanding and feeling, that one cannot eliminate it from one’s consciousness by taking thought, as one can strip one’s body of clothes. Meanwhile, although this argument seems plausible the fact remains that in painting, at any rate, many artists, ignoring argument in favour of actual doing, are clothing their ideas in new forms that are coming to seem reasonable to an increasing number of people.

=“Free Classic” Movement.=--However, many architects, accepting the inheritance of the past and yet themselves in revolt against the scholastic reproduction of the styles, initiated a movement in favour of what they called “Free Classic.” Their endeavour was to discover the elementals in a given style and to use them with flexible understanding and feeling and with free play, especially of decorative accessories. The first to give practical evidence of this idea was R. Norman Shaw, R. A., in the =New Zealand Chambers=, in Leadenhall Street, =London=, which were erected as far back as 1873.

It was an artist’s essay in personal liberation; the work of a man who, while he did not love the Classics less, loved life and his own participation in it more, who claimed for himself the artist’s birthright of personal expression and creativeness. Fortunately his adventure aroused considerable interest in the intelligent public, while other architects saw in it a promise of their own artistic deliverance. The result has been for Great Britain a genuine rebirth of architecture as a living and personal art. In no other country have the variety and versatility of our modern life been more freely expressed in its buildings. Not always happily, no doubt. The purist may point to some as “awful examples,” and thus seek to justify his belief in safe mediocrity rather than what he considers dangerous latitude. But the purist is not an individualist and Great Britain is individualistic, even to a fault. Therefore, what her architects are doing is racy of the country’s temperament--a thing commendable in itself. Meanwhile, there is an abundance of recent buildings in which reasonableness and adventure are happily united and a sound regard for the utilities and for structural logic are wedded to originality and taste.

In the past twenty-five years London, for example, has been transformed into one of the most architecturally impressive cities of Europe. And not in the way of aping in more or less perfunctory fashion the splendours of imperial Rome; but in a spirit of artistic individual enterprise, and with that courage even to make mistakes, provided the end be liberty, that befits the Metropolis of self-governing Dominions.

MODERN MOVEMENT IN THE UNITED STATES

Since the middle of the nineteenth century the United States has experienced an extraordinary activity in building. An unprecedented demand was created by the opening up of the West and the rapid increase of population and wealth, as well as by the destruction wrought by the great fires in Chicago and Boston. On the other hand, circumstances led to the development of a new method of construction--that of the “steel cage.” Meanwhile the new period discovered two architects--Richard Morris Hunt (1828-1895) and Henry Hobson Richardson (1838-1886)--whose influence had a marked effect upon the architectural development.

=Hunt and Richardson.=--The former, younger brother of W. M. Hunt, the painter, was born at Brattleboro, Vermont, in 1828; while Richardson, ten years his junior, was a native of Louisiana. Both received their training in the Ecole des Beaux Arts in Paris, and by their influence established the vogue for that celebrated school which has so strongly affected architectural progress in America. When they returned home--Hunt in 1855 and Richardson in 1865--they brought back a thoroughly scientific training, already reinforced by practical experience in Paris. And the genius of the one complemented that of the other; for while both had a personal force that commanded attention and compelled respect, Hunt’s special faculty was executive and organising, while Richardson’s was more specifically that of the artist. Thus between them they established in the public mind the understanding of architecture as, not merely a process of building, but one of the Fine Arts, and also set the profession of architecture on a sound basis. For in 1885 Hunt took a prominent part in founding the American Institute of Architects, of which he was the first president.

Among his most important works are the =Theological Library= and =Marquand Chapel= at =Princeton University=; the =Divinity College= and =Scroll and Key House= at =Yale=; the =Lenox Library, New York=, since removed; the =New York residences= of =W. K. Vanderbilt= and =Henry G. Marquand=; George W. Vanderbilt’s country house at =Biltmore= and some of the palatial “cottages” at =Newport=, including “=Marble House=” and “=The Breakers=.” He also exhibited his genius for planning in the laying out of the =Metropolitan Museum of Arts= in =New York=.

Richardson took as his model the Romanesque of Southern France, but used it with so much freedom and adaptability that, it has been said, he came very near creating a style of his own. It is seen to best advantage in those examples in which he was unhindered by outside interference, especially in the =County Buildings= in =Pittsburgh= and =Trinity Church, Boston=. Both of these are distinguished by structural significance; dignity of mass, fine correlation of parts to the whole and by a decorative distinction that avoided alike the flamboyance of some of his earlier embellishment and the baldness of simplicity that characterised the work of some of his imitators. Other notable instances of his art are: =Sever Hall= and =Austin Hall=, =Harvard=; the =City Halls= of =Albany= and =Springfield=; the =Public Libraries= of =Woburn=, =North Easton=, =Quincy=, =Maiden= and =Burlington= and the =Chamber of Commerce, Cincinnati=.

While Richardson’s artistic seriousness and refined taste left a lasting impression, his selection of the Romanesque style, although it obtained some following, was abandoned in favour of the Roman and the Renaissance; the change being due to the way in which the subsequent American students of the Ecole des Beaux Arts reacted to its teaching.

=Beaux Arts Training.=--The “Beaux Arts” training is based upon the study of Greek, Roman, and Renaissance Styles. The Greek, within a limited range of building types, exhibits the most perfected relation of plan to elevation, of form to function; the most harmonious combination of mind and feeling. The Roman represents a genius of constructive logic and practical inventiveness in applying principles to a wide variety of problems. The Renaissance replaced constructive logic by a logic of taste and rehandled Roman details with a finesse of skill that was as subtle as the Greek. Moreover, the Greek, Roman, and Renaissance are (to use a modern word) _standardised_ styles; in which proportions have been calculated and the principles reduced to certain recognised relations of harmonious agreement. Thus they lend themselves to a more exactly determined kind of study than is possible with the Gothic, which more nearly corresponds to the free growths of nature, involving all the principles of structure and the elements of beauty, but with a freedom of application that makes formulation difficult.

Now the effects of this Beaux Arts training by no means always corresponds with its aim. The aim of the School, responding to the French aptitude for logical processes, is to teach the student to reason, to cultivate the habit of applying to every problem an independent and individual process of logic. He is taught to get down to the bone of any problem and discover its cleanest and simplest solution. The historic styles are treated not as models for imitation but rather as a grammar of principles and applications, by means of which the student may fit himself for original composition. The system, in a word, encourages originality and not imitation.

=Effect of Beaux Arts Training.=--Meanwhile, among the many architects in America whose names are associated with the “Beaux Arts,” only a minority is composed of actual graduates of the school. The remainder have availed themselves more or less of the courtesies that the school extends to foreign students; but have not enjoyed the exhaustive training in the direction of independent reasoning that it is the school’s purpose to impart. The result is that many of them acquired the habit, not of approaching the solution of each problem independently, but of becoming more or less intelligent and tactful adapters of Roman and Renaissance characteristics. In consequence of thus misrepresenting the aim of the Beaux Arts, the latter has incurred in this country the unjust charge of promoting imitation--the precise antithesis of what the school actually stands for. Accordingly, there has arisen a reaction against what is supposed to be the “Beaux Arts” influence.

In this reaction there is a possibility of less than justice being done to some of these quasi-Beaux-Arts architects. Many of them have been men of exceptionally fine taste. They raised the standard of taste in the community, accustomed the public to consider beauty as well as utility, and added greatly to the dignity and beauty of the externals of life. They played not only an excellent part but a necessary one in the evolution of architecture in America. They will be looked back to as the men of the transition, who established the recognition of architecture as an art, fostered higher standards of taste and compelled a public that was chiefly interested in commercial expansion to begin to regard art as an indispensable element in progress.

=Influence of Chicago Exposition.=--The opportunity of propagating these ideas on a large scale was furnished by the International Exposition at Chicago in 1892-93. Already the Centennial Exhibition at Philadelphia in 1876 had awakened manufacturers to a need of artistic design, if their products were to compete successfully with those of the older countries. Moreover, innumerable persons had found their imaginations stimulated by the varied display of the Department of Fine Arts. The ground was thus prepared for the organised effort in the direction of an object lesson in beauty, such as that of “The White City” at Chicago.

Here the Directors virtually gave free hand to the Committee of Architects, in the lay-out of the grounds and the disposition of all the buildings. The result was an ensemble on a scale, not only more magnificent than ever had been attempted before for such a purpose, but complete in its union of variety and harmony. It represented, on the one hand, what could be accomplished by the co-operation of the allied arts of landscape and garden design, architecture, sculpture, and painting, and, on the other, an extraordinary lesson in the desirability of beauty as a practical asset. The impression that it made was nation-wide. Everywhere the dry bones of indifference to beauty began to quicken into a living interest in beauty as the fit and natural expression of the nation’s progress in civilisation. It has found abundant activity during the past twenty-five years in Federal, State, Municipal, and commercial buildings, in the development of parks and boulevards and, more recently, in the increased attention given to the scientific and artistic planning of cities.

And this movement, which has transformed the character of public buildings, has worked as freely in the case of domestic buildings, and, on the whole, with more originality. For the principle of the movement has been _eclecticism_; the more or less intelligent adaptation of old styles to new needs; the styles especially followed being the Roman and the Italian Renaissance. The axiom of the body of men which had controlled the movement has been that it is safer and better to follow good models than to try to be original. And for the time being very possibly they were right. But this has always been the plea of eclectics, whenever and wherever they have occurred in the history of all the arts; and such eclecticism has always marked a transition period, leading up to a fresh outburst of original creativeness.

=Weakness of Imitation-Tendency.=--The immediate and great advantage to the architects of thus following old models has been, to establish, through the Roman, a familiarity with large problems of construction and, through the Italian Renaissance, a refinement of taste in the handling of details. Meanwhile, the disadvantage has been a tendency to take an excess of interest in merely stylistic considerations. The architect has often seemed more intent upon reproducing with taste an old style than upon adapting it to the practical needs of the living present.

It would be possible to point to libraries, for example, that have been designed with a view to beautiful exteriors rather than to that of storing and distributing books. The design has not grown out of the practical needs but has been more or less arbitrarily adopted for its own sake. The architectural principle of fitness has been violated. Furthermore, this preoccupation with the faithful reproduction of an old style has made a fetish of consistency. Everything in and out of the building must be “in the style.” The architect, being an imitator, compels all his co-operating artists to imitation. The painter must imitate such and such a style of mural decoration; the sculptor, such and such a style of sculptural embellishment. Sculptors and painters alike have been trained to forget that they might be interpreters of the life of the present and to work and feel in the manner of the past. The manner--not the spirit--for the spirit of the old decorators was keenly alive to the life of their own times. Hence these architects of the transition have done much to find employment for painters and sculptors, but practically nothing to promote the development of creative artists. Indeed, their influence in this respect has been quite the other way--retrogressive rather than progressive.

Possibly an even more flagrant illustration of this tendency is to be found in the palatial residences, erected during this period in town and country. So slavish was the insistence upon conformity, that the furniture and fittings had to be either antiques or imitations of antiques. The occupants of such houses were trained to be blind to the beauty of anything that was not in the style of their surroundings; and were forced to try to feel at home in surroundings of the past. Typical, possibly, is the story of the millionaire, who fled from his stylistic apartments to one of the attic bedrooms, provided for the servants, and fitted it up to suit his own ideas of comfort.

The result of all this has been that the majority of the rich, who might have been leaders of taste and played the part of Mycænas or Medici to the artists of to-day, have been the victims of an obsession, imposed upon them by architects, that has made them neglect and even discourage the art of the present. They have put a premium on antiques and a devastating discount on contemporary art. While bled by the speculators in antiques and near-antiques, they have doled out patronage, for the most part, only to those workers in metal, wood, and other fabrics who were willing or compelled by necessity to imitate. The idea of encouraging native art or of fostering the genius of some individual creator has been all but entirely overlooked. Creative genius has been stifled.

=Freer Tendency in Domestic Architecture.=--On the other hand, in the case of domestic buildings, erected during say, the past ten years, especially country houses, there are the evidences of a veritable renaissance of architectural art. It is due in a great measure to the improved taste of the community. A new generation has grown up which by travel and study has familiarised itself to a more or less extent with art and has come to think of art as an expression of life and, therefore, has desired to embody its sense of beauty in the home. Such people have co-operated with the architects who are no longer designing merely for them but also with them. The result has been an increased attention to the question of fitness; fitness of design to the character of the locality; to the conditions of climate and to the various needs and necessities arising out of the modern circumstances of living. To cite but one example: the problem of domestic help in America is so urgent that labour-saving considerations have affected the planning of the homes, tending to concentration rather than diffusion in the arrangement of rooms, service offices, staircases, and so-forth; and out of this organic lay-out of the interior a suitable exterior treatment has developed.

Thus, while the architect may still be adapting motives derived from old styles, he is no longer doing so for the main purpose of reproducing a given style; he has ceased to be a stylistic pedant. He adapts with flexibility and freedom; using a style in so far as it conforms to the character of his plan. The plan is his own creation and, if in the development of his design he feels the fitness of adapting, he adapts creatively. The result is that, since the domestic architecture of the past has been made to contribute to the needs of the present, a new kind of domestic architecture has been evolved in America, characterised by variety of design, originality of treatment, and, more and more, by a regard for that fitness to the special requirements of each problem, which is the foundation of every true advance in architectural design.

=Office Buildings.=--Side by side with this progress toward originality in domestic architecture has been a similar tendency in that of public buildings, especially the office building. The office building is distinctively a feature of American cities, because it grew out of conditions in certain cities which imperatively demanded some such expedient; and, having in these cases proved its fitness to business situations, has been adopted elsewhere. Though the earliest of these tall buildings, characteristically known as “sky-scrapers,” were erected in Chicago, the spot which now contains the greatest aggregation of them is Manhattan Island, the section of New York City bounded by the North, East, and Harlem Rivers, in which the business of the city is concentrated.

In the situation thus existing was an area, limited in size and incapable of being enlarged, while the business demands upon it were continually expanding, in the way both of increased accommodation and adequate financial return upon the value and cost of the land. It was impossible to meet these conditions by spreading out laterally; the only alternative was to build skyward. By the time the necessity of this was realised, two inventions made it practicable--an improved method of rolling steel and the development of elevator connection. The problem of accessibility was solved by the latter; that of economical and efficient construction by the former. Accordingly, once again, as so often in the history of architecture, practical expediency, methods of building, and the material employed were operative in evolving a new kind of form.

=“Steel-Cage” Construction.=--The method of building is that of the so-called “steel-cage” construction: a new application of the principle of “post and beam” construction, in which the vertical and horizontal members are composed of steel and riveted together. The foundation posts are anchored to the ground, which in the case of Manhattan Island mostly consists of a very hard species of rock. The posts are connected at the top by cross beams, thus forming the skeleton frame of a complete story, upon which other similar skeleton stories are erected, their number varying up to the present extreme in the =Woolworth Building=, of fifty-one stories. This mode of construction does away with the necessity of external buttressing; the strain is one of tension on the ground, the problem of wind pressure being met by the introduction of interior cross-braces. By this system also the downward pressure is distributed throughout the several stories, each carrying its own weight of exterior and interior walls; so that, in the process of construction it is not unusual to see some of the upper stories apparently completed, while lower ones are still in a skeleton state, awaiting the arrival of the material that is to sheathe them.

The character of the sheathing, representing the design of the building from the outside, will be considered presently, for of primary and essential importance is the character of the interior. Here is manifested at its highest the creative originality of the American architect in constructive adaptability to the needs and necessities of the problem. These office buildings and their counterparts in domestic life--the tall apartment-houses--represent the economic tendency of this age in its progress through combination to possible co-operation. They also embody the latest achievements of science and invention, applicable to the requirements of convenience and health. They are thus in a distinctively modern way, as well as with remarkable completeness, organic architectural structures. In a singular degree, they are self-efficient. Their cellular arrangement comprises an elaborate aggregation of members, each having its special function; while the whole is provided with its own system of power plants for the supply of heat, air, light, and locomotion. They are in a way the equivalent of the Roman basilica and insula, developed to that higher degree of complexity that the modern age demands and modern progress in science and invention has made possible. In their organic completeness one discovers conspicuous evidence that architecture, after a long period of revivals, has recovered its creativeness.

=Exterior Design of Office Buildings.=--It is in studying the exterior design of these sky-scrapers that one finds the progress toward originality has been more halting and uncertain. The explanation of this cuts deep down to the fundamentals of all progress in art and life. It is out of man’s needs and necessities, physical, intellectual, emotional, and spiritual, that he is impelled to advance, and the advance is most sure according as it most closely fits the circumstances. In so far as the architects were dealing with the practical problems of the interior of these buildings they conformed consistently to the demands of fitness, and their advance was sure. But when they approached the problem of the exterior, the necessities of which are few and comparatively unexacting, the logic of fitness was apt to be superseded by mere caprice of choice. They experimented, for the most part rather aimlessly, with various historic styles of treatment; clapping on to the façade embellishments derived from Roman, Italian, Renaissance, Venetian Gothic, and so forth; treating the design mainly as a matter of added ornamentation instead of something to be evolved out of the special character of the structure.

We must remind ourselves that the façades of these buildings, whether the material be stone or marble, brick, terra-cotta, or reinforced concrete, are virtually only a sheathing to the actual organic structure inside of them. They correspond to the clothes on a human body. There are certain necessities to be served in the case of the building: on the one hand, financial; on the other constructive. The investors demand a certain return on the cost or value of the site, which determines the aggregate of rentable floor space, and hence the height of the building and the amount to be expended on the façades. Again, the lay-out of the floors calls for a certain quantity of window-spaces and there is the further constructive necessity that, while parts of the building may under certain restrictions overhang the sidewalks, nothing may project over adjoining property. Within these limitations the architect is usually free to adopt such design for the exterior as he chooses.

In the early days of the sky-scraper, which coincided with the period of more or less imitative reproduction of old models, the architect found himself confronted with an entirely new problem in design. His classical studies had familiarised him with buildings comparatively low and characteristically horizontal in design. His experience of Italian Renaissance had involved buildings, still inconsiderable in height though they included several stories, and had led him to be pre-occupied with details of design, especially with the effectiveness of a cornice. On the other hand, the characteristic of the new problem was vertical instead of horizontal, and on a scale that gave predominance to mass over detail; while the specific detail of the crowning cornice could only be fully adopted in the case of structures that did not abut on adjoining property.

=Height--the Principle of the Design.=--But, for a time, the architect failed to grasp the newness of his problem. He was confronted with height, but did not start with it as a principle of design. Instead, he tried to accommodate the old principles to the new conditions; experimenting with various methods of embellishment near the ground and at the top, and treating the main, intermediate part as merely a repetition of floors.

Gradually, however, he realised the fact that the new buildings actually presented a new problem which could only be solved by taking the vertical principle as the basis of the design. So he bethought himself of a precedent in the column. It is the vertical member in the Classic design, and comprises three subdivisions: base, shaft and capital. The base might be emulated in the treatment of the lower part of the façade, which generally encloses a bank or some feature of special importance, surmounted by a mezzanine floor. The counterpart of the column’s shaft was the repetition of stories, while the effect of the capital could be reproduced in some emphatic crowning treatment. And those architects who most logically adopted the precedent of the column, recognising that the beauty of a tall building must be evolved from its special characteristic of height and that the beauty would be enhanced by a suggestion of height growing up in its own strength, abandoned the mere repetition of stories for a vertical treatment that would emphasise the suggestion of upward growth.

In some cases they applied to the masonry between the windows continuous bands of vertical ornament, projecting in the nature of shafting or piers, which by their effect of light and shade carry the eye upward, giving to the whole structure a suggestion of soaring. Or, in other cases, they so proportioned the width of the windows to the width of the masonry that the latter, especially at the angles of the building, gave the suggestion of soaring piers. Meanwhile there still continued to be architects who ignored these devices, treating the windows and masonry solely as recurring horizontal features, with the result that their repetition contradicts both the vertical feeling and that of upward growth.

By degrees, however, as the principles of verticality and growth came to be generally accepted, it was recognised that the analogy of a tall building to a Classic column was fallacious, since the building should involve a complete design, while the column is only a constituent member of a structure and one, too, that is designed to support a horizontal member. Possibly the realisation of this was assisted by the difficulty of treating the top of the building. For the most frequent conditions permitted the projection of a cornice only on one side, that of the front side of the building, where it sticks out like a prodigious mantelshelf. That architects should have persisted so long in reproducing this futile expedient seems only to be explained by a habit of seeing a design on the drawing board as an elevation to be viewed from one fixed point, instead of as a structural composition, occupying space and to be seen from a variety of directions. Moreover, it is a fact that, as one walks along a street, it is the side of a building that is chiefly and longest visible, while, by the time one is opposite the front, the narrowness of the street and the height of the building make it difficult to view the façade as a whole.

=Gothic Influence.=--Accordingly, in time, as the logic of the problem of the tall building came to be more resolutely grasped, it was realised that, if a precedent was to be adopted, it might be found in the Gothic style. This is essentially the style of vertical design and upward growth, and its characteristic profile has a tendency to set back from the ground line instead of projecting over it. Furthermore, if you choose to consider it, it was the style of the Northern nations as contrasted with the horizontal styles of the Mediterranean nations; the style of the races most represented in our population, evolved by them as an expression of their adventurous and daring spirit. Even in relation to inherited racial genius, as well as to fitness of design and practicability of conditions of site, the Gothic is full of suggestion.

Its influence at first appeared in the character of detail of some of the later sky-scrapers; but gradually more fundamentally, as the architect began to give fuller attention to the masses of his composition. Up to the present, the noblest example of this new movement is the =Woolworth Building=, which is not only the tallest of the tall buildings but a monument of arresting and persuasive dignity. The repetition of ornamental detail may be somewhat dry and mechanical; but from a short distance off this melts into the mass, which vies with mediæval towers and spires in its splendid assertion of organic upward growth.

Such a building supplies an uplift to the spirit, whereas the exteriors of many sky-scrapers, conveying no suggestion of organic growth, being only monstrous piles of masonry, produce instead an oppression of the spirit. Nor is such an impression imaginary; it is a physical result of the sunless, airless canyons into which these cliff-like walls have transformed the narrow streets. Architects, in fact, realise that the problem they present is one not only of construction and design but also of relation to the general city plan. Various proposals have been made to confine them to certain areas; to restrict their height on the street line, while setting back the higher portions, which would rise like towers above the rest of the building; to limit the number of such towers in a given space, and so forth. Some such restrictions are enforced in certain cities; but in New York, where the problem is greatest and most urgent, the consideration of the question has not made much headway against the general indifference to matters of large public concern. Here, as in so many other instances, the welfare of the community, as a collective whole, is not properly adjusted to individualistic interests.

=Architect and Engineer.=--This and other matters of “city planning”--a subject that is more and more engaging the attention of progressive communities--demands the co-operation of the architect and engineer. Indeed, the co-operation of their functions in all important works, especially those of a public character, is one of the urgent needs of the age. There is scarcely an architectural scheme that does not involve problems of engineering; and many an engineering achievement would have been of greater public utility if beauty of design had been considered. For it is only a narrow view of utility that overlooks the utility of beauty. It is in the power of an engineer to improve or mar the appearance of a locality, and hence to add to or detract from the happiness of the human lives which inhabit it.

Nor is the union of the functions of engineer and architect a new thing. The only difference between the past and the present is, that in Classic, Gothic, and Renaissance periods the functions were united in one person, whereas with the advent of the age of iron, followed by that of steel, they have been specialised in separate individuals. Accordingly, to-day there is one school of Architecture, and another school of Engineering; and the separation has caused each to disregard the points at which their respective arts can and should unite. The desirability, however, of some affiliation is being recognised and certain schools of engineering now include a course in the principles of architectonic design.

* * * * *

Any termination of a book on Architecture is but an abrupt stop in the telling of a story that is perpetually continuous. It will go on as long as man applies his creative ability to the solution of new problems of construction as they arise, and persists in stamping the work of his hands with the evidence of his desire of beauty. This little book, however imperfect, will add its mite to human progress if it has awakened or stimulated in the reader a realisation of the rich and varied humanness of the art of Architecture in its intimate relation to the lives of individuals and the progress and welfare of the community.

GLOSSARY

=Abacus=: the block that forms the uppermost member of the capital of a column. Usually a square block; but in Roman Ionic and Corinthian, the sides are concave, while in Gothic the block may also be circular, octagonal or clustered.

=Abutment=: a member of solid masonry to sustain a lateral strain or thrust; e.g., that of an arch.

=Acanthus=: a plant of the warmer regions of Europe, distinguished by large, handsome leaves, with indented and sharply pointed edges. Conventionalised as a decorative motive in Classic architecture: specially in the Corinthian capital.

=Acropolis=: a hill within a city, converted into a citadel; often containing, as at Athens, the temples of the tutelary or guardian divinities.

=Acroteria=: plinths or blocks, placed on the apex and ends of a =Pediment= (which see), for the support of a carved ornament.

=Æsthetic=: of or pertaining to beauty. That quality in anything, especially a work of art, that stimulates the senses, emotions or imagination to an appreciation and love of the beautiful.

=Aisles= (lit. “wings”): the lateral divisions of a church or cathedral, parallel to the nave and separated from it by columns.

=Alcove=: a covered recess, opening from a room or corridor.

=Ambo=: plural Ambones: raised pulpits from which the Epistles and Gospels, respectively, were read.

=Ambulatory=: a space, usually covered, for walking in.

=Amphi-prostyle=: used to designate a temple-plan that has a rear as well as a front portico. Compare =Prostyle=.

=Anta=: plural Antæ (lit. opposite): specially in Classic architecture, the pilaster attached to the side of a temple, opposite a column. Generally, any pilaster opposite a column. For =In Antis= see =Portico=.

=Antefixæ=: ornamental blocks placed along the lower edge of the roof of a temple, to cover the joints of the tiles.

=Anthemion=: a decorative device, also called =Honeysuckle= or =Palmette= ornament, composed of flower forms or fronds, radiating from a single point. Used especially on the cyma recta moulding, round the necks of columns and on stele-heads and antefixæ.

=Annula= or =Annulet=: a small fillet or flat band, encircling a Doric column below the =Echinus= (which see).

=Apse=: originally, the semi-circular projection at one end of a basilica hall; later, the semi-circular or polygonal termination of a choir in a Continental Gothic cathedral, as contrasted with the square-ended choir of English Gothic.

=Apsidal=: having the form of an Apse.

=Apteral= (Gk. “without wings”): applied to a temple that has no colonnade on the sides.

=Arabesque=: a fanciful, painted, modelled, or carved ornamentation, composed of plant forms, often combined with human, animal, and grotesque forms. Used by the Romans and revived by the Renaissance decorators. Also used by the Arabs--hence the name--for a flatly modelled and coloured ornament of intricate design, without human or, generally, animal forms.

=Arcade=: a system or range of arches, supported on columns, e.g., the range of arches and columns on each side of the nave of a cathedral or church. When used as an embellishment of exterior or interior walls, it is distinguished as Open or Blind Arcade, according as it is detached from or attached to the plane of the wall.

=Arch=: generally, a structure supported at the sides or ends and composed of pieces, no one of which spans the whole interval. Specifically, a structure, involving one or more curves, supported at the sides, spanning an opening and capable of supporting weight. Distinguished according to the nature of the curve as, segmental, semi-circular, ogee, pointed, horseshoe, four-centred, trefoil, cinquefoil, and multifoil. Arches, involving straight lines as well as curved, are known as “shouldered.”

=Architect= (pr. ar-ki-tect): lit. the master-builder.

=Architectonic=: possessing an architectural, or organically constructive, character. See =Organic=.

=Architecture=: the science and art of designing and constructing buildings, with a view to Utility and Beauty. See =Beauty=.

=Architrave= (lit. “principal beam”): the lowest member of an =Entablature= (which see); hence applied to any beam that rests on columns and carries a superstructure; also to the moulded frame which bounds the sides as well as the head of a door or window opening.

=Archivolt=: the mouldings around the face of an arch.

=Arris=: the sharp edge at which meet two flutings of a Doric Column.

=Ashlar=: applied to masonry of which the stones are squared and dressed with hammer or chisel.

=Astragal=: a convex moulding with a profile semi-circular, like that of the Torus, only smaller in width. Often decorated with Bead and Spool ornament.

=Astylar=: used of a façade, not treated with columns.

=Asymmetries=: deviations from geometrical symmetry and precision; such as substituting a slight curve for horizontal and vertical straight lines; varying slightly the spaces between columns, setting columns on a curving instead of a straight line, and so forth. Refinements which Hellenic, Byzantine, and Gothic architects introduced to give flexibility and rhythm to their structures. See =Refinements=.

=Atlantes=: See =Caryatid=.

=Atrium=: in Roman houses an entrance court open to the sky, but surrounded by a covered ambulatory. In Early Christian architecture, a similar entrance court in front of churches.

=Attic=: the upper story of a building, above the cornice.

=Axis=: an imaginary line, about which an architect arranges the symmetry of his design. The main axis usually runs through the longest direction of the building and may be intersected at right angles by a second axis. See =Crossing=.

=Baldachino=: or Baldachin: a canopy supported on uprights; used especially to surmount an altar.

=Baluster=: a small ornamental pillar supporting a rail or coping; the whole structure being called a =Balustrade=.

=Balustrade=: See =Baluster=.

=Baroque=: fantastic, grotesque, applied to some of the heavily decorated architecture of the eighteenth century.

=Barrel-vault=: also called Semi-circular or Wagon-headed vault: a continuous arched roof over an oblong space, resting on the side walls.

=Barrow=: an artificial mound of earth, forming a prehistoric sepulchral monument.

=Bar Tracery=: See =Tracery=.

=Base=: the lower member of any structure; compare =Plinth=.

=Basilica=: originally a building erected for business or legal procedure; specifically the large hall of such a building; later, in Christian times, a church that more or less retains the plan of such a hall.

=Batter=: the upward, inward slope of a wall, affording greater resistance to =Thrust= (which see).

=Battlement=: the termination of a =Parapet= (which see) in a series of indentations, called embrasures, while the intervening solid parts are called merlons.

=Bay=: each of the principal compartments into which the vaulting of a roof is divided; also used of the space between any two columns of an =Arcade= (which see) of a Gothic church.

=Bay-window=: a window of angular plan, that projects from the wall and reaches to the ground. Distinguished from an Oriel window that is supported on a bracket or =Corbel= (which see) and from a Bow-window which is curved in plan.

=Bead=: a small convex moulding; often decorated with =Bead and Spool= ornament.

=Bead and Spool=: an ornamental device of small halved spheres, alternating with halved spools; used on small convex mouldings.

=Beauty=: as applied to Architecture, those qualities in a building that stimulate and gratify the æsthetic sense. They result from the architect having created an Organic structure according to the principles of =Fitness=, =Unity=, =Proportion=, =Harmony=, and =Rhythm= (see these terms).

=Bel Étage=: French term for the principal story of a building. Compare Italian, =Piano Nobile=.

=Belfry=: specifically, the part of a tower in which the bells are hung; hence, sometimes, the whole tower.

=Bema=: a raised platform, reserved for the clergy in Early Christian churches.

=Blind Arcades=: See =Arcade=.

=Bond=: the method of laying bricks or stones to bind the masonry. In =English Bond=, the courses are composed alternately of =Headers= and =Stretchers= (which see); =in Flemish Bond= the Headers and Stretchers are laid alternately in each =Course= (which see).

=Boss=: ornamental projection at the intersection of the ribs of vaults and ceilings.

=Bow-window=: See =Bay-window=.

=Branch Tracery=: See =Tracery=.

=Broken Entablature=: one that projects over each column or pilaster instead of maintaining a single straight plane.

=Broken Pediment=: where the triangular or curved form is broken into in the centre; an ornamental device adopted in the Renaissance.

=Buttress=: a mass of masonry, projecting from the face of the wall to resist the thrust of an arch or vault. When the mass is separated from the wall and connected with it by an arch, the arch and mass form a =Flying Buttress=.

=Byzantine=: the style evolved in Byzantium (Constantinople) in the fifth century, A.D.

=Cairn=: an artificial heap of stones, sometimes piled about a corpse-chamber, which served as a prehistoric sepulchre and monument.

=Campanile= (cam-pah-neé-la): Italian term for bell-tower.

=Canopy=: specifically, the carved ornamentation that surmounts a niche, altar or tomb.

=Capella Major=: the space in a Spanish cathedral, enclosed with screens or =Rejas= (which see) and containing the High Altar.

=Capital=: the upper member of a column, pier, pillar or pilaster.

=Carillon=: a set of stationary bells, played upon by a mechanical contrivance, regulated from a keyboard.

=Caryatid=: plural Caryatides: sculptured female figures, used instead of columns or pilasters to support an entablature or cornice. Said to be so called after the women of Caria, who aided the Persians and were made slaves. Male figures, so used, are called =Atlantes=.

=Caulicoli=: the eight stalks of the acanthus ornament, supporting the volutes of a Corinthian capital.

=Cavetto=: a simple concave moulding.

=Cavetto Cornice=: the hollow member that crowns a wall or door in Egyptian architecture.

=Cella=: the portion of a temple enclosed by walls.

=Cerce=: a mechanical supporting device used in the construction of vault ribs and light arches. Shaped like a bow, in sections that work telescopically, so that it can be adjusted to the width of the span.

=Chamfer=: the edge produced by chamfering; that is to say cutting a square edge or corner to a flattened or grooved surface.

=Chancel= (Lat. cancellus, a screen): See =Choir=.

=Chapter-house=: originally the assembly place of the Chapter or fraternity of abbot and monks of a monastery, for the transaction of business. Now attached to English cathedrals for the transactions of the Chapter of bishop and canons.

=Chevêt= (pr. shev-ay): term applied to the east end of a Romanesque or Gothic church, when it takes the form of a circular or polygonal apse, surrounded by an aisle which opens into chapels.

=Chevron=: a decorative device, like a V, repeated either vertically or horizontally; forming in the latter case a zig-zag.

=Chryselephantine= (Gk. “gold-ivory”): applied to a sculptured figure of wood, when the nude parts are covered with gold and the draperies with ivory.

=Choir= or =Chancel=: the portion of the church or cathedral east of the nave, screened off for the use of the choir. See =Coro=.

=Cimborio=: See =Lantern=.

=Cinquecento=: Italian term for the period called in English the sixteenth century.

=Cinque-foil=: See =Foil=.

=Clerestory= or =Clearstory= (Fr. clair = light): the highest story of a nave immediately above the =Triforium= (which see), containing windows overlooking the roof of the aisles.

=Cloison=: a partition; specifically, the metal bands dividing the pattern in _cloisonné_ enamel.

=Cloisters= (lit. enclosed space): the covered ambulatory around the open court of a monastery; still retained as an adjunct of many English and Spanish cathedrals.

=Close=: the precinct of an English cathedral; survival of the “Garth” or grassy enclosure of a monastery.

=Coffer=: one of the sunken panels of geometrical design, used in the ornamentation of a ceiling, vault or dome.

=Colonnade=: a system or range of columns, surmounted by an entablature. When it entirely surrounds a temple or court it is called a Peristyle. When it is attached to the front of a building it is known as a =Portico= (which see).

=Column=: a vertical member, consisting of a =Shaft=, surmounted by a =Capital= and resting, usually, on a =Base=. Its function is to support, in Classic architecture, an entablature, and in Gothic, an arch.

=Composite=: a Roman Order in which the capital is composed of the upper part of an Ionian Capital and the lower part of a Corinthian.

=Concave=: curving, like the segment of a circle, inward, forming a hollow to the eye of the spectator.

=Concentric=: having a common centre.

=Console=: a supporting block, projecting from a wall, generally decorated; specifically the supports of the cornice over a door or window. See =Modillion=.

=Conventionalisation=: the representing of something in a formal way, generally prescribed by custom. For example, it was neither ignorance nor lack of skill, but a custom, prescribed by the priesthood, that caused Egyptian artists to represent the human figure with head and legs in profile and trunk full front. In decorative design, based on natural objects, the best usage avoids naturalistic representation, and translates the form into a convention, which, however, reproduces and even emphasises the salient features of structure and of growth or movement. Thus, the Greek acanthus ornament actually suggests more energy of growth and more expressiveness of form than the natural plant.

=Convex=: curving, like a segment of a circle, outward or toward the spectator.

=Corbel=: a block of stone, often elaborately carved, which projects from a wall to sustain a weight, especially that of roof-beams, or vaulting shafts. See =Console=.

=Corinthian=: latest order of Hellenic architecture, commenced by the Hellenic architects and fully developed by the Romans.

=Cornice=: specifically, in Classic architecture, the crowning or uppermost member of an entablature; generally, the crowning feature of any wall construction, or doors and windows.

=Coro=: the space screened off for the use of the choir in a Spanish cathedral, situated in the nave, west of the Crossing.

=Corridor=: a wide gallery or passage within a building, usually with rooms opening into it.

=Cortile=: Italian term for interior court, open to the sky and surrounded by arcades.

=Course=: a continuous horizontal layer of stones or bricks. See =Bond=.

=Cove=: specifically, the concave surface that may occur between the top of an interior wall and the flat of the ceiling.

=Crenellated=: fortified with battlements.

=Cromlech=: a prehistoric memorial, composed of stones of huge size, disposed in one or more circles; e.g., Stonehenge.

=Cross=: adopted by the Church in the fourth century as the symbol of Christianity. The separation of the Eastern or Greek Church from the Western or Latin Church, was reflected in the shape of the Cross; the Greek having all its four members equal, while the lower member of the Latin is lengthened.

=Crossing=: the space about the intersection of the two =Axes= (which see) of a church or cathedral, on which the nave, transepts, and chancel abut. Often surmounted by a dome or tower.

=Cruciform=: used of the plan of a church that is based on the form of a cross. Where a Greek cross is followed the nave, choir, and transepts are of about equal length; while if the Roman is the model, the nave is lengthened. See =Cross=.

=Crypt=: vaulted chambers beneath a building, especially beneath the chancel of a church, in which case often used for burial.

=Cupola=: See =Dome=.

=Cusps= (lit. points): one of the points forming the feathering or foliation of Gothic =Tracery=. Frequently ornamented with a carved termination.

=Custodia=: See =Tabernacle=.

=Cyclopean=: of colossal size; derived from Cyclops, a giant of Greek myth.

=Cyma= (pr. Si-mah) (lit. “wave”): the rising and falling curve; a moulding, perfected by the Hellenic sculptors, whose profile combines a convex and a concave curve. When the curve begins in convex and flows into concave, it is known as =Cyma Recta= (Hogarth’s “Line of Beauty”). When the concave precedes the convex, the profile is called =Cyma Reversa=. The latter is also called =Ogee=.

=Cymatium=: the crowning member of a Classic cornice, so called because its profile is a =Cyma Recta= (which see).

=Dado=: the surface of an interior wall, between the base moulding and an upper moulding, placed some distance from the ceiling.

=Decastyle=: See =Portico=.

=Decorated=: used to distinguish the second period of English Gothic (fourteenth century), owing to increased richness of window traceries and other ornamentation. Compare =Rayonnant=.

=Dentil=: one of a series of square, so-called tooth-like, blocks that ornament the cornice in the Ionic and Corinthian Orders.

=Diagonal=: specifically applied to the arches or ribs of a vaulting that are diagonal to the main axis. Compare =Longitudinal=, =Transverse=.

=Dipteral= (lit. “double-winged”): designating a temple that has a double range of columns on each side of the cella. Compare =Pseudo-dipteral=.

=Dolmen=: a prehistoric megalithic monument, composed of single stones set on end or on edge and crowned with a single slab; forming a sepulchral chamber, often embedded in a mound. See =Mastaba=.

=Dome=: a spherical roof, over a circular, square or polygonal space rising like an inverted cup. Hence, when the structure is small, called a =Cupola=.

=Doric=: the earliest and simplest =Order= (which see) of architecture developed on the mainland of Hellas.

=Dormer= (lit. “sleeping”): a window in a roof, usually of a bedroom, often projecting with a gable end.

=Drum=: specifically a cylindrical wall, supporting a dome; used also of a section of the shaft of a column.

=Early English=: first period of English Gothic, evolved during the thirteenth century.

=Eaves=: the edge of a roof projecting beyond the wall.

=Eclecticism=: the practice of combining various elements of style, derived from various sources.

=Echinus=: the cushion-shaped member of the Doric capital, just beneath the =Abacus= (which see). It has an ovolo or egg-shaped profile. Also used of the =Egg and Dart= moulding (which see).

=Egg and Dart=: an ornamental device, composed of an alternate repetition of an egg-shaped form, halved vertically, and a spear head. Used especially on mouldings that have an ovolo or egg-shaped profile.

=Embrasure=: the sloping or bevelling of an opening in a wall, so as to enlarge its interior profile. See also =Battlements=.

=Enamel=: a material composed of pigment and glass, fused and applied in melted state to surfaces of metal, porcelain or pottery, for decorative purposes. See =Mosaics=.

=Encaustic=: a process of painting in which the pigments are dissolved in melted bees-wax and applied hot.

=Engaged Column=: a column that does not stand clear of the wall at the back of it.

=Entablature=: the horizontal member of a classic or columnar order. It rests upon the =Abacus= of the column and consists of a lower, middle, and upper member--the =Architrave=, =Frieze=, and =Cornice=.

=Entasis= (Gk. “Stretching”): a curved deviation from the straight line; specifically, the swell in the profile of the shaft of a Classic column.

=Epinaos=: See =Naos=.

=Exhedra=: a curved recess, usually containing a seat; hence a curved seat of marble or stone.

=Façade=: the outside view or elevation of a building that faces the spectator.

=Fan Vaulting=: See =Rib=.

=Fascia=: one of the flat, vertical faces into which the Architrave of an Ionic or Corinthian Entablature is divided.

=Fenestration= (lat. _fenestra_, window): the distribution of windows and openings in an architectural composition.

=Fillet=: a small flat band, used especially to separate one moulding from another.

=Finial=: the finishing part or top, frequently decorated, of a spire, pinnacle or bench-end. See =Pinnacle=.

=Fitness=: a principle of beauty; that the design of a work of art shall conform to the necessary requirements of its purpose, material and method of making.

=Flamboyant= (“flaming”): used to distinguish the third period of French Gothic (fifteenth century), from the encreased elaboration of the window traceries.

=Fleche=: specifically, a wooden spire surmounting a roof.

=Fluting=: the vertical grooving, used to enrich the shaft of a column or pilaster.

=Flying Buttress=: See =Buttress=.

=Foil=: a leaf-like division in carved ornamentation; especially in the tracery of a Gothic window or the panelling of walls and bench-ends. According to the number of foils included, the design is distinguished as trefoil, quatrefoil, cinquefoil, etc.

=Formeret=: See =Rib=.

=Fresco= (lit. fresh or damp): see =Secco= and =Tempera=; terms used in =Mural Painting= (which see). After the wall had thoroughly dried out, a portion, such as the artist could cover in one day was spread with a thin layer of fine, quick-drying plaster. While the latter was still fresh or damp, the artist, having prepared his drawing or “cartoon,” laid it in place and went over the lines with a blunt instrument, which left the design grooved in the plaster. Then he applied the tempera colours, finishing as he proceeded, for the colour sank into the plaster and rapidly dried with it, so that subsequent touchings up or alterations could only be applied by painting in Secco. As long as the surface of the wall remains intact, the colours are imperishable and retain their vivacity and transparence. They have, too, the appearance of being part of the actual fabric of the wall, as the bloom of colour upon fruit. Thus =Fresco= is the fittest and most beautiful process of mural painted decoration.

=Frieze=: specifically, the middle division of an Entablature, between the Architrave and the Cornice (which see). Also the continuous band of painted or sculptured decoration that crowns an exterior or interior wall.

=Gable=: the upper part of the wall of a building, above the eaves; triangular in shape, conforming to the slope of the roof. Compare the Classic =Pediment=. If the edge of the gable rises in tiers it is distinguished as =Stepped=.

=Gaine= (lit. a sheath): a sculptured decoration of a half-figure, terminating below in a sheath-like pedestal.

=Galilee=: a porch or chapel, sometimes attached to an English Gothic cathedral, usually at the west end. For the use perhaps of penitents. Compare =Narthex=.

=Gambrel=: applied to a roof, the slope of which is bent into an obtuse angle.

=Gesso-work=: a decorative design in =Relief= (which see) executed in fine, hard plaster.

=Gothic= (lit. of, or pertaining to the Goths): a term applied to Mediæval architecture by the Italians of the Renaissance to mark their contempt for what was non-Classic. The term without reproach has been continued to designate the architectural style between the Romanesque and Renaissance, during the thirteenth, fourteenth and fifteenth centuries. The French have tried to substitute the term, =Ogival=. See =Ogee=.

=Grille=: a wrought metal screen of openwork design.

=Grisaille=: a style of painting in greyish tones, in imitation of bas-relief.

=Groin=: the angle or edge at which the surfaces of a cross or groined vault meet. See =Vault=.

=Groined Vault=: See =Vault=.

=Guilloche= (=pr.= =Gil-losh=): an ornament composed of the repeated intertwining of two or more bands; frequently used to decorate a =Torus= (which see).

=Gutta= (lit. “drop”): one of the small truncated cones, attached to the underside of a =Regula= (which see) and the =Mutules= (which see) of a Doric =Entablature=.

=Half-Timbered=: when the construction has a timbered frame, the interstices of which are filled in with masonry or concrete.

=Hammer-beam roof=: late form of timber roof construction, without continuous =Tie Beams= (which see).

=Harmony=: a principle of Beauty, that governs the variety in unity of a work of art, relating all the parts in an accord of feeling.

=Header=: in masonry, a brick or stone, laid across the thickness of the wall. See =Bond=, =Stretcher=.

=Heart-leaf and Dart=: an ornament composed of a heart-or leaf-shaped form and a dart or tongue. Used specifically on Cyma Reversa mouldings.

=Hexastyle=: See =Portico=.

=Hip-roof=: a roof that rises from all the wall-plates and, accordingly, has no gable.

=Honeysuckle=: ornament. See =Anthemion=.

=Hypæthral=: completely or partially open to the sky.

=Hypostyle=: having the roof beams supported on columns.

=Impluvium=: the cistern sunk in the =Atrium= (which see) of a Roman house to receive the rain water.

=Impost=: the member above the capital of a column, on which the arch rests, usually composed of mouldings.

=In Antis=: See =Portico=.

=Ionic=: the order of architecture, developed by the Hellenes of Asia Minor and adjoining islands, and borrowed and modified by the mainland Hellenes.

=Insula=: Roman term for a residential building, housing many families.

=Intercolumniation=: specifically in Classic architecture, the space between any two columns, or between a column and the wall of the =Cella=.

=Interlace=: in decoration, an ornament composed of interwoven bands or lines.

=Jambs=: the side members of the openings of doors and windows.

=Kaaba=: the cube-like shrine in the Mosque of Mecca.

=Keystone=: the central stone of an arch.

=King-Post=: in timber roof-construction; a central post, resting on one of the =Tie-beams= (which see) to support the ridge. See =Queen-Post=.

=Lady-Chapel=: a chapel in an English cathedral, dedicated to the Virgin Mary, usually situated at the back of the altar.

=Lancet=: applied to an arch or window that has a sharply pointed, lance-shaped opening.

=Lantern=: a superstructure that rises above the roof level, open below and admitting light through its sides. Called in Spanish a =Cimborio=.

=Lierne-rib=: See =Rib=.

=Lintel=: the horizontal beam, supported on two uprights or posts, covering an opening and supporting weight, e.g., the top member of the frame of a doorway or window.

=Loggia=: a covered gallery, open to the air on one or more sides.

=Longitudinal=: parallel to the direction of the main axis. Specifically applied to the arches and ribs of the vaulting of a nave or aisle in the direction East or West. Compare =Diagonal= and =Transverse=.

=Louver=: a lantern-like cupola on the roof of a mediæval building, originally the flue for smoke from the fire in the centre of the hall.

=Lunette=: a space somewhat resembling a half-moon, with the curve uppermost. Especially the wall-space, enclosed by the ends of a barrel-vault; or by the wall-arch of a groined or rib vault.

=Lych-Gate= (lit. “corpse-gate”): covered gateway at entrance to a churchyard, where the coffin rests during the first portion of the burial service.

=Machicolation=: the opening between a wall and a parapet, when the latter is built out on =Corbels= (which see). Through it missiles or burning liquids could be showered upon assailants.

=Mansard= or =Mansart=: applied to roofs which have a hip or angle--instead of a continuous slope--on all four sides. Named after the French architect who popularised, though he did not invent, it.

=Mastaba=: an Egyptian tomb, so-called from its construction resembling the ordinary Egyptian bench, which is composed of a horizontal board, supported upon boards that slope inward toward the seat.

=Mausoleum= (mō-so-lée-um): tomb of more than ordinary size and architectural pretensions. So called from the tomb erected at Halicarnassus in 325 B.C. , in memory of Mausolus, King of Caria, by his widow, Artemisia.

=Megalith= (lit. huge stone): =Megalithic=, composed of such. See =Cyclopean=.

=Megaron=: Homeric word for palace or large hall.

=Member= (lit. limb): any component part of a structural design that has a specific function to perform.

=Menhir=: a prehistoric monument, consisting of a single rough or rudely shaped stone, usually of large size (megalithic); perhaps originally connected with fetish worship, to ward off evil spirits; then as a memorial of a dead chieftain or a victory. The prototype of the =Obelisk=.

=Merlons=: See =Battlements=.

=Metope=: the space between any two of the =Triglyphs= (which see) of a Doric =Frieze=. Originally left open, later filled and often with sculptured relief.

=Mezzanine=: a low story situated between two higher ones.

=Mihrab=: a niche in the wall of a mosque that marks the “Kibleh,” or direction toward the =Kaaba= (which see) at Mecca.

=Minaret=: the tall slender tower, attached to a Mosque, from a balcony of which the muezzin summons the people to prayer.

=Modillions=: the decorated blocks ranged under the Cornice of a Corinthian or Composite =Entablature=.

=Monolith= (lit. single stone): usually of large size. =Monolithic=, composed of such.

=Mosaic= (lit. belonging to the muses, the goddesses of the arts): decorative designs composed of particles, usually cube-shaped, of marble, stone, glass or enamel, used to enrich the surfaces of vaults, walls and floors. See =Opus=.

=Motive=: in decoration, the form on which the ornament is based; e.g., the acanthus motive.

=Mullion=: one of the vertical stone bars dividing a Gothic window into two or more “lights.” Also one of the bars of a =Rose-Window= (which see). The horizontal bars are called =Transoms=.

=Mural=: of or pertaining to a wall; e.g., a mural decoration. See =Secco=, =Fresco=.

=Mutule=: one of a series of rectangular blocks under the =Cornice= of a Doric =Entablature=, studded on the underside with =Guttæ= (which see).

=Naos=: the principal chamber of an Hellenic temple, containing the statue of the deity. Entered from the front through an unwalled vestibule, called the Pronaos and from the rear by a corresponding vestibule, called Epinaos or Opisthodomos.

=Narthex=: the arcaded porch of a Christian basilica, where penitents, barred from full communion, worshipped. See =Galilee=.

=Nave= (from =Naos=, which see): central division of a church or cathedral; usually west of the choir.

=Necking=: the hollowed surface between the =Astragal= (which see) of the shaft and the commencement of the capital; specifically of a Roman Doric column.

=Necropolis=: city of the dead: an assemblage of graves or tombs.

=Newel Post=: the shaft around which a spiral staircase is constructed; also the principal post supporting the handrail of a staircase.

=Norman=: the style in England, preceding Early English: corresponding to Romanesque on the Continent.

=Nymphæum= (consecrated to the nymphs): a building containing ornamental water, plants and statuary.

=Octastyle=: See =Portico=.

=Ogee= (pr. O-jée): another term for the =Cyma Reversa=. See =Cyma=.

=Ogival=: term applied to the Pointed Arch, because it is composed of two contrasted curves. Owing to this arch being characteristic of the Gothic style, the French have proposed to call the latter =Ogival=.

=Open Arcades=: See =Arcades=.

=Opisthodomos= (Gk. “room behind”): same as =Epinaos=. See =Naos=.

=Opus reticulatum= (lit. “net work”): a veneering composed of equal square slabs, arranged so that their joints are diagonal and form a net-like mesh.

=Opus Sectile= (lit. “Cut-work”): a mosaic ornament, composed of glass or marble, cut into various shapes to form a pattern. The richest variety of it is known as =Opus Alexandrinum=.

=Opus Spicatum=: pavement composed of bricks laid in “herring-bone” fashion.

=Opus tesselatum=: a mosaic ornament composed of tesseræ or square blocks of glass or marble.

=Order=: specifically, in Classic architecture, the combination of =Column= and =Entablature=.

=Organic=: primarily used of the structures of animals and plants; secondarily, of any organised, whole, composed of parts that perform definite functions; always in this book with an implication that the relation between the whole and its parts partakes of the nature of a living, as opposed to a mechanical, structure.

=Oriel-window=: See =Bay-window=.

=Orientation=: the construction of a temple or church on a main axis, regulated to the position of the sun or a star on some particular day or night; or to the points of the compass, usually an east and west axis.

=Ovolo= (lit. “egg-like”): a Classic convex moulding--a quarter-round in Roman architecture; in Hellenic, the curve of conic section known as hyperbolic.

=Palmette=: See =Anthemion=.

=Papier-maché=: a tough plastic substance, formed of paper-pulp, mixed with glue, or of layers of paper, glued together; and modelled into ornamental forms.

=Parapet=: specifically, the portion of the wall of a building above the eaves of the roof. Generally, a retaining wall, or enclosing wall, e.g., the walls of a bridge, above the roadway.

=Patio=: the open, inner court of a Spanish or Spanish-American house.

=Pavilion=: specifically, a section of a building that projects from the plane of the main façade and has a distinct roof treatment.

=Pediment=: specifically, the triangular member surmounting the =Portico= of a Classic temple. It rests on the Entablature and terminates on each side in a raking Cornice, paralleling the slope of the roof. In Renaissance and later times, a triangular surface, framed by a horizontal and two sloping cornices, e.g., the embellishment surmounting windows and doors. The triangular space within the horizontal and raking cornices is called a =Tympanum= and is frequently decorated with sculptured figures or ornament. =Tympanum= is also used for the surface between a lintel and the _curved_ cornice over it.

=Pendentive=: one of the four triangular, concave members that convert a square space into a circle for the support of a dome. Their apexes rest on the four piers at the angles of the square, and, as the triangles arch inward, their bases unite in a circle.

=Peripteral= (lit. “winged-around”): designating a temple, when the cella is surrounded by a single range of columns. Compare =Pseudo-peripteral=.

=Peristyle=: a system or range of Columns, specifically surrounding a temple or court. See =Colonnade=.

=Piano nobile=: Italian term for the principal story of a building. Compare French =Bel Étage=.

=Pier=: a vertical supporting member, other than a column or pillar.

=Pilaster=: a square column, projecting about one-sixth of its width from the wall, and of the same proportions as the Order with which it is used.

=Pinnacle=: a small turret-like termination; especially at the top of buttresses to increase their weight and capacity of lateral resistance.

=Plate Tracery=: See =Tracery=.

=Plinth=: specifically, a block, usually square, which forms the lowest member of the base of a column. Generally, the block on which a column, pedestal or statue rests.

=Podium=: a wall supporting a row of columns; specifically, in Roman architecture, the temple platform that does not project beyond the line of the columns as does a =Stylobate= (which see).

=Polygonal=: a figure composed of more than four angles, of equal size.

=Porte-cochère= (pr. port´-co-share´): a covered entrance, under which a carriage can be driven.

=Portico=: an open space or ambulatory covered by a roof, supported on columns, forming a porch. In Classic temples the front of the portico consists of =Columns=, =Entablature=, and =Pediment=, covered by the extension of the roof of the =Cella=. According as the =Portico= has four, six, eight or ten columns in front the temple is distinguished as Tetrastyle, Hexastyle, Octostyle or Decastyle. When the Portico is enclosed on the left and right by an extension of the sides of the Cella it is distinguished as “=In Antis=.”

=Post=: an upright supporting member, as of a door. An element in the principle of construction known as Post and Beam.

=Post= and =Beam=: generic term for the constructive principle of a horizontal member, supported upon vertical ones.

=Posticum= (Latin for =Epinaos=): See =Naos=.

=Pot Metal=: glass fused in a crucible.

=Pozzolana=: a clean, sandy earth, of volcanic origin, used by the Romans in combination with lime to form concrete.

=Profile=: specifically, the outer edge of the section of a moulding.

=Projection=: a general term for any member that extends beyond the main planes of a structure, especially used of mouldings.

=Pronaos=: See =Naos=.

=Proportion=: a principle of Beauty, that regulates the quantity and quality of the parts of a work of art according to their functional importance in the organic unity of the whole.

=Propylæa=: the entrance gate or vestibule to a group of buildings.

=Proscenium= (lit. “before the scene” [skene]): in the Classic theatre a structure, occupying the open end of the horse-shoe plan, to screen from view the “skene” or actor’s dressing-place. It formed the background to the Drama.

=Prostyle= (lit. “having columns in front”): used to describe a temple plan that has a =Portico= at only one of its ends. Compare =Amphi-prostyle=.

=Prototype=: the primitive, rude, original form, out of which finer and more efficient types have been developed.

=Pseudo-dipteral= (lit. “false-double-winged”): when the temple appears to have a double row of columns on the sides, but the inner range is omitted and the space between the columns and wall of the =Cella= is thereby double the usual =Intercolumniation= (which see).

=Pseudo-peripteral= (lit. “false-winged-around”); when the columns on the sides of a temple, instead of standing free, are =Engaged= (which see) in the wall of the =Cella=.

=Pteroma= (pr. ter-ō´-ma): pl. pteromata: term applied to the side walls of a Cella; hence, sometimes to the space between the latter and the columns of the Peristyle.

=Pylon=: a doorway, flanked by two Truncated Pyramids with oblong bases. See =Pyramid=.

=Pyramid=: a structure of =masonry=, generally with a square base, with triangular sides meeting at an apex. When the sides mount in steps it is distinguished as a =Stepped Pyramid=. When the sides end abruptly, before reaching the apex, it is called a =Truncated Pyramid=.

=Quadriga=: a four horse chariot.

=Quatrefoil=: See =Foil=.

=Quatrocento=: Italian term for the period called in English the fifteenth century.

=Queen-Post=: in timbered roof construction, one of the two posts resting on one of the =Tie-beams=, at equal distance from the centre, to reinforce the rafters. See =King-Post=.

=Quoin=: specifically, one of the large, square stones at the =angle= (coign) of a building.

=Ramp=: an inclined approach to a terrace or platform, usually parallel to the sustaining wall of the latter.

=Rayonnant=: (“radiating”): used to distinguish the second period of French Gothic (Fourteenth Century); from the characteristic radiating or “wheel” tracery of the rose-windows. Compare “=Decorated=.”

=Refinements=: a term applied to the instances in Hellenic, Byzantine, and Gothic architecture of deviations from geometrical symmetry, to secure a more flowing, rhythmic beauty. See =Asymmetries=.

=Regula=: one of a series of short, flat fillets placed under the =Tenia= (which see) of a Doric =Architrave=, above each of the =Triglyphs= (which see); usually having six =Guttæ= (which see) on the under side.

=Reja= (pr. rā-hah): Spanish term for an elaborate grille or screen of hammered and chiselled iron, characteristic of which were _repoussé_ figures set into or attached to the vertical bars.

=Relief=: a design of ornament or figures _raised_ upon a surface that forms the background; distinguished, according to the extent of projection, as =High= or =Low=; in both cases distinguished from modelling or carving “in the round” where the design, is detached from the background; and from =Intaglio=, where the design is sunk below the surface.

=Renaissance=: the period of the fifteenth and sixteenth centuries in which the Classic culture and the Classic forms were revived in Europe.

=Reredos= (pr. rir´-dos): a screen behind an altar, usually of marble, decorated with sculptured ornament and figures. Called =Retablo= in Spain, where examples reach prodigious size and great elaboration.

=Retablo=: Spanish for =Reredos= (which see).

=Retrochoir=: the space, other than that of the Lady Chapel behind the altar.

=Rhythm=: primarily used to describe the harmonious recurrence of certain sound-relations in musical and poetic compositions; a movement of sound characterised by recurrence of stress and accent. It is based on time, but eludes the measured repetition of the bar and metre. Hence a relation of lines and masses, characterised by harmonious recurrence of stress or accent. Not a repetition of measured intervals and identical parts, but of general similarities, involving variety, uniting in closest relationship the parts of an organic design to one another and to the whole. Rhythm is the subtlest element of artistic harmony and yet is nearest to the free growth and articulations of nature.

=Rib=: a projecting band or moulding on a ceiling. Specifically, the projecting members of Gothic vaulting. These were first constructed--probably with the support of a =Cerce= (which see) as light arches, which then formed the support of the intervening masonry surfaces. The Ribs which parallel the axis of the nave are called =Longitudinal=, those which cross it from column to column at right angles are called =Transverse=, while those crossing the axis diagonally are called =Diagonal=. Sometimes, especially in English Gothic, to strengthen the vault, extra ribs, known as =Tiercerons=, were inserted between the main ribs. They spring from the =Impost= (which see) and abut on an extra ridge, projecting along the axial line, known as the =Ridge-Rib=. The vaulting, thus formed by the tiercerons radiating from the Impost is called =Fan Vaulting=. Sometimes, for additional strength and to increase the decorativeness, short intermediate ribs were introduced, which are known as =Liernes=, their distinction being that they do _not_ connect with the Impost. When the geometrical pattern, made by the Liernes, resembles a star the vaulting is distinguished as =Stellar Vaulting=. Sometimes a vertical rib, known as a =Formeret=, was applied to the wall to separate one vault compartment from another.

=Rib Vault=: See =Vault=.

=Ridge=: the highest point or line of a roof.

=Ridge Rib=: See =Rib=.

=Rococo=: style of decoration, distinguished by rock-work, shells, scrolls, etc., which originated in France during the period of the Regency and Louis XV.

=Rood-loft=: a gallery over the entrance to the chancel, in which stood a cross or rood. Used for reading portions of the service and also in the performance of miracle plays.

=Rose-window= or =Wheel-window=: a circular window, whose =Mullions= (which see) converge toward the centre.

=Rostral Column=: a column decorated with imitations of the prows (rostra) of vessels; used by the Romans to commemorate a naval victory.

=Rubble=: Rubblework: masonry composed of irregularly shaped or broken stone, whether mixed or not with cement; also the fragments of stone, mixed with cement, used to fill in the thickness of a wall, between the two faces of dressed stone.

=Rustication=: treatment of masonry with deeply recessed joints, grooved or beveled; the surface of the stone is sometimes made rough.

=Scotia=: a concave moulding, frequently used in the base of Classic columns.

=Screen=: a partition of wood, metal, marble, or stone, separating the choir from the nave. Latin _cancellus_; hence by corruption the English term, Chancel.

=Secco= (lit. “dry”): as contrasted with =Fresco= (which see), “fresh or wet.” Terms used in connection with =Tempera= painting (which see) according as the surface of plaster be dry or freshly spread at the time the colour is applied.

=Section=: a drawing showing a building or part of a building, as it would appear if it were cut through vertically, and the part between the plane of section and the spectator’s eye were removed.

=Serdab=: the cell within an Egyptian tomb, in which images of the deceased were placed.

=Sexpartite=: applied to vaults, divided into six compartments. In Romanesque churches, owing to the short intercolumniation, the bays were oblong. Hence for convenience of construction two were treated together as a square. Sometimes from the intermediate columns a transverse shafting was constructed, which together with the diagonals divided the square into six divisions.

=Shaft=: the main member of a Column between the Capital and (where there is one) the Base.

=Soffit=: the under side of an entablature, lintel, cornice, or arch.

=Solar=: a private upper chamber for the use of the family, in a Mediæval Castle.

=Spandril= or =Spandrel=: the triangular space on each side of an arch that is enclosed in a rectangle.

=Sphinx=: a winged monster, combining human and animal forms.

=Spire=: the pointed termination to a tower. See =Steeple=.

=Squinch=: a small arch, set diagonally across the angle of a square space to transform the latter into an octagon.

=Stalls=: the fixed seats in a chancel for the clergy and choir.

=Stanza=: Italian for Chamber.

=Steeple=: the combination of tower and Spire. See =Spire=.

=Stele=: =Stela=: an upright tablet of stone or marble, often sculptured and engraved; serving as a tombstone, or boundary mark or milestone, etc.

=Stellar Vaulting=: See =Rib=.

=Stepped=: See =Gable=; =Pyramid=.

=Stilted=: applied to an arch when its curve begins some distance above the impost and is connected to the latter by vertical sections of moulding.

=Strap Ornament=: geometrical patterns formed of bands, that suggest straps of leather kept in place with studs.

=Stretcher=: in masonry, a brick or stone, laid lengthwise of the course. See =Bond=, =Header=.

=Stucco=: specifically, a plaster made of gypsum, powdered marble or fine sand, mixed with water; used for wall surfaces and raised ornament; generally, any plaster or cement used for external coating.

=Stylobate= (lit. “column-stand”): in Classic Architecture, a continuous base supporting columns; specifically, the platform on which a Greek temple is raised. Compare =Podium=.

=Tabernacle=: a structure to contain the “Host” or consecrated Bread; resembling a tower or spire and elaborately embellished with windows, mouldings, pinnacles, etc., often rising to a great height--90 feet in the Cathedral of Ulm. A feature of German decorative art. Appears in Spanish Gothic under the name of =Custodia=.

=Temenos=: the sacred enclosure or precinct of a Greek temple or group of temples.

=Tempera= painting or painting in distemper: the process of painting on a ground, usually prepared with a coat of fine plaster, with pigments that are mixed with yolk of egg or some other glutinous medium and are soluble in water. The method employed for all paintings before the development of the oil medium in the fifteenth century; and continued in use by the Italian mural decorators. See =Fresco=, =Secco=.

=Tenia= or =Tænia=: the flat fillet or band, forming the upper member of a Doric =Architrave= (which see).

=Terminal=: applied to posts, originally used to mark boundaries. Made of marble, with a head and bust or half figure, surmounting the pedestal, it is used as a garden ornament.

=Terrace=: a raised level space or platform, sustained by walls or sloping banks, usually approached from below by a flight of steps or =Ramp= (which see).

=Terra-cotta=: a species of hard clay, moulded and baked: especially used in ornamentation.

=Tessera=: a cube of glass or marble used in =Mosaic= decoration (which see).

=Tetrastyle=: See =Portico=.

=Tholos=: a building of the beehive type, circular in plan, with a domed roof.

=Thrust=: a strain that tends to push the downward pressure toward the sides; as in the case of an arch.

=Tie-Beam=: in timber roof construction, the transverse beam that ties together the lower part of opposite rafters.

=Tierceron-rib=: See =Rib=.

=Tile=: a thin piece of terra-cotta, stone, or marble for the external covering of roofs.

=Torus=: a large convex (usually semi-circular) moulding used especially in bases of columns. See =Astragal=.

=Trabeated=: having a horizontal Beam or Entablature.

=Tracery=: the pattern of stonework that fills the upper part of a Gothic window. Distinguished as =Plate Tracery=, where the tracery looks as if it were pierced in a single plate or slab of stone; =Bar Tracery=, when composed in an arrangement of geometric designs. The German imitation of branches is known as =Branch Tracery=.

=Transepts=: the parts of a church or cathedral that project at right angles to the nave and choir, forming the arms of the Cross in a =Cruciform= (which see) plan.

=Transom=: See =Mullion=.

=Transverse=: at right angles to the main axis. Specifically applied to the arches and ribs of the vaulting of a nave or aisle that are in the directions of north and south. Compare =Longitudinal= and =Diagonal=.

=Travertine=: a hard limestone found in Tivoli.

=Trefoil=: See =Foil=.

=Triclinium=: dining room of a Roman house.

=Triforium=: the arcaded passage above the arches of the nave of a Gothic cathedral, opening into the space between the vaulting and roof of the aisle.

=Truncated=: finishing abruptly instead of in a point. See =Pyramid=.

=Tufa=: a volcanic substance of which the hills of Rome are largely composed.

=Tumulus=: a prehistoric artificial mound, serving as a sepulchral monument.

=Tympanum=: See =Pediment=.

=Unity=: a principle of Beauty, that the work of art shall present an organic oneness and completeness.

=Vault=: an arched covering of stone, brick or concrete over any space. =Barrel vault=: a continuous semicircular arched covering over an oblong space, supported on the side walls. =Groined vault=: a vault formed by the intersection of two barrel vaults, at right angles to each other, supported on four corner columns or piers. =Rib vault=: a development of the groin vault, the groins being replaced by ribs or profiled bands of masonry, which are erected first, the vaulting spaces being filled in subsequently.

=Vestibule=: the walled space before the entrance to a Roman house; later an enclosed or partially enclosed entrance space beneath the roof of an early Christian church; generally, the entrance space of any building, especially, if used for public assemblage.

=Volute=: the scroll or spiral feature occurring in a capital of the Ionic and Corinthian Orders.

=Voussoir=: one of the wedge-shaped stones, composing the curve of an arch.

=Wainscot=: the lining or panelling of an interior wall, skirting the floor and carried up to only a part of the height of the wall.

=Wheel window=: See =Rose-window=.

=Ziggurat=: (a “holy mountain”): the platform usually =Stepped= or rising in receding tiers, on which the Chaldæans erected a temple; they were also used for astronomical observations.

INDEX

(For the Compilation of which the author is indebted to CAROLINE CAFFIN)

A

Abacus (Gloss.), 42 Corinthian, 132, 165 Doric, 125 English Gothic, 291, 294 Ionic, 129 at Mycenæ, 99 Romanesque, 245

Abelard, 331

Abury, monument at, 17

Abutment (Gloss.), 284

Abydos, tomb at, 42 Temple at, 53

Acanthus (Gloss.), in ornament, 132, 164, 165, 171

Achæan migrations, 91, 105

Acropolis (Gloss.): of Athens, 108, 119, 141 Athene Nike, 141 Erechtheion, 141 Odeion of Herodes Atticus, 145 Odeion of Pericles, 145 the Parthenon, 119 Propylæa, the, 141 Theatre of Dionysos, 143 Mycenæ, of, 100

Acroteria (Gloss.), 127 on Parthenon, 137

Ægean, civilisation, 88 et seq. Islands of, 89, 90, 91, 92, 95

Æolian, migrations, 91, 105

Æsthetic (Gloss.), defined, 3, 4, 5

Africa, Mediterranean race in, 95 Muhammedans in, 215, 220 Romans, in, 150

Agrippa, erects Pantheon, 171

Aix-la-Chapelle, Charlemagne’s capital, 192 Cathedral at, 258 Church at, 207

Akkadia, race, 56, 57, 58

Alberti, author of “De Re Ædificatoria,” 344, 345

Alcove (Gloss.), in English galleries, 417 in temple of Hera, 118

Alexander the Great, in Egypt, 37 in Macedonia, 109 in Persia, 25, 76

Alhambra, 218, 226-7

Almshouses, 299

Altars, of the Dorians, 117 Early Christian, 194-5 Escoriál, Church in, 404 Granada Cathedral, 401 Greek drama, 142 Minoan Palace, 101 Persia, 81, 83 Stonehenge, 16

Altun Obu, Sepulchre of, 14

Ambo (pl) ambones (Gloss.), 195

Ambulatory (Gloss.), 242 Gothic, 289, 303 S. Paul’s Cathedral, 420

Amenopheum, the, 45

American Institute of Architects, 462

Amphi-prostyle--stylar (Gloss.), 120

Amphitheatres, 173, 174, 175

Anglo-Classical, 435, 436

Anglo-Saxon architecture, 254, 255, 289

Annula (Gloss.), 125

Antæ (Gloss.) 120, 125, 165 in Parthenon, 137

Ante-fixæ (Gloss.), 127

“Antiquities in Athens” by Stuart and Revett, 436, 439

Apse (Gloss.), origin of, 177 replaced by Chancel, 237 in Cathedrals of Granada, 401 Monreale, Palermo, 249 Pisa, 247 S. Paul’s, 420 Worms, 258 Churches of The Apostles, Cologne, 259 Early Christian Churches, 195, 198, 200, 201 Romanesque churches, 244 Santiago de Compostello, 260 S. Cunibert, Cologne, 259 S. Maria-in-Capitol, Cologne, 259 S. Martin, Cologne, 259 Turkish Mosques, 228

Apteral (Gloss.), 141

Aqueducts, 182 Agua Claudia, 183 Anio Novus, 183 Pont du Gard, Nîmes, 183

Arab alliance with Moors, 226, 227

Arcades (Gloss.), in Akbar, mosque of, 230 Alhambra, the, 226 Amiens, cathedral of, 282-3 Amru, Mosque of, 223 Antwerp City Hall, 407 Bremen City Hall, 395 Brunelleschi’s, 343 Chambord, 381 Cordova, Mosque of, 224, 225 Diocletian, Palace of, 195 Doge’s Palace, 316 English Gothic, 289 Iffley Church, 257 Ispahan, Great Mosque of, 229 Library of S. Mark’s, 365 Liège, Palais de Justice, 406 Mecca, Great Mosque, 221 Mosques, 217, 221-223 Nôtre Dame, Paris, 282-3 Palladian style, 352 Patios, 400 Pavia, S. Michele’s, 251 Romanesque, 244, 245, 253 S. Paul’s Covent Garden, 419 S. Peter’s, 194 S. Sophia’s 208 S. Sulpice, 389 Syria, Early Christian Churches, 200 Worms, Cathedral, 258 Asymmetries in, 280

Arcade, blind, 244, 247, 259

Arcades, type in windows, 360, 362

Arch (Gloss.): Anglo-Saxon use of, 255 Assyrian use of, 69 Basis of design, 202 Bridges, use in, 182 Byzantine use of, 202 Delos, at, 15 Domes, built on, 205-6 Egypt, use in, 42 English Renaissance, 420 Etruria, use in, 156 Four-centre arches, 290, 410 Gothic, 270, 284 English, 298 Italian, 310 Horseshoe, 229 Mediæval, 252 Muhammedan, 221, 224, 230 Norman, 255-6 Palace of Diocletian, in, 195 Pointed, 272, 252 Roman use of, 156, 166, 174 Romanesque, use in, 245, 249, 250 Spanish, 260 Rudimentary arch, 14-15 Single stone, 199 Stilted, 245 Triumphal, 5 Arc de l’Étoile, 443 Arc de Triomphe, 443 Constantine, of, 159-178 Early Christian churches, 196 Janus, of, 159 Mantua, at, 368 Orange, at, 178 Septimus Severus, of, 161, 178 Temple Bar, 423 Titus, 5, 159, 178

Architects (Gloss.): Abadie, Paul, 452 Adam, James, 428 Adam, Robert, 428, 429, 430 Alberti, Leo Battista, 344, 345, 368 Alessi, Galeazzo, 356 Anthemius of Tralles, 208 Arnolfo di Cambio, 315, 340, 355 Ascher, Benjamin, 431 Ballu, Theodore, 452 Barry, Sir Charles, 439, 450, 451 Basevi, George, 438 Bautista, Juan da, 404 Benci di Cione, 315 Benedetto da Rovezzano, 411 Bernini, Lorenzo, 371, 373, 386, 419 Berruguete, Alonzo, 402, 405 Boromini, Francesco, 351 Borset, François, 406 Brunelleschi, Filippo, 342-344, 367, 373 Bulfinch, Charles, 446, 448 Buon, Bartolommeo, 353, 360 Buon, Giovanni, 353, 360 Buonarotti, Michelangelo, 346, 349, 350, 363-365, 371-373, 397, 405 Burlington, Lord, 352, 426 Butterfield, William, 452 Chambers, Sir William, 427 Clerisseau, C. L., 428 Colombe, Michel, 376 Covarrubias, Alonso de, 400 Cram, Ralph Adam, 366, 453 Cram, Goodhue and Ferguson, 453 Cronoca, 345 De l’Orme, Philibert, 383 De Vriendt, Cornelius, (Floris), 407 Diego da Siloe, 400, 401 Duban, Felix, 444 Elmes, H. L., 438 Enrique de Egas, 399, 400 Fontana, Domenico, 371 Garnier, Charles, 444 Giacomo della Porta, 371 Giacondo, Fra, 371 Gibbs, James, 423, 430 Giotto di Bondone, 312 Giulio Romano, 347 Hansen, Theophil, 440 Hawksmoor, Nicholas, 423 Herrera, Juan de, 402, 404 Hoban, James, 446 Hunt, Richard Morris, 461, 462 Inwood, H. W., 436 Isidorus of Miletus, 208 John of Padua, 411 Jones, Inigo, 416, 418, 427 Klenze, Leo von, 440 Labrouste, Henri, 444 Latrobe, B. H., 446 Le Breton, Gilles, 382 Lefuel, Hector, 444 Lemercier, Jacques, 385, 387 L’Enfant, Pierre Charles, 445 Le Nôtre, 387 Lescot, Pierre, 382, 383, 386, 444 Levau, 387 Lombardi, Antonio, 353, 354 Lombardi, Martino, 353 Lombardi, Moro, 353 Lombardi, Pietro, 353 Lombardi, Tullio, 353 Longhena, Baldassare, 355, 366 Machuca, Pedro, 402 Maderna, Carlo, 371 Mangin, 448 Mansart, François, 385, 387 Mansart, Jules Hardouin, 387 Michelozzi, Michelozzo, 344, 358 Mills, Robert, 446 Mnesicles, 141 Nepveu, Pierre Le, 381 Palladio, Andrea, 351, 368 and 369, 418, 426, 427 Pearson, J. L., 452 Perrault, Claude, 386 Peruzzi, Baldassare, 347, 348, 371 Pisano, Andrea, 312, 319, 340 Pisano, Giovanni, 312 Porter, Arthur Kingsley, 243 Pugin, Augustus Wild, 450, 453 Raphael, 346, 347, 348, 371 Renwick, James, 452 Richardson, Henry Hobson, 461, 462 Sammichele, Michele, 355 Sangallo, Antonio da, (the Elder), 371 Sangallo, Antonio da (the Younger), 371-373, 347, 348 Sansovino, Jacopo da, 354, 363, 365 Scamozzi, Vicenzo, 352, 355 Schinkel, Friederich, 440 Scott, Sir, Gilbert, 451 Serlio, 413 Servandoni, 389 Shaw, Norman, 460 Shute, John, 413 Smirke, Sir Robert, 438 Soane, John, 438 Soufflot, J. J., 442 Street, G. E., 451 Stühler, 440 Talenti, Simone di, 315 Thornton, William, 446 Thorpe, John, 414 Town, Ithiel, 431 Vanbrugh, Sir John, 425 Vigarni di Borgoña, 401 Vignola, Giacomo Barozzi da, 348, 368, 369 Viollet-Le-Duc, E. M., 444 Visconti, Louis, 444 Waterhouse, Alfred, 452 Wilkins, William, 438 Wren, Sir Christopher, 401, 419-423

Architect and Engineer, 477

Architecture, defined, 5 (Gloss.): Influence of Monks on, 237 Need of public appreciation, 455 Opportunity at Chicago’s World Fair, 465 Relation to life, 7, 9, 25, 456-9, 472, 478

Architrave (Gloss.), Asymmetries in, 137 Byzantine impost, 204 Corinthian entablature, in, 165 Doric entablature, in, 126, 135 Ionic entablature, in, 129 and 130 Roman use of, 164 Windows, 359-360

Archivolt (Gloss.), 203

Argolis, 88, 98

Ariosto, 329, 341

Aristotle, 439

Armada, Spanish, 336

Arris (Gloss.), 124

Artaxerxes II, III, 76 tomb of, 82

Aryan race, the, 74

Assyria, Architecture, 65-73 Astronomy and Astrology of, 64 Asurbanipal, 61 Civilisation of, 56, et seq. Conquest of Judea, 60 Conquest by Nabopolassar, 61 Culture, 63 Growth of power, 59 Junction with Babylonia, 59 Records of, 57 Tiglath-Pileser, 59

Astragal (Gloss.), 129

Astylar (Gloss.), 361, 439

Asymmetries (Gloss.), in Egyptian architecture, 43 Gothic, 278-80 Hellenic, 136, 137, 207 Mason’s errors, not, 129 Pisa, at, 247-9

Athena Polias, 141

Atrium (Gloss.), in S. Ambrogio, Milan, 250 S. Paul-without-the-wall, 196 S. Peter’s, 194 S. Sophia, 209

Attic (Gloss.), 179 Louvre, in, 384-5 S. Peter’s, in, 372

Attica, Architectural remains in, 89

Augustine foundations including Cathedrals, 288

Avebury, _see_ Abury

Aztecs, structures of the, 19

B

Babylonia, Architecture, 65 _et. seq._ Babylon described, 61 Civilisation, 56 _et seq._ Conquered by Assyrians, 59 Empire joined to Assyrian, 61, 65 Gardens, 62 God Marduk, 59 Records of, 57 Sculpture, 63

Balconies, on Minarets, 222, 223 Muhammedan use of, 218 Netherlandish Gothic, 367 Palaces of the Capitol, 365 Vendramini Palaces, 361

Baldachino (Gloss.), in Early Christian churches, 194 S. Peter’s, Rome, 371

Ball and Cross, Dome of Escoriál, 404 S. Paul’s on, 422

Balustrade (Gloss.), 364 Burgos, Golden Staircase, of, 400 Château de Blois, in, 380 English Renaissance, 414, 427

Bank of England, 438

Baptistries, of Florence, 197, 311 Pisa, 247, 248 Ravenna, 201 S. John Lateran, 198

Baroque style (Gloss.), 338, 350-1, 355

Barrows (Gloss.), 13, 14, 16

Bar Tracery (Gloss.), 275, 354, 355

Base (Gloss.), of columns, 123 Corinthian, 131 Ionic, 128 Minarets of, 222 Parthenon, in, 442 Roman use, 164

Basilicas (Gloss.), origin of, 159, 177 Æmilia, of, 160, 177 Amiens, at, 281 Augustus’s, Palace, in, 179 Byzantine, 205 Cluny, in Benedictine Abbey of, 253 Constantine, of, (or Maxentius), 177, 371, 372 Early Christian churches, 193 Florence, in, 343 Fulvia, of, 177 Italy, in Southern, 246 Julia, of, 160, 177 Mediæval, 352 Monks develop plan to cruciform, 237-40 Nôtre Dame, Paris, 281 Porcia, of, 177 S. Peter’s, Rome, 371 Sicily, in, 249 Ulpia, of, 177-8-9

Baths, of Agrippa, 176 Brunelleschi, studied by, 342 Caracalla, of, 176 Commodus, of, 176 Constantine, of, 176 Diocletian, of, 176 Domitian, of, 176 Minoan, 93, 96-7-8, 101 Nero, of, 176 Roman, 176, 439 Titus, of, 176 Zeus, in temple of, 111

Batter (Gloss.), Assyria, in, 66, 68 Egypt, 41, 47 Giralda, in, 225 Renaissance, in, 378, 414 Sargon’s Castle, 68

Bays (Gloss.), in vaulting, 167, 178, 242, 250 Front of buildings, 303, 372 Windows, 417, 418

Bead and Spool ornament (Gloss.), 130, 132, 134

Beams, Cross, 296 English Renaissance ceilings, in, 417 German Renaissance, use in, 393 Hammer, 297 Tie, 221

Beautiful Arts, the, 3

Beauty (Gloss.), feeling for, 37, 95, 469 Campanile in Florence, in, 313 Chicago World’s Fair, 465, 466 Difference between German and Italian, 328 Domestic Architecture, in, 469 Gallic, 333 Hellenic, 112, 113 Moorish and Saracenic, 226 Renaissance, 373 Roman, 113

Beaux Arts, École de, 379, 461-3-464, 465

Bee-hive construction, Tombs, 15, 89, 99 Dwellings, 46

Bel étage (Gloss.), 383-4

Belfries (Gloss.), 254 Netherlands, in, 307

Belgium, _see_ Netherlands

Bema (Gloss.), _see_ Sanctuary

Benedictine Foundations including Cathedrals, 288

Billets, Norman, decoration, in, 255

Bingham, Professor Hiram, ruins discovered by, 19

Black Stone, the, 214, 221

Boccaccio, 325, 331, 341, 376

Books of Design, in English Renaissance, 413, 414, 417 “Antiquities of Rome,” Palladio, 427 “Cathedral Antiquities,” John Britton and Thomas Rickman, 450 “Chief Grounds of Architecture,” John Shute, 413 “De Re Ædificatoria,” Alberti, 345 “Designs for Chinese Architecture,” William Chambers, 427 “Five orders of Architecture,” Vignola, 349 “Five Orders of Architecture,” Sammichele, 355 “Four Books of Architecture,” Palladio, 351 “Gothic Quest, The,” Ralph Adams Cram, 300, 453 “History of Art,” Winckelmann, 436 “History of Art,” Stuart and Revett, 436 James Gibbs’ Designs, 423, 430 “Ruins of the Palace of Diocletian,” Adam, 428 “Treatise on Civil Architecture,” William Chambers, 427

Brackets, _see_ Modillions

Boston, Decoration in Library, 98 Trinity Church, 462

Botta, Paul Émile, discoveries of, 67

Brick, use of: Byzantine, 202, 209 Chaldean, 65-66 Colonial, 430, 431 Domes, in, 167, 222, 343, 422 Egyptian, 39, 47, 55 English and Flemish bond, 424 English Renaissance, 412 German Gothic, 305 German Renaissance, 393 Hellenic, 117 Holland Renaissance, 409 Italian Gothic, 313, 352 Mesopotamia, in, 65 Persian, 85 Queen Anne Style, 424, 458 Roman, 172, 175 S. Sophia, in, 209 Steel Construction, in, 473 Stretchers and Binders, 424 Tiryns, in, 102

British Museum, Colossal Bulls, in, 69 Cuneiform script, in, 61 Rosetta Stone, 27 Temple of Artemis, 128 Tomb of Atreus, 99, 124

Brittany, primitive structures in, 17

Bronze Age, 19

Byzantine Architecture (Gloss.), 190, 193-5, 211 Armenia, in, 211 Basilicas, 193-6 Brick, use of, 202 Columns, 195, 202-4 Decoration, 203 Development of, 202 Domes, 167, 204-7 Domestic Architecture, 210-11 Floors, 203 Greece, in, 210 Hagia Sophia, 207-9 Influence on Mediæval architecture, 197, 200 Romanesque, 212, 245, 248-9 Mosaics, 203 Russia, in, 210 Venice, in, 252-3 S. Mark’s, 209-10

Byzantium: site of, selected by Constantine as capital, 157, 190 Link between Eastern and Western civilisation, 191

C

Cairn (Gloss ), 13

Calderon, Spanish dramatist, 330

Calvin, 332

Cambridge, 299 Caius College, 412 Emmanuel College, 412 Gate of Honour, 412 King’s College, 290 King’s College Chapel, 295

Campaniles (Gloss.), Italian Gothic, 312 Romanesque, 244, 247, 251

Canopies (Gloss.), Gothic, 247, 275, 276, 283, 307, 309 Renaissance, 380 Stained Glass, in, 309

Capilla Mayor (Gloss.), _see_ Sanctuary

Capitals (Gloss.), treatment of, 134 Byzantine, 204 Corinthian, 131, 132, 171 Doric, 118, 123-4 Egyptian, 51-2, 131, 164 Etruscan, 155, 163 Gothic, 275, 276, 279 Gothic, asymmetries in, 279 Gothic, English, 291 Gothic, Italian, 314, 316 Hellenic, 118 Ionic, 129 Muhammedan, 221, 224, 226 Name of Crœsus inscribed on, 128 Norman, 255 Persian, 83, 86, 87 Renaissance, French, 385 Renaissance, Italian, 345, 367 Renaissance, Netherlands, 406 Roccoco, 366 Roman, 164 Romanesque, 245, 249

Capitoline Hill, 158, 159, 350, 363-364

Cardinal Mendoza, 399

Cardinal Wolsey, 411

Cardinal Ximenes, 400

Carillons, (Gloss.), 408, 409

Cartouche, 36

Caryatides (Gloss.), Erechtheion, in, 141, 436 Louvre, in, 385

Castles: Albrechtsberg, 305 Bolsover, 412 Feudal type, 377 Fifteenth Century, 299 German, 305 Gothic, 286 Heidelburg, 394 Heilsberg, 305 Howard, 425 Longford, 412, 414 Marienburg, 305

Cathedrals, Place of, in Mediæval life, 236 Aix-la-Chapelle, 192, 207, 258 Amiens, 280, 281-4, 302, 308, 314 Angoulême, 252-3 Auxerre, 284 Barcelona, 308 Beauvais, 284 Birmingham, 289 Borah, 200 Bourges, 281, 285, 309 Bristol, 257, 288 Bruges, 307, 308 Burgos, 308, 401 Canterbury, 257, 275, 288 Carlisle, 288 Chartres, 275, 284 Chester, 288 Chichester, 288 Cologne, 302-4 Del Pilar, 401 Dordrecht, 308 Durham, 256, 288, 297 Ely, 257, 288, 295, 420 Exeter, 288 Ghent, 308 Gloucester, 288, 294 Gothic, described, 277-8 Granada, 401 Haarlem, 308 Hereford, 288 Jaen, 401 Laon, 284 La Seo, 401 Leon, 308 Lichfield, 288, 298 Liverpool, 289 Llandaff, 288 Malaga, 401 Malines, 408 Manchester, 289 Mayence, 259 Milan, 302, 313, 371 Monreale, 249 Montefiascone, 355 Newcastle, 289 Norwich, 256, 288 Nôtre Dame, Paris, 281-4, 308 Orvieto, 311 Oxford, 257, 288, 295 Peterborough, 256, 288, 294 Piacenza, 251 Pisa, 247 Pistoia, 249 Ratisbon, 302 Rheims, 279, 283, 286 Rochester, 288 Rouen, 280, 284, 286 S. Albans, 289 S. Asaph, 288 S. David, 288 S. Gudule, Brussels, 307 S. Mark, Venice, 209-10, 248, 315 S. Patrick, New York, 453 S. Paul, London, 288, 371, 388, 420-2 S. Peter, Rome, 346-7, 349, 350, 370-4, 404, 421 Salamanca, 260, 401 Salisbury, 288, 294, 296, 298 Santiago de Compostello, 259 Seville, 302, 309, 371 Siena, 311 Southwark, 289 Southwell, 257, 289 Spires, 259 Strasburg, 302 Syracuse, Sicily, 193 Toledo, 308-9 Tournai, 306-7 Tours, 286 Trêves, 259 Truro, 289, 452 Utrecht, 308 Valladolid, 401 Wakefield, 289 Wells, 288, 294, 296, 298 Westminster Abbey, 294, 296, 309 Winchester, 257, 288, 295 Worcester, 257, 288 Worms, 258 York, 288, 291, 296, 298 Ypres, 308 Zamora, 260

Cavea, 174

Cavetto (Gloss.), 47, 134

Carnac, Menhirs in, 17

Ceiling: Coffered, 178, 181, 196, 422 Gothic, English, 293, 256 Gothic, Italian, 348, 367 Muhammedan, 225 Musée Plantin-Moretus, 408 Odeion of Herodes Atticus, 145 Painted, in Escoriál, 404 Renaissance, English, 417 Renaissance, Netherlands, 408 Sheldonian Theatre, 419-20

Cella (Gloss.), 53 Hellenic Temples, in, 117, 118, 120-22 Persian Tombs, 81 Roman Temples, 169

Cellars, 426

Celtic, churches, 255 Monuments, 16, 17 Ornament, 18

Cervantes, 329

Chaldean, civilisation, 56 _et seq._ _See_ Assyrian

Chamfer (Gloss.), 126

Chancel (Gloss.), Anglo-Saxon, 255 Early Christian, 195 Mediæval, 257 Renaissance, 355-6 Romanesque, 341

Chapel, Ante, 253 Arena, Padua, 311 Capilla Mayor, Escoriál, 404 English Cathedrals, 289 Galilee, Durham, 256 Henry VII, Westminster, 295, 450 Hôtel des Invalides, 388 King’s College, Cambridge, 290, 295 Marienburg, 305 Marquand, Princeton, 462 New College, Oxford, 293 New Kings, of the, 400 Norman Cathedrals, in, 255 Palace Charles V, 403 Romanesque, 253 Sainte Chapelle, 253, 296 S. Croce, Florence, 311, 343 S. George, Windsor, 299 S. Isadore, 210 S. John, Tower of London, 255 S. Maria Maggiore, 197 S. Paul’s, 420 Sistine, 374

Chapter-Houses (Gloss.): English Gothic, 295 Marienburg, 305 Old Foundation Cathedrals, 288 Worcester, 257

Charlemagne, 207, 238, 239, 258, 263, 266, 323

Châteaux, 377 Amboise, 382 Azay-le-Rideau, 382 Blois, de, 379, 380, 383 Bury, 382 Chambord, de, 380-1 Chenonceaux, 382 Gaillon, 379 Maisons, de, 387

Chevêt (Gloss.), 241-2, 253 Amiens, 281 Cologne, 303 Le Mans, 285 Norwich, 257 Tournai, 307

Chimneys: Château de Chambord, 381 Gothic, 299, 307 Renaissance, 378, 415

Chimney pieces: Colonial, 432 Gothic, 299 Musée Plantin-Moretus, 408

Chivalry, age of, 238-9

Choir (Gloss.): Amiens, 281 Asymmetries, in, 281 Canterbury, 257 Early Christian, 195, 196 Escoriál, 404 Gothic, 289, 295, 303, 309 Renaissance, 346 Romanesque, 244, 246, 249, 256 S. Paul’s, 420-1

Choir Screens, _see_ Screens

Choir stalls, 299

Chryselephantine (Gloss.), 140

Church: form derived from basilica, 177 Age of Church building, 193 Authority questioned, 328 Influence of, 263, 320 Spanish loyalty to, 329

Churches: Abbey Church, Laach, 259 Abbey of Fontevrault, 253 Aix-la-Chapelle, 207, 258 All Saints, London, 452 Apostles, Cologne, 259 Babbacombe, Devonshire, 452 Benedictine Abbey, Cluny, 253 Christ Church, Philadelphia, 430 Collegiate Church, S. Quentin, 285 Collegiate Church, Toro, 260 Escoriál, 403-5 Grace Church, New York, 453 “Hall” Church, 304 Holy Apostles, Constantinople, 209 Hôtel des Invalides, 388 Iffley Church, Oxfordshire, 257 Il Gesu, Rome, 349, 368 Il Redentore, Venice, 352 Kalb Lauzeh, Syria, 200 La Trinité, Paris, 452 Nôtre Dame, Avignon, 252 Old South Church, Boston, 430 Sacré-Cœur, Paris, 452 S. Ambrogio, Milan, 249, 251 S. Andrea, Mantua, 345, 367 S. Apollinare in Classe, 201 S. Apollinare Nuovo, 201 S. Certosa, Pavia, 313 S. Clemente, Rome, 195, 196, 197 S. Clotilde, Paris, 452 S. Constanza, Rome, 198 S. Cristo de la Luz, Toledo, 225 S. Croce, Florence, 311 S. Cunibert, Cologne, 259 S. Domingo, Salamanca, 401 S. Elizabeth, Marburg, 304 S. Engracia, Saragossa, 401 S. Francis, Assisi, 311 S. Francisco, Rimini, 345 S. Front, Perigeux, 252 S. Genéviève, (Panthéon), 388, 442 S. George, Esrah, 200 S. Giorgio del Greci, Venice, 354 S. Giorgio Maggiore, Venice, 352, 355, 368 S. Jacque, Dieppe, 286 S. John Lateran, Rome, 194, 198 S. Lambert, Hildesheim, 304 S. Lorenzo in Miranda, Rome, 347 S. Maclou, Rouen, 286 S. Maria dei Miracoli, Venice, 353 S. Maria della Grazia, Milan, 346 S. Maria della Salute, Venice, 356 S. Maria di Loreto, Rome, 348 S. Maria in Capitol, Rome, 259 S. Maria la Bianca, Toledo, 225 S. Maria Maggiore, Rome, 196-7 S. Martin, Cologne, 259 S. Martino, Lucca, 249 S. Mary-le-bow, London, 423 S. Michele, Lucca, 249 S. Michele, Pavia, 251 S. Millan, Sagovia, 260 S. Miniato, Florence, 246 S. Ouen, Rouen, 279, 286, 314 S. Quentin, Mainz, 304 S. Sergius and S. Bacchus, Constantinople, 206 S. Sergius, Constantinople, 200, 207-9 S. Sernin, Toulouse, 259 S. Simon Stylites, Kalat Seman, 200 S. Sophia, Constantinople, 207, 228 S. Spirito, Florence, 343, 367 S. Stefano Rotondo, Rome, 198 S. Stephen, Vienna, 304 S. Stephen, Walbrook, 422 S. Sulpice, Paris, 389 S. Urban, Troyes, 285 S. Vitale, Ravenna, 200, 202, 207-8 S. Wulfrand, Abbeville, 286 S. Zaccaria, Venice, 353 Tewkesbury Abbey, 295 Trinity Church, Boston, 462 Trinity Church, New York, 452 Turmanin, Syria, 200 Val-de-Grâce, Paris, 387 Vézélay, 253

Chaldæa, civilisation, 56 _et seq._ Architecture, _see_ Assyrian

China, 13, 427

Churrigueresque, style, 405

Cinquecento (Gloss.), 338

Cinquefoil (Gloss.), 291

Circular plan Buildings, 197-8 Campanile, 247 Chapter Houses, 257, 295

Circus Maxentius, 173 Maximus, 173 Nero, 194

City Planning, in America, 445 London, Christopher Wren, 419 Paris, by Baron Haussmann, 444 Washington, Major Pierre Charles L’Enfant, 445

Civic Architecture: Casa Lonja, 401 City Halls, Antwerp, 406 Bremen, 395 Cologne, 395 Haarlem, 409 Hague, The, 409 Leyden, 409 New York, 448 County Buildings, Pittsburg, 462 Doge’s Palace, 315 Palais de Justice, Bruges, 406 Palais de Justice, Liège, 406 Palais de Justice, Rouen, 286 Palais de Justice, Paris, 444 Palazzo Vecchio, Florence, 315, 358-9 Town Halls, Breslau, 305 Brunswick, 305 Brussels, 307 Halberstadt, 305 Hildesheim, 305 Louvain, 307 Lübeck, 305 Manchester, 452 Mechlin, 307 Munster, 305 Ratisbon, 305

Classic Architecture, 8 Compared to Gothic, 276-7 Hellenic, 116, _see_ Roman, 163 Classic and classical, 113 Influence on Byzantine, 203 on Gothic, 310 on Renaissance, 319, 320, 328, 338, 340, 342

Classic Literature, 325, 335, 341, 344 France, 383

Classical Revival, 390, 401-5, 435, 439 Books of Design of, 413 Free-Classic, 460 French Imperial, 443 Neo-Greek, 444

Cleopatra’s Needles, 43

Clerestory, the (Gloss.): Asymmetries in, 279 Egypt, use in, 49, 86, 122 Gothic, use in, 272, 299, 304, 314, 367 Norman use of, 256 Romanesque, 242, 246, 250, 253 S. Paul’s Cathedral, 420-1

Cloisonné (Gloss.), 291

Cloisters (Gloss.), 288 Old Foundation Cathedrals, in, 288 San Marco, Fiesole, 344 Spanish arcades turned into, 343 Spanish Gothic, 308 Spanish Romanesque, 260

Close (Gloss.), The, 297

Cnossus, Architectural remains in, 89, 93 Palace, 96 _et seq._

Coffers (Gloss.), 168, 196, 368

Colleges: Caius, Cambridge, 412 Clare, Cambridge, 412 Divinity College, Princeton, 462 Divinity Schools, Oxford, 295, 299 Emmanuel, Cambridge, 412 Escoriál, of the, 404 Girard, Philadelphia, 448 Gresham, 419 Jesus, Oxford, 412 Keble, Oxford, 452 King’s, Cambridge, 290, 295 Merton, Oxford, 412 Nevill Court, Cambridge, 412 Pembroke, Oxford, 412 S. Cruz, Valladolid, 399 S. John, Cambridge, 412 Scroll and Keys Hall, Yale, 462 Sidney Sussex, 412 Trinity, Cambridge, 412 Wadham, Oxford, 412

Cologne, 259, 302-4, 395

Colonnades (Gloss.): Colonial, 432 Early Christian Churches, 194 Egyptian, 50 English Classical, 438 French Châteaux, 377, 380, 386 Hellenic, 116, 120, 122, 141 Minoan, 100, 101 Muhammedan, 221 Persian, 81 Roman, 170, 180, 181 S. George’s Hall, Liverpool, in, 438 S. Peter’s, Rome, in, 371 Spanish, 400, 403 Treasury Building, Washington, 446 Zeus, Temple of, 111

Colosseum, the, 159, 174-5, 342, 362

Colour as a motive: Byzantine, in, 203 Egyptian, 33 Muhammedan, 227

Column, a basis of sky-scraper design, 474

Columns (Gloss.): Anglo-Palladian, 424 Anglo-Saxon, 254 Assyrian, 70 Baluster columns, 406 Basilicas, in, 352 Bracket columns, 400 Byzantine, 202, 204, 208 Colonial, 430, 431, 432 Colosseum, in the, 174, 342 Colour in, 136 Doric, 118, 122, 123, 124, 125, 163 Early Christian Churches, in, 195-6, 197, 198, 199, 200 Egyptian, 42, 43, 44, 51, 52, 53 Erechtheion, in, 141, 165, 436 Gothic, 275-6, 295, 299, 314, 316, 343 Hellenic, 116, 117, 118, 119, 124, 125, 126, 137, 140, 141, 144 Ionic, 128 Median, 80 Minoan, 99, 101 Monumental, 158, 179, 348 Muhammedan, 221, 224, 226, 231 Norman, 255, 272 Pantheon, in, 442-3 Persian, 82, 83, 85, 86, 87 Renaissance, English, 365, 367, 368, 369 French, 380, 386, 388 Italian, 354, 365, 367, 368, 369 Spanish, 400 Rococo, 366 Roman, 135, 158, 169, 170, 179, 180 Romanesque, 241, 245, 249 Rudimentary, 15 S. Peter’s, Rome, in, 373

Composite Orders (Gloss.), 165

Concrete, use of: Byzantine, 202 Reinforced, 473 Romans, by, 153, 154, 166, 172, 173, 175, 183

Constantine, 188, 189, 193, 209

Constantinople, 190 Ahmed, Mosque of, 228 Fountains, 228 Hagia-Sophia, 207-8 Holy Apostles, Church of, 209 Latin Kingdom, of, 264 Mediæval centre of learning, 266-7 Minarets in, 222 Muhammedan occupation, 215, 220 Suleiman, Mosque of, 228 S. Sergius’ Church, 200 SS. Sergius and Bacchus, 206 S. Sophia, 209 Turkish occupation, 325

Consoles (Gloss.), 345, 360, 423

Copernicus, 322

Corbels (Gloss.), 174, 205 Minarets, of, 222 Muhammedan domes, of, 222 Renaissance, in, 359, 378, 388, 392, 395, 396 Romanesque, 250, 258

Corinthian Order (Gloss.), 131 Byzantine use of, 204 Gothic use, 275-6, 310 Maison Carrée, 169, 175 Roman use of, 132, 158, 164-5 Romanesque use, 245

Cornices (Gloss.), 42 Asymmetries in, 68 Assyrian use, 68 Byzantine use, 202 Cavetto cornice, 47, 49 Colonial use, 430-1-2 Corinthian, 165 Doric, 126-7 Gothic use, 312 Minoan use, 99 Persian use, 84 Queen Anne, style, 424 Renaissance, 361, 363, 364, 370, 395 Roman use, 164 Romanesque use, 250, 257

Coro, 405

Corona, 127, 130

Corridors (Gloss.), 414, 416, 425, 426

Cortiles, _see_ Court (Gloss.)

Costa Rica, ruins in, 20

Courts: Alhambra, of, 226-7 Amru, Mosque of, 223 Casa Lonja, 401 Chambord, Château de, 381 Cnossus, 96 Egyptian, 51, 55 Escoriál, Patio of, 404 Fountain Court, Hampton Court, 423 Ispahan, Great Mosque of, 229 Italian and French compared, 376 Louvre, of the, 383, 385 Miranda, Patio in House of, 400 Mosques, of, 217 Muhammedan Houses, of, 218 Palace of Caprarola, 348 Charles V, 402-3 Farnese, 363 Infantado, 400 Luxembourg, 386 Palazzo Vecchio, 358-60 Riccardi, 358-60 Whitehall, 418 Place du Carrousel, 383 Palais de Justice, Liège, 406 Roman Thermai, 176 S. John’s College, 412 S. Simon Stylites, 200 Sidney Sussex College, 412 Spanish Renaissance, 399 Suleiman, Mosque of, 228 Tiryns, at, 101-2 Zaporta, 400

Coves, 417

Craftwork, 7, 89, 91 Arts and Crafts Movement, 450, 458-9 Corinthian, 110 Etruscan, 155 Gilds of, 233, 235, 338 Muhammedan excellence in, 216, 217, 219 Renaissance, 357, 411

Cram, Ralph Adams, 453

Cresting, 414

Cromlechs (Gloss.), 13, 16

Cross and Ball on domes, 404, 422

Crusades, 264-6

Crypt (Gloss.), 246 Escoriál, in, 404 S. Miniato, Florence, 246 Worcester Cathedral, 257

Cuneiform, writing, 57, 61

Cupolas (Gloss.), of Château de Chambord, 381 Hôtel des Invalides, 388 S. Paul’s, 421 S. Peter’s, 349, 421

Curb, _see_ Hip.

Curvilinear Gothic, _see_ Decorated

Cusps (Gloss.), 290

Custodia, _see_ Tabernacles

Cuzco, Inca ruins in, 19

Cyma Recta-Reversa (Gloss.), 133

Cymatium (Gloss.), 127, 130

Cyprus, ruins in, 89. Kingdom of, 264

D

Dado (Gloss.), 72

Damascus, 219

Dante, 324

Decastyle (Gloss.), 121

Decorated Style, 271, 275, 287, 290

Decorative Motives (Gloss.): Acanthus, 132, 164-5, 275, 310 Anthemion, 132, 165, 203 Arabesques, 216, 227, 363, 380, 399 Armorial Bearings, as, 401 Ball Flower, 291 Bands and straps, 393, 413, 415 Bead and Spool, 130, 132 Caulicolæ, 165 Celtic, 18 Chevrons, 99, 124-125 Diaper, 291 Dog Tooth, 290 Egg and Dart, 132 Fleur de Lys, 291 Four Leaf Flower, 211 Grotesques, 165, 251, 406 Guilloche, 69, 129 Heart Leaf, 133 Lotus, 84, 87, 131 Mexican grotesque, 21 Monograms, as, 380 Portcullis, 291 Rosettes, 72, 102, 131, 155, 363 Scroll work, 415 Spirals, 165, 179 Stiff leaf-foliage, 291 Tudor Rose, 291 Volutes, 87, 129, 130, 131, 164

Delos, Arch at, 15

Dentils (Gloss.), 42, 130, 164

Department of Fine Arts, 442, 465

De Re Ædificatoria, 345

Dining rooms, 416, 426

Dionysos, 142-3; Festival of, 107

Dionysos Theatre of, 143

Dipteral (Gloss.), 120

Dolmen (Gloss.), 13, 14, 17

Domes (Gloss.), 15 Alhambra, 227 Anglo-Classical, 425-7 Angoulême, Cathedral, 253 Assyrian, 70 Byzantine, 202 Capitol, Washington, 446-7 Escoriál, 404 Granada, Cathedral, 401 Hôtel des Invalides, 388, 420, 422 Indian, 220, 231 Madeleine, The, 443 Muhammedan, 217, 221 Palace of Charles V, 403 Panthéon, Paris, 388, 422, 442 Pantheon, Rome, 167, 171, 172, 207, 371, 372 Pazzi Chapel, S. Croce, 343 Pendentive, 204-6 Persian, 229 Pineapple, 222 Pisa, at, 247 Ravenna, at, 201 Renaissance, 197 Roman, 201 Romanesque, 244 Rudimentary, 15, 89 S. Andrea, Mantua, 367 S. Constanza, 198 S. George, Esrah, 200 S. Maria dei Miracoli, 353 S. Maria della Salute, 346 S. Mark’s, 209 S. Paul’s, 420-2 S. Peter’s, 343, 371-3, 421 S. Pietro in Montano, 346 S. Sophia, 207 S. Spirito, Florence, 343, 367 S. Stephen, Walbrook, 422 S. Vitale, 207 S. S. Sergius and Bacchus, 207 Salamanca Cathedral, 260 Semi-circular, 208 Toro Collegiate Church, 260 Turkish Mosques, 228 Villa Rotonda, 352

Domestic Architecture: Apartment Houses, 471 Aston Hall, 412 Beehive Huts, 15, 46 Bickling Hall, 412 Biltmore, 462 Bramshill, 412 Breakers, The, 462 Burghley House, 412 Ca D’Oro, 315 Chevening House, 416-7, 419 Coleshill, 419 Craigie House, Cambridge, 431 Devonshire House, 426 Doge’s Palace, 315-6 Duke of Leinster’s House, 446 English Renaissance, 411-15 Haddon Hall, 412 Ham House, 412 Holkam Hall, 426 Holland House, 412, 414 Gothic, French, 286 German, 305-6 Italian, 315 Jacques Cœur, House of, 286 Keddleston Hall, 428 Kirby Hall, 412, 414, 415 Knoll House, 412 Layer Marney, Essex, 411 Longford, 412, 414 Longleat House, 411 Marble House, 462 Marlborough House, 423 Minoan Houses, 93 Mount Vernon, 432 Muhammedan Houses, 217 Musée Plantin-Moretus, 408 Old Charlecote House, 412 Pellershaus, 395-6 Penshurst, 412 Primitive Houses, 15 Raynham Hall, 419 Renaissance, 392 Roman, 180, 182, 472 Sherburn House, 431 Stoke Park, 419 Vanderbilt House, 462 Villa Madama, 347 White House, 446 Wilton House, 419 Wollaton House, 412 York House, 419

Doorways: Anglo-Saxon, 254-5 Baptistry, Florence, 319 Ca d’Oro, 360 Colonial, 432 Doge’s Palace, 353 Gothic, 269, 275, 276 English, 290 French, 298 Italian, 311 Janus, 159 Muhammedan, 229 Norman, 255, 257 Palazzo Riccardi, 359 Vecchio, 359 Vendramini, 360 Palladian designs for, 370 Queen Anne, 424 Roman, 167 Romanesque, 245 Puerta de la Coroneria, 401 Renaissance, German, 393, 395 Spanish, 399, 400, 401 Taj Mahal, 231 Tiryns, at, 102 S. Andrea, Mantua, 368 S. Sophia, 210 S. Peter’s, 372

Dorians, The, 91, 105, 118

Doric Order (Gloss.), 87, 99, 118, 123-124 Corinth, temples at, 118 Etruscan use of, 155 Parthenon, in, 119 Phœbus Apollo, Temple of, 118 Propylæa, in, 141 Renaissance use of, 346, 349, 352, 389, 403-4 Roman use of, 164 Syracuse, Cathedral of, 193 Trajan’s Column, 179

Dormers (Gloss.) : Antwerp, City hall, 406 Gothic, German, 306 Netherlandish, 307 Renaissance, French, 378, 381, 384 German, 392, 394, 396 Worms, Cathedral at, 258-9

Dörpfeld, discoveries by, 89, 100

Drama, Greek, 142-5, 175

Mediæval, 237-8

Renaissance, 330

Roman, 175

Drawbridge, 379

Drum of Dome (Gloss.), 206 Angoulême, at, 252 Florence, at, 342 Hôtel des Invalides, 388 Panthéon, Paris, 442 S. Andrea, 368 S. Maria della Salute, 356 S. Paul’s, 422 S. Peter’s, 371, 373

Dryden, 435

E

Early Christian Architecture, 193 Basilicas, 193-4, 197 Circular Plans, 197 Columns, 195 Influence in Arabia, 214 on Byzantine Architecture, 202 on Gothic, 276 S. Peter’s, 194 Syrian examples, 199, 200

Early Christian Civilisation, 187 Byzantium becomes capital, 157, 190 Carolingian Kings, 192 Constantine accepts Faith, 189 Council of Milan, 188 Power of the Patriarchs, 157, 188 Ravenna, 201 Rise of the Frankish tribes, 191

Early English (Gloss.), 257, 271, 290

Eaves (Gloss.), 424

Eclecticism (Gloss.), 466

École des Beaux Arts, _see_ Beaux Arts

Echinus (Gloss.), 125, 129, 164

Egyptian civilisation, 25 _et seq._ Agriculture, 31 Clothing, 32 Conquest by Assyria, 60 Construction of the Pyramids, 35 Decline, 37 Dynasties, 26 Geography, of, 28 Hebrew Exodus, 36 Hyksos Invasion, 35, 91 Recreations, 31 Religion, 32, 33 Schools, 32 Skill in engineering, 30 Theban Monarchy, 35, 91

Egyptian Architecture: Abydos, Tomb at, 42, 53 Columns, Treatment of, 52-3 Deir-el-Bahri Temple-tomb, 44 Domestic architecture, 54-5 Elephantine, Temple at, 53 Isis, Temples of, 54 Karnak, Temple at, 44, 50 Luxor, 51, 53 Mastabas, 40-1, 42 Middle Empire, architecture, 42-3 Mycenæan remains in, 39 New Empire, 44 Obelisks, 43-4 Palaces, 54 Ptolemaic remains, 53 Pyramids, 34, 39, 40 Rosetta Stone, 27 Sphinx, the Great, 38-9 Avenues of, 48 Temples, 41 Temples, 8, 33-45, 46-54 Tombs, 33, 34, 41, 42, 45, 83 Towns, 54

Elevation, plans, 11, 255

Elgin, Lord, 436

Embankment, Thames, 418

Enamels (gloss.), 86, 218, 222

Encaustic (gloss.), 136

Engineering problems, 477

England, Architecture in: Anglo-Classical, 410, 424-5 Anglo-Italian, 417 Anglo-Saxon, 254-5 Asymmetries, 279 Cathedrals, 288 Celtic Churches, 255 Classical revival, 435-9 Elizabethan architecture, 412 Exteriors, Gothic, 297-8 Free-classical movement, 460 Gothic, 271-287 Gothic Revival, 448 Inigo Jones, 418 Interiors, 415 Jacobean architecture, 413 Mansions, 412 Morris, William, influence of, 458 Orders, use of, 415 Ornament, 290 Queen Anne Style, 424 Roofs, 296, 414 S. Paul’s, 420-3 Stained Glass, 291-3 Stonehenge, 16 Vaulting, 293 Vistas, in Gothic, 273-4 Whitehall, 418 Wren, Christopher, 419

Entablature (Gloss.), 8 Basilicas, in, 178 Broken, 179, 180 Corinthian, 131 Doric, 126 Early Christian, 195-7 Gothic, contrasted, with, 277 Hellenic, 116 Ionic, 130 Michelangelo, use by, 364 Renaissance, 367, 370 Renaissance, French, 381 German, 394-6 Netherlands, 407 Spain, 402 Roman, 164, 170, 198 Rudimentary, 15 S. Paul’s, in, 420 Whitehall, in, 418

Entasis, (Gloss.), 43 Caryatid in Erechtheion, 141 Hellenic columns, in, 124-5 Ionic use, 129 Overlooked, 138

Epinaos, _see_ vestibule (Gloss.)

Erechtheion the, 121, 129, 141, 165

Escoriál, the 82, 180, 403-5

Etruscans, 154 Arch, use of, 156 Arts and civilisation, 155 Burial urns, 155 Dwellings, 155 Temples, 156

Evans, Dr. A. J., discoveries by, 89, 90

Exhedras (Gloss.), 176

F

Façades (Gloss.), 11 Bank of England, 438 Caprarola Palace, 348 Certosa, 313 City Hall, Antwerp, 407 Bremen, 395 Haarlem, 409 Darius Tomb, 83 Doge’s Palace, 315 Escoriál, the, 403 French Châteaux, 377, 378, 379, 380, 381, 383-4 Garden Façade, Hampton Court, 423 Gothic Cathedrals, 277, 282, 286, 297, 298, 307-8 Gothic, Italian, 311 Greek, on modern buildings, 436 Greenwich Hospital, 419 Lombard, 258 Louvre, of the, 383-6 Museum, British, 438 Palace of Charles V, 402 Panthéon, Paris, 442 Pesaro Palace, 366 Pisa, Cathedral, 247 Renaissance, English, 414, 415 German, 392-4 Netherlands, 406-9 Spanish, 399, 400, 402 S. Andrea, Mantua, 368 S. Jacopo Sansovino, 354-5, 365 S. Lorenzo, in Miranda, 347 S. Maria Novella, 345 S. Paul’s, 421 S. Peter’s, 371-2 Sky-scrapers, 474-5 Steel construction, in, 472 Taj Mahal, 231 Versailles, 387 Washington, Capitol at, 446 Wren’s Churches, 423

Faience, 96

Fascia (Gloss.), 130

Ferrero, Dr., quoted, 152

Fetiches, 13, 92, 96, 98, 214

Feudal System, 233-4 England, in, 410 France, in, 331 Germany, in, 302 Overthrown, 322

Fillet (Gloss.): Doric entablature, in, 126 Ionic entablature, in, 129, 130 Roman use, 164

Fine Arts, The, 3, 337, 346

Finials, _see_ pinnacles (Gloss.)

Fireplaces, English Renaissance, 416 French Châteaux, 382 Mediæval Castles, 299, 416

First Pointed, _see_ Early English

Fitness, considerations of (Gloss.), 12, 87, 128

Flagstaffs, 176

Flamboyant (Gloss.), 271, 275, 282, 285, 287, 290

Fletcher, Professor Banister, 170, 367

Floors, Byzantine, 203 Chaldæan, 72 Early Mediæval, 196 Roman, 181, 182

Florence, Architecture of the Renaissance, 342-345 Baptistry, 197, 319 Campanile, 312 Cathedral, 311, 342-3 Laurentian Library, 349 Library of S. Giorgio, 344 Loggia dei Lanzi, 315 S. Paolo, 344 New Sacristry, 346 Ospedale degli Innocente, 344 Palazzo Guardagni, 345 Riccardi, 344, 358-61 Strozzi, 345 Vecchio, 315, 342, 358-60 Pazzi Chapel, 343 S. Croce, Church of, 311 S. Lorenzo, Church of, 343 S. Miniato, Church of, 246 S. Spirito, Church of, 343, 367-8 University, 325

Fluting (Gloss.), on Hellenic columns, 135 Norman, 256 Roman, 164

Fontainebleau, 332

Fortifications, 348, 355, 359, 379

Forum (pl. Fora), 157, 170

Fountains: Hildesheim, 397 Mainz, 397 Mosques, in, 217 Nuremburg, 397 Persian, 86 Renaissance, 327 German, 396 Rothenburg, 397 Taj Mahal, 231 Temple of Diana, Nîmes, 170 Tubingen, 396 Ulm, 397 Versailles, 387

Free Masonry, 235

French Civilisation after Charlemagne, 232 Francis I, 375 Louis XIV, 389 Napoleon, 442 Renaissance, 327 Revolution, 441 Second Empire, 444

French Architecture: Châteaux, 377-382 Classic Period, 440-4 Gallic Spirit, 332-3 Gothic, 273, 281-9 Asymmetries in, 278 Influence on other countries, 306, 308, 310, 313 Sculpture, 276 Gothic Revival, 451 Influence on modern architecture, 461-5 Louvre, The, 382-6 Renaissance, 331, 349, 375, _et seq._ Renaissance influence on other countries, 413, 445 Rib Vaulting, 243 Rococo, 338, 375 Romanesque, 170, 232, 240, 252-4 Roman remains, in, 132, 169, 241 School of Tours, 376-7 Theatre of Orange, 176 Versailles, 387

Frescoes (_see_ Gloss.) Cnossus, at, 123 Cretan Palace, in, 96 Gothic, German, 306 Gothic, Italian, 311 Sistine Chapel, 374 Villa Farnesina, 347, 374

Frieze (Gloss.), Asymmetries in, 137 Corinthian, 165 Doric entablature, of, 126 Ionic entablature, of, 130 Library of S. Mark’s, 365 Maison Carrée, Nîmes, 170 Parthenon, of the, 137 Roman use of, 164 Tiryns, at, 102 Xerxes Palace, of, 86

Furniture, Adam, 429, 432 Chippendale, 428 Empire, 442 English Renaissance, in, 413, 415, 417 Imitative influence in, 467-8 Sheraton, 432

G

Gables (Gloss.) Colonial, 431 Doric Temples, 121, 127, _see_ Pediments Early Christian architecture, 196 Egypt, in, 40 Gothic, 275 German, 306 Italian, 307, 312 Minoan, 99, 130 Persian, 81 Primitive, 20 Queen Anne, 424 Renaissance, English, 415 German, 392, 394, 395, 396 Netherlands, 407, 408, 409 Romanesque, 251, 257, 258 Stepped Gables, 306

Gaines (Gloss.), 392, 394, 396

Galgal (Gloss.), 13, 14

Galilee (Gloss.), 256

Galleries: Byzantine, 208 Fontainebleau, 382 Glyptothek, 440 Louvre, 383 Mediæval, 237 National, The, 438 Palazzo Vecchio, 259 Pinacothek, 440 Renaissance, English, 416-7 Romanesque, 244 Whispering, 420

Gallic spirit, 332, 379, 384-5, 389

Gambrel (Gloss.), 431

Gardens, with architecture: Blenheim Palace, 424 Castle Howard, 425 Hanging, 20, 62 Kew, 428 Luxembourg, 386-7 Renaissance, English, 412, 415 French, 378 Italian, 374 Taj Mahal, 231 Tampu Tocco, 19 Thames Embankment, 418-9 Versailles, 387 Villa of Hadrian, 180 Washington, 445-6

Gateways: Ahmedabad, 229 Akbar, 230 Blenheim, 426 Brandenburg Gate, Berlin, 440 Caius College, Gate of Honour, 412 Châteaux, 377-8 Darius’s Palace, 85 Diocletian’s Palace, 180 Etruscan, at Volterra, 156 Janus, of, 159 Lion Gateway, Mycenæ, 88, 98 Mecca, Mosque, of, 220 Propylæa, 121, 131, 141 Propylæa, Munich, 440 Renaissance, English, 414 Sargon’s Castle, 68 Schools, Oxford, gateway of, 412 Tiryns, at, 101 Water Gate, 418

Genoa, palaces: Balbi, 356 Brignole, 356 Doria-Tursi, 356 Durazzo, 356 Pallavacini, 356

German Architecture: Brick, use of, 305 Classical Revival, 439 Gables, 306 Gothic, 301-306 Cathedrals, 302-305 Secular Buildings, 305-6 Handicrafts, skill in, 304 Influence on Belgium Gothic, 306 Italian Gothic, 310, 313 Spanish, 308 Ornament, 251 Renaissance, 391-7 City Halls, 395 Domestic, 395 Romanesque, 232, 245, 301 Roofs, 305-6 Universities, 328 Winckelmann’s influence, 436, 439

German Civilisation, 188, 232, 239 After Charlemagne, 239 Renaissance, 327 Rise of the cities, 235, 301 Struggle of Protestants, 391

Gesso work (Gloss.), 97

Gildhouses, 306 Antwerp, 408 Brussels, 408 Ghent, 307 Louvain, 307 Malines, 406 Mechlin, 307 Ypres, 307

Gilds, trades, 233, 235, 278, 342, 406

Giotto, 319 Bas-reliefs, by, 312 Campanile designed by, 312 Frescoes by, 311 Paintings by, 340

Giovannoni, Professor, Asymmetries discovered by, 139

Gizeh, Sphinx at, 38 Temple at, 41 Wall paintings at, 48

Goethe, 439

Goodyear, Professor William H., Discoveries of asymmetries, 131, 137, 139, 247-8, 278-9 “Grammar of the Lotus,” 131

Gothic Architecture (Gloss.), 49, 263, _et seq._ Arches, 272, 290, 312 Asymmetries in, 139, 278-80 Buttresses, use of, 166, 272-3 Cathedrals, 269, 277, 279, 281-2, 284-5, 288, 289 Compared with Classic, 276 Cnossus, 96 Hellenic, 118 Persian, 85 Renaissance, 328, 364 Decay of, 364 Decorated Period, 271, 287, 291 Early English Period, 271 Flamboyant Period, 271 France, in, 281-287 Periods in, 285 Secular buildings, 286 Germany, in, 301 Use of brick in, 305 Great Britain, 287-301 Exteriors in, 297 Interiors in, 298 Ornament in, 290 Periods, 287 Italy, in, 310-316 Motives in architecture, 277 Netherlands, in, 306-7 Periods, 270-1, 285, 287 Perpendicular, or Tudor, 275, 287, 295, 410, 450 Rayonnant, 271, 282, 285-7 Revival of, 439, 452-3 Sculpture, 276 Spanish, 308, 398 Thrusts and counter-thrusts, 272-3 Transition period, 310, 346, 358 Vaulting, 284-5, 293-6, 310 West Fronts, 282 Windows, 274-5 Wooden roofs, 296

“Gothic Quest,” R. A. Cram, 366, 453

Government Buildings: Capitol, Washington, 445-6 Custom House Boston, 448 Custom House, N. Y. C., 448 Doge’s Palace, 315 Horse Guards, London, 426 Houses of Parliament, 450 Law Courts, Manchester, 452 Mint, Philadelphia, 448 New Law Courts, London, 451 Pantheon, Paris, 388 Parliament House, Budapesth, 451 Parliament House, Vienna, 440 State Capitol, Conn., 452 Sub-Treasury, 448 Treasury, Washington, 446 White House, the, 445-6

Greece, Mycenæan art in, 88, 89. _See_ Hellenes.

Greek-Asiatic, 82, 84, 89

Griego-Romano, 405

Grille (Gloss.), Turkish, 228

Grotefind, George Frederick, discoveries by, 57

Grotesque: Mexican primitive, 21 Ornament, in, 165, 251, 255 Palais de Justice, Liège, in, 406 Style, 405

Guelphs and Ghibellines, 323

Guttae (Gloss.), 127

H

Hadrian, builder of Pantheon, 171 Villa of, 180

Half-timbered (Gloss.), 412

Halls: Central Hall, Houses of Parliament, 451 Châteaux, in, 378, 381, 382 Darius’s Palace, in, 85 Egyptian Temples, of, 34 German Knights, Hall of the Order of, 305 Hall Church, 304 Hundred Columns, Hall of a, 85 Hypostyle Hall, 49, 51 Karnak, at, 51 Median Palaces, of, 80 Mediæval Castles, of, 300, 378, 416 Middle Temple, of, 297 National Hall of Statuary, Washington, 447 Renaissance Palaces, in, 416 S. George’s, Liverpool, 438 Westminster, 297, 451 Whitehall, 418

Hamlin, Professor, quoted, 206, 282

Hanseatic League, 301, 407

Harmony, Principle of (Gloss.), 11, 134

Haroun-el-Raschid, 215

Haussman, Baron, 444

Hawkins, Admiral, 336

Height, in design, 474

Hellenic Architecture, 116-146 Asymmetries, 136-140 Beauty, feeling for, 112 Corinthian order, 131-2 Dionysian Festival, the, 107 Doric order, the 118, 126-7 Entablature, the, 126-7 Influence on Beaux Arts training, 463-5 Influence on Etruscans, 155 Influence on Germany, 439-40 Ionic Order, the, 128-30 Olympian Festival, 110 Orders, the, 116-7, 123, 131 Ornament, 132-4 Parthenon, the, 119, 137-8, 140 Projections, 133 Propylæa, 141 Temples, 116-124

Hellenic Civilisation, 105 Conflict with Persians, 76 Dorian supremacy, 106 Origin of, 105 Peloponnesian Wars, 109 Persian invasion, 108 Supplant Cretans, 91-2 The Great Age, 107

Hemong, the bell-founder, 408

“Heptameron, The,” 375

Herodes Atticus, 145

Hexastyle (Gloss.), 121

Hieroglyphic writings, 27, 90

Hip roof (Gloss.), 385, 432

“History of Art,” Winckelmann, 436-439

Hogarth’s Line of Beauty, 133, 380

Holland: City Halls in, Alkmaar, 409 Bolsward, 409 Delft, 409 Dordrecht, 409 Enkhuisen, 409 Hague, 409 Hoorn, 409 Kampen, 409 Leuwarden, 409 Leyden, 409 Waaghuisen, 409 Zwolle, 409 Renaissance, 409 Influence on English Renaissance, 424

Homer, 91, 107

Hospitals: Chartres, 286 Gothic, 286, 299 Greenwich, 419 Ospedale degli Innocente, 344 Santa Cruz, Toledo, 399

Humanism, 320, 331, 334

Hut construction, 36

Hypœthral (Gloss.), 122

Hypostyle Halls (Gloss.), 49, 51, 54, 80, 85

I

Ideograph writing, ideograms, 57

Île de France, 271-2, 310

Impluvium (Gloss.), 181

Impost Block (Gloss.), 201-204

In Antis (Gloss.), 82, 83, 120

Incas, structures of the, 19

India, 229 Agra, 230 Ahmedabad, 229 Akbar, Mosque of, 230 Mahmud, Tomb of, 230

Indians, North American, 18

Insula, pl. Insulæ (Gloss.), 180, 182

Intercolumniation (Gloss.): Dorian, 118, 125 Early Christian use, 195 Egyptian use, 86 Gothic use, 298 Hellenic, 134 Ionic, 129 Persian, 86

Interior, Designs of, 455 Houses of Parliament, 451 Office Buildings, 471

Ionic Islands, 89 Culture, 109 Luxury, 110, 128 Migrations, 105

Ionic Order (Gloss.), 128-30 Egypt, in, 128 Lycia, columns in, 99 Myra, columns in, 99 Parthenon, in, 140 Persian use of, 140 Renaissance, in, 349, 352, 389, 402-3 Roman use, 164, 165, 174 Romanesque, 245 Washington, 446

Iran, _see_ Persian

Ironwork Gothic in Germany, 305

Italian Architecture: Gesso work in, 97 Gothic in, 271, 312 Hellenic remains in, 89 Influence on England, 335 Ecclesiastical buildings, 366-74 Florentine, 342, 345, 358-60 France, 331, 376, 380 Germany, 327 Lombardy, 251, 258 Netherlands, 333 Renaissance, in, 323-337, 338-374 Roman, 346-352, 363-5 Spain, 329 Venetian, 352-356, 360-3, 365 Roman, _see_ Rome. Romanesque, 241, 313-315 Central Italy, 246-9 Northern Italy, 249-52 Southern Italy, 249

Italian Civilisation: Byzantine, in, 194, 196-7, 209-10 Classic Influence, 340 Conflict with German Empire, 239 Counter Reformation, 329 Decline of culture, 331 Etruscan, 154 Power of the Dukes, 323-4 Renaissance, 323, 338 Rise of power of the Church, 189 Sack of Rome, 327 The Roman Empire, 147-157

J

Jambs (Gloss.), 245, 254, 283

Jars, clay, 93, 97

Jerusalem, 79, 223

Julius II, 346, 349, 367

Julius III, 348

K

Ka, 32, 33, 41

Kaaba, the (Gloss.), 214, 217, 221

Kahun, ruins at, 55

Karnak, 44, 50, 85, 86, 281

Keep, the Donjon, 378, 381

Keystones (Gloss.), 295

Khorsabad, 72, 131

Kibleh, the, 217

King-post, the (Gloss.), 296

Kitchens, Assyrian Palace, 73 Blenheim, at, 426 Châteaux, 377 Colonial, 432 English Mansions, 416

Koyunjik, bas-reliefs at, 71, 204 library, 61 mounds, 59

L

Labyrinth, at Cnossus, 93

Lake Dwellings, 13

Lancet windows (Gloss.), 274, 287, 290

Landscape design, 466

Lanterns (Gloss.): Burgos, Cathedral, 401 Certosa, The, 313 Château de Chambord, in, 381 Church of the Apostles, Cologne, 259 Escoriál, The, 404 Florence Cathedral, 343 Gothic, Spanish, 309 Renaissance, French, 378 Romanesque, 258 S. Mark’s, 210 S. Paul’s, 422 S. Peter’s 371-2 Santiago de Compostello, 260 Tomb of Galla Placidia, 201 Worms Cathedral, 258

“Laokoon” by Lessing, 439

Lassen, Christian, discoveries in cuneiform script, 57

Late Pointed Gothic, _see_ Perpendicular

Later Plantagenet, _see_ Decorated

Leading, in windows, 275

Libraries, of Asurbanipal, 61 Babylon, at, 62 Bodleian, 412 Congressional, the, 447 École des Beaux Arts, of, 444 Laurentian, 349 Lenox, N. Y. C., 462 Merton, Oxford, 412 Pembroke, Cambridge, 419 S. Genéviève, 444 S. Marco, 354, 365 Theological, Princeton, 462 Tiglath Pileser, of, 59 Varro’s, 151

Lighting, of Greek temples, 123 of Gothic churches, 274

Lintels (Gloss.), in Egypt, 48 Persia, 84

Lions: Cathedral Porch, Piacenza, 251 Court of, Alhambra, 226 Decorative motive is, 100 Gateway of, Mycenæ, 88, 92, 99, 100 Heads of, in ornament, 130

Loggias (Gloss.), of Ca D’Oro, 360 City Hall, Antwerp, of, 407 Doge’s Palace, 316 S. Paolo, 344 Villa Farnesina, 347

Lombardy after Charlemagne, 323 Merchants of, 235 Rib vaulting in, 243-4, 310 Romanesque in, 249, 250

London: Adelphi Terrace, 428 All Saints Church, 452 Bank of England, 438 British Museum, 438 Chelsea Hospital, 423 Devonshire House, 426 Finsbury Circus, 428 Fitzroy Square, 428 Greenwich Hospital, 419 Holland House, 412, 414 Houses of Parliament, 450 Law Courts, New, 451 Marlborough, 423 Monument, the, 423 New Zealand Chambers, 460 Portland Place, 428 S. Mary-le-Bow, 423 S. Pancras, 438 S. Paul’s Cathedral, 288, 371, 388, 420-3 S. Paul’s Covent Garden, 419 S. Stephen’s, 422 Temple Bar, 423 Thames Embankment, 418 Westminster Hall, 297, 451 Whitehall, 418 York House, 419

Lotus, _see_ Decorative Motives

Louver (Gloss.), 299

Louvre, The, 382-6 Façades, 383-4, 386 New Louvre, 383 Old Louvre, 383 Pavilions, 385 Roof, 385

Lunette (Gloss.), Gothic, 276 Renaissance, 368

Luther, Martin, 328

Lycians, the, 83-4

M

Machicolations (Gloss.), 378, 380

Machu Picchu, 19, 20

Maison Carrée, Nîmes, 169-170

Maksura, 217, 221, 224

Manetho, Egyptian historian, 25

Mantelpieces, colonial, 432 effect of in cornices, 475

Mantua, 345, 347

Marot, Clement, 376

Masonry, Ashlar, 254 Batter, 41, 47 Buttresses, in, 282 Cyclopean, 15, 98, 100, 155 Drafted, 81 Egyptian, 40 Gothic, Italian, 312, 358 Greek and Roman compared, 154 Leaning Tower, Pisa, in, 247 Muhammedan domes, in, 222 Primitive, 14, 20 Renaissance, in English, 412, 418, 421-2 French, 378, 382 German, 393, 395 Netherlands, 407 Spanish, 402, 404 Rib vaulting, in, 243, 272 Romanesque, 242, 244, 245 Romans, of, 153 Rubble, 85, 254 Rusticated, 292, 294, 348, 392, 407 Sky scrapers, in, 474, 476 Syrian, 199

Mastabas (Gloss.), 34, 38 Sakkarah, at, 41 Thy, of, 41

Mausoleum (Gloss.), 347, 404. _See_ Tombs

Mecca, 214, 220

Medes, 74, 75, 80. _See_ Persians

Mediæval, Early, Civilisation, 232-240 Architecture, 241-260, _see_ Romanesque, Late, civilisation, 263-269 Architecture, 270, _see_ Gothic

Medici, The, 344, 346, 358, 359, 386, 468

Medinet Abou, 54

Mediterranean races, 95

Megaron (Gloss.), 97, 98, 100, 102

Memnon, the Vocal, 46

Memphis, Obelisks, at, 43

Menes, ruler of Egypt, 25

Menhir (Gloss.), 13, 17, _see_ obelisk

Merchant families, England, 410 Netherlands, 406 Spain, 397 Venice, 352-3

Mesopotamia, 56, _see_ Assyria

Metal work: in baldachinos, 371 of Germans, 305 of Moors, 309

Metope (Gloss.), Coloured, 136 Hellenic, 126

Metropolitan Museum, 42, 219

Mexico, primitive remains in, 19, 20

Mezzanine floors (Gloss.), 384, 403

Mihrab, the (Gloss.), 217, 221, 224

Milton, John, 435

Mimbar, 217

Minarets (Gloss.), Great Mosque, Ispahan, 229 Mosque of Mecca, 220, 221 Mosque of Sultan Barbouk, 224 Taj Mahal, 230

Miniaturists, the Anglo-Saxon, 257

Minnesingers, 302

Minoan Architecture, 95 Lion Gate, 88 Mycenæan remains, 98, 100 Palaces 90, 92, 99 of Cnossus, 91, 96-8 Ruins in Phrygia, 99 Tiryns, 100-102 Wall paintings, 93

Minoan Civilisation, 88-94 Confirmation of Greek legend of Crete, 90 Early period, 90 Middle and Late Periods, 91 Rediscovery of, 88-9

Minotaur, Legend of, 93

Moat, 17, 379

Modillions (Gloss.), 165

Mommsen, Professor, quoted, 151

Monasteries: Dissolution of, 287, 411 Escoriál, in, 403, 404 Gothic, 286 Mediæval, 236-7 Mont Saint Michel, 254 Mosques equivalent to, 223 Mount Athos, 211 Norman, 258 San Marco, Fiesole, 344

Monoliths (Gloss.), 8, 15 Cyrus’ Palace, 81 Doorways at Tiryns, 102 Memphis, at 43 Sphinx Temples, in, 41

Monuments, at Abury, 17 Choragic, of Lysicrates, 131 Cleopatra’s Needles, 43 Milliarium, 158 Monument, The, London, 423 Propylæa, 121, 131, 141 Rostra, 158 Temple Bar, 423 Umbilicus, the, 157

Moors, influence of on Spanish Gothic, 308, 309 On Spanish Renaissance, 400, 403 Skill in metalwork, 398-9

Mosaics (Gloss.), Byzantine, 203 Cathedral of Monreale, 249 Early Christian, 197, 199 Great Mosque of Mecca, 225 Roman, 168, 181 S. Mark’s, 210 S. Paul’s, 421

Mosques: derivation, description of, name, 217 Ahmedabad, of, 229 Ahmedizeh, 228 Akbar, 230 Alhambra, of, 226 Amru, Cairo, 223 Bagdad, 229 Cordova, 225 Damascus, 205 Dome of the Rock, _see_ Omar El-Aksah, Syria, 223 El-Walid, Damascus, 223 Great Mosque, Mecca, 217, 220 Hagia Sophia, Constantinople, 207-210, 228, 372 Ispahan, Great Mosque of, 229 Kalaoom, Egypt, 224 Omar, Great Mosque, Jerusalem, 223 S. Cristo de la Luz, 225 S. Maria la Bianca, 225 S. Sophia, _see_ Hagia Sophia Suleimaniyeh, 228 Sultan Barbouk, 224 Sultan Hassan, 224 Sultan Mahomet II, 209 Teheran, Great Mosque of, 229

Mouldings: Bead (Gloss.), 134 Cavetto, 47, 134 Colonial, 430 Cyma Recta, Reversa, 133 Doric, 125 Etruscan, 155 Egyptian, 47 Fillet, of, 134 Gothic, 272, 290, 299, 305 Guilloche, 129 Hellenic treatment of, 135, 165 Ionic, 128, 129 Norman, 257 Ovolo, 133 Rococo, 366 Roman, 165 Romanesque, 244, 245 Torus, of, 47, 134 Wreath, 134

Muhammed, 214-216 Learning encouraged by, 216, 218

Muhammedan Architecture, 220-231 Alhambra, of, 218, 226-7 Arcades, 221 Ceramics, 218 Cordova, at, 225 Domes, 221 Egypt, in, 223 India, in, 229-31 Minarets, 222 Mosques, 217, 220-2 Seville, in, 225-6 Spain, 224-7 Syria, 223 Toledo, 225

Muhammedan Civilisation, 212 _et seq._

Mullions (Gloss.), 290 Château de Blois, in, 380, 384 City Hall, Antwerp, 407 City Hall, Bremen, 395 English Renaissance, 414 Heidelberg, 394

Mural painting, _see_ Wall painting

Museums, 339-40 British, 438 Fitz-William, Cambridge, 438 Friedrichsbau, 394 Metropolitan, New York, 462 New Museum, Berlin, 440 Old Museum, Berlin, 440 Pinacothek, 440 Plantin-Moretus, 408

Mutule (Gloss.), 127, 164

Mycenæ, Architecture in, 14, 89-100 Fortifications, 98 Palaces, 89-102 Similarity to Etruscan, 155 Temples, 92, 101

N

Naos, _see_ Sanctuary (Gloss.)

Naples, Kingdom of, 323, 331

Narthex (Gloss.): Early Christian churches, in, 194, 196 Roman temples, in, 177 S. Sophia, of, 209 San Ambrogio, of, 250

Nave (Gloss.): Anglo-Saxon churches, 255, 256 Asymmetries in, 279 Early Christian churches, 193, 194, 195, 196, 197, 200 Gothic, churches, English, 289, 294 French, 281 German, 304 Netherlands, 308 Spanish, 309 Lombard, 251 Mediæval churches, 237 Norman, 256, 259 S. Mark’s, 209 S. Paul’s, 420 S. Peter’s, 194, 372, 373 S. Sophia, 208 Renaissance churches, 367 Romanesque, 241, 245, 249 Temples, Hellenic, 118, 140, 177-8

Nebuchadnezzar, 61

Netherland Architecture: Antwerp, in, 406, 408 Bruges, 406 Carillons, 408-9 Ecclesiastical buildings, 307, 308 Guild Halls, 306-7, 408 Holland, 334, 409 Liège, 406 Malines, 406

Netherlands, History, of, 306 Relations with France, 331 Renaissance in, 333, 405-9

Newel post (Gloss.), 416

Niches (_see_ Mihrab): Gothic, 275, 276 German, 304 Italian, 314 Netherlandish, 307 Heidelberg, at, 394 Muhammedan, 207, 222 Rheims, at, 283 Romanesque, 250 S. Paul’s, 422

Nile, the, 28, 30, 90 Inundated Temples of, 54 Landscapes in paintings at Cnossus, 96

Nîmes, Amphitheatre at, 175 Maison Carrée, 169 Pont-du-Gard, 183 Temple of Diana, 170

Nineveh, 59, 60, 61

Norman Architecture (Gloss.), 254-257

Nôtre Dame, Paris, 281-284

Nymphæum (Gloss.), 170 Muhammedan adaptation of, 217 Pantheon on site of, 171 Temple of Diana, 170 Temple of Minerva Medica, 207

O

Obelisks, 14 Cleopatra’s Needles, 43 Memphis, at, 43 Pellershaus, Nuremburg, 395, 396 Usertesen I, 43

Octastyle (Gloss.), 131

Odeion, the, 145 Pericles, of, 145 Skias, Sparta, 145

Œil-de-Bœuf, 384, 396

Office Buildings, 469-477 Woolworth Building, 471, 476

Ogee, _see_ Cyma Reversa

Ogival (Gloss.), 270

Olympic Festival, 110, 112

Opisthodomos (Gloss.), 140

Opus Sectile, _see_ Mosaics (Gloss.)

Opus Tessellatum, _see_ Mosaics (Gloss.)

Orders, the (Gloss.), 116, 117 Corinthian, 131 Doric, 118 Hellenic use of, 123 Ionic, 128 One Order Style, 350, 372 Renaissance, English, 415 Renaissance, French, 387, 388 Rococo, 388-9 Roman use of, 163 Sansovino’s use of, 356 Superimposed, 366, 372 Tuscan, 163 Wren’s steeples, on, 423

Organic growth (Gloss.), 11, 34, 140

Orientation (Gloss.): Christian churches, 194 Mastabas, 41 Muhammedan Mosques, 217 Roman indifference to, 161 S. Peter’s, 372 Temples, Egyptian, 54 Temples, Hellenic, 121 Tombs at Abydos, 42

Ornament: Assyrian, 69, 72 Baroque, 351 Byzantine, 199, 202, 211 Celtic, 18 Chaldæan, 72 Churrigueresque, 393, 405 Egyptian, 48, 53 Gothic, 275 English, 290 Italian, 312 Hellenic, 129-133, 171, 203 Italian Classic, 357, 393 Minoan, 102 Muhammedan, 216 Norman, 255 Oriental, 202-3 Perpendicular, 410 Persian, 84, 86, 87 Pierced, 415 Plateresque, 398-9, 400 Primitive, 18 in Mexico, 21 Renaissance English, 410-11-12, 414, 415, 417 German, 392-3 Netherlands, 407 Spanish, 402 Rococo, 366, 388-9, 393 Roman, 164-5, 168-9, 171, 203 Romanesque, 251, 260 Scandinavian, 251

Osirid piers, 53

Osiris, 50

Oxford, 257, 288, 293, 299, 419

P

Padan-Aram, 56

Pagan Revival, 325-328

Pagoda, The, 428

Painted Glass, 292

Painters: Aretino, 354 Burkmair, 391 Chapman, John Gadsby, 447 Cimabue, 311 Claude, 332 Clouets, The, 332 Cornelius, Peter von, 440 David, Jacques Louis, 441-2 Del Sarto, 332 Dürer, 328, 391 Fra Angelico, 344 Hogarth, 133, 280 Holbein, 328 Isabey, Eugène, 379 Kaulbach, Wilhelm von, 440 Lebrun, 387 Leonardo da Vinci, 332, 397 Mabuse, 406 Matisse, 459 Michelangelo, 374, 397, 406 Niccolo dell’ Abbati, 382 Poussin, 332 Powell, William Henry, 447 Primaticcio, 332, 382 Puvis de Chavannes, 443 Raphael, 374, 397, 406 Reynolds, Sir Joshua, 293 Richmond, Sir William, 421 Rosso, Il, 382 Rubens, 417 Smibert, 430 Titian, 354, 417 Trumbull, John, 447 Vanderlyn, John, 447 Van Eycks, 333 Van Orley, 334, 406 Velasquez, 330 Weir, Robert Walter, 447

Palaces: Alcala de Heñares, 400 Alcazar, the, 225 Alhambra, the, 218, 226, 403 Augustus’, Rome, 179 Babylon, 61 Balbi, 356 Barbarano, 352 Bevilacqua Palace, 355 Blenheim, 425 Brignole, 356 Ca d’Oro, 360-1 Cancellaria, 346, 362-4 Canossa, 355 Capitania, 352 Capitol Palaces, 350, 363-5 Caprarola, 348 Charles V, Alhambra, 402-3 Cnossus, 91, 96-8, 102 Conservatore, 363 Cornaro, 354 Ctesiphon, 228-9 Diocletian, Spalato, 180, 195, 428 Doria-Tursi, 356 Ducal, Venice, 210 Durazzo, 356 Ecbatana, at, 80 Escoriál, 403-5 Farnese, 348, 350, 363 Firuzabad, 228-9 Fontainebleau, 332, 382 Giraud, 346 Guardagni, 345 Gvimane, 355 Hagia Triada, 98 Hampton Court, 411 Hradschin, 355 Karnak, 54 Khorsabad, 60 Louvre, 382-6, 407, 419, 444 Luxembourg, 386 Massimi, 348 Medinet Abou, 54 Muhammedan Palaces, 218 Mycenæ, at, 89, 100 Nimroud, at, 67 Nineveh, at, 59 Palazzo del Te’, 347 Pallavacini, 356 Pandolfini, 347 Pasargadæ, 75, 81, 84 Persepolis, Darius’ Palace, 76, 82-5 Pesaro, 356, 366 Phæstus, 91, 98 Pitti, 344, 386 Pompeii, 355 Rezzonico, 356 Riccardi, 344, 358-60 Sargon’s Castle, 67 Serbistan, 228-9 Strozzi, 345 Susa, 80, 86 Tiryns, 91, 100-2 Tuilleries, 383, 444 Vecchio, Palazzo, 342, 358-60 Vendramini, 354, 360-3 Versailles, 387-9 Whitehall, 418 Xerxes II, 76, 85-7 Zaporta, Casa de, 400 Zwinger, Dresden, 393

Palatine Hill, 159

Paneling, Gothic, English, 291 Italian, 314 Renaissance, English, 416 French, 380 German, 393

Pansa, House of, 181

Pantheon, Rome, 171-3 Burial place of Raphael, 348 Columns in, 164 Dome, 167 Eye of, 172, 208 Influence on Byzantine, 207 Roof, 122, 168 Studied by Brunelleschi, 342

Papier-maché ornament (Gloss.), 387-9

Parapets (Gloss.), 307 English Renaissance, in, 414 Italian Gothic, 314

Paris: Arc de l’Étoile, 443 Arc de Triomphe, 443 École des Beaux Arts, 444 Fontainebleau, 322, 382 Hôtel des Invalides, 387-8 La Trinité, 452 Library of S. Genéviève’s, 444 Louvre, 382-6, 407, 418, 419, 444 Luxembourg, 386 Madeleine, 443 Nôtre Dame, 281-4, 302 Opera House, 444 Palais de Justice, 444 Panthéon, 388, 442-3 Place du Carrousel, 383, 443-4 Place Vendome, 387 Replanned, 444 Sacré-Cœur, 452 Sainte Chapelle, 285, 296 S. Clothilde, 452 S. Genéviève, Panthéon, 388, 442-3 Tuilleries, the, 383, 444 Val-de-Grâce, 387 Versailles, 387

Parthenon, the, 8, 119 Asymmetries in, 137-8 Columns, 124, 141 Intercolumniation, 125 Metope, 127 Parthenon proper, 140-1 Peristyle, 117 Preservation of, 193 Statue of Athene in, 140 Turks destroy, 138

Pasargadæ, 75, 81, 84

Patio, _see_ Court (Gloss.)

Pavilions (Gloss.): Antwerp City Hall, 406 de l’Horloge, 385, 407 English Renaissance in, 414 Holkam Hall, 426 Luxembourg, of, 387 Medinet Abou, of, 54 Sully, 385

Pedestals, 127 Greek Drama, use in, 142 Renaissance, 369, 370

Pediment (Gloss.): Asymmetries in, 137 Balustrade substituted for, 364 Broken, 370 Colonial wooden, 430-2 Doric, 127 Heidelberg, at, 394 Louvre, in, 386 Maison Carrée in, 170 Minoan architecture, in, 100 Palazzo Vecchio, in windows, 360 Pellershaus in, 396 Persian use of, 81 Renaissance use of, 368-70, 384 S. Maria dei Miracole, 353 S. Paul’s, 421 Sculpture in, 135 Segmental Pediment, 384 Villa Rotonda, in, 352

Peloponnesus, architecture in, 89-98

Pendentives (Gloss.), 167-8 Domes, in, 204-6, 209 Mogul use, 230 Muhammedan use, 221 Renaissance use, 343, 368, 420 Romanesque, 252 Vaults, in, 259

Pennethorne, John, Asymmetries, discovered by, 136

Penrose, Francis Cranmer, 136

Peripteral (Gloss.), 53, 120, 170

Peristyle (Gloss.): Colosseum, of, 174 Early Christian tombs, of, 198 Egyptian, 44, 50 Hellenic, 117, 120, 122, 177 Panthéon dome, in, 442 Parthenon, 117 Renaissance use, 346, 368 S. Paul’s, of, 420-22 S. Peter’s, 373 Temple at Syracuse, 193

Perpendicular Gothic, 271, 275, 287, 290, 295

Persepolis, 76, 82-4

Persia: Alliance with Babylon, 75 Civilisation, 74-9 Conquered by Greeks, 108, 145 Darius, 83-5 Destruction by Alexander, 76, 77 Zoroaster, 78 by Muhammedans, 215, 220, 228

Persian Architecture, 80 _et seq._ Minarets, 222 Muhammedan palaces, 228-9 Palace of Cyrus, 81 Darius, 83-5 Pasargadæ, at, 75, 81, 84 Xerxes, of, 85-6 Persepolis, buildings at, 82 Pottery, 218 Tombs, 75, 83

Peru, primitive ornament in, 18 Inca remains in, 19

Petrarch, 324-5, 331, 341

Piano Nobile (Gloss.), 360, 363

Piazza, 351, 371

Pictures: English Renaissance Houses, in, 416 Giralda, of, 225 Gothic Cathedrals in, 278 Provincial Museum, in, 226 “Oath of the Horatii, The,” 441

Piers (Gloss.), Anglo-Saxon, 254 Asymmetries in setting, 279-80 Campanile, in, 252 Château de Blois, in, 380 Egyptian Temples, in, 41, 52-3 Gothic use, 258, 272, 284-5, 304, 314, 345, 368 Hagia Sophia, in, 208 Hôtel des Invalides, in, 388 Lombard Churches, in, 251 Norman use, 255, 256, 257 Provincial use, 252 Osirid piers, 53 Romanesque, 241, 242, 244, 245, 250, 273 Roman use, 166-7, 175 S. Paul’s, in, 420 S. Peter’s, in, 371 Suggestion in sky scrapers, 474

Pilasters (Gloss.): Colonial, 431 Gothic, 284 Renaissance, English, 415, 418 French, 380, 381, 384-6 German, 392, 394, 396 Italy, 350, 361, 364, 366, 368, 372 Netherlandish, 407 Spanish, 402

Pillars, 92 Cretan palaces, in, 96-8 Hindu, 230 S. Simon Stylites, of, 200

Pinnacles (Gloss.), 273, 312, 314

Pisa, 246-9

Plain of Shinar, 56

Plans: ground and floor, 10 Alhambra, of, 226-7 Anglo-Saxon, 255 Basilicas, of, 177 Benedictine Abbey, Cluny, 253 Casa Lonja, 401-2 Cathedral of Angoulême, 252-3 Cologne, 303 Château, de Blois, 380 De Chambord, 381 Circular, 197 City Hall, Antwerp, 407 Colosseum, 174 Curvature of, 137-8 Cyrus’ Palace, 82 Darius’ Palace, 83, 85 Diana, Temple of, 170 Diocletian’s Palace Spalato, 180 Egyptian, Palaces, 45-50 English, 289 Erechtheion, 141 Escoriál, 403-4 French Châteaux, 377 Gothic, 277 Hagia Sophia, 208 Hellenic Theatres, 143-4 Hôtel des Invalides, 388 House of Pansa, 181 Houses of Parliament, 451 Howard Castle, 425 Karnak, Temple at, 50 Khorsabad, Palace, 72 Louvre, The, 383 Luxembourg, 386-7 Maison Carrée, 169 Mediæval Monasteries, 237 Mosques, 217; of Akbar, 230 Octagonal Plans, 121 Palazzo, Ca d’Oro, 361 Caprarola, 348 Riccardi, 358-60 Vecchio, 358-60 Vendramini, 360-3 Palace of Charles V, 402-3 Panthéon, Paris, 442 Polygonal plans, 197 Propylæa, of, 141 Renaissance, 414 Roman forum, 159 Roman temple, 169 S. Andrea, Mantua, 368 S. Francisco, Rimini, 345 S. Front, 252-3 S. Maria della Salute, 356 S. Mark, Venice, 209 S. Paul, London, 420 S. Paul-without-the-wall, 196 S. Peter’s, 370-1 S. Simeon Stylites, 200 S. Zaccaria, 353 Santiago de Compostello, 259 Sky-scrapers, 472 Sphinx Temple, 41 Taj Mahal, 231 Tiryns, Palace at, 100 Villa Rotondo, 352 Whitehall, 418 Wren’s plan of London, 420

Plate tracery, 274, 290

Platforms, 65, 66, 67 Greek Theatre, of, 144 Muhammedan mosque, of, 217 Persian, 81, 85 Roman forum, in, 158 Stylobate, 122 Taj Mahal, of, 231

Plateresque style, 398-400

Plinth (Gloss.), 52, 99, 129, 164, 245

Podium (Gloss.), _see_ Stylobate, 156, 169-70 Colosseum, of, 174-5 Roman Tombs, of, 198

Polished Stone Age, 17, 18, 19, 95

Pope, Alexander, quoted, 427, 436

Porch, at Abydos, 42 Bank of England, 438 Chartres, at, 269 Cologne, City Hall, 395 Colonial, 431 Doric, 121 English Gothic, 290

Portals, _see_ Doorways

Porticoes: Anglo-Palladian use, 424-426 Capitol, Washington, 446 Colonial use, 431-2 Darius’ Palace, 83, 85 Early Christian Churches, 193 Ecbatana, at, 80 Greek Theatre, of, 144 Hellenic use, 116, 120-2, 131, 141 Panthéon, Paris, 443 Pasargadæ, 82 Renaissance, 353, 365 Spanish, 400-1 Roman use, 169, 171, 181 S. George’s Hall, Liverpool, 439 Tiryns, at, 101 Treasury Building, Washington, 446 White House, 446 Xerxes Palace, in, 86

Post and beam or lintel (Gloss.), 8, 14, 16

Pot Metal (Gloss.), 292

Pottery, 218 Etruscan, 155 Mycenæan, 97

Presbytery, 289

Primitive Ornament, 18 Structures, 8, 12

Printing invented, 322

Projections (Gloss.), use of, 133, 179, 312, 365

Pro-naos, _see_ Vestibule (Gloss.)

Proportion (Gloss.), 11, 134

Propylæa (Gloss.), 85, 101, 121, 131, 141

Proscenium, or proskenion (Gloss.), 144, 145, 176

Prostylar (Gloss.), 120

Provence, 235, 238, 241, 252, 331

Ptolemaic period, 53

Pulpits, Muhammedan, 217

Puritan influence, 336, 430

Pylons (Gloss.), Assyrian, 68 Byzantine, 208 Egyptian, 48, 50

Pyramidal Dome, 404 roof, 252, 414

Pyramids (Gloss.), 14 Cheops, 34, 39 Chephren, 34, 39 Gizeh, 34, 39, 40 Medun, 66, 67 Menkara, 34, 39 Nebo, 62, 67 Primitive, 14 Sakkarah, 34 Truncated, 48

Q

Quadriga (Gloss.), 179

Quatrefoil (Gloss.), 316

Quattrocento (Gloss.), 338, 340

Queen post (Gloss.), 296

Quoins (Gloss.), 348

R

Ra, Egyptian deity, 30

Rabelais, 329

Racine, 439

Raleigh, Sir Walter, 336

Ramasseum, 46-50

Ramp (Gloss.), 66, 68, 85

Ravenna, 201 Baptistry, 201 Church of S. Apollinare-in-Classe, 201 S. Apollinare Nuovo, 201 S. Vitale, 202 Tomb of Galla Placidia, 201

Rawlinson, Henry, translator of cuneiform script, 57

Rayonnant Gothic (Gloss.), 271, 282, 285-6, 287

Rectangular Gothic, _see_ Perpendicular

Refinements (Gloss.), 136, 140, _see_ Assymmetries

Reformation, The, 328, 332, 335, 337

Regula (Gloss.), 126

Reja, _see_ screen (Gloss.)

Religious Orders, growth of, 236

Renaissance, The (Gloss.): America, influence of, in, 429 Anglo-classical style, 425 Architects, importance of, 339 Architecture derived from Rome, 183 Baroque style, 351 Beaux Arts training founded on, 463 Bohemia, in, 355 Châteaux, 377-88 Churrigueresque style, 393, 405 Classic influence, 340, 402 Counter Reformation, 329, 330 Elizabethan style, 410, 413 Flamboyant style, 285-6 Flemish, Renaissance, 405-9 Florence, architects of, 342-4 France, Renaissance in, 331 Germany, in, 327, 391-6 Giralda, Tower of, 225 Gothic, compared to, 366 Gothic despised by, 366 Great Britain, in, 410-28 Holland, in, 409 Incongruities in, 360-70 Interiors, 415 Italy, in, 333, 338 Jacobean style, 410, 412-13, 415 Paganism of, 326 Palazzo Vecchio, 315, 358 Plateresque style, 398 Point of view of artists, 357-9, 373-4 Queen Anne style, 424 Reaction from, 435 Reformation, the, 328 Reversion to, 444 Roman Architecture, basis of, 346, 351 Sky scrapers of Renaissance design, 473 Spain in, 329, 397-405 Tours, School of, 376 Tuscan Romanesque, compared to, 369 Venetian architects, 352

Retablos (Gloss.), 309

Retrochoir (Gloss.), 289, 295, 298

Revett and Stuart’s Classic exploration, 436

Revolution, French, 333

Rhenish Confederation, 331

Rhythm in architecture (Gloss.), 11, 134

Ribs: In vaulting (Gloss.), 242 Diagonal, 250, 272, 294 Lierne, 294 Longitudinal, 294 Louvre, in pavilion of, 385 Tierceron, 294 Transverse rib, 294 S. Peter’s, in dome of, 373

Rococo style (Gloss.), 333, 389-90 French, 375, 389-90 German, 391, 393 Venetian, 366

Roman Augustine Age, 151 Attempt to revive Empire, 232 Barbarian invasions, 157 Christianity in, 157 Citizenship, 147-8 Civilisation, 147-162 Etruscans, 156 Exponents of order, 149 Great era of building, 152, 156 Holy Roman Empire, 321 Provinces, 148, 152 Renaissance, 323-7, 346-352 Roman Writers, 150 Sacked by Germans, 347, 354

Roman Architecture 163-183 Amphitheatres, 174 Aqueducts, 182 Arch, the, 166 Arch, Triumphal, 178 Basilicas, 177 Baths, 176 Bridges, 182 Circuses, 173 Colosseum, 174 Columns, 169, 170, 171, 178 Composite order, use of, 165 Concrete, use of, 153 Corinthian order, 164 Decoration of Walls, 168-9 Domestic buildings, 180 Influence on Byzantine, 202 Persian, 152 Romanesque, 170, 180, 183 Maison Carrée, Nîmes, 169 Masonry of, 153 Mosaics, 168 Nymphæum, 170 Orders, the, 163-166 Ornament, 169 Palaces, 179 Revival of influence, 437 Rotundas, 170, 171, 198 Temples, 169-173 Theatres, 175-6 Tombs, 198 Training in, at Écoles des Beaux Arts, 463 Vaulting, 167, 243 Villas, 180-1

Romanesque Architecture, 241-260 Arcading, 244-5, 307 Arch, the, 245 Chêvet, the, 241-2 Doors, 245, 254 England, in, 254 Exteriors, 245 France, in, 252 Influence in French Gothic, 282 Germany, 301 Italy, in, 313, 315 Central, 246-249 Northern, 249-251 Southern, 249 Origin of, 170, 180, 183, 212 Originates Gothic, 270, 271, 276 Period of, 232 Rhenish Provinces, in, 257, 307 Rib Vaulting, 243 Roman principles in, 241 Spain, in, 259-60 Tuscany, in, 367 Variations in, 240 Windows, 245, 251

Rome: Anio Novus Aqueduct, 183 Aqua Claudia, 183 Arch of Cæsar Augustus, 160 Constantine, 159, 178 Janus, 159 Septimus Severus, 161, 178 Titus, 159, 178 Basilicas, Æmilia, 160, 177 Fulvia, 177 Julia, 160, 177 Maxentius or Constantine, 177 Porcia, 177 Ulpia, 177 Baths, of Agrippa, 176 Caracalla, 176 Commodus, 176 Constantine, 176 Diocletian, 176 Domitian, 176 Nero, 176 Titus, 176 Bridges, 182 Capitoline Hill, 158 Circus, Maxentius, 173 Maximus, 173 Colosseum, 174-5 Columns of Victory, 178 Comitium, 158 Curia, 158 Etruscan Museum, 348 Forum Boarium, 170 Romanum, 157-8, 170 Il Gesu, 349 Milliarium, 158 Nymphæum, 170 Palaces of Augustus, 179 Cancellaria, 346 Capitol, 350, 363-5 Caprarola, 348 Farnese, 348 Massimi, 348 Pandolfini, 347 Pantheon, 122, 164, 167, 168, 170, 171, 348, 372 Rotunda, The, 171 S. Clemente, 195 S. John Lateran, 194, 198 S. Lorenzo in Miranda, 347 S. Maria della Grazie, 346 S. Paul-without-the-Walls, 196-7 S. Peter’s, 194, 346-7, 349-50, 370-4 S. Pietro in Montorio, 346 S. Stefano Rotondo, 198 Tabularium, the, 161 Temples, 169 Castor and Pollux, 160 Circular, 176-7 Divinities Male and Female, 158 Mater Matuta, 170, 171 Minerva Medica, 207 Saturn, 160, 164 Tomb of Cæcilia Metella, 173 Constanza, 198 Trajan’s Column, 179, 348 Umbilicus, the, 157 Villa Farnesina, 347 Madama, 347

Roodloft (Gloss.), 237

Roofs, 46, 47, 53 Arch-braced, 297 Assyrian treatment of, 71 Byzantine, 198 Colonial, 431-2 Decorative treatment of, 396 Dome roofs, 71 Etruscan, 155 Gothic, in England, 293, 296-7, 299 German, 304-5 Italian, 314 Netherlands, 307 Hammer-beam, 297 Hip roof, 385, 432 Lombard, 252 Louvre, of the, 384-5 Luxembourg, of the, 387 Mansard, 385-6, 431 Mediæval, 196, 198, 241 Muhammedan, 228 Primitive, 14-15, 20 Queen Anne Style, 424 Renaissance, English, 414, 428 German, 392, 395 Netherlandish, 407, 408 Spanish, 403 Stone roof, 199 Tie-beam, 296 Trussed-rafter, 296 Wooden roof, 196, 246, 256, 296

Rosetta Stone, 27

Rosettes, _see_ Decorative motives

Rose Windows (Gloss.), 271, 282

Rostra, the, 158

Rostrum of Julius Cæsar, 160

Rough Stone Age, 18

Rugs, Persian, 219

“Ruins of the Palace of Diocletian,” by Robert Adam, 428

S

Sanctuary of, Early Christian churches, 194, 196 Egyptian Temples, 49, 50, 53 Gothic Churches, 289 Hellenic Temples, 120, 141 Spanish Renaissance churches, 401

Saracenic, _see_ Muhammedan

Sardinia, Mycenæan remains in, 89, 90

Sargon, Akkadian King, 57, 58 Assyrian King, 60

Sarzac, Professor de, discoveries by, 67

Sassanian Empire, 77, 205, 229

Schiller, 439

Schliemann, Dr., Mycenæan discoveries by, 88, 100

Schools, Divinity, Oxford, 295, 299 École des Beaux Arts, 379, 444, 453 Grammar, in England, 412 Scuolo de S. Marco, 354

Scotia (Gloss.), 129, 164

Screens (Gloss.): Gothic Choir, 275, 291 English, 291, 298 Spanish, 309 Mediæval Churches, 237 Muhammedan, 218 S. Sophia, 208 Temples of Egypt, 54 Temple of Hera, 118

Screen Walls, 377 Blenheim, at, 425 Château de Chambord at, 381 S. Clemente, Rome, 195

Scrolls, _see_ Volutes

Sculptors: Bartlett, Paul W., 446 Berruguete, 402, 405 Borromini, The, 351 Cellini, Benvenuto, 332, 382 Churriguera, 405 Crawford, Thomas, 446, 447 Giotto, 312, 319 Goujon, Jean, 332, 385 Maderna, Carlo, 351 Majano, Giovanni, 411 Michelangelo, 349-51, 405 Pheidas, 111, 140 Pilon, 332 Pisano, Andrea, 312, 319 Praxiteles, 118 Robbia, Lucca della, 312 Rude, François, 443 Sansovino, Andrea, 354 Sansovino, Jacopo, 354 Sarrazin, Jacques, 385 Torrigiano, 411 Vigarni de Borgoña, 401 Vischer, Peter, 391 Vriendt, Cornelius de, 407

Sculpture: Amenopheum, The, 45 Assyria, in, 65 Baroque, 351 Bulls, Colossal, 69 Egypt, of, 40, 41, 48, 75 Gothic, 276, 278 French, 269, 283 German, 304 Italian, 309, 312, 316 Netherlands, 307 Lombardy, in, 251 Osirid, 50 Pediment of Capitol, Washington, 446 Phrygian, 99 Relief, in Assyria, 71, 131 Bronze, 171 Byzantine use of, 203 Chartres, at, 269 Doric metope, in, 135 Gothic, 276, 312 Hellas, in, 127 Ionic cornices, in, 130 Medallion of Popes, 196 Mycenæ, in, 98 Tiryns, in, 102 Trajan’s Column, on, 179 Versailles, at, 387

Secondary Style, _see_ Rayonnant

Semiramis, Hanging gardens of, 62

Semitic races, 56, 58, 74

Serdab (Gloss.), 41

Seville: The Alcazar, 225 Casa Lonja, 401-2 Giralda, the, 225 Plateresque in, 398

Sewers, 152. The Cloaca Maxima, Rome, 156

Shaft (Gloss.), of column, 123 Corinthian treatment of, 131 Doge’s palace columns, 316 Fluted, 87, 124 Greek treatment of, 124, 125 Ionic treatment, 129 Proportions of, 134, 135 Romanesque, 245 Roman treatment of, 164 Sky-scraper, suggestions of, in, 474

Shakespeare, 330, 336, 410, 439

Shalmaneser, King of Assyria, 59, 60, 75

Sicily: Cathedral of, Monreale, Palermo, 249 Cathedral of Syracuse, 193 Muhammedan conquest of, 215 Romanesque, in, 249

Sidney, Sir Philip, 336

Silversmiths: Antonio Arphe, 398 Enrique Arphe, 398 Juan Arphe, 398

Skene, the, 144

Sky-scrapers, 472-5

Soffit (Gloss.), 127

Solar (Gloss.), 416

Sole Piece, 297

Sophia, Hagia, (S.), 207, 209

South Sea Islands, ornament in, 18

Spandrel or Spandril (Gloss.): Cancellaria, of, 363 Library of S. Mark’s, 365 S. Peter’s, 373

Spain, Architecture in: Alcala de Heñares, 400 Alcazar, Seville, 225, Alhambra, 218, 226-7, 403 Bridge of Cordova, 182 Bridge of Toledo, 182 Burgos, 400-1 Cordova, 182, 398 Escoriál, 403-5 Giralda, the, 225 Gothic, 271 Granada, 401 Influence on Netherlands, 406 Madrid, 403 Malaga, 401 Mosque of Cordova, 224, 225 Muhammedan, 212, 215, 220, 224-7 Mycenæan remains in, 89-90 Plateresque style, 398-9 Renaissance, 329, 398-405 Romanesque, 259-60 Salamanca, 401 Santiago, 398 Saragossa, 401 Seville, 302, 309, 371, 398 Toledo, 182, 308, 398 Valladolid, 398, 401

Spain, History of, 212, 213, 326-7, 397

Sparta, 128

“Speculum Universale,” 266-8, 312

Spencer, 336

Sphinx (Gloss.), Avenue of, 51 Temple, 41 The Great, 38

Spires (Gloss.): Antwerp, 308 Brussels Town Hall, 307 Colonial, 431 English, 274 Gothic decorated, 275 English, 289, 298 French, 282 German, 303 Houses of Parliament, 451 Woolworth Building, 476 Worms, at, 259 Wren’s Churches, 423

Spirals, 165, 179

Square, the, 85

Squinch (Gloss.), 230, 259

Stained Glass, 275-278 Gothic, English, 291-2 German, 305 Methods of using, 291-2 Musée Plantin-Moretus, 40S Sainte Chapelle, Paris, 285

Stairs: Capitol, Washington, 446 Casa Lonja, 402 Chaldæan, 66 Château de Blois, 380 Château de Chambord, 380-1 Colonial, 432 Doric Temples, 121 Egyptian temples, 44 Golden Staircase, the, 400-1 Leaning Tower, Pisa, in, 247-8 Machu Picchu, 20 Persepolis, at, 85 Pyramids, in, 39 Queen Anne entrances, of, 426 Renaissance, English, 416 German, 392 Spanish, 400 Roman Podium, of, 156 Sargon’s Castle, 68 Trajan’s Column, 179

Stalactite work, 222, 224, 227

Stalls (Gloss.), of chancel, 237

Stanze Apartments, 374

Statues: Arches, on, 179 Athene, in Parthenon, 140 Baroque, 351 Cella, in Hellenic, 140 Chaldæan, 65 Chartres Cathedral, on, 269 Cheops, of, 40 Coloured, 136 Dome of Capitol, Washington, on, 447 Giralda, S. Faith, 225 Gothic Cathedrals, on, 276-8 German, 304 Italy, 312, 314 Netherlands, 307 Spain, 309 Hermes of Praxiteles, 118 Louvre, on, 385 Marseillaise, La, 443 Michelangelo, by, 350, 364 Palace of Rezzonico, in, 356 Renaissance, English, 411 German, 392, 396 S. John, by Michelangelo, 344 S. Maria della Salute, of, 356 S. Peter’s in, 372 Temple of Diana, Nîmes, 170 Trajan’s Column, on, 179 Tympanum, in Hellenic, 135 Zeus, of, 111

Steel Construction, 461, 470, 471, 473, 478

Steeples (Gloss.), 423

Stele (Gloss.), 14, 132

Stone, use of: Arches, single stone, 199 Crosses, 18 Cut stone of Persia, 81 Egyptian use of large, 41 Italy, in, 154 Mediæval, in, 241 Obelisks, 43 Polished stone, 18, 19 Primitive use of large, 8, 13, 14, 15, 20 Pyramids, in, 40 Rough Stone age, 18 Sacrificial, 16, 20 Steel construction, in, 473

Stonehenge, 8, 16, 100

Stories, division into: Arcades, in, 229 Byzantine use, 208, 209 Casa Lonja, in, 402 Escoriál, in, 404 Gothic, German, 306 Italian, 312 Netherlands, 307 Michelangelo’s treatment of, 350 Renaissance, English, 414, 418 421 French, 354, 360, 363, 364 Renaissance use, Netherlands, 407 Sky scrapers, in, 474 Temple of Nippur, in, 66 Wren’s Steeples, in, 423

Strains, 15 Carried by columns, 124 Gothic, 271-2, 285 Hellenic recognition of, 135 Vaulting, in, 166, 270

Stretchers and headers (Gloss.), 424

String course: Gothic, Italian, 312, 314 Netherlands, 306 Palazzo Vecchio, 360 Queen Anne style, 424 Renaissance, Venetian, 361

Stuart and Revett, discoveries by 436

Stucco, use of (Gloss.): Doric Temples, in, 121 Egypt, use in, 55 Greek use of, 122 Renaissance, 352 English, 417 German, 393 Venetian, 361 Rococo use of, 389 Tiryns, in, 102

Styles: Anglo-Classical, 410, 424 Chinese, 428 Churrigueresque, 393, 405 Colonial, 430 Elizabethan, 410 Georgian, 427, 430 Jacobean, 410 Palladian, 368, 370, 402, 418, 424 Plateresque, 398-9, 400 Portico, 424 Queen Anne, 424, 427, 430 Queen Anne Revival, 458

Stylobate (Gloss.): Asymmetries in, 137 Doric, 122 Ionic, 128 Panthéon, Paris, 443 Parthenon, 138 S. George’s Hall, Liverpool, 438 S. Paul’s, 421

Stylus, use of, 57

Subjective point of view, 4

Symonds, John Addington, 329

Syria, 199 Architectural remains in, 199 Cathedral of Borah, 200 Churches, Kalb-Lauzeh, 200 S. George, Esrah, 200 Turmanin, 200 S. Simeon Stylites, 200 Conquered by Muhammedans, 215 Influence on Byzantine, 202 Mosques: Dome of the Rock, or, Mosque of Omar, 223 El-Aksah, 223 El-Walid, Damascus, 223

T

Tabernacles (Gloss.), German Gothic, 305 Spanish Renaissance, 398

Tabernæ, in Rome, 159

Taconia, 126

Tampa Tocco, ruins at, 19

Tel-el-Amarna, Ruins at, 55

Temples: Abydos, at, 53 Agrigentum, 119 Ammon, 51 Aphrodisias, Caria, 193 Apollo at Bassæ, 123 at Miletus, 122 at Naucratis, 128 Assos, at, 126 Athene, at Ægina, 119 Athene Nike, 119, 141-2 Cæsar, 160 Castor and Pollux, 160, 164 Chons, 51 Concord, of, 161 Corinth, at, 118 Costa Rica, ruins at, 20 Deir-el-Bahri, 44 Delos, in, 119 Delphi, at, 119 Diana, 170 Diocletian’s Palace, in, 180 Edfou, at, 54 Egyptian, plans of, 46-50 Erechtheion, The, 121, 129, 131, 136, 141, 165, 193, 436, 438 Etruscan, 155 Hellenic, plans of, Early, 119 Later, 121-123 Hera, of, 111, 117 Hyperboreans, of the, 17 Jerusalem, at, 79, 223 Jupiter, Capitoline, 156, 158 Karnak, at, 44, 50 Luxor, at, 51, 53 Madeleine, The, modelled on, 443 Maison Carrée, 169 Mater Matuta, 170, 171 Medinct Abou, at, 139 Mexico, in, 20 Michelangelo’s adaptations of, 364-5 Minerva Medica, 207 Minoan, no temples, 92 Nebo, at, 62, 67 Nineveh, at, 60 Nippur, at, 66 Olympia, of, 119 Pantheon, Rome, 122, 164, 167-8, 170-1, 348, 372 Parthenon, the, 8, 119, 125, 127, 137, 138, 140, 436 Pasargadæ, at, 75 Philæ, at, 53 Phœbus Apollo, of, 118 Poseidon, of, 118, 119, 125 Rameses II, of, 45 Saturn, 160, 164 Seti II, of, 51 Sippar, at, 57 Sphinx, The Great, 38, 41 Tampu Tocco, 19 Theseum, 119, 193 Tholos, Epidauros, 121, 131 Uri, at, 139 Vesta, Rome, 160, 170 Vesta, Tivoli, 170, 171 Zeus, 111, 122 at Agrigentum, 118, 119 Olympian, 119, 120, 122 Selinas, 119

Tænia (Gloss.), 126

Terraces (Gloss.): Babylon, Gardens of, 61 Châteaux, of, 379 Machu Picchu, of, 20 Nippur, of, 66 Pasargadæ, of, 81 Persepolis, of, 85 Renaissance examples, 374 S. George’s Hall, Liverpool, 438 Sargon’s Castle, of, 68 Tampu Tocco, 19 Tenochtitlan, of, 20 Versailles, of, 387 Xerxes’ Palace, of, 85

Terracotta (Gloss.): Etruscans, use by, 155 Renaissance, in, 411 Romans, use by, 168, 182 Roof construction, use in, 122 Steel construction, use in, 473

Tertiary Style, _see_ Flamboyant

Tessera (Gloss.), 168

Tetrastyle (Gloss.), 121

Thatched roofs, 155

Theatres: Dionysos, of, 143 Ducal theatre, Weimar, 439 Epidauros in Argolis, 143 Federal Street Theatre, Boston, 448 Hellenic Theatres, 142, 145, 173, 175 Marcellus, of, 164 Orange, at, 176 Roman, 173 Royal Theatre, Berlin, 440 Sheldonian, Oxford, 419 Teatro Olympico, 352 Vitruvius’ description of, 144

Thermæ, _see_ Baths

Thessaly, remains at, 89

Thirteenth Century Gothic, _see_ Gothic, Primary

Thrust (Gloss.), 15 Basilicas, in, 178 Gothic, in, 273 Mansard roof, in, 385 Muhammedan arches, 221 Roman arches, in, 166, 170 Vaulting, in, 242, 244, 253

Tiglath-Pileser, Assyrian kings, 59, 60

Tiles (Gloss.): Alhambra, use in, 227 Assyria, in, 68, 72, 97 Chaldæan, 68 Domes, in, 207 Doric Temples, in, 121, 122, 123 Early Christian churches, in, 201 Greek use, 122 Muhammedan use of, 222 Persian use of, 86, 97, 218, 229 Renaissance, English, 414 Roman use of, 168 Temple of Hera, roof of, 118 Turkish use of, 228

Tiryns, Prehistoric civilisation of, 88 Architecture, 98, 100-2 Resemblance to Etruscan, 155

Tivoli, Temple of Vesta, in, 170-1 Villa of Hadrian, 180-1

Tombs: Abydos, at, 42 Agamemnon, of, 100 Altun Obu, at, 14 Amenopheum, the, 45 Artaxerxes, of, 76, 82 Atreus, of, 124 Barrows, 13, 14 Beehive, 15, 99 Cæcilia Metella, of, 173 Cassandra, of, 100 Cathedrals, in, 299 Constanza, of, 198 Cyrus, of, 81 Darius I, of, 82-4 Darius II, of, 76, 82 Dolmen, 14 Egyptian Middle Empire, of, 42 Escoriál, of the, 403 Etruscan, 155 Galla Placidia, Rome, 201 Henry VII, Westminster, of, 411 Lycia, in, 99, 130 Mahmud Bijapur, of, 230 Mastabas, 41 Midas, of, 130 Minoan, 90 Muhammedan, 217, 222 Mycenæan, 99 Myra, at, 99 Pasargadæ, at, 75, 81 Persepolis, at, 76, 82 Phrygia, at, 99 Primitive, 14 Queen Hatasu, of, 45 Rameses III, of, 45 Ramesseum, The, 45 S. Sebald, of, 391 Sheik Omar, of, 222 Suleiman and Roxelana, of, 228 Taj Mahal, the, 217, 230 Theban Empire, of, 42 Tholos, the, 99 Wolsey, Cardinal, of, 411 Wren, Sir Christopher, of, 423 Xerxes, of, 82

Torus (Gloss.), pl. Tori, 47 Cnossus, in fresco at, 123 Corinthian, 164 Doric, 124 Ionic, 129

Tours, School of, 376

Towers: Anglo-Saxon, 254 Angoulême, at, 253 Antwerp Cathedral, 308 Babel, 62 Babylon, 61 Cathedral del Pillar, 401 Châteaux, 378 de Blois, 380 de Chambord, 381 Church of Apostles, Cologne, 259 Cologne Cathedral, 303 Diocletian’s Palace, 180 Durham Cathedral, 256 Earl’s Barton Church, 255 Escoriál, the, 404 Giralda, The, 225 Gothic, English, 274, 289, 298 Netherlandish, 307 Houses of Parliament, 451 Layer Marney, Essex, 411 Madison Square Garden, New York, 226 Malines Cathedral, 408 Nôtre Dame, Paris, 282 Palazzo Vecchio, 359 Renaissance, English, 414 Renaissance, German, 392 Rheims Cathedral, 282 Romanesque, 244 S. Ouen’s, 286 S. Paul’s, 421 Saragossa, La Seo, 401 Sargon’s Castle, 67-8 Town Hall, Brussels, 307 Turmanin Church, 200 Wind, of the, Athens, 121 Woolworth Building, 476 Worms Cathedral, 258 Wren’s Churches, 423

Trabeated (Gloss.), 8

Tracery (Gloss.): Branch, 305 Double, 304 Early English, 290, 291 Gothic, German, 303, 304 Italian, 310, 312 Netherlandish, 307 Milan, in, 314 Plate, 274-5 Renaissance, French, 378

Transepts (Gloss.): Cathedrals, English, 289, 298 Cologne Cathedral, 303 Cologne, Church of Apostles, 259 Early Christian Churches, 194 Milan, S. Maria della Grazie, 346 Norwich Cathedral, 246 Nôtre Dame, Paris, 281 S. Paul’s Cathedral, 420-1 Pisa, Cathedral, 247 Romanesque Churches, 241, 244 Santiago de Compostello, 260 Tournai, Cathedral, 307 Worms Cathedral, 258

Transoms (Gloss.), 290 Château de Blois, 380 English Renaissance, 414

Transverse beams (Gloss.), 8

Travertine (Gloss.), use of, 154, 175, 362

“Treatise on Civil Architecture,” (Sir William Chambers), 427

Trefoils, 290, 316

Triada, Palace at, 98

Triclinium (Gloss.), 181

Triforium (Gloss.), 290, 299, 304, 314

Triglyphs (Gloss.): Coloured, 136 Doric entablature, in, 126 Roman, 164

Triumphant Arches, _see_ Arch

Troubadours, 238, 331

Truss, 296

Tudor Gothic, 288

Tufa (Gloss.), 154, _see_ concrete

Tumuli (Gloss.), 13, 17

Turkish Architecture, 227

Turrets, Gothic, Italian, 312 Château de Chambord, 381 Houses of Parliament, 451 Renaissance, French, 378 German, 392 Holland, 409 Romanesque, Spanish, 260 S. Sulpice, Church of, 389

Tuscan Orders, 155, 174

Tympanum (Gloss.), 135, 171

U

Uffizi, 354

United States, The: Beaux Arts Training, influence, 463, 464 Capitol, Washington, 446 Chicago Exposition, influence of, 465 Christ Church, Philadelphia, 430 Classical revival, 445 Colonial architecture, 423, 429, 431 Craigie House, 431 Domestic Architecture, 468-9 Engineering problems, 477 English influence, 430 French influence, 441, 445 Gothic Revival, 452-3 Imitative tendency, 466-8 Office Buildings, 469, 475 Old South Church, 430 S. Paul’s, New York, 430 Sherburn House, 431 Steel Construction, 461, 470-7 Trinity Church, New York, 452 White House, The, 446 Woolworth Building, 471, 476

Unity of design (Gloss.), 11, 174, 209, 245

“Universal Mirror,” _see_ “Speculum Universale”

Universities: Augsburg, 328 Basel, 328 Cambridge, 290, 295, 299 Constantinople, 266 Leyden, 334 London, 438 Nuremburg, 328 Oxford, 257, 288, 293, 295, 299 Salamanca, 399 Strasburg, 328 Virginia, 448

Urbino, 346

Urn, Burial, 155

Usertesen, Obelisk of, 43

V

Vases, Minoan, 90, 91, 97

Mycenæan, 89

Vatican: Borgia Apartments, 97 Museum, 198 Sistine Chapel, 374 Stanze Apartments, 374

Vault (Gloss.), Vaulting: Amiens, at, 281, 284 Asymmetries in, 69, 70 Barrel vaults, 42, 70-1, 209, 242, 253, 260, 373 Basilicas, in, 177 Byzantine use of, 204, 208 Certosa, The, in, 313 Chaldæan, 71 Cross Groined, 167, 178, 242, 250, 253, 271-2 Decorated, 168 Dome or semidome, 167 Egyptian use of, 53 Escoriál, in, 404 Fan Vaults, 295 Gothic, 270 English, 287, 293, 298 French, 252 German, 304 Italian, 314 Lombard, 310 Spanish, 309 Groin, 178, 242, 250, 253 Hindu use of, 230 Liernes, 294 Madeleine, in the, 443 Muhammedan use of, 222, 229 Norman use of, 256 Nôtre Dame, 281 Palais de Justice, Liège, 406 Pendentive Vaults, 295 Persian use of, 229 Pointed Groin Vault, 253 Renaissance, Spanish, 401 Rib and panel, 294 Rib Vault, 243, 249, 272 Romanesque, 241-2 Rhenish, 259 Spanish, 260 Roman use of, 166-7, 173, 175 Rudimentary, 15 S. Andrea, Mantua, 345, 368 S. Lorenzo, Florence, 343 S. Mark’s, Venice, 209 S. Spirito, Florence, 367 Sainte Chapelle, in, 285 Semicylindrical, vaulting, 167 Sexpartite, 254 Skew Vault, 254 Stellar vaulting, 294 Temple of Diana, Nîmes, 170 Tiercerons, 294

Vaults: Foundations of Adelphi Terrace, 428 S. Francisco, Rimini, in, 345

Vega, Lope de, 330

Velarium, 174, 176

Veneer: Byzantine use of, 203 Italian Gothic exterior, in, 311 Muhammedan use of, 222 Roman use of, 168 S. Stefano Rotondo, in, 199 Sphinx Temple, in, 41 Turkish Mosques, in, 228

Venice: Byzantine Influence in, 352 Ca d’Oro, 360 Cornaro Palace, 354 Doge’s Palace, 210, 315 Gothic architecture, 315-16 Gvimane Palace, 355 Il Redentore, Church of, 352 Library of San Giorgio, 344 Library of San Marco, 354, 365 Lido, Fortifications at, 355 Renaissance in, 352-6 S. Giorgio dei Greci, 354 S. Giorgio Maggiore, 352 S. Maria della Salute, 356 S. Maria dei Miracoli, 353 S. Mark’s, 209, 210, 248, 252 S. Zaccaria, 353 Scuolo di S. Marco, 354 Trade centre, a, 265, 353 Vendramini Palace, 354, 360 Zecca, The, 354

Verandah, 432

Verona: Bevilacqua Palace, 355 Canossa Palace, 355 Pompeii Palace, 355

Vesta, Temple of, 160

Vestibules (Gloss.), 101, 102, 120

Vicenza, 351 Mediæval Basilica, 352 Palazzo Barbarano, 352 Palazzo Capitania, 352

Villa Rotonda, 352

Villas: Chiswick on Thames, 352, 426 Farnesina, the, 347 House of Pansa, 181 Pompeii, at, 181 Pope Julius III, of, 348 Roman Villas, 181, 400 Villa Capra, 426 Villa Madama, 347 Villa of Hadrian, Tivoli, 180 Villa Rotonda, 352

Vincent of Beauvais, writings of, 266, 312

Virgil, 436

Vitruvius, descriptions of, 122, 144, 155, 182, 351, 352

Vogüé, Marquis of, Explorations in Syria, 199

Volutes (Gloss.), 131 Assyrian ornament, in, 131 Ionic ornament, in, 130 Persian ornament, in, 87 Roman ornament, in, 164

Voussoirs (Gloss.): Cloaca Maxima, in, 156 Concrete construction compared, 166 Dome of Cathedral, Florence, in, 343 Mosque of Kait Bey, in, 224

Vriendt, Cornelius de, book of ornament, 393

W

Wainscots (Gloss.): Alhambra, in, 227 Colonial use, 432 English Renaissance, in, 417 Musée Plantin-Moretus, 408

Wall Decoration in marble: Chaldæan, 71-2 Early Christian churches, 196 Egyptian, 41, 48 Florence, S. Maria Novella, 345 Italian Gothic, 311, 316 Renaissance use, 354, 393 Romanesque use, 246, 249 Roman use, 168, 172 Turkish, 228 Venetian use, 354

Wall Painting: Assyrian use of, 72 Capitol, Washington, 447 Cnossus, at, 93, 96, 97, 102, 123 Egyptian use of, 45, 48 English-Norman, 257 Etruscan, 155 Hellenic, 136 Italian-Gothic, 311 Minoan, 91 Odeion of Herodes Atticus, 146 Panthéon, Paris, 443 Pyramid of Onas, 40 Raphael’s Stanze, Vatican, 194,374 Renaissance, in, 339 Romans, use by, 168, 181 S. Paul’s-without-the-walls, 197 S. Stefano Rotondo, in, 199 Tiryns, in, 102

Walter, Thomas Ustic, 447

Water, use of: Assyrian, 56 Early Christian Churches, 194 Egyptian, 30 Minoan, 93, 97, 98, 101 Muhammedan, 217, 218 Persian, 86 Roman, 176, 181, 182-3

Weighing Houses of Holland, 409

Winckelmann’s critical studies, 436

Windows: Alhambra, of, 226-7 Anglo-Saxon, 254 Angoulême, Cathedral of, 253 Arcade type, 362 Assyria, 70 Blenheim Castle, of, 426 Ca d’Oro, 360 Campanile, of, 252 Cancellaria, of, 363 Casa Lonja, 402 Château de Blois, 380 Château de Chambord, 381 Clerestory, 49 Colonial, 431-2 Crete, in, 93 Cyrus’s Palace, 83 Doge’s Palace, 316 Doric Temple, 122, 126 Egyptian use, 47, 50, 55 Escoriál, the, 404 Giralda, of the, 225 Gothic, 274-276 English, 290, 291 German, 304, 316 Italian, 310, 312 Netherlandish, 307 Hôtel des Invalides, of, 388 Iffley Church, of, 257 Lantern of Galla Placidia, 201 Louvre, of the, 383, 384, 385 Milan Cathedral, in, 313 Modern necessity for, 438 Muhammedan, 222 Norman, 255 Order type, 362 Oriel, 414 Palace of Charles V, in, 403 Palace of Diocletian, in, 196 Palazzo Riccardi, in, 359-60 Vecchio, 359-60 Vendramini, 360 Palladian design, 370 Perpendicular style, 271 Primitive, 20 Queen Anne Style, 424 Renaissance, English, 414, 417 French, 378 German, 392-3, 395-6 Spanish, 399, 400 Romanesque treatment of, 242, 244, 245 Spanish, 260 Roman treatment of, 172, 178 Rose or wheel, 251, 271 S. Peter’s, of, 372 S. Sophia’s, of, 208 Sainte Chapelle, of, 285 Sky-scrapers, of, 475 Tampu Tocco, at, 19 Tiryns, at, 101 Venetian Renaissance, of, 362 Whitehall Palace, of, 418 Worms, Cathedral, of, 258 Xerxes, Palace, of, 86 York Minster, of, 298

Wings: Capitol, Washington, in, 446-7 English Renaissance houses, in, 414 Friedrichsbau, in, 394 Heinrichsbau, in, 394 Louvre, of the, 383, 444 Luxembourg, of the, 387 Whitehall, of, 418

Wyatt, 335

Wycliffe, 335

X

Xerxes I, of Persia, 76 Invades Hellenic States, 108 Palace, 85 _et seq._ Tent, in Odeion of Pericles, 145

Z

Zecca (the mint), Venice, 354

Zeus, 101, 128 Temple of, 111, 122

Ziggurat (Gloss.), 66-67, 73

Zoroaster, 78

Zoroastrianism, 78, 81

BIBLIOGRAPHY

GENERAL.

Cummings, Charles A. History of Architecture in Italy. Boston: Houghton, Mifflin & Co. 1901. 2 vols.

Fergusson, James. History of Modern Architecture. 1873.

Fletcher, Bannister. A History of Architecture. London.

Hamlin, A. D. F. Text Book of the History of Architecture. 1898. Longmans, Green & Co.

Joseph, Dr. D. Geschichte der Baukunst. Berlin: Bruno Hessling. 4 v. 1902-09.

Simpson, F. M. A History of Architectural Development. London: Longmans, Green & Co. 1905. 3 vols.

Stratham, H. Heathcote. A Short Critical History of Architecture. London: B. T. Batsford. 1912.

Sturgis, Russell. A History of Architecture. New York: Doubleday, Page Co. 1906-1915. 4 vols.

Sturgis, Russell. European Architecture. A historical study. New York: Macmillan & Co. 1896.

Wallis, Frank E. How to Know Architecture. New York: Harper & Bros. 1910.

EGYPTIAN.

Bell, Edward. The Architecture of Ancient Egypt. London: G. Bell & Sons. 1915.

King, L. W. and H. R. Hall. Egypt and Western Asia: in the light of recent discoveries. London: Soc. for Promoting Christian Knowledge. 1907.

BABYLONIAN AND ASSYRIAN.

Handcock, Percy S. P. Mesopotamian Archæology; an introduction to the archæology of Babylonia and Assyria. London: Macmillan & Co. 1912.

Koldewey, Robert. The excavations at Babylon. Translated by A. S. Johns. London: Macmillan & Co. 1914.

MUHAMMEDAN.

Saladin, H. L’architecture. Paris: A. Picard & Fils. 1907. (Manuel d’art musulman.)

GOTHIC.

Bond, Francis. Gothic Architecture in England. London: B. T. Batsford. 1905.

Bumpus, T. Francis. Guide to Gothic Architecture. New York: Dodd Mead Co. 1914.

Cram, Ralph A. The Gothic Quest.

Gonse, Lewis. L’Art Gothique. Paris: Maison Quantin. (1890.)

Jackson, T. G. Gothic Architecture in France, England and Italy. Cambridge University Press. 2 v. 1915.

West, G. H. Gothic Architecture in England and France. London: G. Bell and Son. 1911.

RENAISSANCE.

Anderson, Wm. J. Architecture of the Renaissance in Italy. London: B. T. Batsford. 1896.

Gotch, J. Alfred. Early Renaissance Architecture in England. London: B. T. Batsford. 1914.

Moore, C. H. Character of Renaissance Architecture. New York: Macmillan & Co. 1905.

ORNAMENT.

Goodyear, William H. The Grammar of the Lotus. Sampson Low. London. 1891. Architectural Record (articles in), Vol. II, No. 4; Vol. III, Nos. 2, 3, 4.

Hamlin, A. D. F. The History of Ornament: Century Co. 1916.

ASYMMETRIES.

Goodyear, William H. Greek Refinements. Yale University Press. 1912. Architectural Record (articles in), Vol. VI, Nos. 1, 2, 3, 4; Vol. VII, Nos. 1, 2, 3; Vol. XVI, Nos. 2, 5, 6; Vol. XVII, No. 1. American Architect (articles in), 1909, 1910, 1911. American Journal of Archæology (articles in), Vol. XIV, No. 4; Vol. XV, No. 3. Yale Quarterly Review, 1912, April.

FOOTNOTES:

[1] An exception occurs in a temple at =Assos=, where the architrave is decorated.

[2] It was sometimes used in connection with the Doric order, as in the case of the =Tholos at Epidauros=, where the internal circle of columns is of the Corinthian order.

[3] A corresponding curvature in plan has also been discovered in Egyptian architecture, for example, in the Second Temple Court at =Medinct Abou=.

[4] Erected eighty years after the death of Euripides, whose plays, like those of Æschylus and Sophocles, were performed in temporary theatres.

[5] Note the similarity of this portico to the projection from the back of an Elizabethan stage.

[6] The reader may be reminded that longitudinal is in the direction of the nave from west to east, transverse, across the nave, at right angles, while the “diagonals” span the bay obliquely.

[7] The above was written before the revolting desecration of Belgium by the German invasion.

End of Project Gutenberg's How to Study Architecture, by Charles H. Caffin