Page images
PDF
[blocks in formation]

Photo, L. L. Paris. -
Fig. 129.-Pavillon Richelieu, The Louvre, Paris. (Visconti.)

[subsumed][ocr errors][merged small]
[graphic]
[graphic]

- Copyright 1899 by Detroit Photographic Co. Fig. 132.—A Newport, R.I., “Cottage”; “The Breakers.”

- - |- - - - 'i' - | Fig. 133.-The Metropolitan Club, New York. |A ||||||||||

| Tiff.

Copyright 1903 by Detroit Photographic Co. Fig. 131.—“Flat-Iron” Building, New York. (For method of construction, see STEEL CoNSTRUCTION, and Plate II., Fig. 4, Copyright 1905 by Detroi. Publishing Co. of that article.) Fig. 134.—The University Club, New York.

[graphic]
[graphic]
[graphic]
[graphic]
[graphic]
[graphic]
[graphic]
[merged small][merged small][merged small][ocr errors]

Photo, Elmer Chickering. Fig. 137.—Trinity Church, Boston. (H. H. Richardson.)

[ocr errors]

Copyright 1906 by Detroit Publishing Co. Fig. 138.—State Capitol, Hartford, Connecticut. are very similar in their character, their columns are formed by the prolongation of the reedy mouldings of the arches, their window traceries are poorly designed, and their roofs are covered with a complex multitude of lierne ribs... Yet the scale is fine, the admission of '' generally high up and in sparing quantity, is artistic, and much of the furniture is either picturesque or interesting. . The tout ensemble is generally very striking, even where the architectural purist is apt to grumble at the shortcomings of most of the detail. The remarks which have been made so far have been confined to the fabrics of the churches of Spain. It would be easy to add largely to them by reference to the furniture which still so often adorns them, unaltered even if uncared for; to the monuments of the mighty dead; to the sculpture which frequently adorns the doorways and screens; and to the cloisters, chapter-houses and other dependent buildings, which add so much charm in every way to them. Besides this, there are very numerous castles, often planned on the grandest scale, and some, if not very many, interesting remains of domestic houses and palaces; and most of these, being to some extent flavoured by the neighbourhood of Moorish architects, have more character of their own than has been accorded to the churches. Finally, there are considerable tracts of country in which brick was the only material used; and it is curious that this is almost always more or less Moorish in the character of its detail. The Moors were great brickmakers. Their elaborate reticulated enrichments were easily executed in it, and the example set by them was, of course, more likely, to be followed by Spaniards than that of the nearest French brick building district in the region of Toulouse. The brick towers are often very picturesque; several are to be seen at Toledo, others at Saragossa, and, perhaps the most graceful of all, in the old city of Tarazona in Aragon, where the proportions are extremely lofty, the face of the walls everywhere adorned with sunk panels, arcading, or ornamental brickwork, and at the base there is a bold battered slope which gives a great air of strength and stability to the whole. architecture of Spain from the 12th century is of less interest than that of most other countries, because its development was hardly ever a national one. The architects were imported at one time from France, at another from the Low Countries, and they brought with them all their own local fashions, and carried them into execution in the strictest manner; and it was not till the end of the 14th century, and even then only in Catalonia, that any buildings which could be called really Spanish in their character were erected. (R. P.S.)

[graphic]
[graphic]
[graphic]
[graphic]

RoMANESQUE AND Gothic ARCHITECTURE IN ENGLAND

Pre-Conquest.—The history of English architecture before the Norman Conquest is still only imperfectly known. Its parentage is triple: Roman, Celtic and Teutonic. To the first belongs the general building tradition of the Romanized West, and the influence of the mission of Augustine at the end of the 6th century, and of such men as Wilfrid in the 7th. The Celtic element is due to the Scottish (Irish) church, which never gained much hold on the south of England, while the Teutonic influence shows itself in the later developments, which are allied to the early buildings of kindred peoples in Germany. Fragments of existing early churches have been attributed to the time of the Roman occupation, but all are doubtful, with the exception of the remains of what is believed to have been a Christian church excavated at Silchester in 1892. This was a basilica of ordinary form, comprising an apse with western orientation, nave and aisles, transepts of slight projection, and narthex. Augustine's cathedral church of Canterbury, which he had learned was originally constructed by the labours of Roman believers (Bede), was also a basilica with western apse; its eastern apse and confessio beneath were probably a later addition. Remains of early churches are found on several sites where churches are recorded to have been built during the missionary period. Of these, Reculver (c. 670) and Brixworth (c. 680) have aisled naves and castern apses. At Brixworth a square bay intervenes between the apse and the nave. St Pancras, Canterbury, pf the time of Augustine, Rochester (604), and Lyminge (founded 633), show unaisled naves of relatively wide proportion, with eastern apses of stilted curve. In some of these churches there was a triple arcade in front of the sanctuary, in place of the usual “triumphal arch.” The technique shows Roman influence, and Roman materials are largely used. The existing crypts of Hexham and Ripon were built by Wilfrid, c. 675. The description of Wilfrid's church at Hexham gives the impression of an elaborate structure (columnis variis ct porticibus multis suffultam). Wilfrid also built at Hexham a church of central plan, with

On the whole, it must be concluded that the medieval.

projections (porticus) on the four sides, a type of which no example has survived in England. Escomb (Durham) and parts of Monkwearmouth and Jarrow, which are attributed to the same period, have plans of an entirely different type—a relatively long and narrow nave, with small square-ended chancel—a plan, usually attributed to Celtic influence, which is most extensively represented in churches recognized as Saxon.

The evolution of the characteristic features of pre-Conquest architecture was slow, and was doubtless greatly hindered by the invasions of the Northmen from the end of the 8th century onward, but germs of the fully developed style are to be found in the earliest buildings. The western tower, usually of tall and slender proportion, was developed from the western porch found at St Pancras, Canterbury, and Monkwearmouth; sometimes, as in the latter church, actually raised over the older £; The lateral chapels of St Pancras, which existed also in the Saxon cathedral of Canterbury, were develo into a transept, culminating in the cruciform plan with central tower. The characteristic “long-and-short” work, which consists of tall upright stones alternating with stones bedded flat bonding into the rubble work of the wall, has its prototype in the western arch of the porch of Monkwearmouth, and in the jambs of the chancel arch at Escomb. Sometimes the flat stones are cut back on the face, so that the plaster which covered the rubble extended up to the line of the upright stones, thus giving the quoin the appearance of a narrow pilaster. The repetition of these pilasters on the face of the walling constitutes rib-work, and these ribs are £ connected by semicircular or so-called “triangular" arches, forming a kind of rude arcading (Earls Bartou, Barton-onHumber.) Windows in the earliest Saxon work are generally wide in proportion, and splayed on the inside only; in the later work they commonly have splays both on the inside and outside. Doorways have square jambs, without splay or rebate; sometimes the jam of doorways and windows are inclined, as in early buildings in Ireland. Imposts to doorways, tower arches or chancel arches are often square projecting blocks, sometimes, chamfered on the lower edge. The mid-wall shaft is a characteristic feature in the belfry openings of Saxon towers; it supports an impost or through-stone, of the full thickness of the wall, which receives the semicircular arches over the openings. The method is analogous to that commonly found in northern Italy and the R# Sometimes the mid-wall shaft is a baluster, turned in a lathe. In some of the later belfry openings, a capital intervenes between the mid-wall shaft and the impost. The dating of buildings of this style is at present a matter of considerable difficulty, but certain points, such as the development of the cruciform plan, are useful for comparison. A fully developed cross church was built at Romsey in 969, having also a single axial western tower, and this seems to have been the normal type of a large church in the later years of the style. Cruciform plans, not yet fully developed, are found at Deerhurst, Breamore and St Ma in the castle at Dover, and fully developed at Norton £ and Stow (Lincolnshire). The most advanced detail which occurs in pre-Conquest buildings is the recessing of arches in orders. But for the Conquest, English architecture might have developed somewhat on the lines of contemporary work in Germany. It must be remembered, however, that, although the Norman &n uest marks the beginning of a new epoch in English architecture, the Norman manner had already been introduced into England under Edward the Confessor, as is proved by the considerable remains of that king's work at Westminster Abbey.

The succeeding periods of English architecture have been divided into so-called “styles” or “periods,” though it should be recognized that all such hard and fast divisions are purely artificial, and that, apart from the objection that they exaggerate the importance of mere details, they tend to obscure the fact that the history of Gothic architecture is a history of continuous development. The following classifications, those of Thomas Rickman and Edmund Sharpe, are in most general use for the present by such students as are not content with a nomenclature based on simple chronology:

Rickman. £ 1066-1189 Norman. 1066-1145 Norman. 1145-119o Transitional. 1189-1307 Early English. 1190–1245 Lancet. 1245-1315 Geometrical. 1307-1377 Decorated. 1315–1360 Curvilinear. 1377-1546 Perpendicular. 1360–1550 Rectilinear.

Norman Conquest to c. 1150.—At the time of the Conquest of England, the Norman school was already one of the most advanced Romanesque schools of western Europe. Its marked individuality and logical character are clearly expressed in the abbey churches of Jumièges and St Etienne and Sainte-Trinité at Caen, and it quickly supplanted the less advanced Romanesque manner of the conquered English. As soon as the conqueror had made himself master in his new kingdom, cathedral and abbey churches were rebuilt on a scale hitherto unknown either in Normandy or England. As the effect of the Norman Conquest was to incorporate the church in England more closely with western Christendom, so its effect on architecture was to bring it into line with the best continental achievement of its time. The immense energy of the Norman bishops and abbots gave such a stimulus to architecture that by the close of the 11th century, England, rather than Normandy, had become the real foyer of the Norman school. The plans of the larger churches show greater development in the length of choir, £ and nave than was usual in Normandy. Many follow the type of choir plan generally represented in the contemporary, churches of Normandy which have survived-a central apse, flanked by an apse terminating each aisle, but the two bays usual in the Norman churches frequently became four in England. The Confessor's church of Westminster seems to have had an ambulatory with radiating chapels, a plan which, although rare in the surviving churches of Normandy, was adopted in several of the more important English churches (St Augustine's, Canterbury; Winchester; Worcester; Gloucester; Bury St Edmunds; Norwich; Tewkesbury). Some of these have great vaulted crypts extending under the choir and its aisles. The transept, generally of considerable length, has one or more apsidal chapels on the east side of each arm, or an eastern aisle, or even (as at Winchester and Ely) both eastern and western aisles. The lantern-tower over the crossing was a characteristic feature in England, as in Normandy. £ the nave was of great length, extending to twelve bays at Winchester, thirteen at Ely, and fourteen at Norwich. Some churches, as Ely, Bury St Edmunds, and later Peterborough (Plate VIII., fig.81), show a western transept, with corresponding development of the west front. Two western towers are most usual, but Ely (Plate II., fig. 67), and originally Winchester, had the single western tower, a survival from pre-Conquest times, which is found also in numberless parish churches. In their general design, the Norman churches show great skill in composition, and in the logical expression of structure, and sure grasp of the problems to be solved. The subordination of arches (arches built in rings, or orders, recessed one within the other) was carried further than in other Romanesque schools, and with this went the subordination of the pier, planned with a shaft to receive each order of the semicircular arch. Sometimes the shafted piers of the great arcades alternate with cylindrical (or later with octagonal) £ sometimes, as at Gloucester and Tewkesbury, all the pillars are cylindrical. The triforium usually has a single wide semicircular arched opening, enclosing two or more minor semicircular arches springing from detached shafts. Usually the aisle wall is carried up to form a complete triforium storey, unvaulted, and lighted by windows in the outerwall. The clerestory has a single window in each bay, with a wall passage between the window and an internal arcade, usually of three semicircular arches on shafts, the central arch being wider than the side arches. Most frequently naves and transepts were unvaulted, and finished with wood ceilings, while the aisles were covered with groined vaults of rubble, on transverse arches. The eral design of the greater churches indicates, however, that the Norman builders were aiming at a completely vaulted structure. The half-barrel vault over the triforium of Gloucester, and the transverse arches over the triforium of Chichester, seem to be constructed to afford the necessary abutment to vaults over the choir, such indeed as still exist over some choirs in Normandy built before the end of the 11th century. The problem was only successfully solved by the introduction of the diagonal rib, which completed the structural membering of the vault. Durham, begun in 1093 (fig. 42), is the earliest example in England of this important innovation, and it precedes by some quarter of a century the earliest ribbed vaults of the Ile-de-France. The abutting arches under the roof of its triforium are £ rudimentary flyingbuttresses, and we have here all the essential elements of Gothic architecture, except the pointed arch, which is only systematically used in English vaulted construction from about the middle of the 12th century. The decorative forms of the earlier buildings of the Norman school are severely simple. Arches, which at first were usually unmoulded, soon received effective mouldings of rolls and hollows, continuing a tradition of the latest pre-Conquest architecture. Two types of capitals are found in the earlier buildings after the Conquest; the volute capital, descended from the Corinthian, which was the normal type in Normandy; and the cubicorcushion capital, formed by the penetration of a segment of a sphere, or segments of cones, with a cube, a type w: appearing earlier in England than in Normandy, was doubtless derived from pre-Conquest models, and in the 12th century developed into the scalloped capital. The decoration of wall-surfaces by arcades, frequently of intersecting semicircular arches, is characteristic of the Norman school. Windows are splayed in the interior, and in the more important buildings are enriched with shafts and moulded arches. Ornamentation is requently concentrated on the doorways, which are often of many orders, with a shaft under each order. Based chiefly on

[merged small][ocr errors][ocr errors][merged small]

chancel, with or without a western tower. Other types of aisleless plans are the cruciform church with central tower, or simply nave.and chancel with central tower. Even where subsequent alterations and rebuildings have destroyed almost everything, the influence of these £ on the later work is the key to a right understanding of the istory of the greater number of English medieval churches. 12th Century (second half).—The second half of the 12th century is the period of transition par excellence—of transition from Romanesque to Gothic. The school of the fle-de-France, which up to c. 112o was one of the most backward of the Romanesque schools, had made enormous progress when the ambulatory of Suger's church of Saint-Denis was built (1140-1144), and thenceforth it continued to lead the way. There is no doubt that, from the middle of the 12th century, English architecture was continuously influenced by the Ile-de-France, for the most part through Normandy, but it must be considered to be a development on parallel lines, with strongly marked characteristics of its own, and not merely as an importation of forms already developed elsewhere. At the same time, the influence of the Cistercian revival was considerable, not so much in the introduction of foreign forms as in the direction of simplicity and severity, which acted as a valuable check to the prevalent tendency to exaggerate the importance of surface decoration. The substitution of the square east-end for the apse in the plans of the greater churches, already effected at Romsey, was furthered by the simple plans of the Cistercian churches. #: altar spaces provided by the radiating chapels of the French chevet were in En '' d obtained by returning the aisles across the square east-end # t

choir, or by an eastern transept. The latter occurs first here in

[graphic]
« ՆախորդըՇարունակել »