Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Stray Thoughts On The Origin And Progress Of The Fine Arts.
STRAY THOUGHTS ON THE ORIGIN AND PROGRESS OF THE FINE ARTS .
Br DlAGOBAS . PART NV . ( Continued from p . 124 ) Between the sixth and tenth centuries the- religious edifices of Italy were constructed on the p lan of the ancient basilica ); butafter the tenth centurythe
cha-, , racter of eastern and western architecture coalesced , and formed what is commonly called the Lombard Gothic , a style of building which resembles neither the Roman basilica , nor the Greek cross and cupola . The name Lombard indicates the place where this style of church architecture was matured . The chief characteristics of
this style , in contradistinction to the Grecian , are a general unwieldiness and want of proportion , together with a profuse variety of ornament , in very questionable taste . The form of the Lombard churches is that of a Latin cross , oblong , with a semicircular chancel , consisting within of a nave and two aisles , separated by arched arcades , and often with a crypt beneath . Small
buttresses are placed without the building to give support . The semi-circular Bo man arch is usually employed in these structures in the doors and windows , and , indeed , wherever an arch is requisite . The most peculiar ornament of this style is the chevron , or zigzag , occurring in single , " double , triple , and quadruple rows , of various dimensionsbetween the moulding of the doors and
, windows . The columns are of various forms and proportions , the shaft being usually of equal diameter throughout . The earliest forms were cylindrical , with a rough square block for a base ; afterwards , multangular shafts were formed , and others with slender half columns round a thick illar . The shafts are sometimes covered
p with spiral or zigzag ornaments . The capitals of this style are various . They are usually large square stones , either plain or rudely carved , with grotesque figures of monsters , animals , and human beings in all sorts of attitudes . The doorways and windows were extremely deep , on account of the thick walls of the edifices . These
openings were surmounted with semi-circular arches , the mouldings about which were composed of reeds and channels , with concave or plane faces between them . The concave spaces were either plain , or had at intervals foliage and flowers , and grotesque figures . The windows of the upper storey were smaller than those below , and germinated—that istwo small ones were included within
, one large one , supported by plain , short pillars . Tri ple windows were also used , consisting of a central window , with a smaller one on each side . Corbels were in general use in the early specimens of this order . They were very clumsy , and project considerably for the support of a massive flat cornice , their ends being ornamented
with uncouth figures , but afterwards with beads only . The Lombard architects constructed bell towers , for the purpose of collecting a congregation from distant parts at a particular hour ; and in order that the sound might be more widely diffused , and impeded as slig htly as possible by surrounding objects , the bells were hung iu
the uppermost part of the tower or belfry . As the use of bells became more general , a building , detached or separate from the church , was built to contain them , because neither belfries nor baptistries were considered to be essential parts of the church . Although this style of architecture had become universalladopted
y wherever the jurisdiction of the Latin Church was acknowled ged , and though its prevalence throughout Europe , Asia , and Africa marked the bounds of lapal authorit y , yet , at the very time when it seemed to have secured a lengthened duration , it was
suddenly neglected for a new and very different style of architecture . In districts where the materials for building were costly , or scanty , it was nevertheless desirable to erect churches of such dimensions as to afford accommodation for large congregations , for processions , for the performance of masses and other ceremoniesand it was necessary that they should stand
, pre-eminent above all other buildings ; while at the same time the quantity of material employed in their construction , should be as small as jiossible . It was also requisite in Northern countries that such a form of building should be employed as would combine , with great extent and elevationsurfaces which should afford
, little opportunity for the accumulation of snow on the roof . Thus , in ages when the art of architecture was almost confined to the reli gious communities , and when monks themselves were the principal designers of sacred edifices , it was to be supposed that the adaptation of the building to the climateand fitness for the purposes of
, their religion , were mainly studied by them , and paved the way for many new and individual characteristics of the style in question . In all previous styles of architecture , the walls were employed to enclose the sj ^ ace designed for use , and to support the roof which protected it above ; they were consequently made of such an
extreme thickness and size as to occupy much space that might have been , gained in the interior of the building , aud they likewise consumed a vast quantity of material and labour ; and where insulated pillars were added , they only shared with the cumbrous and massy walls the task of supporting the covering overhead ; and as the arches
within , were still rounded and spreading , they could be covered by roofs of only moderate pitch . But , in the new method of arrangement , pillars were erected at determinate distances from each other , which might
leave an unobstructed space around , but whose position should be so regulated as to afford sufficient support to the superincumbent part . Thus was formed a skeleton of long , thin masses , with" wide interstices between ; and-these forming the support of the roof of the building , to the relief of the walls and arches , nothing more was required as a lateral enclosure than a
mere partition , to shield the edifice from the effects of the elements . As the walls of this sty le of buildingwere only required as screens , aud not as supports , the spaces between the pillars were occupied by windows , the extreme outline of which was often carried to the very edge of the pillars and archesbetween which they
, were placed . This arrangement admirably disjdayed the boldness and li ghtness of the structure ; and in order that the windows might the more full y harmonise with the pointed arches of the building , they were now constructed ou the same plan , and their arches were likewise pointed . Thus , the pointed arch became adopted as
a necessary consequence of the new st yle of architecture ; and a taste having been acquired for such a style , it was copied and perpetuated in countries whore utility did not demand its introduction . Arches were multiplied and carried into minute subdivisions , intersecting each other iu all directionswhilst the structure was adorned with .
, spires , pinnacles , corbels , cusps , and tracerI J in almost endless profusion . Au increasing taste for ornament gradually appeared .- pillars , at first distinct , were conglomerated into one single mass . These , again , were subdivided and multiplied , diverging , converging , and intersecting each other till they formed all that
complicated tracery that adorns windows , screens , & e . The ornamental details were sometimes carried to absurdity ; for instance , where the human figure was deemed an appropriate ornament , it was often squeezed into the confined spaces between the shafts , where the lank figure
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Stray Thoughts On The Origin And Progress Of The Fine Arts.
STRAY THOUGHTS ON THE ORIGIN AND PROGRESS OF THE FINE ARTS .
Br DlAGOBAS . PART NV . ( Continued from p . 124 ) Between the sixth and tenth centuries the- religious edifices of Italy were constructed on the p lan of the ancient basilica ); butafter the tenth centurythe
cha-, , racter of eastern and western architecture coalesced , and formed what is commonly called the Lombard Gothic , a style of building which resembles neither the Roman basilica , nor the Greek cross and cupola . The name Lombard indicates the place where this style of church architecture was matured . The chief characteristics of
this style , in contradistinction to the Grecian , are a general unwieldiness and want of proportion , together with a profuse variety of ornament , in very questionable taste . The form of the Lombard churches is that of a Latin cross , oblong , with a semicircular chancel , consisting within of a nave and two aisles , separated by arched arcades , and often with a crypt beneath . Small
buttresses are placed without the building to give support . The semi-circular Bo man arch is usually employed in these structures in the doors and windows , and , indeed , wherever an arch is requisite . The most peculiar ornament of this style is the chevron , or zigzag , occurring in single , " double , triple , and quadruple rows , of various dimensionsbetween the moulding of the doors and
, windows . The columns are of various forms and proportions , the shaft being usually of equal diameter throughout . The earliest forms were cylindrical , with a rough square block for a base ; afterwards , multangular shafts were formed , and others with slender half columns round a thick illar . The shafts are sometimes covered
p with spiral or zigzag ornaments . The capitals of this style are various . They are usually large square stones , either plain or rudely carved , with grotesque figures of monsters , animals , and human beings in all sorts of attitudes . The doorways and windows were extremely deep , on account of the thick walls of the edifices . These
openings were surmounted with semi-circular arches , the mouldings about which were composed of reeds and channels , with concave or plane faces between them . The concave spaces were either plain , or had at intervals foliage and flowers , and grotesque figures . The windows of the upper storey were smaller than those below , and germinated—that istwo small ones were included within
, one large one , supported by plain , short pillars . Tri ple windows were also used , consisting of a central window , with a smaller one on each side . Corbels were in general use in the early specimens of this order . They were very clumsy , and project considerably for the support of a massive flat cornice , their ends being ornamented
with uncouth figures , but afterwards with beads only . The Lombard architects constructed bell towers , for the purpose of collecting a congregation from distant parts at a particular hour ; and in order that the sound might be more widely diffused , and impeded as slig htly as possible by surrounding objects , the bells were hung iu
the uppermost part of the tower or belfry . As the use of bells became more general , a building , detached or separate from the church , was built to contain them , because neither belfries nor baptistries were considered to be essential parts of the church . Although this style of architecture had become universalladopted
y wherever the jurisdiction of the Latin Church was acknowled ged , and though its prevalence throughout Europe , Asia , and Africa marked the bounds of lapal authorit y , yet , at the very time when it seemed to have secured a lengthened duration , it was
suddenly neglected for a new and very different style of architecture . In districts where the materials for building were costly , or scanty , it was nevertheless desirable to erect churches of such dimensions as to afford accommodation for large congregations , for processions , for the performance of masses and other ceremoniesand it was necessary that they should stand
, pre-eminent above all other buildings ; while at the same time the quantity of material employed in their construction , should be as small as jiossible . It was also requisite in Northern countries that such a form of building should be employed as would combine , with great extent and elevationsurfaces which should afford
, little opportunity for the accumulation of snow on the roof . Thus , in ages when the art of architecture was almost confined to the reli gious communities , and when monks themselves were the principal designers of sacred edifices , it was to be supposed that the adaptation of the building to the climateand fitness for the purposes of
, their religion , were mainly studied by them , and paved the way for many new and individual characteristics of the style in question . In all previous styles of architecture , the walls were employed to enclose the sj ^ ace designed for use , and to support the roof which protected it above ; they were consequently made of such an
extreme thickness and size as to occupy much space that might have been , gained in the interior of the building , aud they likewise consumed a vast quantity of material and labour ; and where insulated pillars were added , they only shared with the cumbrous and massy walls the task of supporting the covering overhead ; and as the arches
within , were still rounded and spreading , they could be covered by roofs of only moderate pitch . But , in the new method of arrangement , pillars were erected at determinate distances from each other , which might
leave an unobstructed space around , but whose position should be so regulated as to afford sufficient support to the superincumbent part . Thus was formed a skeleton of long , thin masses , with" wide interstices between ; and-these forming the support of the roof of the building , to the relief of the walls and arches , nothing more was required as a lateral enclosure than a
mere partition , to shield the edifice from the effects of the elements . As the walls of this sty le of buildingwere only required as screens , aud not as supports , the spaces between the pillars were occupied by windows , the extreme outline of which was often carried to the very edge of the pillars and archesbetween which they
, were placed . This arrangement admirably disjdayed the boldness and li ghtness of the structure ; and in order that the windows might the more full y harmonise with the pointed arches of the building , they were now constructed ou the same plan , and their arches were likewise pointed . Thus , the pointed arch became adopted as
a necessary consequence of the new st yle of architecture ; and a taste having been acquired for such a style , it was copied and perpetuated in countries whore utility did not demand its introduction . Arches were multiplied and carried into minute subdivisions , intersecting each other iu all directionswhilst the structure was adorned with .
, spires , pinnacles , corbels , cusps , and tracerI J in almost endless profusion . Au increasing taste for ornament gradually appeared .- pillars , at first distinct , were conglomerated into one single mass . These , again , were subdivided and multiplied , diverging , converging , and intersecting each other till they formed all that
complicated tracery that adorns windows , screens , & e . The ornamental details were sometimes carried to absurdity ; for instance , where the human figure was deemed an appropriate ornament , it was often squeezed into the confined spaces between the shafts , where the lank figure