Architectural Reveries.

and Avhether formed of rough Avickenvork , like the remains lately found in the Swiss lakes , or structures still more rude ( though made with masses of stone ) like some of the older Irish cabins , which may still be seen in Galway and Connemai-a . These primitive edifices had but one opening ; and

that aperture represented in itself the door , the AvindoAv , and the chimney . The separate AvindoAA , or Avind-hole , as a distinct feature , marks a longsubsequent stage of the builder ' s art . Of the wind-hole of this epoch we find sjmonymous terms in the ventara of the Spaniards ( which is still the

Spanish name of the modern AvindoAv ) , and the venthue of the Danes , both terms clearly expressing a mere opening Avithout any protection . In the German term , fenster , and in the Italian . fenestra ^ we find traces of the next stage of development of this important architectural feature

, that in Aidiich it AA as protected , as both terms imply , by a netivork of hempen rope , or a lattice of wire , or more solid metal , as a security against either the nocturnal or daylight entrance of domestic or wild animals , whose uninvited presence

Lad doubtless been found inconvenient , or something worse , in times when wolves and bears Avere common and even numerous in the nearest woods , Avhich still covered a large portion of the country . Thus , each successi \ r e kind of windoiv forms a commentary on contemporary manners and general civilisation .

As the forms of modern ciidlisatioii progressed Avindoivs rapidly assumed a more and more important place in European architecture . Its earliest increasings in size and decorative character were , hoAvever , in those Avindows Avhich , as in our Medieval castles , received their light from an inner

court , as iu the East , and from partially similar causes . In our early castles , therefore , while yet the external openings were , as a general rule , little more than mere slits in the Avail , and used as loopholes for the arrows of the archers as Avell as for the admission of light , those looking into the courtyard had already become large and decorative features in tho general design of tiie building .

The next step may be most conveniently traced in the Availed to \ A ns of the Middle and immediately succeeding ages , in which the AvindoAvs , even of the fronts of the houses , were in an analogous position to those of the castle Avhich looked into the interior court , protected as these toivn

windoAvs were , by the general external rampart , from the missiles of an enemy . Under these conditions the dwellings of towns began to exhibit ivider and Avider windows , till in the timber-built houses of the fourteenth and fifteenth centuries the fronts became nearly all Aviudow . But this architectural

arrangement , Avhich destroyed the individual character of the AvindoAv , did not insure a great abundance of light ; for the glass Avas so green , and the leaden lattice so clumsy and thick , that a room Avith one entire side all window was still but

Architectural Reveries.

poorly lighted , according to our present notions of a light room . In houses of this description the AvindoAvs of the ground story , or rez d * chaussee , Avere almost invariably unglazed , and protected at night by Avooden shutters , similar to the Roman bichlores ;

AA'hile in the daytime , if Avares were exposed for sale in these unglazed Avindows , they became more strictly fensters or fenestras , - as being invariably furnished Avith a protective netAvork , no longer as a security against Avild beasts or domestic ones , but to preserve merchandise from the

unceremonious appropriations of the light-fingered members of the urban population , Avdio appear to have always been a very numerous and active class in every community . The absence of glass and the presence of netiA ork are remembered by our grandfathers even in the streets of London . — Tho Builder . ( To be continued . )

An Architectural Conundrum.

AN ARCHITECTURAL CONUNDRUM .

Encouraged by the example of the late excellent Archbishop Whately , who did not consider it either at all infra dig . or unbecoming his cloth to indulge in puns and conundrums in his ^ hours of relaxation , I put here , in conundrum form , a question that ought not to be Avithout instruction : —

What is that Avhich , though it does not SIIOAV itself in an elevation—not at all in a mere outline onecontributes , though not loudly , so largely to general architectural character ? B y " not loudly " is to be understood that , notAAnthstanding its value , so far from any noise being made about it , no

notice is taken of it by those AVIIO ought to call attention to it . Because it does not enter into the category of ornament , it is accounted a mere nothing ; and yet , in one respect , it is almost everything ; for , besides that it breaks up flatness and Avhat may be called superficiality , it stamps a building with the impress of strength and durability , inasmuch as it gives eA'idence of thickness of Avail .

_ This last observation will , perhaps , at once unriddle the matter by giving the reader to understand that what I am speaking of can be no other than depth of reveal , by deeply recessing the plane of the glazing of AvindoAvs . Though Garbett , in his excellent little treatise , lays so much stress

upon depth , it is the very quality which is least of all noticed even when its influence is felt . One recommendation of it is , that it confers an air of nobleness that cannot possibly be counterfeited : it admits of mockery ; for , where it exists not , its appearance cannot be simulated . No doubtdress

, and cosmetics can do much for a dowdy woman ; but after doing their best , they leave her a doAvdy still—it being not in their poiver to impart even to beauty ' s self the fascination of manner : — " La grace plus belle quo la beaute . "