Architecture And Archæology.

elements ; and the revived Italian , which was introduced about the fifteenth century , and has more or less steadily hold its ground ever since . The Mediasval style may be considered to have commenced on the decline ofthe Roman , in the fifth or sixth century or earlier ; and we may trace its principles through the Byzantine , Romanesque , Saxon and Normantill it culminates in that Pointed or Gothic style ,

, which sheds a -lustre on the thirteenth , fourteenth , anel fifteenth centuries . With which , then , of these two styles does our vernacular architecture best harmonise ? Prom which of them does it with most propriety borrow its decorations ? Let us suppose a house front , forming part of a street , to have two stories above the ground floor , each with four

windows . This seems as likely an arrangement as any to suit general convenience . In the first place , we may pay attention to the proportions between the length and width of the windows , and to the breadth of the spaces which divide them . The probability is thafc we may satisfy the eye in this respect without the least sacrifice of comfort . As to the form of the window

opening , there can bo little doubt the rectangular is most convenient , when woodwork is required , as it must be in dwelling-houses ; and when the ceiling is flat , and the height of the room limited , the contraction of breadth at tho top which an arched window involves may cause an inconvenient diminution of li ght . But if stone lintels aro not to be obtained , and brick or small stones are principall

y employed in construction , then the head ofthe window must bo an arch . This ought not to form a perfectly horizontal line , both as being apt to sink , which produces an unpleasant effect , and as disguising the construction , by giving an arch the form of a lintel . A decided curve should therefore be

given ; but the loss it deviates from the straight line , tho less will be the sacrifice of those advantages which belongs to the rectangular form . A segmental arch , comprising a very small arc of a circle , is satisfactory to the eye , easily fitted up with woodwork , and unites the qualities of convenience and constructive truth . It is accordingly very commonly adopted , and is equally applicable to the palace ,

the mansion , and the cottage . We have now obtained a front not unpleasant to the eye , but altogether dcvokl of ornament ; although the care bestowed upon its proportions and arrangement entitles ifc to be classed as an architectural composition . How arc we to begin if we want to enrich it ? There is probably nothing iu the internal arrangement to suggest a division by vertical

lines , for the partitions between the several rooms may be arbitrary and irregular . The real lines of the building must be horizontal , as it is evidently divided by ceilings and floors into several stages . If fche position of these be marked b y good and effective string courses , and the whole crowned by a rich cornice , we are at once in possession of a meaning and telling system of ornament which will give the front an

ah of considerable richness , oven if wo go no further . As the Classical stylo is that in which the horizontal line predominates , wc shall naturally be led to look fco ifc for examples of such cornices and string-courses as ive require ; and we shall find that ifc furnishes them abundantly , presenting ns with specimens which for clearness , brilliancy of effect , and tho suggestion of constructive truthare

, altogether unrivalled . The Roman mouldings , as applied to horizontal lines , form a most valuable study , and have perhaps more of effectiveness and variety than the Greek , besides being more generally applicable in a style where tho Greek clement is so much modified by itho introduction of others .

Bnt the vertical line , though subordinate , need not bo left whollyuiirepreseiited . The termination of the building , where ifc joins the adjacent houses , may bo marked by some kind of pilaster or coigning . The windows , ranged one immediate ] ) ' over the other , leave vertical strips , which may also bo marked by pilasters of small projection , in one or more of tho stages . The addition of thoso is riht in a

g constructive point of view , for they give tho wall somo apparent and a little real additional strength where the superstructure is heaviest . And although the introduction of these pilasters may seem a step in the direction of Gothic , which exhibits the predominance of tho vertical line so as

to carry out the principle to the verge of exaggeration ; yet ib is not afc variance with the spirit of Classic architecture , in which indeed the same principle has sometimes been expressed a little too prominently . The frequent use of the engaged column is perhaps one of the least defensible features in the Classic , both ancient and revived . Should the engaged column be discarded , or used very sparingly ,

it becomes a question whether ive ought also to discard those parts of the pilasters which 'g ive it the air of a substitute for the column—namely , its base and capital—so leaving it as a mere vertical strip . I can hardly think ive are called upon to make the sacrifice . If the pilaster preserve , or represent , the proportion of a classical column ( for we must look upon the column not only as a mechanical support , but also as au expression of true proportion , and a kind of modulus forthe measurement of the whole building ) ,

then it cannot be wrong to preserve those features which are necessarily included when proportion is considered . And so far as they give the idea of vertical support they cannot he wrong , since the pilaster does actually add to the strength by which the superstructure is upheld . But where the arrangement does not admit of the columnar proportion , and the full development of the entablature ; or where the object is rather abutment than vertical supportregular base and ital had better be omitted .

, cap Again , the edges of the window jambs might have some simple moulding- of a durable character , or the window may be furnished with dressings , by which an effect of depth is obtained . Further , it may be desirable to have projecting window-sills , wide enough to hold flower-pots and the like . These will give an additional scope for enrichment in the brackets which support them ; and the more so , as , the iveight being small , such brackets may be designed with

a view rather to elegance than strength . Those in similar positions , namely , under projections of no great weight , present some of the most beautiful curves that Ave can find in the Roman as ivell as in the revived Classic . A hood , supported in the same manner , may he placed above the wincloiv , giving it some slight protection from rain . In buildings of a more ornate character , the hood may be connected with the AA-indoAv-sill by small detached columns , or engaged pilasters . A balcony might also be attached to a window

opening to tho floor of the room ; this will rest on brackets of an apparent as well as real strength , proportioned to the increased weight . And a balustrade of stone , wood , or metal may be made to add to the beauty and character of the design . These projections

give great life and picturesque character to street views in many continental toivns . Noiv , here Ave have arrived at a front of considerable richness , and altogether falling naturally into the style of the revived Italian , which Avill also furnish us with the means of introducing panels of sculpture , or discs of marbles , into such parts of the surface as may still be considered by the architect or bis employer to be too deficient , in ornament . In all this , you will observe , there

is no straining at effect ; no going out of the way to meet the exigencies of a stylo ; no sacrifice whatever of convenience ; the scale of magnificence and , consequently , of expense , may almost be regulated to a nicety ; every addition offers itself in a direct , straightforward manner ; and the result , to an unprejudiced eye , will he satisfactory , if tho composition be worked out ivith judgment . Of course , a bad architect could , out of the above materials , produce something very tame and meagre ; for there never lias been , and

never will be , a style , the mere adoption of which will be sufficient to ensure excellence ; but I am convinced a good architect would bring out a design full of grace and vigour ; and , hoivever commonplace its elements , give it the stamp of originality . Undoubtedly , it is possible to Gothicise , in a manner , such a street front as I have imagined . We may divide it into bays of one or more windows , and make the division by buttresses , of strongly predominating lines . AVe may choke the ivindoivs up by

mullions and tracery , and give them pointed heads ; or we may retain the square headed or slightly segmental window , Avithout mullions ; placing over it a Gothic arch against the blank wall , so as to cut the floor-line of the apartment above ; but neither these , nor any other devices by which modern requirements arc made to conform to Mediaival architecture , are suggested hy the simple primitive arrangement , nor do they show any congruity with it ; indeed , it requires some exercise of skill and contrivance to prevent

Gothic details from interfering with the comfort of an arrangement Avhich . is really Italian . Had I chosen for my illustration a front of five or seven windows , instead of four , the door would probably have occupied the centre of the ground stage ; and the building , arranged symmetrically on each side , might naturally have suggest sd a Classic , rather than a Gothic treatment . Tlie number of houses without much architectural pretension that are so arranged , presenting a symmetrical front , and for Avhose decorations the architect has instinctively turned to the classic style , shows that the arrangement cannot be