Architecture And Archæology.

relieve the monotony of the outline , and these not displaying that architectural care , or elaborate variety , which would . make ifc suppose they were intended to catch the eye , or form principal features in the group . In sketching an Italian village , or monastery with its church , we need not care about marking out all its windows or putting them in their riht lacesor even iving to a nicety the form and

gp , g proportions of the belfry , still less its details : in fact , the more slightly we define these , the more truly we shall give the character of the scene . Now , though these southern ¦ building and groups may be really in date just as Mediasval as the northern ones of which I have just spoken , they have more of fche classical character , which in Italy was retained in great measure through the whole _ of the Middle Ages : of Italian Gothic

in fact , the composition of a large majority building , is such as to suggest no definite reason why Gothic ¦ details should have been employed in preference to Classical ones , so much does the horizontal line predominate . "We may therefore fairly speak of this character of breadth as belonging to the Classic , and that of variety of outline and . intricacy , or minute subdivision , as appertaining to the Gothic . But although the classical style does not peremptorily demand that variety of outline which is so necessary a part

of Gothic , it by no means discards it as incompatible wifch its principles . Many steeples of the revived Italian are as fine in proportion , and as elaborate in detail as any Gothic composition . I may instance the upper part ofthe tower of Seville Cathedral , and many of Sir Christopher Wren ' s steeples , which show both the fertility of his imagination , and the comprehensive nature ' of the style he employed . I

have , on a former occasion , adverted to the'liability to decay incurred by the intricate and minute workmanship of Gothic ornament ; and I understand that the condition of the ornamental details on the new houses of Parliament is not such as to induce me to retract what I then said . But I would further remark , that , although the constructive princiles of the style are sound and goodso thafcin

p , , many cases , the greatest amount of strength is obtained by a given quantity of material , yet the tendency on the part of the architect to make a display of mechanical science has been the cause of much real , as well as apparent weakness in important buildings . The lamentable fall of the Chichester steeple is , probably , to be attributed to the fault , not of constructionbut of material . Yetit is certain that the perilous

, , boldness of many Gothic designs ensures more fearful results from the introduction of a defective piece of masonry , or unsound material , than are apt to occur in Classical buildino-5 .

It may be said that the Gothic style can be worked in a broad and massive manner , as it was in castellated architecture ; and to such an extent , that in adapting a Gothic castle , or an imitation of one , to domestic purposes , the difficulty is to avoid making the walls too solid , and the windows too few and contracted , for comfort . But this ¦ mode of building was forced upon the architect by necessity

, not adopted by choice . The requirements of military architecture rendered necessary this expansion of wall , and contraction of window , aud the builder dealt with it as he best could . The harmony which exists between the dark heavy fortress and fche light open cathedral is a proof that both were designed in the natural style of the daywhile the

, difficulty we feel in preserving the expression of the style in our domestic buildings , which require larger , and consequently more truly Gothic windows than the Mediaaval castles , is a proof that ifc is nofc the natural style of our own period . But the less display the Gothic makes of constructive science , and the less aid ifc borrows from such additions as pinnacles , tracery , and the like , and the greater

the breadth and solidity of its masses , by so much the further does it recede from its own principles , and approach nearer to Classic architecture . An adaptation of the style to our own exigences is not a development of it in its own proper direction , but an appropriation of some of the elements and characteristics of the rival style . "We shall never develope Gothic further than it has already been developed , except by erecting buildings far less suited fco our wants than Media 3 val ones ofthe most exaggerated character . As ^ ifc is , we seem to fancy that we can attain the life and

Architecture And Archæology.

vigour which constitutes the charm of the true Gothic , while we can only adapt ifc to our purposes by curtailing and cutting off the growth of many generations . On the argument in favour of Gothic which rests on the superiority of decorated construction over constructed decoration , I cannot say much till I find myself better able than I am to comprehend the distinction . Is construction a

term applied only to the more subtle contrivances of the architect , and not to a plain solid wall or pier , so that a mere wall enriched with surface ornaments is not a decorated construction ? Are suclf pinnacles as those of Gloucester Cathedral and the Somersetshire churches , which are extremely beautiful in themselves , but in no way contribute to the strength or convenience of the building , decorated

constructions , or constructed decorations ? Which term should we apply to pinnacles engaged in the sides of towers , or to blank arcades and panelling ? If a square-headed window in a classical front has over it a projecting ledge supported by brackets , and covered by a pediment forming a tympanum , I suppose this would be called a constructed decoration ; at leastI should call it so . Howthenif a Gothic window

, , , has over it a label resting on heads or bosses , and crowned wifch au angular canopy , crocheted and terminated by a finial , a composition of constant occurrence in the finest work of the fourteenth century ? Observe , the two compositions are perfectly analogous : it may be that the one is heavy and ugly , the other light and beautiful ; but the principle is the same in both . I do not condemn surface ornament or

constructed decoration in Gothic ; only when it does occur , let it be called by its right name , and not ignored for the sake of a plausible , but somewhat fallacious argument . AVe will now consider what ancient buildings are in existence , belonging to recognised styles , which suggest a mode of construction and arrangement applicable to our wants , and of decoration suitable fco our best views of art .

If we look afc the Parthenon of Athens , or the Temple of Neptune afc Passtum , we are impressed with its wonderful beauty , majesty , and sublimity ; and as we acknowledge this to be the result of careful arrangement and adjustment of proportions , together with exquisite design , shown in the simplest and smallest details , we cannot but treat with a certain degree of reverence the rules and princiles which

p led to such a result ; and , although we consider the plan of the building itself unsuitable to our purposes , yet we feel that ifc is well worth our while to study it diligently , and think how we may turn to account the lesson we cannot fail to learn . ( To he continued !)

General Architectural Intelligence.

GENERAL ARCHITECTURAL INTELLIGENCE .

The church of St . James-the-Iess , Garden-street , Westminster , is now approaching completion . It consists of a nave and chancel , with north and south aisles to both . It has a detached steeple , forming ante-porch , with porch connecting it with the north aisle . There is a vestry on the south side of chancel aisle . The nave is 25 feet 6 inches wide , and 58 feet long ; the aisles 12 feet 6 inches wide , and the chancel

20 feet by 37 feet . The height , to the centre of the boarded ceiling in nave , is 44 feet ; to the centre of groining in chancel , it is 31 feet : the height of the tower , from floor to the top of cornice , is 89 feet , and the slated spire is 45 feet , making a total of 134 feet . The church is built by the daughters of the late Bishop ( Monk ) of Gloucester , who was a canon of AYestminster , as a memorial to him . The

walls are of brick inside and out;—red and black . The stonework is Morpeth stone outside and Box stone inside . _ The nave columns are of Aberdeen granite , the remainder of Devonshire marble . The seats are all to be open and of oak . The screens round the chancel are to be of iron and of brass . At some future day ifc is hoped to complete the work by the creation of a on one

parsonage side of the church , and schools on the other . Afc present , however , the church is surrounded by small houses on all sides bufc the north . The church promises to take , when completed , a place amongst the most satisfactory works of the day . Park Chapel , Crouch End , Hornsey , was reopened on Sunday , the 24 th ult ., after being considerably enlargened