-
Articles/Ads
Article MEMOIRS OF THE FREEMASONS OF NAPLES. ← Page 2 of 2 Article ARCHITECTURE AND ARCHÆOLOGY. Page 1 of 3 →
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Memoirs Of The Freemasons Of Naples.
any p lace , to any public office , or to any other government favour . By a further decree , dated 28 th September , 1821 , abolishing the old regulations relative to secret societies , all periodical and organised meetings in numbers , for the discussion of relig ious , political , or literary subjects ,
were declared illegal , if formed without the consent of the Government . The directors or managers of such meetings were to be punished b y imprisonment in the third degree , and b y a fine from 100 to 500 ducats . If an illegal association should embrace a promise or
secret obligation , so as to form a sect , the members Avere to be punished by compulsory labour in the third degree , and by a fine of from 500 to 2000 ducats ; tho chief , directors , managers , or graduates , by death on the gibbet , and a fine of from 1000 to 4000 ducats . Persons knowingly preserving the emblems , cards , books , or other distinctive signs of any such sect were liable to banishment . To be continued .
Architecture And Archæology.
ARCHITECTURE AND ARCH ? OLOGY .
ON THE REVIVAL OF STYLES . ( Gont ' uiuad from page 487 . ) If AVC look at the Coliseum at Rome , and endeavour to forget the purpose for Avhich it ivas erected , and . tho scenes ivhich ivere enacted Avitliin its area , AVC must regard it as a Ai-ork of almost unexampled magnificence , and at the sumo
time admit that it presents a type of arrangement and ornamentation applicable to all tabulated structure : - ; Avhatever . If , again , Ave look at a largo Gothic cathedral , —say , for instance , Amiens , Chartrcs , or Rheims , or , in our OAVII country , York , Lincoln , or Salisbury , AVO cannot but be astonished by the grandeur of its design , tho mechanical skill displayed in its construction , the richness of ornament
which is profusely spread over it , and the character of religious solemnity Avhich pervades tho ivliole . Yet AVO cannot help feeling that it is not a structure likely to be called for or produced in the present day . Its associations belong to an ago more sharply and distinctly separated from our OAVII than arc even those of Pagan antiquity . Its principles of composition arc not- adapted , without some
modification , even to tho largo churches AVC demand , and arc rather opposed than otherwise to the conditions required by secular architecture . As records of one of the most interesting phases of art and social progress that it is possible to conceive , the MediaiA-al buildings of Europe arc invaluable ,
independently of the practical lessons to bo derived from them ; and to preserve them AVO must keep them in repair , which AVO arc not likely to do unless AVO make Avhat use ol them we can . Fortunately , most of them can bo made available to our purposes to a certain extent , though in large toivns it lias often boon found expedient to destroy the old church and build a neiv ono of more commodious
arrangement ; while lioiv to make the most of our cathedrals is a problem that has more than once puzzled their restorers . The architects of the Classical revival , seeing that their stylo must necessarily prevail in secular buildings , Aviscly and rightly adapted it also to their ecclesiastical buildings , still Avithout making any material alteration in their plan or structure . They cut oil ' , indeed , some of their superfluous
ornament , and reduced them to an aspect resembling the Romanesque , to Avliich style , indeed , AVC might easily attribute many churches of the revival , if AVO see them at a distance , and ivith some Ave might fall into the mistake even on a closer inspection . This leads us to enter a little more fully upon the subject of general outline . That the Greeks AVOI-O keenly alive to
the picturesque , and probably had a more refined notion ot it than any race of men before or after , Ave have good reason to suppose . The instinct ivith which they selected the finest sites for their buildings , and the scrupulous care with ivhich
they avoided interfering Avith the natural features of their scenery , as though hardly a rock could be cut aAvay without offending some deity Avho presided over it , shows Avith how deep a feeling tboy were actuated on this point : a glance at the Acropolis of Athens and the surrounding locality convinces us of this quality of the Greek mind , even if Ave did not infer it from their love of country , or had not learnt ib
from Homer , iEsehylus , and Sophocles . It is most likely their buildings ivere designed not only to harmonize Avith , but to illustrate , as it ivere , the character of their scenery . Certainly the rock of the Acropolis and the Parthenon seem made for each other : AVC could not fancy the temple in any other spot ; and the rock Avithout the temple ivould be imperfect . But it is likely that their feeling of the picturesque
was of too refined a nature to suggest that they should aim at what Ave call a striking outline : it may have taught them to prefer ono that might have been chargeable Avith monotony but for some exquisite tact in its composition . ; and that such buildings as the Choragic monument , formerly known as the lantern of Demosthenes , ought to occupy some low and secluded spot , instead of contributing ostentatiously to
tho variety of the sky-line . Of course , I can only speak from conjecture , for AVO lrave not sufficient data on Avhich to ground any theory on this subject . The massive forms , howoA r er , and long horizontal lines of their temples , indicate that they aimed at the expression of repose , rather than A-iolcnt action , and this is confirmed by the character of their sculpturc .
Neither hai'c AVC the means of judging AA-hat views , with regard to outline , influenced the Roman architect . The beautiful mouunveufc of St . Renay , iu Provence , shows that the power of producing good form existed : the monuments at Viemie , on the Rhone , and Igel , near Trei-as , are less remarkable for their beauty , though the latter is not Avholly
destitute of grace . The triumphal arches of the Romans hardly , I think , show the elegance of Avhich such structures might be capable : that , hoAvever , of Trajan , on the pier of Ancona , is an exception . The magnificent arch at Orange is more remarkable for the profusion and delicate execution of its ornament , than for any excellence in its architectural design . At Athens there is an arch of Roman construction ,
I believe of Hadrian ' s date , of a lighter and more elegant design than the triumphal arches of Rome , but still of no very great beauty . Some of the Roman circular temples may have had a good outline , if the assumed restorations are at all true ; and one at least AVO know to occupy as fine a site as can be imagined , and , iu its present ruinous condition , to be Avell worthy of it : I mean the Sibyl ' s temple
at Tivoli . Tho Pantheon at Rome can never have been a picturesque building . As antiquaries , Ave may regret the addition of the modern turrets flanking tho porch , but in an artistic point of A-ICAV they could ill be spared . Tho temple of Minerva Jledica forms a very picturesque ruin , and may have been no less so Avlien perfect , but I cannot help looking at this as a transitional specimen . In its use of buttresses , it forestalls one of the great principles of Gothic construction . On the Avhole , if we were to assume that the general
outline of ancient home was less varied and interesting than that of modern Rome , and that the effect produced oh the spectator Avould depend rather on masses of building occupying sites of different elevation , than on prominent architectural features , no ono could easily find grounds on Avhich to contradict tho assumption . But the revivei-3 of the style haA-c taught us that it is fitted for the outline of the
greatest beauty and sublimity , and capable of a picturcsqueness of composition not surpassed in the best Medialval period . And this shoivs that their work was really a revival , and not a more formal reproduction . In tracing the development and progress of taste in the composition of outline , we shall adverb chiefly to ecclesiastical architecture , because it affords us examples in greater number and in better
preservation than any other kind ; and also because it has less restricted art by mere economical or utilitarian considerations . I am inclined to think that the circular churches , derived from Roman temples of the same form , arc the first Avhich exhibit that kind of outline which is produced by the central tower or dome , and which has characterised churches of tho highest class ever since . The Eastern form , however , of the Greek cross , ivith the dome or tower at tho intersection , is evidently a very early one , perhaps
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Memoirs Of The Freemasons Of Naples.
any p lace , to any public office , or to any other government favour . By a further decree , dated 28 th September , 1821 , abolishing the old regulations relative to secret societies , all periodical and organised meetings in numbers , for the discussion of relig ious , political , or literary subjects ,
were declared illegal , if formed without the consent of the Government . The directors or managers of such meetings were to be punished b y imprisonment in the third degree , and b y a fine from 100 to 500 ducats . If an illegal association should embrace a promise or
secret obligation , so as to form a sect , the members Avere to be punished by compulsory labour in the third degree , and by a fine of from 500 to 2000 ducats ; tho chief , directors , managers , or graduates , by death on the gibbet , and a fine of from 1000 to 4000 ducats . Persons knowingly preserving the emblems , cards , books , or other distinctive signs of any such sect were liable to banishment . To be continued .
Architecture And Archæology.
ARCHITECTURE AND ARCH ? OLOGY .
ON THE REVIVAL OF STYLES . ( Gont ' uiuad from page 487 . ) If AVC look at the Coliseum at Rome , and endeavour to forget the purpose for Avhich it ivas erected , and . tho scenes ivhich ivere enacted Avitliin its area , AVC must regard it as a Ai-ork of almost unexampled magnificence , and at the sumo
time admit that it presents a type of arrangement and ornamentation applicable to all tabulated structure : - ; Avhatever . If , again , Ave look at a largo Gothic cathedral , —say , for instance , Amiens , Chartrcs , or Rheims , or , in our OAVII country , York , Lincoln , or Salisbury , AVO cannot but be astonished by the grandeur of its design , tho mechanical skill displayed in its construction , the richness of ornament
which is profusely spread over it , and the character of religious solemnity Avhich pervades tho ivliole . Yet AVO cannot help feeling that it is not a structure likely to be called for or produced in the present day . Its associations belong to an ago more sharply and distinctly separated from our OAVII than arc even those of Pagan antiquity . Its principles of composition arc not- adapted , without some
modification , even to tho largo churches AVC demand , and arc rather opposed than otherwise to the conditions required by secular architecture . As records of one of the most interesting phases of art and social progress that it is possible to conceive , the MediaiA-al buildings of Europe arc invaluable ,
independently of the practical lessons to bo derived from them ; and to preserve them AVO must keep them in repair , which AVO arc not likely to do unless AVO make Avhat use ol them we can . Fortunately , most of them can bo made available to our purposes to a certain extent , though in large toivns it lias often boon found expedient to destroy the old church and build a neiv ono of more commodious
arrangement ; while lioiv to make the most of our cathedrals is a problem that has more than once puzzled their restorers . The architects of the Classical revival , seeing that their stylo must necessarily prevail in secular buildings , Aviscly and rightly adapted it also to their ecclesiastical buildings , still Avithout making any material alteration in their plan or structure . They cut oil ' , indeed , some of their superfluous
ornament , and reduced them to an aspect resembling the Romanesque , to Avliich style , indeed , AVC might easily attribute many churches of the revival , if AVO see them at a distance , and ivith some Ave might fall into the mistake even on a closer inspection . This leads us to enter a little more fully upon the subject of general outline . That the Greeks AVOI-O keenly alive to
the picturesque , and probably had a more refined notion ot it than any race of men before or after , Ave have good reason to suppose . The instinct ivith which they selected the finest sites for their buildings , and the scrupulous care with ivhich
they avoided interfering Avith the natural features of their scenery , as though hardly a rock could be cut aAvay without offending some deity Avho presided over it , shows Avith how deep a feeling tboy were actuated on this point : a glance at the Acropolis of Athens and the surrounding locality convinces us of this quality of the Greek mind , even if Ave did not infer it from their love of country , or had not learnt ib
from Homer , iEsehylus , and Sophocles . It is most likely their buildings ivere designed not only to harmonize Avith , but to illustrate , as it ivere , the character of their scenery . Certainly the rock of the Acropolis and the Parthenon seem made for each other : AVC could not fancy the temple in any other spot ; and the rock Avithout the temple ivould be imperfect . But it is likely that their feeling of the picturesque
was of too refined a nature to suggest that they should aim at what Ave call a striking outline : it may have taught them to prefer ono that might have been chargeable Avith monotony but for some exquisite tact in its composition . ; and that such buildings as the Choragic monument , formerly known as the lantern of Demosthenes , ought to occupy some low and secluded spot , instead of contributing ostentatiously to
tho variety of the sky-line . Of course , I can only speak from conjecture , for AVO lrave not sufficient data on Avhich to ground any theory on this subject . The massive forms , howoA r er , and long horizontal lines of their temples , indicate that they aimed at the expression of repose , rather than A-iolcnt action , and this is confirmed by the character of their sculpturc .
Neither hai'c AVC the means of judging AA-hat views , with regard to outline , influenced the Roman architect . The beautiful mouunveufc of St . Renay , iu Provence , shows that the power of producing good form existed : the monuments at Viemie , on the Rhone , and Igel , near Trei-as , are less remarkable for their beauty , though the latter is not Avholly
destitute of grace . The triumphal arches of the Romans hardly , I think , show the elegance of Avhich such structures might be capable : that , hoAvever , of Trajan , on the pier of Ancona , is an exception . The magnificent arch at Orange is more remarkable for the profusion and delicate execution of its ornament , than for any excellence in its architectural design . At Athens there is an arch of Roman construction ,
I believe of Hadrian ' s date , of a lighter and more elegant design than the triumphal arches of Rome , but still of no very great beauty . Some of the Roman circular temples may have had a good outline , if the assumed restorations are at all true ; and one at least AVO know to occupy as fine a site as can be imagined , and , iu its present ruinous condition , to be Avell worthy of it : I mean the Sibyl ' s temple
at Tivoli . Tho Pantheon at Rome can never have been a picturesque building . As antiquaries , Ave may regret the addition of the modern turrets flanking tho porch , but in an artistic point of A-ICAV they could ill be spared . Tho temple of Minerva Jledica forms a very picturesque ruin , and may have been no less so Avlien perfect , but I cannot help looking at this as a transitional specimen . In its use of buttresses , it forestalls one of the great principles of Gothic construction . On the Avhole , if we were to assume that the general
outline of ancient home was less varied and interesting than that of modern Rome , and that the effect produced oh the spectator Avould depend rather on masses of building occupying sites of different elevation , than on prominent architectural features , no ono could easily find grounds on Avhich to contradict tho assumption . But the revivei-3 of the style haA-c taught us that it is fitted for the outline of the
greatest beauty and sublimity , and capable of a picturcsqueness of composition not surpassed in the best Medialval period . And this shoivs that their work was really a revival , and not a more formal reproduction . In tracing the development and progress of taste in the composition of outline , we shall adverb chiefly to ecclesiastical architecture , because it affords us examples in greater number and in better
preservation than any other kind ; and also because it has less restricted art by mere economical or utilitarian considerations . I am inclined to think that the circular churches , derived from Roman temples of the same form , arc the first Avhich exhibit that kind of outline which is produced by the central tower or dome , and which has characterised churches of tho highest class ever since . The Eastern form , however , of the Greek cross , ivith the dome or tower at tho intersection , is evidently a very early one , perhaps