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  • April 30, 1864
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The Freemasons' Monthly Magazine, April 30, 1864: Page 2

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    Article ARCHITECTURE IN FRANCE. ← Page 2 of 3 →
Page 2

Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.

Architecture In France.

Avhich I have already alluded to takes very badly the place of our scroll-work . Sometimes , as at Strasburg , the glass is so thick . with age , that the obscurity is too great . But , in general , the effect of the cathedrals lighted by ranges of such glorious

AvindoAVs as one often sees in France is a thing never to be forgotten , ancl affords means of comparing the general effect of glass of various dates Avhich one can scarcely find elsewhere . Of one thing I must warn the young student , in prosecuting his

studies in France . Ho will find that many churches , ancient or restored , have the vaults and masonry strongly lined with deep white or red lines . In very many cases this is really old , in the vaults especially ; for there , the spaces between the ribs ,

being filled with chalk or light stone in irregular lumps , were plastered over with a thin plaster and lined . I think that this was done as a means of

decoration , and a legitimate one . It certainly has a very good effect in general . But the French architects of the present day often make a point of plastering over the masonry , wherever irregular , of the walls , Avith similar

plastering , so closely resembling stone as to be very deceptive , and then lining it over in irregular courses , quite irrespective of the actual joints of the masonry . I saAv a ludicrous example of this at Saumur , for tlie piers had been jointed at different heights at the sidesand were often at a

, wide distance apart at the angles . Used properly , tlie showing the actual lines of the stones has an excellent effect , better , in fact , than one could expect . There is a striking proof of it in part of the early arcade at Le Mans , where three of tbe arches only have been thus lined , the rest

retaining their old coat of AvhiteAvash . The difference is wonderful . I now come to the fine series of capitals lent to

me by Mr . Scott . In his lecture at the Eoyal Academy , he brought fonvard very prominently them general characteristics , as being chiefly derived from Byzantium . Ton are quite aAvare that the French foliated capitals are very different from ours . We seldom see in France such

beautiful and elegant work as we do here ; but then the French is , as a rule , bolder ; and I know of nothing in other countries quite like them in general design . They are , as Mr . Scott describes them , Coriuthianesque , but not mere bad imitations of Corinthian . One seldom sees , for

instance , the caulicoli at all . There is one instance from my sketch at Le Mans ; and one finds them in early examples , as at Caen , for instance ; but very rarely indeed in thirteenth , century work ; ancl , although the general outline often suggests its Corinthian origin , yet these capitals as a class , may fairly be ranked as genuine French Avork in design . Yet I quite agree Avith Mr . Scott ' s idea

as to their Byzantine origin , and ( after comparing notes with him ) find that I do so from a different point of vieAV altogether . Mr . Scott Avas struck with the general I'esemblance of the French capitals to the Byzantine rendering of Roman Avork , whereas I had invariably classed them as Byzantine owing

to their peculiarity of sculpture . There is a mannered style of manipulation found in nearly all the Byzantine work that I have seen which is rather difficult to describe , but is very evident in most examples . The lines are cut in very sharply and squarely ; the eyes of the leaves

ancl other points Avanting emphasis are drilled in deeply , and the Avhole effect is that of a wish to give as much sharpness as possible , so as to bring out the work wlieu seen at a distance . This gives a certain kind of stiffness to' the work , but it is most so in the subordinate parts , the general

curves and outlines being often as graceful as they are bold . Of course , these details of execution are not to be found throughout . The French school Avas evidently soon an independent one , preserving only in parts the traditionary style of work . But it is so clear that I feel no doubt Avhatever ,

looking at the matter from quite a different point of vieiv to Mr . Scott , that Byzantine influenced French art , as I believe it did all other art , down to the thirteenth century at least . The French school soon then formed quite an independent style of its OAvnas you may see by the drawings

, of the Sainte Ohapelle . I must , hoAvever , in fairness say , that there is a good deal of French work of by no means the high character that one usually sees , simply because one does not care to draw from bad examples . Much of the work , even at Chartres , for instance , is A ery coarse and

poor . I have alluded in this rapid sketch to ecclesiastical architecture only ; for , to notice architecture in its domestic or military phases would have been too great a task for this short space . But I must remark that the same feeling for bold ,

horizontal , crowning lines , is shoAvn , even more in secular than in other AVorks . You find the great croAvning cornices used with a wonderfully good effect . Take , for instance , the Hotel de Ville , at Bourges . It tells most capitally as a finish to the florid enrichments of the front , which would , in

fact , be strangely overcharged without it . So , also , the door and . window openings are often spanned by a bold , straight lintel , carried , perhaps , through the whole front , with no attempt Avhatever to disguise it in any Avay by an arch . It is simply a plain , straight piece of stone , clearly strong enough to do

its work , aud contrasting Avell with the arches of tlie other openings . This horizontality is a strong feature throughout French Gothic , and seems to pervade it even to the design of their most uprig ht features—the pinnacles and spires . To sum up . Whilst English Gothic has its own great beauties—such , as its delicate and graceful foliage , its splendid suits of mouldings , and its

“The Freemasons' Monthly Magazine: 1864-04-30, Page 2” Masonic Periodicals Online, Library and Museum of Freemasonry, 1 July 2025, django:8000/periodicals/mmr/issues/mmr_30041864/page/2/.
  • List
  • Grid
Title Category Page
THE GRAND LODGE PROPERTY. Article 1
ARCHITECTURE IN FRANCE. Article 1
ST. JOHN AND FREEMASONRY. Article 3
MASONIC NOTES AND QUERIES. Article 6
Untitled Article 6
THE MASONIC MIRROR. Article 7
METROPOLITAN. Article 12
PROVINCIAL. Article 12
ROYAL ARCH. Article 13
ANCIENT AND ACCEPTED RITE. Article 14
KNIGHTS TEMPLAR. Article 15
MARK MASONRY. Article 16
SCOTLAND. Article 16
TURKEY. Article 17
Untitled Article 17
THE WEEK. Article 17
TO CORRESPONDENTS. Article 20
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.

Architecture In France.

Avhich I have already alluded to takes very badly the place of our scroll-work . Sometimes , as at Strasburg , the glass is so thick . with age , that the obscurity is too great . But , in general , the effect of the cathedrals lighted by ranges of such glorious

AvindoAVs as one often sees in France is a thing never to be forgotten , ancl affords means of comparing the general effect of glass of various dates Avhich one can scarcely find elsewhere . Of one thing I must warn the young student , in prosecuting his

studies in France . Ho will find that many churches , ancient or restored , have the vaults and masonry strongly lined with deep white or red lines . In very many cases this is really old , in the vaults especially ; for there , the spaces between the ribs ,

being filled with chalk or light stone in irregular lumps , were plastered over with a thin plaster and lined . I think that this was done as a means of

decoration , and a legitimate one . It certainly has a very good effect in general . But the French architects of the present day often make a point of plastering over the masonry , wherever irregular , of the walls , Avith similar

plastering , so closely resembling stone as to be very deceptive , and then lining it over in irregular courses , quite irrespective of the actual joints of the masonry . I saAv a ludicrous example of this at Saumur , for tlie piers had been jointed at different heights at the sidesand were often at a

, wide distance apart at the angles . Used properly , tlie showing the actual lines of the stones has an excellent effect , better , in fact , than one could expect . There is a striking proof of it in part of the early arcade at Le Mans , where three of tbe arches only have been thus lined , the rest

retaining their old coat of AvhiteAvash . The difference is wonderful . I now come to the fine series of capitals lent to

me by Mr . Scott . In his lecture at the Eoyal Academy , he brought fonvard very prominently them general characteristics , as being chiefly derived from Byzantium . Ton are quite aAvare that the French foliated capitals are very different from ours . We seldom see in France such

beautiful and elegant work as we do here ; but then the French is , as a rule , bolder ; and I know of nothing in other countries quite like them in general design . They are , as Mr . Scott describes them , Coriuthianesque , but not mere bad imitations of Corinthian . One seldom sees , for

instance , the caulicoli at all . There is one instance from my sketch at Le Mans ; and one finds them in early examples , as at Caen , for instance ; but very rarely indeed in thirteenth , century work ; ancl , although the general outline often suggests its Corinthian origin , yet these capitals as a class , may fairly be ranked as genuine French Avork in design . Yet I quite agree Avith Mr . Scott ' s idea

as to their Byzantine origin , and ( after comparing notes with him ) find that I do so from a different point of vieAV altogether . Mr . Scott Avas struck with the general I'esemblance of the French capitals to the Byzantine rendering of Roman Avork , whereas I had invariably classed them as Byzantine owing

to their peculiarity of sculpture . There is a mannered style of manipulation found in nearly all the Byzantine work that I have seen which is rather difficult to describe , but is very evident in most examples . The lines are cut in very sharply and squarely ; the eyes of the leaves

ancl other points Avanting emphasis are drilled in deeply , and the Avhole effect is that of a wish to give as much sharpness as possible , so as to bring out the work wlieu seen at a distance . This gives a certain kind of stiffness to' the work , but it is most so in the subordinate parts , the general

curves and outlines being often as graceful as they are bold . Of course , these details of execution are not to be found throughout . The French school Avas evidently soon an independent one , preserving only in parts the traditionary style of work . But it is so clear that I feel no doubt Avhatever ,

looking at the matter from quite a different point of vieiv to Mr . Scott , that Byzantine influenced French art , as I believe it did all other art , down to the thirteenth century at least . The French school soon then formed quite an independent style of its OAvnas you may see by the drawings

, of the Sainte Ohapelle . I must , hoAvever , in fairness say , that there is a good deal of French work of by no means the high character that one usually sees , simply because one does not care to draw from bad examples . Much of the work , even at Chartres , for instance , is A ery coarse and

poor . I have alluded in this rapid sketch to ecclesiastical architecture only ; for , to notice architecture in its domestic or military phases would have been too great a task for this short space . But I must remark that the same feeling for bold ,

horizontal , crowning lines , is shoAvn , even more in secular than in other AVorks . You find the great croAvning cornices used with a wonderfully good effect . Take , for instance , the Hotel de Ville , at Bourges . It tells most capitally as a finish to the florid enrichments of the front , which would , in

fact , be strangely overcharged without it . So , also , the door and . window openings are often spanned by a bold , straight lintel , carried , perhaps , through the whole front , with no attempt Avhatever to disguise it in any Avay by an arch . It is simply a plain , straight piece of stone , clearly strong enough to do

its work , aud contrasting Avell with the arches of tlie other openings . This horizontality is a strong feature throughout French Gothic , and seems to pervade it even to the design of their most uprig ht features—the pinnacles and spires . To sum up . Whilst English Gothic has its own great beauties—such , as its delicate and graceful foliage , its splendid suits of mouldings , and its

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