Professional Documents
Culture Documents
western
architecture
R.
FURNEAUX JORDAN
UOM^
\<jJiLu^
A CONCISE HISTORY OF
WESTERN ARCHITECTURE
R.
FURNEAUX JORDAN
A CONCISE HISTORY OF
WESTERN
ARCHITECTURE
\m
HARCOURT, BRACE JOVANOVICH, INC
To E.M.FJ.
rights reserved.
may
LONDON
be reproduced,
Reprinted ig84
Printed and
and
bound
in
Spain by
D.L. TO-291 84
CONTENTS
6
Preface
CHAPTER ONE
Introductory
23
CHAPTER TWO
Classical Greece
45
CHAPTER THREE
The Roman Empire
71
CHAPTER FOUR
The Byzantine Empire
95
CHAPTER FIVE
Western Christendom
125
CHAPTER
SIX
Western Christendom
167
Romanesque
I:
II
Gothic
CHAPTER SEVEN
Renaissance, Mannerism, and Baroque in Italy
213
CHAPTER EIGHT
Renaissance, Mannerism, and Baroque outside Italy
259
CHAPTER NINE
The Return to Classicism
283
CHAPTER TEN
The Nineteenth Century
307
CHAPTER ELEVEN
The Modern Movement
338
A Short Bibliography
340
List of Illustrations
355
Index
"t
PREFACE
This book
main
at the
dawn
is
trends of
show how
attempt to
look
to
it
and forms of
and actions
Man's thoughts
technology and
which an
architecture
man and
little
to the
thing he
is
to
an
art
tied
either in
This
in
can withdraw
to
some
without
is
artist,
at least also
by
special twist or
own
era.
any other
sort
He
art.
To some
own
law
extent
in^
generation -
the product of a
would be an
of
an iron law
never. Architecture
It
art
may design it a
man; what he can
stances.
is
True, the
some
give
practical
to
The
are
designing, and
born.
cannot be elsewhere
ture,
is
may
better or
never do
it.
skill
is
and climate
is
which produced
charm
and
will.
concerning
an
is
hundred circum/-
glancing
at the
circumstances.
R.F.J.
Chapter One
INTRODUCTORY
All European
much
widely over
thin
on
its
the
had
architecture,
its
there.
And
through
yet,
or
of a savage
baskets,
He
many
invented
pots,
things
He had the
when
when
painting
building
spears, fish-hooks,
settling,
he never
'civilization',
and
therefore architecture,
came,
deltas,
this
where the
upon
first
map we
reeds. If
from
we
plot the
and
in their
fertile,
first
and
civiliza^
like
alluvial soil
world
thraldom
himself from
hunter/fisher
the
free
and Euphrates
it
in
Mesopotamia,
in
China. They
all
in
INTRODUCTORY
Common,
Each of these
a mastery of irrigation.
valleys
in
depositmg
When man
precious load.
its
It
and
was
many were
the
man
upon mind,
and
sold.
and
far
that ideas
So
in
Upper Egypt,
came
came
first
in the Delta
and then
mathematicians,
prostitutes
scribes, doctors,
and
and
astronomers and
merchants,
actors,
was
architects. It
in
And with
and
and
Mesopotamia
potters, artists
itself
China),
there
many,
in cities.
away
for
They might
to
hundred^
several
grow corn
to
how
and water-wheels,
him
soil
learnt
things.
As
sixteenth^'Century
Rome
New
World,
as
ancient
swamps and
nation.
first
To
Nile
live in the
impress themselves
to
- source of
regularity of sun,
the grave.
It
all
they were,
as
terrific.
moon and
was out of
however,
the
stars; there
was
the fear
made
the
their
was
there
life;
upon
mysterious
fertility
and mystery of
their
and
these
complex hierarchy
religion they
made
their art
and
their architecture.
its
The
strange
upon
might hope
in the
to
after
body.
INTRODUCTORY
pharaohs and
deified
priestly
be a servant
servitude to his
stars, in eternal
must be
moment. In
came
skill,
world's
corpse
to
high
pre-'
first
was embalmed
or
It
mummified,
that
The
impregnability of the
Impregnabihty had
to
basis,
it
must
also be
tomb became
the
of Egyptian architecture.
form, security for the cadaver, and security for the dead
The accumulated
objets
d'art
museums
food and
Ancient
of
are filled,
were
at
the
monument;
it
was
a storehouse, a chapel
and
work of
art.
to
it
had
of Zoser
at
by ritual buildings,
entrails
ointment and
tombs were
the mastahas of
%:\7\:^^
BC),
Pyramid surrounded
all
within a stone-'
(c)
ceremonial
court;
(d)
stration of
Saqqara (c.2680
lies
(i)
The
Archaic Period
(c. 3
top (their
little
south of
200-c. 2700
the
and
sides
Arabic
flat
bench
for a
series
chamber containing
the burial
dead, with
Saqqara.
Columns
ridded stem
III.
in
the shape
in
of
and
this false
offerings could be
of the soul.
mastaha
finely
for their
place in the
stone enough to
papyrus - with
was
to the
where
The
there
to the
impedimenta. Externally
all his
recess simulating a
made
ofrooms, including
the
papyrus
it
port
was
to
Technically
it
apparent simplicity -
It
was, in
architecture. It
was
a great development.
It
little
was
fact
for all
also the
clearly the
recess or
its
germ of
embryo of
chapel was
the
be
to
Luxor. The
at
fine stone^cutting
start
The
first
scale
10
It
Known as the
was
the
to
run Hke a
Memphis and
development of the
in form.
high;
all
Sakkara, between
III
as
the Nile.
f.2680 bc, at
It
was
a larger
Step Pyramid,
tomb of
the
it is
some 200
^ttt
sophisticated
these are in
sham - simply
effect
mere
the
on
of stone
importance.
over
facades
of tremendous
is
all,
number of features
two kingdoms. At
the heart of
- but
chamber next
to the
and
Pyramid
once a
itself
Museum).
in the Cairo
come
maturity.
to
Layout,
become
have
ture,
now
is
has here
civilization
plan, vista
(this
part
The
of architecture.
giant's
to
clear-cut
staircase
Step
but was
The
Heaven.
know
the
name of
His technical
the architect.
was
skill
but
great,
now
He was
was
it
Imhotep.
the creative
High
honour
later
Priest
of
Re
the
in this world,
ages he
and of immortality
was revered
as a sage
and
We
first
made
assured of
in the next. In
as the
patron god
j,
Giza. Below,
Cheops
Chephren
little
right.
the
Mykerinus;
and
Above,
now
the
pyramids of many
courtiers, austere
sizes,
mastaba
tombs
basalt,
free-standing
of
their
tombs were
built
The
largest (c.2575
symbol of eternal
to the king.
It
was
<!^
^nr
and
aesthetically.
masonry
IV Dynasty:
rows o{
mortuary temple by
Its severe
of the
mastaba
teristic
to the
pyramids of
foreground),
embalmed.
of medicine.
the
BC,
(c.2^'/^
is
charac^
INTRODUCTORY
it
Dashur, leading
to the apotheosis
Pyramid contained
stone.
lost.
It
was 480
Each
series
six
feet
- Sakkara, Medum,
003
was 760
per cent.
pyramid of Mykerinus
Giza
conjectural
Four
(a
at
reconstruction).
men dragged
Nile,
on
Up
in place,
the
removed and
the side
joints
of an inch - jeweller's
onez-fiftieth
work unexcelled by
men worked
The blocks of
stone,
some of them 20
feet
by 6
feet,
would be brought
at the
three
stone,
sledges;
crews descended.
of these teams of
brought from the
The
Almost more
the
with a
Each polished
5 Building
feet,
by
Once
the fourth
the
the capstone
was
ramps would
feet
ramp
above the
at
river.
to the
Wedges,
Pyramid
site,
rockers, levers,
be gradually
polished
visible at
cradles
and
sledges were
carts,
all
no
used.
The
pulleys,
missing element
no cranes.
a valid
symbol of a
The
culture.
unknown;
it
mathematics not
is
certain,
as a
mystique, an end in
Greek
this
is
mere
itself
attitude to
we have
God
is
a mathematician.
mathematics
as art that
It is
would seem
Instead of pyramids,
VII
to
age'
pharaohs
was
the
(XIX
Ramesseum
oj
'Kameses II
the
The
court
to
later
built
pillars
III.
reliejs
pharaoh as
ij).
the
The
anc
god
squat
lotus^bud capitals
- the
Dynasties.
Kingdom
at
build a
to
the
enter
upon
thousand
its
city
north
effect
of
the
absorption in
years later.
new
We
now
13
INTRODUCTORY
no corresponding change
burial', the preservation
was
of architecture
use
in
life
The 'good
or religion.
still
bility, so far
and
sacrilege
and
must
there
and
sacrificial offerings
now
The fact
tomb and
existence. Pilfering
possessions,
life
the
signifies
The
be hidden.
still
still
all their
tomb must
mere
recess
tombs of the
hills.
to
deified
Here and
give the
(i.e.
importance.
to the
irresistible.
On
great architectural
to
still
A number of
really
there, as at
frontispiece
new
tombs.
Some may
tomb of
amassed
the
boy
are
king,
was
treasures,
There
be there
many
all
deep
known,
the
Tutankh^Amun, with
its
still.
well
is
Karnak
originally
compound, with
their
of temples,
As
system
vast scale,
river,
It
funerary chapels
its
there
is
whole complex
colony of ibis.
the Nile by
an
There
is
unless
we
to
14
Rome,
series
of pharaohs.
Roman
The main
added
to
through some
core around
which
the
Jll
If
11
If
fl
II
jl
o a
i>anirWiaMic
rest
grew was
the great
iiiuiia>-,<iaiiiug
in the
Temple of Amun
Precincts of the
The dead
other gods,
was
interest, therefore,
of rams
avenue
The
which
that
of
Amun
was
that,
a large
columned
hall followed
by the
The
central
room of this
temple rooms
lit
if at all
all
- by
inner
where the
their
complex was
cult statue
was
ceremony.
Nile
the
one
(a),
by
the
enters
the
Tuthmosis
III
kept.
The
8~ioJ
festival hall of
The
(d).
length
is
(I-VI), added by
VII-X)
in a
separate
Temple of
Amun
III (g).
The
Next
the shrine,
at
after).
interrupted by pylons
another axis (
beyond
(c,
typical temple, of
and
personal.
Rameses
walled
stone roof
The
15
INTRODUCTORY
temenos) therefore
it
was
the walls,
all
pictures
to the deities
and
hall,
Below,
and
plan
section
clerestory
support
lighting
lower pillars
(compare
at
have
111. 6,
roof with
higher
the
sides.
lotus^hud
of the
same
The
capitals
showing
stone grilles.
treatment
the
One
clerestory
sees
the
were
all
with
As
planned with
Egyptian
symmetry, on a single
in the
The
grand manner -
central
doorways,
hall
axis.
- whenever planning
prominent
feature of every
feet
it is
the procession.
have
that banners
is
their lintels
and standards
most
times
become
At Karnak
relief epic
eight
Egyptian temple.
mass
strict
columned
the
its
and
landings
date).
stage
(XIX
Karnak
at the
life
size.
part of architecture.
columns
It
is
columned
and
and
hall.
The
is
of great
cylindrical
to another.
The
LOt^^
INTRODUCTORY
by 160
feet.
each 69
feet
is
hall
is
320
feet
an avenue of 12 columns,
feet in
diameter. These
On
either side
are other
columned
high and 9
this central
areas,
feet in
of the side
halls.
some 20
is
area
feet
on
roof,
is
a vertical wall
and
an
light
effective
grilles.
is
hall
can
that this
is
feet
It
is
when
method.
It
it
above the
rises
aisles.
It
eye,
and
Karnak
shafts
of
forest
it
brilliant
particularly dramatic
penetrating
added
light,
to the history
shadowy
would
catch
the
would be
in almost complete
colour and
shadow. Mystery,
light
the
of architecture.
reliefs
and
landscape.
They were
and
in early days,
there
is
little
doubt but
that
the
lies
to landscape.
The proof
MT
mrrai
>^rr:r
12
The
temples of
(XIX
larger
Rameses
II at
Dynasty), before
higher ground.
two
of the
its
Simbel
removal
The
temple,
are incised
and painted
reliefs telling
to
The
rock^cut
Ahu
From
is
also be
The main
deliberate
simplicity
of
its
architecture,
its
reads'
from
pattern of light
far off.
and shade
the
complete
A few strong
The broad
is
in the
cliff.
colonnades
20
Egypt passed on
An
understanding of
must be added
to
Europe.
architec/-
to those things
which
INTRODUCTORY
to be part
The
first,
as at
Deir
was
el^'Bahari,
would hold
to design
with a few
own
against the
their
The
sculptural ornament.
sculptural architecture
was
other course
on such
avoid
to
to
produce a
would hold
its
was undertaken
at
Abu
too,
Abu
Simbel were
it,
task
all
built in the
The two
XIX
temples
Dynasty by
ij Just
Simbel
Rameses
II,
The
the
mountain
side,
but also
its
when
larger
own
the river.
and 100
feet
beyond
sanctuary -
was
It
columns representing
Osiris;
wide
feet
Beyond
119
that
the
was
King
a
columned
hall
and then
god
the
mountain.
modern
blocks,
level
and removing
it,
to
be reconstructed
it
was
free
see
it,
however,
it is
misleading.
It
More
creators.
its
higher
at a
from
As we
appears to us as
if
it
All we
know
The
house, an
affair
living
rock
Osiris, the
Abu
from
Rameses 11
the
as
BC).
deep,
shady
portico
with
round a pool: as
in
all
trees
sur^
hot climates,
and dogs
gaming,
the
these
carved
flamingoes on
beds, chairs
in
and
barges
artificial
for
sailing
among
for
the
all
style,
- the
structure
specific contribution to
it
laid the
architecture of an aristocracy.
direct or
foundation of an attitude
was durable.
22
first
to architecture
which
Chapter Two
CLASSICAL GREECE
The
culture
the basis of a
territories
It is
found
in the
perihelion of a comet
a
thousand archaic
to the
of achievement,
The
of modern
story
Greek
enters
first
began centuries
Age
was
that
we
upon
earlier,
begins for us
when
but
is
it
and the
rule
at a
written:
delicately
discriminates,
the
find intellect
a creative
round,
man
beholds
inquires,
the
natural
fantasy to
For
thirty
centuries
the
Egyptian
same
loincloth,
same
eye,
Archaic
same
a simple exercise
torso:
had
craftsman
- the same
times, the
Then,
Greek sculptor
is
is
because
carved by Pygmalion;
it
is
Unlike the
Luxor,
it is
realistic
it is
but because
carefully delineated
more than
it
about
is
to breathe,
instinct
with
not
life.
a glorified hieroglyph.
at
23
CLASSICALGREECE
So
If,
tragedies of
first
the clash of
at
war with
sacerdotal,
destiny.
and
rise to
man
the spectacle of
with the
priests
'stalls',
ritual
be liberated once
And as with
was Plato who
ment -
down
laid
It
fulfilled
Nature and
hubris
became
thyself,
was
began
society
to
be understood. Dislike of
the balanced
mind, 'nothing
to excess'.
culture.
ideal
it
existed. Slavery
was
dis^
mined
The
the integrity of
stunted role of
life.
women
under-'
the
Aegean,
it
was
reduced
itself to
it
came
to
beyond the
the point,
adult males.
In the
last analysis,
attitude to the
the
human
body.
The
24
monotheism of
the Jews.
They conceived
the gods
human
frailty.
As
such they
made
made
sublimating the
the
human body
theology by
drama
is
their
Greece
architecture.
The
itself,
Olympic
of the whole
and
deities in
of them, and
statues
classicalgreece
mainland,
was almost an
invitation to carve
men;
them
the marble
as if they
were
gods.
Euxine
little
to the east
as far as
Spain
to the
sea,
and would
city
rather sail
round the
coast
However
from
city to
they looked
They could
never,
the
like
Romans, have
upon
When
that
its
own arm
of the
sea.
Persians, the
was
upon
Greek
cities
effort.
was
the public
Age expended
compounded of the
its
genius.
It
Greek
was upon
architecture
Periclean
it
that the
virtue of perfectionism
and
the vice
o( self^absorption.
limits.
The
is
the
architecture
is
Greek temple,
trabeated.
With
structurally,
all its
was no
25
CLASSICAL GREECE
it.
dome
to
Romans were
meticulous
to
They were
do.
fitting together
stone,
their
means -
to the status
skill in
hand^
mathematics
with
obsession
human body
by the
fascinated
as the
as
their strangely
their adoration
of the
of a dominant
art
these
Greek town,
at
of low pitch,
with
roofs or
flat
Each house
of
1
(c.i6oo
EC)
jlights
and
The
lecture
Knossos
stair^
landings.
Politics
at
had an elaborate
all
supporting
street
were an
and drama an
affair
the temple as a
almost
all
affair
the
is
- the
timeless house
seclusion of
women.
medium
left
only
for
attributes
downward
which was
also
The
origins of
Greek
source.
volutes as
lands.
its
capital - is found
From
CLASSICAL GREECE
and
The Ionic column -
the sea/'girt
in
with curious
spiral
kingdom of
cision
and
and
refinement.
The Cretan
spreading
unfortified,
central court
to
gift
of pre/
at the
storehouses.
The whole
columned temple
Mycenaean
palaces were
more formal
plan
in
Within
religious
number of
is
buildings,
parallel
in
the
Rock
oi^
16 The
14^,0
BC.
original:
the
The hi^h^hacked
wall-painting,
hut
griffins
and plants,
fragments
is
its
drawing of wingless
refined
stiff
throne
with
is
a copy based on
BC),
(ijth century
hive tomb some
The
$0 jeet
and
other,
heads
corbelled
the
Mycenae
smoothly
the
at
a 'tholos' or bee-'
out,
one
have
doors
dome
are
over
the
triangular
wedge-shaped voussoir
- was
not yet
understood
i8 Isometric
at
Mycenae.
A staircase
court (c).
round
(As
at
Knossos,
downward)
hearth,
III.
at
is
Mycenae.
megaron
corbelled vault
approached
taper
Atreus
most famous
the great
central
the
twoflights (a)
Beyond
(d), a single
in
which
5, the
columns
all
made of
overlapping stones.
beehive tombs
tiers
feet,
rises to
of carefully cut,
The span of
(tholoi)
which
slightly
later.
that of the
Among
the
own
much
It
like
Homer's
descrip^
had
to
When
room with
a portico.
The
architect
and
the
wooden house
into a
it
set
The
The
upon
of Athens,
the world.
Ionic.
the
variations
city
the peristyle
and
- thus became
the theme.
the most
is
Those temples
These
are the
On the Acropolis,
above the
are in
two
names given
styles,
to the
the Doric
in
and
two kinds of
whole unit -
term
column with
There
are
its
three
main
refers to the
'orders'
made it more
slender
and added
the
a base)
Romans
the Ionic
we have
has a
all,
later
Order
seen, a capital
consisting of
was used
details
far
more by
the
Romans
and proportions of
The
marks
to
prescribed in the
first
Vitruvius, rather as
They became
architecture.
century
if they
ad
by the
had been
BC)
a single
room
it
temple
Roman architect
laid
down
by God.
Durmg
hundred
years
Stylobate;
shaft;
(^)
capital;
dentils;
(10) facia;
(11) cyma
29
'orders',
21,
Paestum.
at
'Basilica'
BC). The
columns
(mid^6th century
The
- and
and
The Greeks
races.
spreading
Greeks,
discretion
sometimes
capitals.
however,
Though
includes
still
2g),
The
three
temples
at
Paestum
far
as the
lonians
came over
south in a
the sea
series
of
from Asia
Character was,
were
The
Dorian,
Steppes - hardy,
rigorous, practical
migrations.
away
heavy
(III.
right.
two
a tribe of northern
shepherds from as
flexibility,
'Temple of Neptune',
them with
the
used
of intelligent design.
great artistry.
Opposite,
to the exclusion
styles
of
elegant,
two poles of
in the
their
and abstinence.
Greek colonies
in Sicily
and on
the Italian
below Naples
Temple of Artemis
2J
that
were some
spaced
so/called Basilica
They
are, in
a sense,
The columns
all
When we
the Ionian
the
first
effect
Greek colonies
as early as c.540
high.
technically refined;
brilliant
Artemis (the
Roman
overwhelming.
we turn to
of Asia Minor. At Ephesus
rebuilt in
is
50
The
and
it
with colour.
was
richly
columns over
carving were
ornamented, probably
at
Ephesus (begun
ornate Ionic
Order
When we turn to
CLASSICAL GREECE
is
loss as
Athens
well as gain.
gone but
on
here,
sharpened
its
own
pomt of
to a
has
perfection.
On
the Acropolis,
seen
Then, under
its
them
stupendous
effort
was made.
sides built
kind of podium
as stones
Pericles, the
The Acropolis
- had
in the Persian
up and
its
As
had the
street, as
shrines they
Roman
temples could be
seen
from
the temple
24 Plan showing
the
major buildings
below (h).
Theatre of Dionysus
From
(e)
Athene
stands
goddess's
(d).
partly
old
on
temple
The Erechtheum
the
(f),
site
32
of the
which
was
had
was designed
so that
Forgetting
minutiae,
its
for prayer.
it
its
we may
form.
It
far off.
Parthenon -
as a series
peristyle
of the
25 The Acropolis
natural
hill,
platform.
Parthenon but
it
was
and could
up
see,
to
form
from
left to
the Parthenon.
the intermediate
Athens stands on a
built
of
pinnacle or the
have been
Roman
useless
on
the Acropolis.
It is
be
to. It
to be seen,
ri^ht, the
at
much
had no formally
true.
Such
selfz-conscious
as
Rome
or Paris, this
magnificence
is
may
the attribute
state.
cities.
We
way -
and
The
sight to be almost
haphazard
would seem
in their placing.
at first
They were
Romans might
33
^.
Ui
26 Model
Acropolis, C.400
steep
approach,
BC.
with
the
Erechtheum on
trance the
little
his
left.
their
As
one beheld
Propylaea
ri^^ht
At
and
them from
the en^
the right,
and
position
was
left
the
much
smaller but
resolved by the
enormous
and helmet
Finally, the
statue of Athene
on
Parthenon, an example of
more complex
flashing spear
Aegean.
from
large simple
the
intricate
- her
the
on
is
was
itself so
placed that
One
pylaea.
is
not a temple.
It is
a glorified
to the
Pro^
437 b c,
gateway or porch - a
in
It
had an
Near
by, perched
Nike Apteros 34
Callicrates in
on
podium, was
the
little
Temple of
- designed by
gem
in miniature, a
to the large
from
less
than
feet
1 3
long, forming a
foil
are seen
2"],
in
B C. The
far off.
Although
Athene
the buildings
it
on
right)
are
the
them
a smgle glance,
all, at
scene.
It
was
brilliant stage
by Mnesicles in 421
temple.
Nearly
BC on
all
the
and housed
site
still
connected with
Erechtheum
is
unique.
number of rooms.
never finished,
It is
which
It
is
its
partly explains
of holies.)
It
an upstart
Athene
affair
peristyle.
all
massing;
its
The
it
was
unusual form.
have
in size
irregular in
- was
of an older
the
their separate
- the Parthenon
compared with
this
holy
three times.
the east,
to
it
The
management.
to
('caryatids')
see
room
three
size,
24)
in
<Ml^<
.^
if^'
^m
r
most remarkable
Its
feature
difficulty
his
IS
The
overcome.
skilfully
which
tablature
The Caryatid
burden.
force
they carry
on
Portico
inherent
marble
that the
en-'
heads seems no
their
is
all,
9 inches high,
The obvious
of columns.
place
the
take
feet
is
finished,
and
who had
fully
begun
in
crates.
The
stylobate,
Parthenon stands
228
feet
on which
was
and Calli^
architects Ictinus
or stepped plattorm,
is
It
wide.
feet
the
The
jo North porch
peristyle
which ran
56 columns,
columns
at
all
all
six), leaving a
the
top
in
columns,
widely
columns on each
giving a central
entrance.
The
column
is
There were 17
now incomplete),
suggestive of 'side'
or
fj^ures
28).
Slender
hi^h,
are
25 feet
spaced,
Above them
space opposite the central entrance.
III.
an
^ivin^
in the
Ionic
unusually
airy
effect.
were attached
to
a grey
stone
background
no
The
shrine
2g,
ji
the
44^
simplicity
Within
divided
by
ambulatory
at the
is
deceptive (see p.
40).
columns
(III.
west end-
j2).
left
into
nave
and
columned room
- served as
a treasury
37
^2
and
ii'ory statue
of Athene by Phidias.
An
known:
fered wooden
ceiling,
Greek
feet
Hecatompedon;
this
name was
aisles.
It
feet
contained,
wide, probably
in
roughly the
Athene
44
feet.
in ivory
cella^
and
in addition
its
name
for the
hieratic treasury
38
with a bronze
its
lamps.
of the Acropolis,
grille.
its
It
was
also the
The Parthenon
has no
windows.
How was
it lit
This
classical Greece
The
such theories.
There
tested.
however, three
are,
hypethral theory
shrine.
though
relatively little
the hole
no
above the
signs of
any
there
The second
perfect.
are
for
was
that there
is
all
things, to be aesthetically
is
theory
slabs
glow within
and
exist
was no
this
is
sufficiently
trans^
the shrine.
Many
an
attractive theory
assuming that
there
third theory
and
is
that the
the horizontal
upon
ceiling
beams of the
all
rising
the light
it
was on
The
Parthenon today
the limitations
clarify
limitations
it
were
and
hall.
just a
It
lies
ideals
detail
was not
large
Athens was
and
its
power
to
of Hellenism. The
complex. In essence
and
its
roof,
richness
only in
was
itself
ficance of the
the
open
needed left
were
way
it
was
size,
probably only of
Structurally
it
was
sophisticated.
The Greeks,
chose perfection -
rejecting
a counterpart of
the polis, the tiny city state, with inchoate empires all
expended
their skill.
They kept
the basic
39
CLASSICAL GREECE
made of
but
simplicity,
elaboration. This
55
View
across
the
correction of optical
refinement of form.
as a
thing divine.
and
feeling,
right.
Round
the
top
of
this
wall ~
at the end
web of
a vast
it
was
It
It
was
the supposed
much more
illusions,
geometric
than the
invented beauty.
The
circle,
procession
building.
the
It is
a rectangle
Could
is
architect.
an
fulfilled
ideal.
As
it
is
the
had been
on - has
a barely perceptible
much
radius of as
as
two
miles.
upward
The
bulge by eleven^'Sixteenths
inwards so that
a mile
is
The columns
above the
earth.
and
extended upwards,
the diffusion of
No
so on.
its
two marble
The whole
very slightly
all tip
them and
seen between
nearer together
simple, unadorned
of an inch - the
would meet
curve, with a
building tends
strength.
Apart from
Phidias's
integral
the long^vanished
sculptures
shrine,
the pediments
Athene of the
the birth of
First,
were the
Athene
at
statues in
of Attica
at
against the
soil
40
all
shadow which
they cast
on
CLASSICAL GREECE
enough
to 'read'
from the
streets
scale,
of the
city.
formed a
frieze
The metope
cornice.
showing
struggles such
as the battle
intended
sculptures,
than
to 'read'
life-'Size
only
and
after
were
steps
say, the
frieze.
This, not to be
The
^4
Theatre
Athens (c.jjo
great theatre
vision
in
Dionysus
of
BC)
was
the
originally
there
was meant
to
itself
Thus
frieze
has as
it
its
could not,
be seen -
relief
was
at
as
one
the wall
The whole
would
it
It
fast
Hellenistic:
in
at
to,
the
Greek
Erechtheum and
famous
the
in
chorus performed,
the eastern
audience
doorway.
W^r-^'.-^'b-A^-^
M^-r
V'f
7/
4fi:/;' T'
'>*'^.,.
.^
^^
~.
Deep
CLASSICAL GREECE
the shrines
all
Mediterranean world
temple
may
for a
thousand
The whole
years.
- was
or medieval
the Acropolis,
incomprehensible
been
as utterly
with
his precise
mind
he
as
is
to the Periclean
Greek
to us.
30 B c.
The
Theatre of Dionysus
theatres
all
Epidauros (350 B c)
theatre at
and indeed
the
is
been beyond
The Greeks
to
means
their structural
all
Greek
way of Rome, of
the ancestor, by
nor attempted
prototype of
neither needed
It
would have
to construct a
roof
J5 One of
their
own
as
perfect
Out
and
vision
Dionysus seated
perfect
thirty
Except
for the
the theatre as
Dionysus.
stage,
sufficient
The
with
Theatre of
number of
marble thrones
the
seats,
orkestra^
again, in
perfection within
acoustics,
it,
was the
at
Once
of doors, on marble
stage
site.
limits.
build
on a substructure
seats
to
the
front seats
absence of scenery,
we know
it
were splendid
all
the essentials of
honour
in
the
The
Nor
the seats of
Chapter Three
We
know what
it
was
that caused a
from which we
are all
come - our
the
At
Roman Empire
tine
from somewhere
stretched
It
postal system
it
in Scot/-
for
which
said Seneca,
superb administrators.
The
The
Roman was
( i), the
Colos^
built cities.
sword
'The Roman',
the
Way
ad,
Rome -
From
seum
Empire which
right.
Sacred
Hill on the
and
Gulf
Rome c.AD
its
Detail of a model of
laws, our
our architecture.
j6
Saturn (g).
(8) and
To
the
the
Temple of
Caesar
Greek and
Greece
failed,
Roman was
brilliant.
the
to fail
marched
to the
Roman
first
con^
legionary
conquering and
The Greco'-Roman
love/hates of history.
as effeminate
life,
and
relationship
The Roman
tricky,
Roman.
and
yet all
Roman
to the university,
Roman
great
intellectual
was
saturated
45
- and
style
yet, so
unimportant
is 'style'
compared
a deeply religious
architectural achievement
shrine.
The Roman, on
was
artist.
the temple
His
greatest
- the carved
saw
architecture
feats ot
Roman was
in his use
ing.
These things,
dams
The Maison Carree at Nimes
( c. 16 BCj is the best^preserued Roman
temple. With its portico - of Corinthian
cohmns its
bi flight
of steps
response of the
planning:
it
Roman
emphasizes the
all
temple of town^
Greek
acropolis
and aqueducts -
are
some of the
monuments, exemplifying
The
Roman
he
^7
contrast
its
Roman
own
bridges, roads
Empire's
finest
finest qualities.
The Greek
temple, as
ai^d isolated.
we have
The Roman
seen,
was
a shrine, aloof
street;
it
had
portico.
One was
is
to the
The Greeks
world.
Corinthian
was an
monument. Such
It
was, in
its
had
also
a facade with a
most
Rome
a wonderful sense
and exquisite
the
we have
as
combmmg
On
of a basic grid.
analysis,
however,
colonnaded
town on an imperial
we
BC
street.
extremely
j8 Looking
from
further
is
rest
Hellenistic;
is
it is
symmetrical and
to
mental
art.
The Roman
as
conscious and
monu^
j6)
the
On
the
(6)
still
the
Roman jorum
from
along the
Maison
on the Sacred
it
stands
front
--^-
-^-"^ife^i.
^x\
Way
left,
Rome
city.
in
itself
was
the
first
And
came
there
and
With
there
which
also the
a city
is
made
Rome
and
The Seven
with
skill
many were
their gilding
In
Roman
other qualities.
We
art
and
may
sculpture,
produced
Basilica of Maxentiiis in
consists
of three
aisle
the
after
vast
of the
Roman
AD jij.
niches
III.
^o).
The
the highest
expect to find
produced
all
we
kind.
little
look
for
fine, dignified
daring and
large,
or
refined
efficient
The Greeks of
architecture
and
Rome
areas of ancient
Rome
were slums.
Huge gim^
Each of
emperors, however,
mark upon
the
more important
with
which buttressed
(see
Large
all
serene,
architecture
ornament of
structures; lavish
surviving north
demanded
either
The
many,
of the engineer.
exalted.
jQ
Hills
their carvings
intensely vulgar;
little
city,
of
vanity.
this
came
fountains
power and
all
tlie
left
his
to the policy
pacification of the
mob
was
No
whichjorm
Roman
Rome,
theatres,
arenas
and public
western apse.
the
The nave
is
possible
thermae
formed
scheme similar
(Ills.
hy
45,
piercing
44).
the
windows
to that in the
Aisles
big
are
lateral
buttresses
prestige
liked to
set
city.
own
The triumphal
Rome,
to
series
work of his
little
regard
Rome's wonderful
predecessor.
its
of pretentious
city:
site,
judged
as a
in isolation.
whole, and
imagination.
is
Rome
now
that
We can
so ruinous
it
still
became
it
a quarry
as
were
all
the
virtually
and
Colosseum and
the
indestructible.
They
but their
basic
stripped,
Rome's precious
gift to the
world.
was groin^vaulted
after
ad
313.
It
One of these
aisles still
stands
49
They
large buildings.
liked the
They were
way of using
fully.
it
and
The
arch
on
When
it.
is
may
timber centering
be removed.
is
tem^
between
is fitted
stones
number of wedge-shaped
basis the
its
as
is
Only
the crushing
The
a limit to the
of over 80
feet.
series
of arches
may
be built side by
This,
side.
This
vault.
if
is
meeting
at the centre,
section through a
number of arches
the result
dome
at
is
any point
is
and domes
arcades, vaults
dome.
was
be,
beam
exerts a direct
the arch.
outward
Any
outward
downward
sleeps'. It exerts
upon
stylistic
the
changes
Not
pressure.
so
always trying
arch, vault or
opposed by
thrust
cross-'
might
an arch. Arches,
to
push
counter^force such
this
as
be there even
somewhere
if,
as in
its
Roman
in the structure.
principle
architecture,
must always
it
is
hidden
counter^thrust,
to
planner,
build/-
ing.
50
is
also
the
along
Its
rest
on
Lintel
^1
exerts thrust
(h)
construction
downwards (a) ;
directly
exerts force
the
round arch
continuous pressure
wards
all
along
its
length.
is
possihle,
(see
is
cumbersome
windows.
It
in itself
creates
exemplified in the
and an obstruction
to
111.
40)
adequate
Romanesque
style
of the pilgrimage
intersecting
problems
j , it
four corners; 3,
2,
it
made
it
at the four
enabled large
it
corners
windows
to
solved five
at the
be inserted
clerestory;
51
bay;
5,
it
the other.
The
mam
halls
givmg
long, splendidly
filling the
^2, 4j
(AD
may
The
view
air
the
is
the
structure.
The
main
entrance,
between
with tepidarium
rows of
(2) entrance
(4) central
hall,
nasia;
lit,
and with
side aisles
addition,
we
find
them
- nave,
aisles,
thousand years
later,
feet
were
were an
essential part
exercise
of public
life,
they
is
(opposite) are
(i)
vastness,
its
cletian all
cities
- no
halls,
the
main
city
of
architectural
com/
to the
( g)
^ym^
(11)
(12) lecture halls and lib^
(ij) reservoirs; (14) Marcian
trees;
were a
fifth
The Thermae of
Caracalla,
stadium;
raries;
aqueduct
While
had
the
main
hall, off
which
bath
(caJ 'iidri'^*^)
^^^^^
Hnr"H
This
The
dome we must
with steam.
filled
its
and
air
in the thickness of
the frigidarium
decoration, but
through
- was
was open
pagna
to
as
OT
Cam^
of Caracalla.
The
many
private
There
bath/'tooms,
small
53
The
^4
Thermae of
tepidarium of the
Diocletian
(AD
j0 2)
converted by
Angeli
scale
and
ing,
of such
Basilica
the
in
Rome shows
clearly the
Roman
ofMaxentius
central
hall
Caracalla (4,
of
in III.
(Ills,
the
Thermae of
^j)
of youths.
The
plan
either side
The Roman
scientific
structure.
It
was
first
its
first
large
New
302),
may
still
accommodating
to the
Thermae of
be seen, converted
Romans went
way towards
one Hmitation.
The
bays,
and
module.
was
left
on
the
four sides
all
same height -
on
a system of planning
to the builders
eleventh century to
steeply
all to rise to
There remained
imposed
this
It
a long
make
a square
of St^Denis in the
less
steeply
4S,
46 Plan and
theon
in
Romans were
this
able to
domes only
Romans
gave
to their
circular
to solve the
dome
Pantheon
ad
left it to
over a square.
(as rebuilt
dome
Byzantine
Byzantium
recesses,
The
cut into at a
but
120-4;
an absolute
an attached portico.
low
their
The
Pan^
circle
^^
with
level by
niches and
mass
carried
is
up
(AD
Rome
different scales),
section of the
On
its
own
terms, the
in
five great
Byzantium,
room,
while
reducing
the
weight,
dome
and
^7
^"
Pantheon, showing
panelling.
Note
columned
recesses
colonnettes.
lit
view
iSth^century
The
through the
its
original
the
of
marble
alternation
interior is dramatically
'eye',
of the dome,
bolized
the
sun
of
^ivin^ a spotlij^ht
cojjers
the
at
in the
this
opening sym^
the
centre
of the
universe
Duomo
the
Paul's in
in Florence,
Rome and
St Peter's in
the greatest
their
being chained in
domes,
The
at the base.
The Pantheon
is
is
feet
dome
is
It
56
is
would
was dedicated
The_great
impressiv e of
Pantheon
and
6 inches in diameter
Pantheon.
the
m ost
the
sur-'
mounted by
to
St
'eye' in the
form
is
fit
to the deities
symT)o lic
dome, 27
of the seven
ot the
cosmos?^
oriTy"^
of heaven.
48 The Pantheon,
it
again
to
'eye',
shadows downwards.
If the halls
among
interiors
the most
Pantheon
spite
of
was no
ing.
Its
is
among
with
less impressive
columns
is
The
unjluted
characteristically
portico
Corinthian
Roman -
in
- or because of
it
all
time.
In
- the Pantheon
The
content.
and with
The rotunda
giant
its
which once
tiles
now
simplicity
ever invented,
gaudy
all
is
hut
the
upon
stars
far
is
has a wall 20
feet
Romans were
thrust
The
wall's
57
:^"^
^mmmm
full
thickness
is
weight
at the
dome's
means of the
central 'eye'.
the limits of a
dome
direct
The
is
lightened by
altogether, that
is,
by
over a circle,
is
manner.
arch, in
us such
its
development
monuments
a simple arch
as bridges
S8
it
apex
it
as the
as vault
As
finest
is
probably the
in southern France
(cad
14).
JnS^'*
-fiaMPt-*-'*^'
"
"^
*t^
It
was 900
feet
80
feet
above the
river
Card, on
three
4, carried the
Nlmes
ranges of arches.
character
is
shown
to
in a
the river.
built about
AD
city
of
finest
Roman
display
is
of pure
engineering
Romans
known that
works. Thanks
would be regarded
to the
as
one of
their finest
London, but of
the
now
as that
of Vic^
A substantial part
59
however, survive:
does,
it is
is
it
Romans had
as there
and
io)
built
the
(ad
was
to
may
be said that
a pathological obsession
dome
after
smgle monu/
as a
at
who
Arc
in
finest
the
must be
ad/-
Emperor Napoleon
triumphal arch of
the
all,
de Triomphe in Paris.
much more
hidden
While
structure.
now
Palatine are
as
was
it
It
was
it
on the
steel
superstructure,
made
villas
vaulted cellars.
girder
and
the palaces
and
possible the
it
was
this
Roman
theatre.
The Greek
theatre,
it
was
in
wherever
it
on
necessarily built
as
a sloping
which
on
we have
site
the raked
Both the
theatre
important in
and
Roman
given over
to
architecture
is
more
culture.
The
throwing Christians
60
and
to lions.
The
and dangerous
The
per/
arenas were
sports, tattoos.
50
(AD
Rome,
it
The
'attic'
stage
tripartite division
e.g. Ills,
- and
and obscene.
to
bawdy
was performed
to full houses.
The
theatres
them^
from
modern
opera house.
The Romans
stage into
an elaborate
statuary,
although
set
it
piece with
still
lacked
with
elaborate
productions.
promenades were
now
accommodation
Restaurants,
to
cope
foyers
and
cities
- Verona, Pompeii,
61
(St
in
Albans)
in Britain,
had
one
theatre. Jerash
is
at least
Verulamium
roof,
but
this
the stage.
many
5i
The
(c.AD
staj^e
at
Sabratha
in
Libya
three tiers
Below
front
reliefs
is
the stage
curved
is
and
- whose
raised
decorated
with
AD
50.
feet
feet
is
seats
The Jerash
that at
(We
good
in
Asia
Orange
in
Provence, built
of its half^circle
and 45
five
a similar theatre in
most magnificent
about
thousand
as the Paris
Minor has
recall that,
as
an
vaults,
It
is
deep.
340
The
feet.
The
stage
was 203
feet
still
stone corbels
on
this
wide
was 116
wall to
stage
The
back of the
was most elaborate - a kind of Roman Baroque -
awning,
and the
for
shading the
central niche
seats.
still
wall
at the
around
it
ridors.
Large halls on
either side
of the
North Africa.
The
in
largest
Rome.
It
finished by
ruins, but
the
Domitian twelve
enough
is
whole building.
and
rises
on
ad 70
Much of
flat
years later.
had
53 Colosseum,
82)
in
shows
below.
a big ellipse
site
where
there
feet
by
was once
therefore to be built
and some
radial,
The amphitheatre
hills.
up on
5 1 3 feet,
All the
a
most
some concentric
seated
down upon
the
fifty
thousand,
The
seats
were
box was
at the
feet.
at
for those
of patrician rank.
The imperial
opposite end.
Beneath
it
was
The
a
itself
position
of the
(1-4)
emperor's
620
It is
street
the
yoThe com^
The
section
show
clearly the
seating,
ridors
and promenades.
The
cor-^
section
shows
ellipse
(AD
Rome
half-^section.
with the
plan and
it is
and
in
52,
right
- which
top
the use
of
own
its
velarium, slung
it is
as the
manipulated
Behind
were promenades
the arches
The
is
Colosseum
is
157
The lower
feet
high, and
Roman
versions
Opposite,
<)6
(c.AD
120)
above:
Petra
at
rock^cut
'Treasury' opens
orthodox
way
to frame
an
un^
a kind of circular
- playing with
way that looks
forward
to
Baroque
Below: Timgad,
typical
Roman
triumphal
arch
in
(111.
built
is
c.AD
100 on
From
colonnaded
lie
is
articulated by pilasters.
at
the
solid wall
The
of
structure
is
which
the concrete
equally impressive as a
2^1).
grid plan.
the
the
main
structure
Some
the
forum (top
vinces,
and
as a piece
outlying
left in the
The
the
more
little
cities
Roman
architecture
is
in the
pro^-
Lebanon, Timgad
in Jordan, Baalbek in
Roman
The
or oriental culture.
many
as
Palmyra ...
all,
result
is
these
show an
century
Rome. The
is
older than
rise
Rome, but
columns
is
the
been
of Baroque in seventeenth-'
style
all
North
in
its
Roman,
Palmyra was an
ment on one of
oasis city,
the
first
Asian caravan
camp, then
settle-'
a wealthy
Pleasure of Ruins:
'What we
see today,
with
its
the fabulous
Temple o[
the
Sun
line
oi^
Justinian's
wall,
is
Graeco-'Roman
S7
lined
(late
main
with
street at
Palmyra,
Corinthian
in
Syria,
colonnades
of the more
florid
period.'
streets
were colonnaded
bronze statuettes
and the
vista
either
at
the
Many
to the footwalks.
The
of them
way
may
to give additional
and
lively scene
also
have
shade
owed much
a Syrian.
in
marble and
It
was
built
Temple of Bacchus
most complete
(late
Roman
incredible richness.
finest
diameter.
It
temples outside
interiors to
made of solid
blocks of marble of
The
less
is
is
Rome. The
to
was
the
crowning
feet
high and 7
feature of a vast
66
ramp
led
down
to a crypt
beneath the
altar
it.
where a
sacrificial beast
interior
the
in
for slaughter.
own
weight of its
century as
'groaning
The
traveller
beneath the
luxuriance'.
Colosseum
place.
population, in certain
port of Ostia
six storeys
Roman
were
Under
cities
- notably
Rome and
Though
house
these
might
easily
many
its
as
become
problem of housing
large
had windows
Roman
villa,
to the street.
Any
other hand,
Roman
may
give
some
no windows
porting^ a coffered
At Its
best
it
of niches linked
wooden
ceiling.
In the
shrine,
this
tiers
pediment
i-i
some
their villas,
5p Opposite, above
Apart from
streets,
group of houses,
if the
owner was
otherwise
all
Each house,
filled a
into grooves
ad
shops;
lined
street
with
houses
with
a fuller's
shop on the
and
left
is
advertised by walUpaintin^s
by
was
a door and,
an open shop
to the street;
sometime before
walks,
or each back-'to-'back
block. There
a shopkeeper,
the
worn
paved
still
raised
danza, Pompeii.
dates
It all
when
from
Vesuvian
the
such
House of
as the
House of
colonnaded
and the atrium with a central pool -
internal courtyards
around
cloister
it,
for services
and
shaded
several
street
was
with sunlight.
enters
The
total
that of a long
The decoration
little
temples or
'Pompeian' rooms
60,
61
Opposite,
House of the
appears
it
Vettii,
below,
and
left:
(a)
atrium
(b), peristyle
reception
dining-room (e)
the peristyle; in a
all these
opening off
to
Opposite,
atrium
below,
with
its
the
pool
view from
(b,
in
the
plan)
69
are
(c.AD
Empire
Many
ijo).
were symbolic
'Poikile'
was
(6)
of
its
features
Canal
do)
Erechtheum
caryatids
to
an
At
the
led
around
circular
sophers'
is
the
were
libraries
Naval Theatre
it
Hall'
( ^),
stadium
In
Rome
itself
some
galleries)
Only
outside
the
and
all
Villa
for
vanished.
(cad
130)
fountains,
courts,
the
ruins of
(y),
England.
philosophers'
the
France,
in
Greek
ideal
serene years.
who
almost realized
his last
Chapter Four
The
sequel
logical
to
Roman
architecture
Early
is
West
it.
it
seems preferable
to deal
with
put
very
to
to the
On
it
25 July in
AD
to lead via
Gothic.
to
him
aloft
upon
a shield.
Seven
years
his
deathbed, he
would be absorbed
the people.
upon
Even
so,
him
tribes pressing
in peril,
capital
and
from
Rome
Rome
The new
night'
hard
herself was
momentous
army and
move
his
town of By/
It
was
most
decision.
city
which
'arose like
an exhalation in the
the culture of
city
a key strategic
site,
the
71
were within
within
its
knowledge.
its
and Christian
many
of
immediate
orbit,
was intended
It
to
Greek
be a great Latin
capital.
submerged by the
But Christian
culture.
- Romaioi -
Roman
it
remained from
Constantine until
seemed
to
some men
Byzantium
almost
to
all
to
Turks
That
in 1453.
fall
individual
the structural
it
to the
it fell
oi^
artists
It
All
this
Byzantium exploited
both in
intent,
upon showing
of the
to the glory
its
liturgy
and
its
of Jesus
into
and
divine.
is
dome. To understand
this
we must
Roman
to
glance
architecture,
one
be ultimately developed
travelled
at
domed
Roman
was
architecture
rich
Among
there are
Romans
built
circular.
Whatever
Roman
architecture
long^aisled
stylistic
fall
of the Empire,
basilica
and
the
it
is
vaulted
obvious that
hall
of the
72
all
The
basilica
architecture,
of the long
bays,
all
merged
hall
make medieval
to
vista,
dim and
leading to the
The Byzantine
story
is
them
to
point.
by opposing
clarified
The
greatest
dome
lit
the
Romans
one of the
internally at least
circle
plan
the starting--
still
is
and
by a circular eye
at its
was cosmic.
a complete
It
an imperial and
to
was
built
by Hadrian
yet also
of
the Pantheon,
The Pantheon -
55-7).
hierarchic mind.
was
built
hall.
was
It
was
a perfect expression
Roman
Another was
interest.
building
(AD
6j,
appears
AD
260, with a
dome
80
feet
pagan nymphaeum of
in diameter.
The Minerva
at
on
massive
to the ten
piers, so that
apses could
The
original design
the so^-called
Crete
in
dome
on
The
decagon,
con^
hut^
(The
apses proved inadequate, and buttresses at the top in the plan - and large
however embryonic, were
there.
between those
Roman
is
the fourth^century S.
built),
West
which seems
the
dome
to
built: the
Lorenzo
at
and
most
Milan
a few
interest^
(since
re-'
73
Even
feature.
Church of
The
first
dodged
real issue
Constantme's
(e.g.
wood
the
dome
of plan and
In
fact,
liturgy, or
of course,
solution
is
what we would
call 'function'.
final
and
as in
Magnificent
clearly to
its
exerts thrust
was
as
own
and
concentrated
the
dome
limitations.
at
Roman
or
dome
outward push of
all
dome. The
its
it is
it
Unlike the
round
its
designed
thrust
base,
to
and
just a
meet the
Pantheon
circular
is
circle is
- incapable of development
The
arcuated;
feet thick,
more elaborate
is
to
continuous thrust
exerts
it
intersecting vault is
the Pantheon,
of, for
example, a
ritual.
structural
circular
spaces.
Once
that
was done
by
its
own dome.
flexibility.
on -
IS
building.
When
74
open out
semi^domed
in fact
How
much
greater
and
was
it
one draws a
done?
left
roughly
When a dome
was
somehow
concrete.
to
it
was
be bridged - whether
On
had
in stone, brick or
On a
The
solution
The pendentive
is,
as
it
in the 'pendentive'.
may
to
form a
circle
upon which
the true
dome
^5
The
circumference.
As
the
all
wall must
is
continuous
resist
of thrust (see
line
its
with a tunnel
below the
round
simplest support
into
III.
well
^6).
dome over
and
the
with straight
'squinches'
formed
(see
Conques,
III.
'pendentives'
are
is
g^). In the
inserted
into
the
square.
solution,
Sophia
This
seen for
(III.
is
the
instance
Byzantine
at
Hagia
ji)
7S
key
Byzantine architecture
to
Once
buttress to Gothic.
the
The
been achieved.
circle has
way
open
is
is
as
much
as are the
dome always
central
attracted the
on
a square
own dome
its
producing a
other,
domed bay
cluster
whole
could be
of square
alongside each
then
in scale.
alternatives.
series
set
Three
large
dome
Roman
were
at there
dome,
the
to all
dome building.
The dominating
pendentive
domed
it
the
to
remained large
York
The one
Minster.
to get rid
at
was
the
He
architect.
preferred
Not
so
the Byzantine
many
of, say,
his
Hagia Sophia
or
the
What
one might
are therefore
it
Greek
this
we
cross with
domes -
this
many and
see
on
and
small.
Byzantine plans
a big scale at
more
we see
are
are
Hagia Sophia;
2,
the
in St Mark's, Venice.
The
76
or under^surfaces of
tracery of
moulded
Gothic do not
piers, the
exist east
vaults.
muUions and
of Venice, hardly
east
work
the
mass and
scale of Roman
Greek
cross plan.
crossing
the
piers
Byzantine
(see
111.
88).
on massive
low narthex
The Byzantine
o{ Milan.
material
which could be
and upon
the
soffits
laid
upon
The Byzantine
of the domes.
the
it
from
domes and
for
vaults,
much
fine
little.
rich
in
marbles - a
may
be of glass or marble.
It
each cube
is
the
cement
threefold. First,
almost
is
surface to be
thumb while
is
work
The
as if it
it
is still
wet.
The
glory of mosaic
irregularities
of the
at
naturalism
is
disastrous,
and
it
was
this
which
to
77
angles at
which
and
dome gave
the
minimum
that
The
scintillation
whole
small
windows
of light needed
is
in
for this
effect.
Thus
decoration. But
- function?
than
them
for
and
what of that
What was
functional
inside
.the
it
Churches
all for?
laboratories;
things
certain
no
are
less
happen
liturgy
also
and decoration - an
unity.
- provided
was thereby
apse.
This
is
Ravenna
to
relegated to a
or
Hagia Sophia
dome, but
minor place
Roman
it
it
altar
confuse
as at
integrated
that the
in a small
liturgy, to
liturgy
where
end of
the
moment
of the
Byzantine ceremony.
Visualize the space beneath the
That
in Constantinople.
or columns,
above
it
is
250
feet
area
and
is
galleries.
The marble
empty. There
is
wide. Far
feet
floor
a droning of priests.
Behind
rites
Household
By
78
and
Minutes
also take
up
the acolytes
later the
make
their position
The
their process
ritual
the
to the status
of a divine
whole
ballet.
The marble
floor,
encrusted robes.
blossomed with
formerly empty,
is
when
Patriarch
how
the
This
is
what
and share
the
dome was
built for.
It
the
was
first
great
of 532.
It
was
in 537 Justinian
Wisdom
thee'. (It
(left
dome, and
how
the
dome
itself,
braced by
The
One
to the
built
ground
by
ring
of windows round
its
base.
The
in the
was able
to dedicate
it
to the
Holy
have vanquished
and
was begun.)
Hagia Sophia
is
feet
by 220
feet,
79
r-^^
1
68
from
in
which
the thrust
to the ground,
line
Note
and
both the
of the dome
is
manner
aisles,
50
feet
carried
These
galleried.
aisles are
aisles
vaults
250
area to
feet
by 107
The dome
feet.
covers
it
107
is
extended to
is
feet in
east
and
seated
and four
upon
great arches.
taken to the
and west by
east
the
their thrust
semi-'domes just
be understood only by
buttresses,
each 60
above the
feet
by 25
and diagram.
It
domes
resist
the
first
point o^ impact.
engineering.
not
all
It
the semi-'domes
80
Below
their
from
It
is
feet
miraculous
feat
of
The semi^
all
were sheathed in
unity.
The
dome - i8o
big
ribbed. This
feet
above the
floor
actually
is
is
it
does
made
the blue
glitter. It
was
dome
also the
of Hagia
The
Isidore of Miletus,
was
to
moving
of Hagia Sophia
arena,
and domes -
all
open
by apses
changing
vistas,
glimpses; everything
is
is
mysterious and
it
for us in
its
contradictions
clarity.
light
The
and gloom,
to the
Istanbul.
The
buttressed by two
in turn
supported
(III.
square;
described
is
tresses
and open
into
but^
the central
dome hangs
shimmer of
and
on
the
conclusion of the
logical
it
became normal
for the
dome
had
congregation to be crowded
and
the narthex.
ji
JO,
The
ejject
Sophia,
of the interior of
with
dim
the
light
one
opening
space
difficult to
into
another,
is
Temple of Artemis
cushion^ shaped
capitals
shows
at
drill,
come from
Ephesus. The
are
giving a
carved
crisp,
the
geometry
of
The
central
it
was beneath
Ha^ia
occupy the
it
it
that
^/
F>^
Interior
75
Hagia Sophia -
is
an
by a
domed
roughly square
central area
is
only
f^
aisle.
The
2 feet across,
pendentiues,
They
nevertheless.
are true
The
eight
curved
None of Justinian's
Hagia Sophia
related to
it
of them are
and Bacchus,
also in
Sophia.
It
made
full
of the surrounding
rises
above the
This
aisle
aisle.
The main
aisles, is a
domed octagon
which
only 52
feet
is
dome
is
still
built
had
yet to
be taken.
j^, 75
Interior
and plan of S.
Ravenna (S47)Bacchus,
octagonal.
the
-L/^f
central
Here,
rounding aisle
is
openings between
The same
IS
is
true
Bacchus
galleried
it
has
feet across.
surrounding
- leaving an octagonal
than the
aisles
- vaulted and
aisle
is
taken up higher
structural issues
corners of a square.
at
the
The dome
itself
was
built
of
mouth of
the next
below
it
- giving
dome of such
problem of
thrust.
later
by
area
the
also octagonal,
it
and
Vitale,
Sergius and
domed
however,
SS.
is
sur^
and
the
This produces a
j6 S.
Vitale,
one
looking
is
marble
Ravenna.
columns
across
In this detail
the
whose
drill (cp.
choir,
capitals
III.
past
are
in the
glory of S. Vitale
in
lies
its
mosaics.
On
one
side of the
jo), to^
John Soane
art.
Worthy of them
are
These
more with
and shade.
general scheme.
a
drum
in
The
its
first
fifth
disappeared and
description.
It
is
known
was,
nople.
Its
arm and
however,
probably
Holy Apostles
at
the
most
Constantly'
It
which had an
86
entirely
extra
dome
at the
at
Ephesus,
J J,
jS St
restored
is
virtually
it
The
has two
the eastern
dome has
low
Note
at
arrangement of
the
east end
the
early
for the
clergy
87
dominant
is
The
mean
lasted,
and beyond
been
as has
set
all
the
before Justinian
and
dome, but
this
had been
prolific
Blue Mosque
(the
was
said,
the exclusion of
Empire
Eastern
invasion.
for
and they
religious orthodoxy,
architectural invention,
in
They stood
Their hallmark,
did not
and
to the Buildings.
Byzantine Empire
of 1609-16
Procopius
down
to the
Arab
Church of
had combined
an octagonal
east
the Nativity at
a double^aisled basilica
Mary
end. St
Ephesus
at
basilica.
The
first
is
double^aisled chancel
Plan
of the
Siman (4J0):
Martyrium,
a central octagon
saint
and a
at
church of St John
aisled transepts
at
and
Egypt
during
the
fifth
produced
century
several
transepts.
this
z^r:^^- -^^^.TL^
aisles,
Qalat^
upon
all
(early fifth
with
John o( Studion
St
aisles.
Bethlehem
way
The
Nativity
at
as
chancel and
Sergius
amazing
fifth^century
to
look forward
Vitale)
S.
to
and the
at a central
octagon. In Anatolia,
Such
by the
new
trends
set
by the capital.
One
finds different
depending
areas,
on
largely
of the old
austere versions
at
in the
on Ochrid
in a rather provincial
centred
dome
persisted. In the
way. St Donat
without domes,
basilica,
been
there
o{ the provinces
fertile
independent)
intellectuals
it
was
for part
and
artists
Some of
was Armenia.
it
had
to
the
leading
to eleventh
in charge of Hagia
The
palace church of
a circular exterior
through three
and
had
dome on
ver^
sion
It
leading to a high
storeys,
80 The
be repaired in 989.
15m
dome
at
dome with
at a
Am
Cathedral, a longitudinal
dome
The dome
for their
still
is
be seen there,
of Aght'amar
to
particularly
fine.
Armenian
89
The
Holy
of the
Chmh
Lht-omr (rS-^O
Cm!
"f'^^'""
01
'"'
m the
vormtms
.(the mmy Armemm
entrAvllrhejou,amsm-l2
sqmre m
cetLml irm ore
comers
ZerJopsei m^e. / the
the
use
the
ore
oj
The
smoU poly^omt forms.
.s choroctercircles
od
Xfs m yids
istic
of
Armenia
Metropole Cathedral
S2 The Little
Athens (C.12S0),
is
7.d'ornament,Lch
earlier
90
Greek
on a very small
of
buildings
^t
removed from
was strong
influence
in
neighbouring lands of
the
Armenia
century.
thirteenth
it
persisted
itself
the
until
ceased
exist
to
centre that
The
it
was.
new
types
new
oi^
plan,
scope for
spatial
and decorative
effects.
size
(their height
made possible
of the buildings).
Nea Mom,
Mom on
the
dome over
teriors
tall
complex plan.
The ex"
Here
the
on
dome on an
a simple
with
its
church
It is
original
tionally rich
rests
when
seen
cross-'in-'Square plan:
all
for
instance,
at
Many
Metropole Cathedral
(c.
1250)
is
91
r
T
84, 8^
St John
the Baptist,
Gracanica
at
very
tall
drums
in the world,
exterior
its
is
The much
earlier
Kapnikarea
(c.
1060)
is
rather similar.
Although
it
later
recovered
its
from
tious.
this
vitality, architecture
(13 12-15)
is
still
its
The church
at
Gracanica, in
and the
exterior
One
Empire.
adopted
at
is
Kiev
on two
Russia.
in 988.
masonry of which
still
Christianity
The
tecture spread to
where the
to
on
was
a plan based
accommodate
built
on the
extra aisles.
Novgorod and
earliest
eventually to
Moscow,
St Basil's, of 1555-60,
that
is
West
other postscript
is
five
The
8j In Russia, the
(iojj-46,
Cathedral
style
of Kiev
reconstruction
substantially survives,
officially
was
86,
on themes
years before.
domes.
city
of the
St
The fantasy of St
(is, ^^-60,
below)
architecture in
Basil's in
Moscow
shows Byzantine
its final
exhaustion
88, 8i)
The Byzantine
style in
io6j);
P'erigueux
below,
(began
Western
Venice
in
St^Front
c.1120,
in
rebuilt).
these
in
is
all
low
important respects a
in proportion, clad in
at
domes;
marble veneer,
its
five
Antonio
Mark's
('II
is
the
Santo')
at
fully
model
struction
nave,
Padua
was applied
transepts
Romanesque
to a basically
and
chancel
France,
the
with
churches
to
by
five
an
example
consistently Byzantine
which follows
as
ambulatory.
of
Anjou and
as a solution to the
aesthetic style.
is
St^Front
St Mark's in being a
Greek
at
The
cross covered
in the
qualities
so
that
is
hard
the
original
to assess.
extent
o^
only
Perigueux,
design,
In
its
new
Byzantine
St-'
Byzantine decoration.
It
is
St Mark's that
must be
spirit.
Chapter Five
WESTERN CHRISTENDOM:
I
The
medieval Christendom
The
earliest
halls or,
It
was
Rome and
between Imperial
link
archit ectural
is
Christians in
ROMANESQUE
known
as 'Early Christian'.
Rome
there that
pagan
rites
were adapted
to
Christian
fourth
and
The
fifth
first
actual churches
centuries
- were
built
- mainly
when
in the
persecution
at the cost
of subordination
to the
The word
'basilica'
is
confusing.
years.
The pagan
basil ica
was
The word
The
libraries,
tribunals
(d) Trajan's
in
apses,
(c)
Column. While
appear
in
Early
hall like
Trajan,
one of the
much
halls
larger,
had only
a timber
roof
It
was
in
was
and
aisles
clearly established
95
gi
Restored
Trajan,
interior
Rome:
of the Basilica of
double
aisles,
a colon"
fact virtually a
and well
lit; it
had good
aisles. It
an excellent prototype
Christian
churches.
essential that
In
these
everyone should
no
but, as yet,
the
for
large eastern
earliest
was cheap
words
was
and simplest
churches
first
it
was
it
limb
was
altar.
The long
became
S.
was
aisled basilica
the basic
of"
a fourth^'Century basilica.
aisles
retains the
it still
atrium
or forecourt with
narthex or porch
wh ere
the
St
(c.
The
and
the
un^
original Basilica of
penitents
Paolo fuori
le
wiped out
Mura
is
of the
earlier one.
a nineteenth^century
copy of the
all traces
idea
of the original.
founded by Sixtus
in the larger
Section of Old St Peter's, Rome
(c.jjo). Like the Basilica of Trajan,
^2
it,
as in other Early
clerestory.
96
it
III in
ad
Sta
432, but
Baroque church.
is
now embedded
We
how
Roman dome
to
be transformed
decoration.
the nave,
The
two
a basilican
aisles
and
the apse.
church such
immediately the
s tructure
lin e
as,
say,
and
more than
Clemente,
we
at
nave
g4 S. Clemente, Rome
of priests and
( 12th cen^
An
atrium
in its original
'cancelW
is
To
the west
(d)
and Jrniked by
the
see
g^,
is
clear in the
photograph above
fact, a
some
elaborately
it
normally reserved
expanded
planning
until in the
It
was
the
aisled hall
apse
little
around the
east
ofEngland. The
story
which
end of
Cha pel
is
eastern limb.
its
If the basilica
columned
hall
the
Medie val
architecture
to c over a la rge
space with a
made
fireproot root
no
ot stones
than cou ld be
larger
g6 Romanesque
achievement and
see
the
also p.
i4gg;
St
say
of,
from
Ste-Foy
at
at
below,
Conques,
of such sixteenth-century
Chapel
at
Westminster.
Anne,
see also p.
of
Annaberg (begun
iS4) ~ the functional
two
is
pattern of ribs
style^^in
It is
'styles'
R omanesque
the
the
to
Durham, when
styles
wou ld_
choir a nd
when
its
All
have b eeii_incoiii2re-
medieval
build eL
they began
work
The
in
lightness.
subdivisions into
h ensibie
and
builders
at
09 j, were unstyle ;
some
six
aisl es
vault -
moment
of useful innova-
was, in
arches
and
fact, to
rib vaults
would be
consciously exploited at
new
style.
gj~gg
Rome
Church
England
the baptistery at
century, bottom)
The
680,
in
anJ
lejtj
France (6th
of classical forms
plunder.
(c.
Venasque
partly
Gallarus
due
to
Oratory
in
is
conu
so barbarous as
nevertheless, has
little
Charlemagne
to offer
fifth
800.
E urope
the great
however, such
fall
of
Rome;
ar chitecture as there
little
Ihe asceticism of
Alexandria found
to return eastwards,
to
the
its
civil iza^
the
in
was
north,
tound'
is
Irish missionaries.
way
to that
bringing Christianity
to Britain
spectacular corbelled
Michael.
ai sled
there
The Hall
basi lica,
was
of the Kings
at
at
as the
or the
Skellig
the fairly
brian churches
and
at
as
Brixworth, with^jWQ.
Roman
remains. In
domed
baptistery at
is
the remark^
Venasque. Clovis
'S>
had accepted
as
form of Christianity
a barbarous
as early
496.
But
new
find a
The
chapter in architecture.
Rh meland
pilasters as part
of a vivid
Aachen
(Aix^la^
101
^lij).
(III.
Palatine Chapel,
Bawd
j^),
chapels.
while
it
dtl
S.
floor
gallery, for
communicated with
hesitating
dome and
O do
of Metz,
w ho
Ravenna,
We stern
It
was designed
designer
Its
looked East,
aisled
was
to the
The
for inspiration.
entirely
Emperor,
the palace
marble work.
singularly complete.
at
if
The
he basilica.
fine
as
is still
palace,
was public
the
it
Vitale
for palace
The ground
the
Aaclmy(jg2-
would seem
Chapelle)
cnapelwith
V itairat Ravenna
gatehouse of tjje
we can
It IS
in
792 and
a northerner,
church of S.
was an
with Charlemagne's
basilica
hrone in a apse.
^Did
ask,
Byzantine
dome
of the basilica?
in favour
monastic nature
plan.
of the
have
Church demanded
the Byzantine
different
how
We
a central
dome. The
for a
Roman
in the
basilica. TlTe_basilicajjite^all^_sm^
As Roman
rule disintegrated
andfirsTtHemshops and
changed
new
we
call
radically.
With
Romanesque. This
^^
building in general
of these things a
it
and
it
fro
got
and
nto the
building
yet mystical.
le ngth;
m Roman
new kind of
architecture derived
basilica
the emergence of
It
made
strong,
Whereas
ROMANESQUE
the basilica
skvline with
JS
been
its
towers.
and
a single shaft,
unaersurtace,
heavily
the
m oulded^
Whereas
the
the
Romanesque
pier
Th is was
emphasized
no___lgnger a
Ornament was
MedjtgTjiiTeanstY]jj]^
hjil^ ^-^
The
walls of a
arch, door, or
Romanesque building
window, j)enetrating
are thick.
a thick
wa
actual
building
it
created
had
difficulties.
to
for
ll,
An
would
architec/'
mosaic. In
The
^.u^^'^t
timber
Maria Laach^iogj-i
'quintessential
u had
scaffolding.
The
urge
to
on
was
.^1 \
the
The towers
strong ;
if,6)
in
the
Romanesque
foreground mark a
uncommon
in
German
mm
loj Arches
Cathedral
the
in
(c.
cylindrical piers,
and hearing no
column.
I04
The
nave of Gloucester
Diagram}howing
etween
two
big
almost unornamented
arcades,
the
difference
the first
with
second moulded,
i.e.
Wider timber
centering
wood under
the
curved framework
the arch
is
major factor
development of the
in the
correspond
of
however, built
as a series
style. If
then acted as
itself this
former
to the thickness
as a series
of
concentric mouldings.
Here and
there
as in the
Benedictine churches
c.
(e.g.
The
effect
is
If,
pier.
however,
is
Also, t he
lines
pound Romanesque
with profound
S.
at
Ambrogio at Milan
(altered in
11 81).
This
were,
articulate d or
com^
effect. It
Conques (begun
it
can be seen
at its
are, a s
RflinanjiQlumn
simplest in, say,
1050), or
at
This compound
Ste^Foy
Mainz Cathedral
pier
was of course
moulded
pier
of the
- high
Gothic cathedral.
J-
The
basic section of a
aisles
- had,
in
areas,
windows
notably
in
and
many
of two^tier
different type
aisles,
the clerestory
rests direct!)'^
not
want
result in
is
on the
such churches
forium or 'dark
The
is
as
aisle,
itself,
interior.
The
was standard
d ark
it;
The
the
and
tri^
storey'
above the
Conques, Santiago
a massive,
~and
to risk
Clermont-Ferrand
gallery
triforium.
three/tier
to a blind
io<
arrangement -
106
Saxony
Qiiedlinbur^ in
m England.
wall between
blank
The
clerestory.
piers
are
and
alternately
1 1
8), the
obvious
echoes
Nave and
wooden
At
reduced
arcade
is
At
12th
(early
of classical
aisles
are
columns.
covered by jlat
roofs.
11 SO, left)
vanished.
it is
The
gallery; above
it
the clerestory
triforium
is
which has
an
open
which
The piers
moulded
yt
nit ri (XT
%^
Everywhere the changes were rung on the basic
storeys;
compound
of the
relative proportions
pier in the
The
usmg
front
mouldmgs and
different
mouldmg or roundel
of the building,
to the
full
height
wooden roof or
cross-beam of a
of the
line^
of
st
force,
to
rong
in
design where
verflcality was everytl
""""
<
; vault an
the
01
Roman
groin
whole
But
(c.
The
halls
of the thermae
in the vaults
we
how
see
there
it
also
has arti^
108
Auxerre
(c.iojo):
the
Cathedral
intersections
crypt
of
the
separated
arch
104
from
the
arches
The wooden
fc.i ijo),
The
are
next by a heavy
of timber.
now
be dismantled and
When,
however,
we
look
at the
abbey
at
after
1181).
(nth
century
Giant quadripartite
mask
the groins
and
to
simplify con-'
struction
Durham,
ribs, in
Mainz
or, again, at
interle c!ing
by
or at
later,
edg es
ot the
The
Centen^
is
__^
'
>-
lobster^pot ot arches,
to bri dge
from arch
to
ribs
dividing
the
first
it
form
into four
of the
is
ribbed vault
wtnuhTwi tlT^ll
As
a concept, bold
and simple
The moulding of
stone roof, like
all else,
it
It is
Goj hic
its
its
magic.
was Romanesque.
meant
that the
And
if
grown
grown
a decorative system^
105
4^r
^m^m'
"'^:
1 1 1
The
Canigou
is
interior
of SuMartitudu^
remarkable for
date in
its
rest
only
with
rough
capitals.
There
is
neither
Romanizing
Lombardy, Dalmatia
Milan
Prato,
(^r.8 3
structures,
in
Catalonia. S. Vincenzo in
or
Milan (^.875)
some
early basilicas,
and one
in
end of each
at the
way, the^ambulatoryand
In Catalonia
at least
but St Donat
aisle
anticipates, in
radiati ng chapel
and romantic
arrangement.
in~setting,
and
Zara
an archaic
at
Amer
humble
Picturesque
carefully restored,
is
the
all
1009).
It
Roman.
shafts
_
the plan
is
aisles,
Romans
107
can
church
be
the
monasterv/f St
this
redrawn version
the
long^
transept,
apsed
identified:
with
and
east
of
to
workrooms, servants'
lodgings,
stables,
quarters,
a school,
plan for a
spiritual,
mercial centre
etc.
regularized
cultural and
com^
here, fully
developed seemingly
longitudinal
T ournus
is
also
for the
first
time,
remarka ble
for
was
its
the
stone
and
transverse),
quadrant
vau lts
and
and twelfth
centuries.
ROMANESQUE, J
MONKS'
'
CEMETERY
Xm
CLUNYIII
"A
CEMETERY
<
-^
CLOISTEf
'
[J L-^V^'- /^ <f
i.A=^
/%ri
CLOISTER
Porta
Lavabo'.Oi
Germanorum
Gihiee
"
^2S^
of
<3
PALACE .1
.COURT J
(Atnum of
.
>
CELLAR
b
a
ca
"2^1
AbBots'PalaXce
8te<J=.-3
SERVICE'
COU RT SOUTH-
VISITORS'
_^CHAPEL
Great
\j
O
NARTHEX
LJylBrotherj'qirs o
HANGAR
<#
inished
,;
Tstable
Portal
GATE
STABLE
HOSPICE HALL
In
Gothic
CII80-I220
STABLE
finished la ISrh
century
APPROACH COURT
60
200
CREAT-GA|Te
en
n7ff
GrToLE WAUL
H
FT.
i^
Cluny
in
u^j,
projected
includin^^
latest research).
standard
(cp.
around the
cloister
is
reserved
beyond
this
600
infirmary
the
isolation. In the
stands
in
feet long)
chapels
1 1
6 Model of the
third church at
1088-C.1121), from
elements seen
in
Cluny
The
east.
clearly recognizable
the
was
the
of the
Romanesque world
Cluniac
Cluny,
to
in
years
church
at
force.
to
Germany.
The
finest
threes-storey
double
death in
the great
twin tran ^
Order
Among
aisles ,
elevation
all
other
ally
inspired
for
109,
and person^
Cluniac
priories
such churches
as
III
Paray^le/ Monial
the pattern of
(c. 1
Cluny
00 ) and
and no triforium.
ran through
all
with
different,
high
groin
Cluniac
architecture.
There were
local
so on.
rich
vaulting,
.
20) followed
colour
variations
had
(c. 1
III;
Autun
many^towered
its
all
lighting
silhouette,
prim arily a
setting
for
the
its
and
Cluiirac
ps almody^
Another
which
institution
architecture to maturity
was Europe
was
brought
the pilgrimage.
parties
yet
we hear o f Santiago
Not
James,
Romanesque
on of Zebedee.
of two hundred
as the shrine
of
at a time,
These roads
were streaming
down
started at Aries,
Le
ly,
above)
18 ParayAe-'Monial
and
Vezelay
(c.
similar to
glimpsed
design.
Cluny
1 1
oo,
right)
differ
com^
ParayAe-^Monial
III,
between
(c.
1120,
is
with an ambulatory
narrow
piers,
and
arches,
coloured stone
112
strikingly
banded
in
On
Roncevaux.
each of the
at
at
five
T ours,^St/M artial
Conques/ St^Sernin
Those
century,
at
churches,
five
all
show Romanesque
in
the others^are
all
maturity.
its
beautiful
As
feet
Toulouse
itself.
by the
finished
at
is
early twelfth
The church
the smallest;
long,
and have
the
Each of
- the last
these churches
shows
skill
As we
in plan ning, in
"
from the
is
aisle
no
cler estory,
and
the interior
is
built high,
tri^
d imly
with
1^^ Pilgrimage
typical
plan
appears
Compostela (begun
runs
aisle
right
c.
The
churches.
at
Santiago
loy^, above).
round
the
de
An
building,
the transepts,
west end.
at
end of
Toulouse^egun c.1080,
ambulatory
th^
and
The ex^
,St^ernin
lejtj,
at the
and
numerous
116)
The church
is
of brick
113
ROMANES Q^UE
towers
Roman
chant.
The
generation
which saw
the
work of
founded
The
example of
austere
their
life
By
monk
could
and uniform
feel at
home
all
in
sites.
Pont[^ny,
Cistercian
Cluniac buildinp.
izth^century
tresses
chevet
church
the
The
with flying
more
late
ends,
larger monasteries,
still
and two^storey
Pontigny (begun
140), with
its
chevet o f c.
185-1210,
hut^
very plain;
east
we re
Their abbeys
is
at
Clairvaux. F ontenay
final
1
39-47)
is
hut there
is
is
The
the
Cis^
The arcade
walU shafts carry
austerely square.
pointed, and
is
slightly
the trans^
Cistercian
The
wishes^
site
is
wo oded,
represent St Bernard's
buildings spacioCTS
th e
and of
fine ashlar,
in tEe'aisIe s,
example,
at
Cistercian
Fountains (1135-50) in
England.
It is
in terms of
instance,
what we now
is
architecture
of architecture. Clearly,
fessor
Romanesque
also,
a single school
s tyle
115
i2^
Abbey,
Jerichow
(c.i2oo).
almost
church,
brickwork.
ijo) and
wooden
It
Brandenburg
Premonstratensian abbey
wholly
of
excellent
III.
ceiling
has been
its
charm
for
many
the great
it
as
phenomena. Yet
institutions of
Romans
Many
two considered
in detail.
On
for
Local
one sense
Germany
arch,
its
pilasters
Corinthian
and jambs,
Provence acquired
its
moulding
sculptural
own
of
Ita ly_and
Mediterranean character
The fragmented
columns, fluted
classical
its
Rom anesque
variety
geological
map
Norman England
of England gave a
Caen
stone from
Normandy
Il6
Northern,
even
Islamic
elements
are
found
varying
in
specifically
everywhere.
degrees
is
Byzantine work
evident in Sicily,
to rival the
Emperor
at
a lmost
Perigueux
(c. 1
120) in
Aquitame
structurally
is
Mark's in Venice.
that of St
Angouleme
(c.
to
Cath edral
1119) are
AquitaineoRomanesque_churches
and on
evident, for
It
is
the
atj
^ Puy-.
li^
tradition, they
way. The
Card
(c.
fa cade
to build
handsomely
to their
in a Latin
of Roman simplicity.
its late
examples
12^ Above:
central apse oj
Monreale
and
discs,
The
themselves
ROMANES QJUE
Burgundian
If the
of planning,
synthesis
126
Dame
its
at
fumieges (io^y-66) we
two most
distinctive features:
see
(a)
drical piers
(cp. III.
28).
crossing^arch
At
the top
is
the western
made
regional schools
intellect
structure
Languedoc
their contributions.
as
domed pseudo^Byzantine
in
the
with
built
Martin
The
at
Romanesque churches
greater
plan
basilican
aisles.
nave and
of
aisles,
followed the
all
removed from
them
In most of
basilicas.
certain buildings
tions
on
and
and
the nave
columns
or piers, but in
were varia^
columns
aisle
compound
with
thin^thick,
or with
more
correspond thus
Two
with
bays of the
bays
all
which was
thick/-
alternating
piers
slender piers.
to
were
aisles
pagan
the original
rib vaults
were
We
Modena and
Michele
S.
at
Pavia in
different system
Hildesheim
Italy
was introduced
to every
This
triple
pier,
in
England.
St Michael at
in
columns, one
and Durham
aisle,
making
rhythm of two
pier,
and
so on.
we
Hi
a royal
mausoleum with
length of 435
feet,
the
same
find,
it is
lending variety to
as the cathedral at
Speyer
and with
a total
a fine crypt
as Chartres.
One
second only
- was
to
its
Normans. By
Roman Empire
the beginning of
Vikings
in
France
hundred
for over a
years.
feudal,
They
but also
They
north
became
Iceland.
as
the
turn
after
Conquest.
Norman Romanesque -
like
Norman
rule
- was
While
the
and even
the
was
masonry of a high
nevertheless orchestrated
concentric ring
oi^
every arch
had
order. Every
a square or a half'
'!<
column
correspond
to
arches springing
to
it
in the pier
awkwardly from
below (moulded
cylindrical piers as at
Gloucester, Malvern
may
be regarded as an English
- possible only in a
thick wall
may
- became
in itself a
kind of ornament,
as
one
see in the
an unbroken
vertical
upon
band from
floor to
up
roof In
in
this
was
to
less
in
c.
1040
at the
out as
as
we
-'Mm
Dt4rham
12'j
In
much
All
Cathedral nave, a
rib
Norman
mouldings,
separate
the
twin
that to
aisle to
ijo.
bays
vaults ofc.
we find
the wallz-shaft
is
system appears
at
Durham, begun
in 1093
vaulting
carried
transverse
Durham
there
arches
came
for
the historic
piers.
;
The same
but whereas
wall-'shafts
wooden
at
most
ceiling),
moment when,
at
instead
- had
to
- owing
(r.
to faulty
1130) the
two
Gothic
120
fully
style,
though below
Romanesque.
these vaults
Durham was
The Norman
brought
England
to
storey elevation
We
towers.
style
in
three-'
Caen, William
the Conqueror's
the earliest
Winchester
(f.
The
(c.
flowering of the
style
Peterborough.
The
Ages
story
is,
on the whole,
Lombardy, from
different.
the ninth
The
early
churches of
century, radiated a
new
ending
the exterior
at the
style as a
top in a
was
in the
form of
vaults. Orna/'
pilaster^strips,
whole spread
to the
as
in Carolingian buildings
ment on
to
arches.
The
^8
West
front of
SuEtienne) Caen
Nave
(be^un c.iobS).
and
aisles
are
arcaded
Above
towers,
the
strikingly
aisles
development of
Gothic
Norman
rise
two
even
high
spires.
For
The
capitals
walUshafts
On
are plain
vast
rise to a
The
cushions.
wooden
ceiling.
originally square,
is
64)
^th^
in such churches as S.
At
h^gun
breadth,
church of S. Ambrogio in
Durham, though
The
fall
after
1 1
17.
of the Empire
ripartite
S.
Miniato,
rib
square bays.
vaults,
in
Note
the
to
in
vast
its
nave
the
covered
splendidly
c.g4o,
Roman
C.1060).
like
however
and
MilmJ^hoir
S. Ambrogio,
by
is
quad-'
domed^up
articulated
re^
ing
much on
at
Rome
slept.
Elsewhere,
at
no innovation
little
and
built
in plan,
decorative arcades
no attempt
and
rich
its effect.
There was
At
vaulting.
at
Pisa
ferent
southern
northern.
S.
Miniato
Monte
al
in
Florence
is
and
'a
first
Roman
it
synthesis
has a
of Tuscan
simplicity
and
transept at Winchester.
intellect
poise'. It
was
is
Romanesque
scale
Monte,
is
almost
is
dif^
from
Roman;
simple,
rich in
called
it
difficult
The
al
shows how
Campo
choir
aisles
marble inlay;
(cioyj),
indeed to
is
nave and
richness
Roman
of the
in
marble facing,
inspiration,
is
itself
more evident
Norman
123
1^
F
I
^^^^^^^^^^^^^H
Chapter Six
WESTERN CHRISTENDOM:
GOTHIC
II
the time of
some
Charlemagne
to
and
glowing,
We
may
with
filled
detail
woven through
work comes
to a close the
more
also
precise
and
forces,
of
Romanesque
against
as
reliance on mass.
What began
as a story
Romanesque
arches,
the
orders,
mercantile
cities
through
It
of an aristocracy,
and
the splendours
protocol
miseries of the
Italy,
and with
Crusades; while
all
the discipline of
Gothic
it
art,
structure.
the
after
the
the
is
defined.
the
On
At
points.
carry
it
to
few
selected
ground;
to
counter the
new
aesthetic.
went hand
in
hand with
were
pro^
Rheims in the
Most import
has
come
to
is
no
less
true
fief
on
a unity
the fringe
and
Burgundy, with
and
its
and
for travel.
to or
its
and
its
big
fairs
medieval period.
And
Senate,
and very
Roman
in
its
life
Roman
125
GOTHIC
and
art
...
a civilizing link
Christendom.
Above
was
there
all
the central
domain of
the
He
of
Charlemagne.
been called
making
set
above
Brittany
all
Church'.
had been
Only
and
slowly
the rest
did
Normandy, Burgundy,
come under
France.
The
centre
is
rectan^^ular
tower
in
the
the theology
the East
introduced into
military
archie
of war
the
law of Christendom.
had succeeded
Rome
As Byzantium
as a worldz-capital so
and
and
Chartres,
the structural
and
aesthetic principles of
,-^'
i^!tu
'-,-r.^;_i
_-^0^
"4ti*^
kJ^-a-l,
Gothic went
Europe by the
The
as
monarchy,
as well
its
- architectural
as well as
Gothic
this
distinguishable
yet
each
their
own
history,
are
and
is
architecture.
all
set its
Amiens and
compared.
more than
little
Roman-'
say,
of,
almost identical;
hundred
are
years later,
11
And yet,
is
same
the
style,
Europe where
sible in winter,
"ift~^
T^
the Gothic.
flS
example of
travel
was
difficult in
summer, impose
fruitful since
journeys
at Bruges,
in
with
1482,
must
also be seen as a
system, in
function.
The Church
manors and
thousand
castles.
castles
The
show
an end,
fine
Church but
to
The power of
in the
guild,
these chartered
to
town
symbol of worldly
that a
man
Church.
success.
Moreover,
was
ten
squares
was
aristocracy
corporations
it
halls,
and
cathedrals, abbeys
built
or the
product of a caste
craftsman.
The
Gothic
art as
as vital to
127
GOTHIC
While
castles
the
mills
cottages,
may
many
be seen in
vernaculars in history.
reflected
an elaborate
The Seven
Sacra^
this
window
at
Suffolk,
the
knight
kneels
under
in
cults,
with
their
There
for.
holy
and
trees
and buttresses
too,
was
already in
Romanesque
greater
specialization
and
reflected in architecture.
institution
militant
as
we have
seen,
of church
with
plans,
aisles,
momentous
Frankish
as
fifty
years
for architecture.
castles in the
further
to
six
of them in
- were an
institution
Holy Land,
there
was
the
art,
development of the
within the
castle
Romance of
the
wall - as
we may
see
it
castle,
while
portrayed in the
trellis,
became
its
heraldic
its
emblems,
The emotional
we
see in
Tudor England.
itself a
we may
instance,
whole
see
mullioned windows,
all
was
that architecture
Like medieval
the
life,
mches high -
a few
dominant
and
a sure sign
of the age.
art
Gothic
From
complex
plan one can deduce, almost, the smallest cusp; from the
carved boss one can deduce the form of the vault, and so
back
to the
What,
then,
was Gothic
architecture? First:
by thick walls
the wall
at all,
As
was
outward
Romanesque
the style
developed
system was
exploited
buttresses
as in
its
it
- where
it
that there
itself,
was
in the
end
virtually
no wall
buttresses.
Since the
resisting,
worker
Gothic
as
by mullions and by
became
as
much
to the stained^glass
the concomitant of
window and
buttress
- was
front of Wells
see a
at, say,
as
is
a carved
the west
we
to
the
1240)
building designed,
is all
which
last
is
(c.
carved for
its
position in the
jamb -
stone
added
to
its
efficiency
129
ij6
of Rheims
Cathedral (c.12^0) we see how conu
In
west front
the
pletely Gothic
Every stone
is
a carved architecture.
moulded
is
to fit
into
the
asserting
themselves against
of the classic
extreme statement
the
the
nave
whose tracery
and
is
is
lit
by rose window
of a flower;
to
a third of the
way
to the
upward
tower tops
by reducing
its
by expressing
decorative nature
its
lines
where
it
and
was needed,
aesthetic role:
at right
it
placed weight
tall
it
Romanesque
The key
features
pointed arch;
and
^,
2,
the
the moulding.
tentatively
1,
Each of
these
130
Cluny about
100, but
nobody
it
might
The
thrust of the nave vault across the aisle to the outer wall,
builders, but
The
Romanesque
turally.
crossmatches
heavy
as
ribs
ribs to
esque
articulated
pier,
corresponding
to the
was
moulded;
in a sense
with
&
form a richly
The Romans
and
squares
soffit
roundels
:--J
c^,,.
mouldings,
as
an aesthetic
emerged,
as at
Although
which
technically possible,
how
the
Romans,
truly liberated
was
Gothic architect
Gothic, making
it
We have seen
buik un^
on
heavily ribbed
We
Romanesque
vaults,
'./U-
how
there
were
ij7
{
Vault
1^1 2-4-/ J,
structure
and superb
art,
fact,
both
in spite of courageous
masons
St Barbara, Kuttenberg
in
Gothic
to
form
delicate or
fantastic patterns
i22z^ and
century,
in
left
shows
two flights -
to the limits
Even
so,
of what was
the collapse
of the vaults in
sept front
begun
possible in stone.
height but to
choir,
shows
131
GOTHIC
on
the arches
was
to
run
level,
all
neither
Roman
nor
then clearly
the
all rise to
Romanesque
stilting or
must be regarded
it
could be steeply or
slightly
at
Once
Roman
It
was
history.
on
short sides,
its
and
and
ribs the
bay could
Examples
are the
rhomboidal
England.
The
tremendous.
therefore,
Viollet/'le^'Duc,
according
do
so.
The
and
rectangular
it
to
would be
irregularly
all
of different curvature;
all
could
all are
height.
The
ribs
the
same
rise to
might be
slightly
ridge, specially
curved so
as to give
that,
rib
would
designer.
132
rise
By
Gothic was
was under
which each
to
when
English
From Romanesque
13P
groin vault
to
tierceron vault:
Gothic
A. The
square
round arch requires a
vaulting hay
huilt
with round arches ts
If a vault
on
arches
the
then
over a rectangular bay,
on
(raised
stilted
shorter side must he
the
straight sides, as
the
at 'a') to rise to
shown
same height
The
extreme
its
The
prohlem
arch
pointed;
steeply
longest span,
the diagonal
ohtusely pointed,
and yet
all
arch
the
across
(3)
the
'^^7
even semucxrcular
rise
three can
to
the
same
In the
level ridgeAine.
height, giving a
arches are rihs,
Gothic vault these
weh
forming a stone
to
cell
infilling in each
Additional
rihs
(4,
'tiercerons'.
added, called
5>-^) ^'^
They smplu
the size oj
construction hy reducing
aesthetically, they
each cell of the vault;
kd
opened the
way for
the
Late
Gothic
ceiling. The
highly decorative
at diferent
rihs
awkward junction of
use
the
of the boss
hy
angles was masked
vault,
GOTHIC
rose
from each
Exeter nave.
ideal of the
dome
By
tiny capital
on the vaulting
a biological analogy
Roman
or
Romanesque
we may
builder
was
make
to
was
soffit as
a vault like a
of
shafts
to
make
smooth
Gothic builder
mammalian
skeleton, an
The
opposed
to the
of the building
of support.
and
It
141
the
plan.
The
were
rebuilt
by Abbot Su^^erfrom
shows what
lightness
and
flexi^
and the
rib vault.
Not
same
transepts of
St^Denis were
High Gothic
a century after
134
rebuilt in
Suger
made
The
total
into organic
weight
many
was brought
vault above.
140,
so that all
ri^ht,
made
points
windows
harmony with
the
concentration of thrust
whole
of the
lightening
sequent
at
and
structure
The
the
aesthetic
technical qualities
development in
we now
of Gothic in general
specific
Having
turn to
its
examples.
church
inadequate
book showing
he
pilgrims,
for
built
He
140.
has
The
master
mason
is
ambient
aisle
not
named;
The
art.
interior, full
pointed arch
but also, in
complex
of intriguing
is
effect,
shows
for granted,
chevet
at St^-
and
vistas
used throughout;
giving us marvellous
this
only part
building.
as a
the
new
it
an
airy
perspectives.
The
result
had
to
is
be over such
new-found
flexibility
spatial possibilities.
is
135
The new
Throughout
great
was consecrated
choir of Stz-Denis
the
wave of emulation. In
in 1144.
there
was
(1
(c.i
Amiens (1220-88).
64) and
was
it
marvellous
in 1194).
marriage
some of
austerity.
instance,
The lower
Gothic
centuries.
centre,
including
famous
the
Portail
work
begun
window of plate
with
tracery
is
The Flamboyant
11^4.
left
was added
the
Renaissance
circular
contemporary
begun
church,
present
the
The
1134.
in
the
to
after
on
spire
the
in
143
transept
(c.
Cathedral
Chartres
11^4-1260).
architecture,
generation of Gothic.
About
some Romanesque
is still
the walls;
set
is
it
in
Only by
and
without
still
had reached
Earlier
group the
wheel of
lancets in
'plate^tracery',
wall - hinting
at a different
that
is
almost
like
later,
lace,
we have an
with
its
fully
Opposite:
and
the
part of the
tracery.
magnificent portals, a
windows,
the
Its
hung upon
1^2 Chartres Cathedral facade, of
standard two^tower type, spans
of sculpture
first
the west
rather than, as
was
is
also
an architecture
masons
returned
III.
to
14"/).
the
Here
three^storey
role
was superseded by
The
crowned by a
stained glass.
emphasis
to
the
clerestory
tri"
whose
the gallery,
the
that in
its
thrilling extremes
hundred
years of
left),
all
is,
tran^
Shafts
septs
double
aisles
its
its
length,
^^BB^B
**
Glli ilillll
111"
t^^^i
form
their
(be^^un
grassy
c. 1 1
below)
80,
isolated
close,
Wells
142-j).
(see pp.
stands
from
in
A rniens
Hafed'its
town
houses
like a
pressing
Amiens
soars,
massive
towers
width of the
ment
is
in
round
Wells
aisles.
two
the orna^
its
beyond the
At Amiens
like those at
Rheims
(III.
ij6)
and cavernous;
are insignificant,
made
in the
those at
side
Wells
at
all
field for
sculpture; the
portals of
are
among
the
or
few
of these
cathedrals
were ever
completed.
The
two on
the
and one
- with
spires rather
be surface decora-'
Amiens,
cathedrals nearly
Where
it.
spreads,
extending
town.
the
may
left
came
sheer
fleche
excluded the
possibility of a
was enough.
Laon
Gothic usually
146 Ri^ht:
Cathedral
aisles
the
interior
(iig2~i2js)
which
are
used
in
of Bourses
^^^
a
douhle
uniquely
impressive way.
to a
one
sees,
as
it
were,
a second interior
through
to
leading
triforium
and clerestory
147,
148
Opposite:
the
choir
of
the
The
ele-
(below), begun
in
122^ but
altered later
in
140
High Gothic
arrangement.
First, there
and
cathedrals present a
aisles;
is
From
nave with
light.
cross/rib, dividing
is
Romanesque - and
much a series
so
what we
so
The
no longer much
ribs
as
it
in
vv^as
is
not
is
relative
made one
cathedral
after all,
only
century.
by introducing double
the pattern
is
varied
aisles,
elevation -
Mans. The
shown by
century
is
mere 85
feet
from
than a century
floor to vault,
in three storeys,
Noyon,
height
is
157
feet
Le
a
less
- achieved
four.
developed a character of
its
four
main
categories,
c.
c.
out. First
its
name
implies, the
spatial
as
fill
greater architectural
175 to
style
which our
experiments;
it
flourished
as well
from c.1290
to
and
persisted
with
little
it
to scale,
a parish church
characteristically
end,
(begun
Cathedral
Salisbury
German
1220).
has a
trefoil
east
equal length.
Amiens
wide and
is
Lady Chapel
is
narrow
is
in rela"
choir,
and
William of Sens,
commissioned
disastrous
a master
to design the
by a Frenchman
for a
fire
mason of
new
Canterbury.
at
ingenuity,
was
Though
built
choir.
traits:
it is,
for instance,
lower
'
a square ambulatory
a cloister
74 there was
and compartmented'
1 1
inventions.
unified,
exceptional. Salisbury
In
new
around the
and chapterAiouse
lie
to
which
in turn
Salisbury,
partial
became an English
Lincoln,
form -
at
feature, reappearing at
Worcester,
Hereford
was
It
and -
a device
in
which
the
for
south
Many
of the English
were built
ecclesiastical point;
ture
not just an
of great importance
for architec/
long from
Ij\1
it is
This
is
remained
east
to
west,
relatively short,
its
great height
(Westminster Abbey,
long and 80
feet
Rheims
is
460
feet
feet
cathedral, in the
high
to the
*close',
its
trees;
it
high).
The French
The English
little
cathedral,
could afford
origin of so
GOTHIC
560
is
for instance,
many
to
It is
the monastic
may
explain
doors
of Salisbury or
especially in
or
Amiens,
Wells
are
mere mouseholes,
builders
portals of Rheims
on
Canterbury was
monuments of the
still
Early English
style.
Wells, Salisbury
Canterbury
1^2
(hegim
1 1
William
retains
y<,),
Cathedral
the
Englishman.
some
features
Romanesque
choir
(low
The
design
English
of
proportions,
some
with
Gothic
others
(crocket
from
early
capitals,
French
sexpartite
columns
a speciality of Sens). It
was
use
of Purbeck
marble,
were
to
Gothic
143
and Lincoln,
is
vigorous and
fresh.
The windows
begun about
190,
(early
oi^
continuously^moulded lancet
Wells there
ornamented
same time
are twenty^four.
screen,
The
low and
tions
is
due more
facade
than
to
to the setting
and
is
was
the device of
to the
Its
main propor^
built in
solidity.
triforium,
added
to part,
by the
for
its
site;
great
14th-century
is
spire.
stands as a
cathedral.
The
Note
the 'screen'
and
it
the
mid-'
have
Note
a heavily
something of Norman
clustered
thick, still
fame
The
century).
piers, relatively
position
may
be
Amiens
(III.
The
cathedral's
4^)
windows
and
which correspond
foiled circles
The
punched
emphasis, such
vaulting shaft, to
as a
- by two other
the triforium
is
Lady Chapel
a
style,
and
decoration Salisbury
English ideal:
rib.
IS
there
effect
sculpture.
church, with
its
tends to be
as
is
one vast
more
The
It
ribs
years,
of Wells,
compared with
but the internal
its
space can
total
to
its
deep
compartments.
One
over/
be explored.
<:.
1230,
we have
the begin/
To
the
church
buttresses,
like that
often
is
hall because
Lincoln, of
main diagonal
its
a series of
In
shafts.
on
clearly articulated
The facade,
In the nave
linear
great
be grasped instantly.
tends to be
The
supported
vaults
of their differences
felt
ii
moment,
somewhat
Purbeck
built
especially
as austere as a Cistercian
Amiens,
tiers
there
is little
the three
it is
in separate parts
is
vertical
is
it
without a ridge
and
with
monolithic
extremely slender
Wells,
stressed
seen,
decorative shafting.
for
hall^church
tiny
tie
is
no
is
characteristic of the
plate^tracery.
we have
as
is,
characteristic
like
French
to
and
quatrefoils
rise to
the
added
same
that spring
height.
Here
at
from the
Lincoln
compartments
to
the vault.
other ribs
its
potentially
awkward
masked by carved
bosses.
rib
running along
^5^ Opposite:
^55'
interiors
the
1220,
both begun
Amiens
is
emphasized by walUshafts;
Salisbury's length
is
accentuated by hori^
The
zontal division.
is
of
and
(above)
Cathedral
Salisbury
Amiens
chevet of
wall of Salisbury
lies
mysterious perspective
1^-] Lincoln
In the vault
structurally
more
emphasized by
the
ribs are
ridge
is
With
vault
the
of bosses,
addition
The
necessary.
is
1^8
everywhere.
choir
takes
is
The
its
is
not funda^
in structure
now
Lincoln
at
from
the
carved enrichment
angels,
name,
from which
appear
in
the
the
147
became standard
and minimizes
With
in
height.
Angel Choir
the
at
Lincoln,
vault itself
ribs
\>.i
and
i^
bosses.
eight lights,
It IS
in the
capital
and corbel
as
is
the
window:
this,
with
its
is
anything in France
'f^
is
with tracery,
lO's
we
at the time.
\&
r.
1290) -
If,
however,
England,
should look
3 (J Efljf window, Carlisle Cathedral
(c. 1 go) : the heginnings oj Decorated
J
apparent.
style in
window head
as
at, say,
it
we would
is
most immediately
of the
Begun
is
There
is
no carved ornament,
virtually
bundles of ribs
down
yet
ribs
is
hardly
have been
forest.
Strong,
More
ornament. In
ribs,
its
it
is
we
see
it is
introduced
upon
'lierne'
small ribs laid across the vault from one main rib to
another
to
as stars
a motif carried to
England and
aisles at Bristol
IS
show
Germany. The
so characteristic of the
moment
which
come down
in cones
to side at the
on
later,
in
1 3 3
8,
huge
and
strainer arches
were
161
In
Wells
at
is
in
to strengthen the
its
nave
the
of Exeter
vault
number of
effect
equally odd,
which
ribs
not
only
achieves
an
form almost
if
is
sometimes dubious -
160,
left:
Here
the
Decorated
style
is
seen
not
of structure. The
halUchurch;
in
the
central
to
another.
down on
to
The
bridges,
aisles are
German
vault,
ad^
aisle
vaults come
creating a
unique
vista
149
t^
-^-;
round the
It
is
rich in
ornamental arcading
walls.
shafts, pinnacles,
The
carving, a
and colour
crockets
and
vaults
in miniature.
all
first
fourteenth century
decorative motif,
it
had
which was
to
become
the
unique
dominant
century.
became an overriding
Whereas
in
England
it
never
to
be clothed in
brittle lace, as
the
La
16^
Trinit'e,
Vendome (148^-
the faqade
shows
character
oj
the
the
recti-'
Perpendicular
style
66 Tour
de Beurre,
(148^-1^00). Here
Rouen Cathedral
the wall surface
is
seems a play oj
tracery
light,
a sculptural
rather than
an
architectural conception
wmsiLii^
151
(c.i$oo) and
La
Trinite at
Vendome
is
enveloped in
for
Germany
In
a similar stage
the lacy,
was
at first
Like the
rest
French, with
emphasis. But
as
German masons
form
in the hall
height.
The
its
begun
clerestory
i6j
(c.
Freibur^^im^Breis^au
340).
Germany
Minster
specialized both in
France) and
in lacy
this
168
Franciscan
dark
two^
England and
openwork
spires,
of
which
(c.
in
Church,
Romanesque
choir,
Salzburg
added
to a
that
with
German
152
architects
1248 (and
vertical
developed,
decoration, as in France
of equal
and England,
ornate,
The church
aisles
in
Germany
is
of Europe,
has
rise to
and
become
columned
hall,
and
6g
The
(he^im
German;
insistent
choir
1248)
its
of Cologne Cathedral
is
more French
than
its
Beauvais,
it
Ages
153
in rih^ vaulting: in
Langenstem, near
is
any
ribs
without
The
structural function.
of the moment
vault.
The
the
it
is
the
windows sending
tall aisle
Again and
Gmund
Schwabisch
Germans maintained
the
St Lorenz,
St
Gothic
we
in 1434)
in
all
In the choir of
style.
in
Salzburg in 1408,
at
Nuremberg (begun
begun
1351, Landshut in
in
1233,
Perpendicular tracery
the
of light
at
their shafts
see
some of
Perpendicular.
which
Gothic pushed
in
the ribs
is
this late
development of skeleton
phase in
vaults,
where
of the vault
Italian
grand
the
and tormenting
as well as fantastic.
Germany
find
itself
Gothic, for
scale,
all
can never,
its
to a
beauties of colour
and
its
and
surface decoration
- usually
in
the
the
Cathedral
zebra^'Striped marble,
ning innovation.
same time
as
It
without
little
Abbey
at least
note,
however, that
nave!
The
Italians
may have
thing
an essay in
of Westminster
known
It is
is
part of one of
was being
the
is
to
fall
size
and
scale.
of
one
We see
it
At
S. Francesco,
Bologna, in a
172
SS. Giovanni
1
sive as
it is,
brinp out
Gothic.
Italian
Paolo,
Venice
(hegun
circular piers
the limitations
Widely spaced
of
arches,
surface belong to a
Roman,
aesthetic,
beams shows
tie^
effects
1']}
is
designed by Giovanni
whole conception
is
round arch.
The
bell" tower,
is
legacy
from
Romanesque
155
14th
century
Mark's Cathedral,
Piazzetta
Venice (late
in
c.i4<,y)
at the
adjoins
St
city
too
is
is
to the left
It is
an intriguing experience
is
we have
big,
an impressive
Gothic
edifice in
The
basically
French,
though
it
differs
size,
Milan.
of architect
up
at
St
is
in
arcade and
Mark's and
traceried
at the
outpost of Gothic.
centre to have
An
on
great structural
Gothic of a kind,
we
all
see in the
styles
may
be seen
The
tradition of size
was Spain.
Empire
to cling to the
Seville Cathedral
as big as
(c.
1401-
Compostela had by
its
size
is
550,
IS
the
first
parts,
notably in the
its
spires,
i-j^
Bmgos
Cathedral
ambulatory
was
still entirely
this
dependent upon
is
its
('rejas') completely
Coutances.
tory aisle,
The
hints at that
ambuk/
is
all
is
its
plan; but
it is
both broader
and
aisles
vast
and
is
the ornate
other.
with their
tower beyond
an
is
heightened in the
^&
Islamic
6th century
The belU
minaret,
178,
choir
dicular style
enormous
is
east
fully established,
window,
the
window
lights
College Chapel,
iS^S'
Mow),
Cambridge
window
the
the
At Kin(s
(finished
tracery
is
80,
81
Opposite
early as c.1240.
The
choir of
Chapel
of the
single,
Aachen
Palatine
i
555, shows the development
Sainte-Chapelle scheme - a
in
158
to the
Perpendicular
styhzed
of increasingly
Black Death,
It is
was brought
to
This
ornament and
with
less vertical
name.
it
could also
More
genius.
was introduced
style
was
arid,
structural
is
blaze
its
to
ways.
almost
died
Cathedral in
1-7,
1 3 3
Black Death.
the
in
It
is
- hence
fifteenth^'century
as a source
begun
in 1235,
of light and
had been
tall, aisleless
vault;
chapel with
later,
suit in
was
floor to
1355. But
it
was
consummated
in King's College
Chapel, Cambridge.
The
fifteenth
great spaciousness.
More
elaboration
is
piers giving
found in chancel
The
above
all,
Westminster Hall
largest.
'poverty' of Perpendicular
is
also repudiated
by
The metamorphosis
182
(
Canterbury
Cathedral
nave
among
follow
is
the first
in detail.
His work
at
Canterbury
emphasis
is
vertical,
the
The
mouldings
The
Gloucester
(III.
ij8) -
vault
like
is
that
at
an ornate
ceiling
is
on a miniature
scale,
but the
The
is
moulding
ceiling
was
a headlong process.
The
Perpendicular
first
clear.
The
control.
and
bosses.
typical four^centred
Tudor
arch in time
flat
and
ribs
in
bosses,
and held up on
either side
bury
in canopies over
397-1412).
Norman
nave
at
On
clusters
of
and
by the
a big scale
one
tombs
and Canter^
the
heavy
flat,
Canterbury
(i
and
that every
at
Windsor,
The
greatest
master carpenter
vault.
There was
after
184
to be
the vault
is
just a series
oj
the
long, project
if
from
roof
at
timber
whole
In Gloucester cloisters
the wall to
narrow
the span,
where one
tracery in
sees
wood;
delicate
the
and
Every^
Perpendicular
hammer^beams end in
carved angels
come
to
their surface.
is
This has
Tudor Gothic.
Architecture not only
historical changes.
had
transferred
Even
reflects
before the
patronage from
of Wolsey in 1530
Church
to
Crown,
The
last
161
GOTHIC
spirit,
royal in fact
Chapelle but
also
looked forward
to
Chambord
or to
Cambridge were
basically
ecclesiastical
life,
foundations,
and
schools
and
the secular
by churchmen.
students' cells
1
8<)
i-jth century.
entered
Around
through
the
the
Great Court
gatehouse
(jore^
also a rare
side),
as
well as
and students
a court,
dominated by
roots,
but was
to the
history of planning.
as well
grouped around
They
In
44 1 Henry VI
Chapel, and
in
started
to
Cam^
i^^ Henry
minster
VII's
Chapel,
West^
London (i^oj-ig).
Abbey,
its
stone
Gothic.
is
the
last
go no further, while
building
blaze of English
ecclesiastical:
it is
the end in
more senses
than one
bridge, finished in
begun
in 148
1,
15 15.
the east
1503 and
5 19.
These buildings
Perpendicular. In so
they
matter/'of/'fact,
qualities are,
With
absolute
logicality
the
and those
to
glass,
miracle.
is
is
and
case of
when we
the
of masonic
filled
in fact a
is
we
skill.
at
its
emblems, the
This
like stone
whole
tour deforce
from
stretch
It is
Those
glass
angular, rigid,
windows
between
built
Perpendicular.
are
really
at
however, limited
buttress to buttress,
with
Windsor was
St George's,
is
is
a great
Westminster.
The
lace-'
astonishing pendants,
is
163
41
Hf^l
v%
Sj Opposite
Gothic, but - as at
ornament
is
in
is
still
the jantastic
known as 'Manueline',
Manuel oj Portugal
88 The
dral
is
basically
Tomar -
style
destable
Batalha
in the cloister at
all the
encrusted
after
(1482-^4)
crowned
in
with
King
Con^
Burgos Cathe^
a
star
vault
Window
Si^
of the chaptcr^house at
Tomar (c.1^20).
::ion
cnly
mark
partially
Decorative
this strange
be
motifs
counted as
include
Gothic.
vegetation,
and navigational
instruments
We are a
the
it is
we would
If
cross
Pyrenees.
the
stor)'.
At
Condestable (1482-94)
Gothic than
Burgos,
we have
in
the
this
we must
Capilla del
this
At
Segovia, in 1532 -
- Gothic
Manueline ornament
Tomar
f.
1520,
we
see
still
at
flourished. In Portugal,
Batalha in 15 15 and
only the
Ages
last
still
become
Europe.
the secular
at
frenzied effort to
exist.
at the
it
Christendom
had collapsed,
Chapter Seven
BAROQUE
to
designate
traditioii
lour hundred
years, to the
and Industrialism
at the
emergence
end of the
ot
some
Romanticism
eighieeiuli ceuiuiy.
1^0
IN ITALY
Vecchia
(iS3^J
^^^ P-
was an attempt
architecture
to revive the
glories
Through
all
Naples
Dublin, trom
to
Rome was
Greece and
movement
criticism
Renaissance
Mannerism,
proper.
Modern
into
Neo^'
its
correct
with piers
54J.
Baroque,
and entablature
At
the
same time
way
the
III.
these
individual.
line
It
*the
between them.
Gothic
style
was
Abbot of
St^
storeys all
show
the genius
and lower
of one par^
ticular architect
is
to the
kings of
and, however
many
was
primarily ecclesiastical.
Italy
and,
primarily royal
and mercantile -
as
they
and
and of historical
come
about.
It
are the
forces.
Gothic and
They have
product of functional
They
flight
of
i6j
RENAISSANCE
IN
ITALY
scholars to Florence,
classical
Renaissance.
The
monument of the
Renaissance, 1420-^6: Brunelleschi's
igi
first great
Gothic
east
end
of Florence
work.
The drum,
dome and
the
of
the
It
to
do with
scholars
who
had no
may have
the
The
it.
At
most they
fact
in structure,
Brunelleschi's study
was
Roman
bricks
double^ skinned
crowning lantern
set
Milan was
at
debased Gothic
years later.
fifty
of Constantinople;
fall
still
being built in
enlightenment.
known
so
little
a great
was born
It
awakening and
a great
had
and remembered
Roman
Empire.
had been
Medici and
common
were
were great
attractive
his
citizens
princes.
city
in
the
first
To them we owe
the
basis
The
first
great
in
merchant
overwhelming
was accepted by
of culture.
less
They were
patrons of history.
most
fact
the Florentines as
achievements of the
Roman Revival.
historical air
was
as natural
later,
and
hundred
the so-called
And
years
indeed
(i
artists
Filippo Brunelleschi
versatile
.a
"1--
-.:
'^M3^
'll-ilil'iailiiiil'ltal i;j!IU|tJllili,
-^.-l_i_X_i
J_iJJiJl_
'i>&0
assas
^SLiX^rlitittr pTTTi
RENAISSANCE
IN
ITALY
many
in
to
crafts.
He was
cathedral.
He was
upon
it
a timber
drum.
He
the consequent
the
outward
dome, burying
in
it
lacked
all
abutment
at its
To
resist
chained in
thrust, Brunelleschi
its
of pre^stressed concrete
five
dome
of Brunelleschi's
is
first.
and then
Foimdlin^^
hay
of the arcade
Hospital,
Bnmelleschi (1421-4)
of the
Florence,
to
crown
Christendom
thing to do.
At
it
The
silhouette
in
still
but to create a
One
years
igz
hundred
new
dome on a drum,
by
this
Renaissance
Roman
della
are
Robbia, and a
in a deliberately scholarly
we
architect
charming arcade
way.
actually
to
copying
complete
Grace
allied
S.
to
be the
hall/'
aisles
altar.
The
(jpietra
its
own
result,
with
has
serena)
is
symphony
has
the columns.
its
igj Sto
by
Spirito, Florence (i
Nave and
Brunelleschi.
covered
by flat
coffered
crossing by a dome.
4^6-82),
choir
ceilings,
The purist
are
the
treatment
- was
scarcely seen
^jz)
centralized churches
domes,
central
plan.
that
is,
classical in style,
Brunelleschi to
Wren, were
to
hanker
after
the architect
tural or
from
architects,
It
has
man onwards
man
glorified
and
reject
But we
and
him
himself by setting
things;
it.
was
that
influential
it
was
this
know from
which made
Church
the
of all
the time
at the centre
it
- according
the circle
is
to
was
in fact regarded as
neo^Platonic theory
at
The
and wine
Church,
the priest
an
altar in a chancel, in
171
full
view of a congregation
who
Nothing of liturgical
facing the
altar.
therefore
happen beneath
centralized plan
the
dome. In
central
which Renaissance
Rome and
both St Peter's in
architect's
architects so
first
as glorified basilicas
The famous
Todi -
by Cola da Caprarola
in 1508, perhaps
by Bramante - had an
'ideal' plan,
at
from
triumph of
Cola
a design
based on a Greek
arms
finds a
Humanism
symbol
even in
and
in the villa
years
round
I
- the
the Catholic South -
da
palaces of Florence.
differentiated by being
all
built
different functions.
However,
i^oS),
the
have
(he^un
longed
London
Todi
the
significant that
It is
St Paul's in
ig^
would
to
at
significance
of the
The
fifteenth
princely
Pitti,
and
the Strozzi,
is
the Pandolfini.
Unlike the
and
They vary
in detail but
which were
villas
set
conform
among
to type.
the fountains
masonry
up
fills
a city
to the outer
is
of
ground
f^oor
stables, kitchens
grilles.
offices,
heavy
as
The
grilles
to the street,
often
covered with
works of
art,
their
172
of blank
ig^,
The
Cronaca,
impression of
the
huge
shadow of
All
is
the
the important
48g,
power given by
cornice.
in
i^gj-ic^oj).
quiet
the
increased by
overhanging
rooms look
173
RENAISSANCE
IN
ITALY
crowning cornice
the street by
feet,
austere.
Often the
greatest
casting a mighty
and
scale
What
is
to
or, as in the
flat pilasters.
was
dignity,
new urban
type,
is
the
which
wealthy businessman,
now
Wall
neither a
bank. The
Street
churchman nor
modern
over, the
street,
Leone
leschi,
Battista Alberti
primarily
Giotto,
sculptors;
was
more
like Brunei/'
Florentine.
(1404-72) was,
their
a dilettante, a writer,
He
Leonardo
in
horseman and
linguist,
has been
being the
He
view of
excelled
The
to
study
rest
upon
to
formulate similar
is
The
this
harmony
in nature.
not
is
known.
Corbusier, in
174
All
function and
size.
Is
Such systems
an Alberti church,
man
also ignore
for instance,
Sta
i^7
work
is
is
medieval -in
of which
4^6. His
of
ancient
Rome's
most
persistent
cultural legacies
although
fore,
its
was
does not
this
a marvellous
example
if
they
owe more
to his
unerring
Alberti's
thought
us
all
sensitivity
and puritanical
restraint
- he
the facade
a feature with
centuries,
as the
and
mausoleum of
at
re^
Rimini
upon
Roman
1^8 Tempio Malatestiano fS. Fran^
cesco),
is
its
in
re^
144J. The
half^columns andflanking
derived from a
Roman
arch at
175
i()<),
yz), by Alherti,
is
raised on a
i^jo-
podium,
The
Tempio Malatestiano.
scale is fully
Roman,
the central
side.
Internally
the
east
end
is
transepts
length.
The
larj^e
- another Roman
device
and
Mantua:
designed two
fine
much
churches in
altered,
had
upon
square and
not
upon
Andrea
(c.
'divine'
circle.
S.
Mantuan church,
S.
upon high
platforms or
Andrea were
aspects of S.
facade,
also
based
reduction of the
tresses;
the
on
aisles to
internal
the
its
triumphal arch,
and
its
elevation
of a
consists
series
of
Lombardy - mainly
at
Urbino
in
Rome
Florence, Milan
the
it
Marche, the
became
a great
endure
to
begun
for instance,
much
nephew of
style.
The Palazzo
an
in i486 by
Sixtus IV,
its
is
so
Bramante arrived
had given
della Cancelleria,
scale alone
And
as Paris
marks the
arrival
201 Part of
della Cancelleria,
Palazzo
(he^im i486).
with, here,
Florence
Bramante
Rome
in
scale
is
is
(III.
Palazzo Rucellai
2og);
North
the
Italian;
window
the
vast
Roman
En
route, as
it
were, from
Urbino
to
in Milan.
and
delle
Italy.
He
built Sta
Maria
Maria
new and
very delicate
against plain
177
202 Tempietto
Rome
by
at S. Pietro in
Montorio,
Palladia
Renaissance.
Order
is
The
severe
High
Roman Doric
Note,
too,
the
and the
Bramante
dome - now Baroque - to be a
meant
the
pure hemisphere
an
learnt
but in that
architect,
problems
structural
were
centralized plan -
Moreover,
if
fertile
continually
circles,
Greek
made
charming
little
the
polygons.
crosses,
the centralized
Brunelleschi's
His
stirrmg.
for
From
century
great
Medici Mausoleum
later, there
the finest
was
S.
Lorenzo
One
of
Montorio. This
1
at
Pietro in
of sacred reliquary.
The
basilica
commissioned Bramante
Pope, and
called a
ism.
It
ITALY
IN
Julius II
Greek
RENAISSANCE
to rebuild the
mother
centralized plan
some
51 3
It
clerical
obscurant^
triumph - not
least
when
was
Bramante was
laid.
The church
Another
his
fifty
colonnaded
Piazza.
Bramante's
could create
was
plan
geo^'
which of
20 J
Upper
Belvedere
level
in the
by Bramante.
smooth,
Cortile del
of the
'cut out'
is
marked by
elements set
in
layers
under the
dome -
and
if
one puts
The
wall
ancient
in
the
end
Koman feature
in scale, a quality
dome of St
support the
Peter's;
also
it.
still
remains of his
little else
to
this
Greek
to the
cross in
St Peter's
m Rome
Michelangelo 's
( i^o^^jSj.
Below:
B ra^
(c.1^46). Where
down
the plan,
domed porch
Roman
in the ancient
to
as
was Constantine's
basilica
to
the
and abortive
first
and
instance,
What
some of
London.) In 1546
architect.
above the
is
good
by
is
mainly
tied in
Then
Porta.
della
in
dome -
floor,
is
chains.
is
Wren's
to the east
was
it
his.
by ten
it
at
was
the
Greek
to
was never
built,
it
was
on
to the
Greek
cross plan.
new
this
disastrous.
It
church from
fagade.
the
large
and
when
the
206
St
Opposite:
Giant
grouped
pilasters
in
some
pairs,
80
frame
Peter's,
up
Rome.
feet
niches
high,
and
An attic, severely
to the
great
own
so on,
is
extremely confused.
right.
its
Furthermore,
lateral
Worse
extensions
still,
of course,
The
final
dome
sphere
its
and
is
isolated as a fagade in
over 600
feet,
The dome is
and
1
37
feet in
diameter.
feet.
As a plan it is hopeless.
RENAISSANCE
IN
ITALY
The
scale of most
the
main
letters
of the detail
pilasters
Column. The
feet
it is
only 7
is
inscription
high
is
seldom used
grotesque.
feet
on the
the entablature
had
II
the height of a
201
an
was
scheme
continued
nave, foreground.
the altar
due
Rome, from
to
The
and most of
in
Maderna's
hundred
it
had
to
go on.
feet
What
successors
architects' ability to
height of
that scale
to reap. St Peter's
Baroque
The
whole.
than Trajan's
less
high.
as a
it
or adminis/
achieve unity.
haldacchino over
the decoration are
such
as apses
to be as
it
were hollowed
piers.
shows
Rome
the
Bramante
(c.i<,i^), by Raphael,
palace
design
by
invented
'House of Raphael' a
heavily rusticated ground storey, below a
in the
paired
windows
set
between
achievement
is
com^
Alberti's
Florence (below), of
is
the
first
distant glimpse
as
in
his
little
this
he
like
problem,
to the greatest
his contribution
altered,
shows
Rome
It is
(c.
Peter's
between the
Roman High
his
1515), although
on the St
Palazzo Vidoni/CafFarelli in
much
of painters. In
shadowed.
It
Renais^'
may
be
had
is little
shows
more than
a careful surface
the Early
between
to
make
use of the
Palazzo Rucellai.
1
446-^ 1
RENAISSANCE
IN
ITALY
This increasing
desire
for
'Roman'
and
210
Lo^ia of
Rome
fresco
(he^^un
work and
ried out
the
iS'6).
Madama,
The
elaborate
Villa
Roman
is
Roman
much more
and
and how
decoration of the
models.
in
greater under^'
quality
and
palaces
In
villas.
was upon
it
of
new
doxically this
his
Madama
Villa
characteristics
Although
and
more Trivolous'
or
for
interest in the
many
the arabesques
glowing
other
15 15
the
Baroque may be
Baroque
in
city
to designate
Between
centuries.
the
Roman
and
Much had
a century.
the
be
to
word 'Mannerism'
strength
of
there
for that
lies
over
purpose
and
fitted in,
and seven/
High Renaissance,
the full
High
the
balance,
ideals.
It
gravity.
attained
Mannerism,
its
effects
by
scenic
or
effect
could flout
Mannerist architects
decorative fuss.
all
To compare and
may make
The Palazzo
the point.
184
Michelangelo.
Its
sheer strength
and
make
it
its
major achieve/
ment of
the
upon an
is
equally
central
details, the
big things
The
lookmg
big
balustrade of the
1 1
Plan
designed by
of the palaces
in
i^JS-
window
crowning
all,
scale to the
Rome
however,
we
the
and
grilles,
in the centre.
When,
five years
(left)
Opening
later,
we
two palaces
palace (actually
arranged
realise that
two
for
little
brothers, cleverly
to
Massimi
initiated a
Italian architecture.
It
original phase o{
was an innovation.
picturesque courtyard,
qualities
much
of
detail
windows framed
all
thin
is
and
quite unclassical
easel pictures
whim,
is
heroic, the
if a delightful
Massimi
is
to
It is
are
more
Its
upper
like prettily
called a
window. They
Peruzzi.
The
charming. Classicism
is
after
as
above
Farnese
now an
real
to the
this,
however,
he
are
Antiquity.
been maintained
strongly.
whim, of
Michelangelo's doorway
If one looks
and
and masculine
submission
added
marks the
originality
rather affected.
hung upon
attitude,
the strong
its
It
it
Palazzo
his
was
in architecture,
new Mannerist
current
was running
who more
and
man was
alle
Colonne,
Rome
hy
even
eccentricity
its
framed
like pictures,
detail
and
flat
with
the
masculine
e.g.
windows
rustication
- compared
directness
of the
suffering
generation,
who
- physical
- became the
regarded
strength, violence,
ideals
of the next
supernatural
reverence.
at
Settignano near
genius
meals
little rest.
at the
He
slept
life
he gave his
work bench. In
spite
so
212,
Palazzo Farnese,
214
(1^^4-40),
Sangallo
designed by
and completed -
window over
below),
the
doorway
with
rest
the
(opposite,
windoW'^frames
Rome
Antonio da
where
on twin consoles
the
really
eye
how
large
the
to
building
is
187
RENAISSANCE
IN
ITALY
any
specific schooling.
enormous tomb
carve an
to
nothing, and
of Moses.
His commission
To
left
us
little
for
to design
Julius
more than
the
II
and
came
famous
figure
to
less
Peter's.
basilica,
He
was only
it
after the
remodel St
httle
the
more than
was
It
Peter's
a
scaling^down operation.
came back
(the
to
Florence to
mausoleum of
the
work on
its
ante^room and
2i<,
by
(1^24-^j),
vestibule
Michelangelo.
is
sombre grey.
The
which had
to
- give
contrast
and
columns,
coupled
The
- Man^
height to a room
with
the
long
beyond)
another Mannerist
trait
full
Medici Chapel
staircase.
be described as Mannerism
anything Hke
the
Michelangelo
with
that
The
total
at its finest.
Baroque. There
is
Not
scheme may
yet
have
we
no struggle against
^^
"----J
no
very
little
classical
plasticity
deliberate distortion,
.
elements to
spatial quality
fulfil
of the library
Michelangelo's
sublime objective.
a
is
purely Mannerist.
architectural
first
no anarchy,
The
It is
work without
feat for
also
the
one uiv
Medici Chapel
216
Florence
ture
may
be.
The
however
vestibule, a
tall
Here he
room containing
the
and
columns they
S.
iS2i)>
The
architecture.
tures
- complex
doors,
a frieze
Lorenzo,
designed
hy
Their
architectural fea^
the
monument,
strangeness
right
are
creates
by
in
unique.
trained in architecture,
(be^un
deli-
As
seem
to
and
was
upon huge
to stand, inexplicably,
feet
square,
is
symphony
in
sculpture
Lorenzo
as a setting for
de' Medici,
and
for the
of Giulio and
semi-'recumbent figures
189
RENAISSANCE
ITALY
IN
Dawn
as in his
down
by a continual breaking
which runs
large pilaster
marriage
between
and
sculpture
is
a perfect
architecture
- the
made.
The
Capitol,
when Michelangelo
work on
started
it
in
Rome, laid
by Michelangelo ( i^j8-i6i2). A
out
Plan of
monumental
into
the Capitol,
staircase leads
up the
hill
to
the
from
Capitoline
the
left,
The
dei
is
del
Conservatory
Aurelius
this
hill
He
seized, as
it
were,
Rome, and on
upon one of
mam
the
axial lines of
around
Museum, Palazzo
Marcus
III.
ziS)
which he then
set
1563-8),
Museum
to
be finished
taking of the
column
windows on
smaller
one,
column
and thus
to the
the
column flanking
ground
acts as a foil,
to the
giving scale
again, the
to the larger
by a relationship of
the arcade or
Once
floor.
tivo storeys
parts.
One
is
grandeur built up
at right
angles
and
is
middle of that
and
levels
is,
stairway, the
whole arrangement of
steps
word, sculptural.
Rome. As town-'planning
190
it
its
it
common urge to
monumentality of the Roman
often
contemporaries,
is,
reflects a
or fantastic. In
Romano
at
Mantua.
and
on
steps,
basement storey
i<,yj-i6i2.
built
it is
raised
which gives
it
All
palaces
this
is
governed by a
in
enriched
the
by
fanking
smaller
visible
The
ancient
at
the
left.
statuary
is
Roman
pediment
in
flat,
it
Giulio
Mantua;
windows
this
is
Romano had
is
world.
Some
Pitti;
this,
ten
years
its
Te
at
rhythms of
191
21 g
hi the
Palazzo
a^erated
almost
Mantua
used ex^
monumental
directly
del Te,
Romano
(^S^S~3S)> Giulio
on
surrounds;
to
strength,
but
of
the
the
'rocky'
window^
a seemingly symmetrical
in
narrower than
its
designed by
appears formal
position, but
Mantua
at
Romano
its
parts
general
com-
show Mannerist
freedom - the string-course which becomes a pediment, the squeezed-in windows, and the varied rustication carried
out, as at the
Palazzo
221
Palazzo
Bevilacqua,
Verona
theme (cp.
111.
is
created,
- now
columns
shuttered;
Roman gateway
alternating
spirally fluted
near by.
rhythm
angular rustication
192
the
were inspired by
is
an
ancient
Below, the
emphasized by
Bering
its
it
its
lively use
of
High Renaissance
forerunners.
its
own
character. Architects
monotonous
unrevealed
climax.
S.
Giorgio
Maggiore,
Venice,
if 6^5. Serene
columns and arches, of a purity that is
wholly un^Mannerist, create a spacious
glimpsed
is
drawn
monks'
to the
choir,
perspectives
feature,
222
designed by PaUadio in
to
Vasari's
of the Uffizi in
court
which
power of 'suction' - the
About
built a
which
is
this
number of palaces
are
the
in
Palazzo
Pompei
(c.1529)
which
is
and
rusticated;
193
i^Awjfei
'ijiiiTri !f__
Hit
ii~
i-
i^
s.
22J
we
see
urban
spaces
in
the
world,
throughout
the
Mark's (top
Marco
centuries.
From
St
Piazza S.
it
the Piazzetta,
is
on the
left.
sovino's
the
Beyond
the library
Zecca (Mint).
St Mark's, providing
vertical accent
At
the
1530),
(f.
which
Mannerist with
distinctly
its
is
alternation of
wide and
developed
Bevilacqua
is
the
San^
hub of
tions
shows
such
as
at
many Renaissance
for his
architects
ornamental
set
against a
background of rustication.
textural
Campanile of
the indispensable
Vecchia
in
built
the
is
Libreria
a display
Although
and
style
from the
it
and
therefore
is
in scale
Piazzetta -
much more
and sculptural
a
it
richness or chiaroscuro,
important than
style.
In the design of
its
194
to place
at the
22i\,
22<)
The Gesu
in
Rome
(hegun
set a
in
transmitted by the
New
the
is
World.
The
treated as a kind
to
He
solved
it
great a
neatly.
mass of wall
m the upper
it
is
these
may
its
last
work, the
Bartolommeo Ammanati.
Rome
influenced by
(i
507-73).
combine
for
it.
The
The Gesu
architect
the
Europe have,
was
all
years,
over
been
the centralized
example of Alberti's
S.
The
as chapels (cp.
200)
III.
Venice (16^2)
is
della Salute
very
rich,
very
culminating
in
hemisphere).
place
and
is
the
in
the
dome (a
abutting the
enormous
Primarily,
however,
town-planning:
this
Campanile of St Mark's
two gateposts
at
volutes
typically Venetian
the
entrance
its
church
are the
to
the
Grand Canal
Andrea
Mantua,
at
side^'chapels,
and
are
reduced
that there
may
to
an explosion of space
is
be true.
The
to link the
two
at
merely vestigial
della Porta.
The
scrolls or volutes
storeys
classical vocabulary.
Wren
^^
false
who
at
actually equated
scroll
and
of his
silhouette
To Vignola must
Julius
garden,
(c.
Pope
summer rooms,
196
grand
grotto
and fountains,
cortile
all care/'
a great semi^'Circular
villa.
The
Villa
fortress-'like
podium which
approach
already existed,
oi^
a strange pentagonal
is
made
and
the
IN
ITALY
most of a high
created an impressive
steps.
In Genoa, strong,
RENAISSANCE
and
many ways
period
stands
Palladio
ture.
largely
(1508-80)
'Palladian'
has
Italy, the
outside
of
The
*Palladian'. Palladio
cool, serene
and
had
refined.
word
world -
very
English-'Speaking
classical architect
a portico
a style
whole
it.
Vicenza.
in
may
be dubbed
which was
personal,
having a
curious
II
as
Redentore
(i
576-7),
double
are part
of the
was, however, in
pentagonal
staircase
invented by
is
plan.
a
Bramante
The
version
to
great
of that
link the
Court
two
RENAISSANCE
IN
ITALY
dell'
Architettura
as
rank
among
the
most
the Palazzo
(f.
15
to his
Chiericati
aristocratic
The
which
serenity
endeared
century Englishmen,
is
of Palladio's
him
to
i8th^
here evident.
The
absolute
(opposite)
shows an
clear on the
is
idyllic,
The Palazzo
is
III.
both buildings,
how
no other reason
cool
though
in
level
has
roof (cp.
new
if for
Vicenza
(below)
it
to a
memorable
elegance,
Chiericati in
same
are
the
These buildings
colonnades are
the Villa
facade;
raised
it
on
and garden.
A house such as
symmetrical on
all fronts,
podium approached by
formal
a symmetrical
and being
also
it
or garden temple.
into the garden
ture
The main
and park.
adapting an Italian
Palladio's
pp. 265-6).
was
style to the
popularity
English gentry
(see
It
axis
who
with
this
spite
marriage of architect
of the
difficulties
of
eighteenth/century
Grand Tour
''^'^*^A^-
COKSPECTVS
23
in
St Peter's and
the
yth
O VtT BJ
BA.SUJiLiL
the
century.
PORTICVS
AB
Piazza, Rome,
Bernini's
oval
A.I^:LkSV
V^i
we must return
to
its fine
complexities
of the enormous
One
sees
here
also,
church.
how
however,
p.
180).
In
the
background
(III.
20^)
is
visible,
the city
new and
the Baroque,
style,
the
at
the
programme of
the
straight
new
rebuilding,
streets
and
came
Navona and, of
None
of these projects
self/'Conscious
The Piazza
mark
the
spirit that
clever sophistication
and
ambiguity of Mannerism.
del
the centuries
is
200
streets
and, in
itself,
a link
with fountains
related to the
down
its
length
is
the
an elongated
RENAISSANCE
IN
ITALY
place
The Piazza of
St Peter's
was
at first
intended
to
be
church
itself,
are the
open
of the
ellipse
As thmgs
and completely
destructive
for closing
Conciliazione
the
gap
exists
is
distracting
as
it
is,
colossal
in
RENAISSANCE
IN
ITALY
The
columns
are
adornment
puritanical of all;
lies
which
The
was
Baroque.
cannot
really
distinct
as
Baroque
of the
archetype
the
architecture
Baroque
from Baroque planning -
much
Baroque
developed
unified idea
smaller church
the qualities of a
all
building.
relatively
simple,
is
Columns, demi^columns,
later
in detail. Bernini
is its
pilasters,
climax. This
rise to a single
mark of all
when
was ultimately
to St Peter's
Rome,
artist.
in
true
is
it
is
the hall/
may become
Francesco
rivals,
Cortona, were in
for
volume and
Borromini and
many ways
da
Pietro
material.
altar
High Renaissance
restraint
affair, a
hundred
feet
of St
is
All
Roman and
columns and
an extravagance
that Michel^
high, with
outrageous silhouette,
Piazza that
Peter's.
its
It
is
is
famous
voluptuous and
glass.
altar,
This
is
superbly done.
202
we
truly
himself
The
figures
above the
is
magically
lit
poised in space
Only
in
is
by
artifice.
(i^gj-i6o^)
of the facade
Maderna
the
is
same
classical
pulling
design
the
together
to
give a
the essence of
Baroque
painting).
combines architecture
Bernini
and sculpture
here
in a
The figures
are
lighting
superbly
and
in
related
composition
members of
in
the
On
both
to
in
each
either side
boxes
203
The
is
Peter's
It
forms the
came
itself
site
dramatic
itself
relies
very
to
be a
to
stair
upon any
It
is
its
plan.
air.
Carlo Maderna
in
had
is
and
to left
ground
Rome
the
winp
floor,
there
is
an open loggia.
is
their curious
show
the
shanu
hand of
Borromini
in fact been
2J5
in
the
Vatican
Pa^'
(i66j-6)
is
made
to
Barberini,
there
Palazzo
specifically
processional
plan
lined
to
In the
real
is
*trick'
little
richer in
is
it
manages somehow
mto
Necessarily
result.
fitted
mam
ornament and
apart^
2^6
(be^un
up
is
it
ascends.
mysteriously
A
lit
landing half-way
from
the side
begun by
20$
257
(
S. Andrea al Quirmale,
i6<)8-j8)
plan
with
which,
flexibility,
Baroque
was
its
to
architects.
placed transversely
appeal
Here
is
many
to
the
main
facade, with
its
At
architects.
first
glance
and
plasticity
oval
Rome
left.
is
High Renaissance;
be of the
is
second^storey
in
arches,
windows
are
then
set
we
heavily chamfered
in
All
corridor.
Maderna's plan
is
fully
by Bernini
Baroque with an
The
as
it
first
which made
its
tomb of JuUus
Giacomo
al
Monte Santo
all
lie
206
It
The main
appearance in Michel^
S.
solid.
oval plan,
angelo's
al
a sign
II,
was taken
manual of the
Quirinale, Maderna's
in
was
Germany.
2j8,
2jg
Fontane,
Carlo
S.
Rome
alle
(begun
Quattro
6jj)
Bor^
At
towards
high
the
the
left,
altar
we
are looking
(top,
in
the
Francesco Borromini
(i
thirty
when,
Fontane. This
is
Carlo
and with
oi^
it is
alle
Quattro
it is
virtually
architectural innovation.
Its
plan
triangles
is
highly
with arcs
it
an oval, and
at
architecture here
all
plastic,
inters
dome into
The whole oi^
of the
becomes
as a
is still,
away - but
champ
is
to this
still
three centuries
subject only
Borromini
merge
lobes
this is
and
taken upwards
how
see
dome
a fantastic
24T The
facade
Fontane
Quattro
to
we
be developed into
Borromini's
last
of S.
in
Carlo
Rome
work,
has
alle
(166'/),
the
same
2^8, 2^g).
The
upper storey
little
is
the
set against
resembles
Baalbek
208
the
'Temple of Vesta'
at
.a-
niches
facade
surfaces,
a series
another,
and convex
alternating concave
oi^
modelling - even
entablatures, vases,
if
it
is
pediments - informs
all
Borrommi's
star
as
six^
as the basis
of
for a
develop their
freedom.
setting
The same
spatial
spires for S.
and
ideas
plastic qualities,
S.
Carlo,
Andrea
with
even
delle
more
achieved by the
con/-
recalls
Baalbek,
Ivo,
develops
240).
fantastic
It is then
spiral
surmounted hy a
ending
an
in
equally
24J
Pace,
Rome
makes
it
della
16^6-yJ, hy Pietro da
Cortona, takes the Gesu scheme and
(
forward
in a
curve
The
tension
interlocking motifs
of these
recalls
tightly
Michelangelo
triangular
(III.
216)
209
2^4
Dome
sima
Sindone,
Turin
Cathedral
Each
is
(i
feeling
of
whose
influence
throughout
reverberated
to lengths
Guarino Guarini
which
Chapel of
next
the
still
the
seem almost
Holy Shroud
ascending
series
dome made of an
of an eight^pointed
silhouetting
dome
them with
star
conceived in terms of
itself floating
light
from
city,
its
of a secular palace,
Louvre. All these
as
qualities,
perfection in Borromini's S.
210
in
at the
to
245
At
S. Agnese,
in
Rome
(begun
his
This church,
each, as
it
Piazza Navona,
main
way
it
were,
swung
as
great
liberating
sections, in a
from
influence;
Germany
and elsewhere,
(p. 250),
we
as far afield as
England and
Bernini.
entirely
of
brick,
is
character
**'*^^i
im^imr^'
almost Arabic
in
Chapter Eight
The
story
is
to the
properly
Palace of Charles
24'j
(he^un
1^26),
Designed with
it.
now
But we must
Italy.
This
is
V, Granada
Pedro
Machuca.
much
a
by
later
came i n
waves depending
arbitrary
"political circumstances,
logical. Italian
largely
on
going through a
real
in all countries
rooted the
aTa
new
style
Renaissance phase
was
Ge rmany
th us
evaluate in
is
its
was deeply
1 he,jal
irliest
ist
art
pti aj^e
of
Engjand^ and
France,
a hybrid
own
tradition
at first
Renaissance
Moreover,
at all.
which
is
difficult
to
terms,.
Renaissance
style
appears
at
an extremely early
in 1527
at
date.
The
Granada, by Pedro
and has
a circular courts
of Philip
II
is
Its
begun by
is
its
plain,
its
combination of palace,
213
248
Escorial, near
Madrid
z^6}-8 4),
by Juan
de
Herrera.
In
in the choir of
monumental
between the
prisingly
the range
of monastic
rise
cells,
here above
is
the focal
and
created an equally
the
housed palace,
it
impressive in a
with
effect,
piers.
perspective
when compared
restrained
France gained
cloisters
coffered
its first
the
to
vaults
is
sur^
Baroque
within a generation.
it
the
in
Seventeen years
sance prince,
Those two
later
it
to fight their
was Francois
I,
way home.
direction of the
had
changed
the
cultural
Western world.
at
the
hei ght
of
seemed
214
to those
medieval Frenchmen
some expedition
to
heir
It
po3vers,
must have
as if they
were on
RENAISSANCE OUTSIDE
costume - was
paintings, furniture,
ITALY
Florence - palaces,
all there.
And
immense.
also
outlet, for
although
it
was
nevertheless
glittering
for instance,
was
Mom
little
a medieval court
still
cliff
to
jewellery
welcome
armies
chateau of Amboise on a
palace s^ was,
it
at the
start
o ut of the
say,
question.
it
silks,
craftsman was
Italian
Architects
designed by
Go thic
world.
T he
work
masters of their
What we
tion
all,
craft.
is
white
to wered
illuminations of
see
it
turreted. If we look at
It is
the
highly
as a
The romanticism of
have to await Victor Hugo;
battle
medieval
first
blood.
it
at the
of the Renaissance
and
we
genera^
first
curious
romantic
masons were
the French
part of
in their
first
phase
dead.
And
yet
is
not a
castle.
^ The
life
all
fortified
classic
manner,
as
(c.i^2g),
de Silo'e,
is
another
their
Cathedral
Diego
been a
Granada
2^g
that the
monumental
from
choir
the
ambulatory
into
the
circular
RENAISSANCE OUTSIDE
ITALY
hearths
and
great
castles
rooms of state,
large
and upon
parterres,
a secure world.
The
battlements
win^
staircase
at
tower
Bio is (begun
extraordinary
stylistic
in the
Francgis
iS^S)
mixture.
'^
^"
The
classical
balustrades
pilasters,
'grottesche'
and
superficially,
we
fireplaces that
Corinthian
at
is
it
pilasters
bo oks. They
would be
It
Taney
dress' air
pity
if
nii?~nt" ifq|T^
outward and
and
lily
stylistic
and
the over^'ornamentation
to
is
around
a large
richly
is
heraldic d evices.
The most
Corinthian
that
we can
pilasters carry
first
ribbed vaulting.
and
in
which
Blois
It is at
classical,
slates
and conically
much
carving everywhere.
meadows of
The
central France,
setting
hunting
was
forests,
the green
and
the
river Loire.
It
like
47)
is,
at
that
castle
out of
glance
it is
At
all its
corners
however,
is
At
it
this,
:sfiSL. m/jufff
w.mim, mitm^
'
the roof.
It is
like
Nepveu, could
and minarets
From
far
,g'j!EU-3w?wil
Mmm,M3m>L^m
-
all
luxuriate
upon
the lead
'^t ^*MWBWfeBy,sagwrrxr:'l!PtsaS>gygfet^;.jsfeijm^'
'iJ^Mk'':
down
the
How
avenue
it
fleurs^de-'
flats,
with her
stars
where
astro^
fairy
Only
little less
fantastic
is
it
as a setting for
detail.
Chenonceau (1515-23)
Chateat4
2^2
2<^i,
as a cluster
secondly,
all
turrets carefully
mirrored in
still
water. In
placed to be seen,
56
Chenonceau
Chambord
towers,
tiers
keep
the
de
The round
(iz^ig-^j).
The
moment, as
the
is
strapwork decora^
carried
on
unique
is
in its scale
upwards
255
Chateau
river
Cher. Far
de
Chenonceau, on the
left is the
old 'donjon'.
hy the main
block (he^un
on the right
is
Philibert de I'Orme's
wing
Bullant
6th century by
on
to a
style
sum^ J
I'Orme
chateaux.
It is
which
a style
model
in
its
day added a
of architecture;
it
slightly
proved a
disastrous
Note
the
rich
carving,
the
pedimented
and
windows,
the use oj
It
new may
churches
*^y9?f*9'?VH
yi^- A*"-
of Paris.
St-'Eustache
(1532-89)
and
St^
century,
were both
planned
as
five^aisled
and
steep roofs.
That such
drip with
pilasters,
and
makes them,
so on,
du^Mont, however,
is
to
at best, curiosities.
noteworthy
St^Etienne^
be by Philibert de I'Orme.
thing of his
own
time.
Work
to
began
in
-nrT^-.'-.
fcii!#
all
some
reputation
work
De rOrme's
rests
on
Goujon.
his
One
at
Fontainebleau
use
Primaticcio.
forms
chateau
1,
in stucco
elegant
Mannerist
and paint
Anet
and the
Trontispiece' survive)
Premier
Livre
proposed a
de
and on
l' Architecture
new and
book
his influential
(1569)
in
the
which he
The
and seventeenth
to
centuries.
and extensions
him; Primaticcio,
I at
Fontainebleau
(the
interior decoration),
for the
never begun.
who
was probably
the architect
might be
whereby
which
mature
and subtle
classical forms
handling
of pure
RENAISSANCE OUTSIDE
^
TALY
Something
was happening
like this
in
England
too,
built.
High Renaissance
Westminster
style in his
Abbey
- a work of the
greatest purity
in
Court. Moreover,
to Italy
and
and
Chambord
at
when
was
the house
at
Hampton
finished
its
debt
to
and
rangles
glorified
its
great
Oxford
Medici nor
or
a Valois
With
hall,
its
would have
own
called
began
all
a palace. In
it
downfall, gave
own
nearly
quad/
Neither
college.
king. Henry's
in 1538,
its
Cambridge
gatehouse,
it
to his
Its
Renaissance motifs.
amalgam of
Its
structure
was an undisciplined
traditional elements.
With
large circular
Nonsuch
first
deHberately emulated
Chambord.
No
It
was
trace
the
of
it
remains.
Elizabethan
houses
lies
first
of the
an and generation in
as at
Court
in Suffolk, both
in Somerset
Barrington
having never
learnt Renaissance
220
life
went on,
as
unaware of palaces
in
Rome
or Florence as of the
filled
Dissolution of the
all its
Monasteries,
had
repercussions -
the
years
consequent
2<,8,
25^
(begun
1^1^,
terracotta
gate.
top)
roundels
on
two
the
Italian
crenellated
Chambord, while
its
- had
towers like
traditional
half^
tions, the
stucco decoration
The
Edward VI by
221
260
The
centre
is
the
into
unified
conu
and
wide
now
own London
palace,
premature beginning
as
it
welUspaced
in
rusticated
classical
windows
intellectual
Somerset's
his circle.
had
It
a symmetrical
set
is
the entrance,
balustrade. Inside
was
reflected (with
as
home
It
axes.
and indeed
park,
in 1553,
Although
bay windows.
It
all
the house
building
later
is
houses
of Somerset's friend
on both
metrical
this
is
a stroke of
is
sym^
around a
large
orders, but
built
is
common
with the
It
more
Italian than
roof
It
it
is
has leaded
Longleat
French;
flats.
as
it
This
is
is
stands,
suppresses the
tradition.
Longleat, therefore,
is
222
it
tour deforce.
it
is
a brilliant
The
of the
men working
at
Longleat
(his share
is
RENAISSANCE OUTSIDE
One
ITALY
unknown
soon
to
emerge
in 1563 the
architecture
as the leader
first
English
of English architecture.
literary
And
introduction to classical
First and
Chief
Grounds of Architecture.
Longleat belongs
years of
Ehzabeth.
upon
to a period
Then
us.
Age
is
European power
power of
ebullient
in
new
and
self/confident.
architecture.
This found
its
expression
the
Queen,
as
and honour
new kind of
art,
and
houses.
way
unified;
in
but
windows
the
are greatly
symmetrical on
both
pletely rectilinear.
now
axes,
as
is
and com-'
223
RENAISSANCE OUTSIDE
ITALY
novelty
different.
and
all
Loire
between 1580
built
But they
chateaux.
quite
are
chapter of
last
their grotesque
and
rather vulgar.
It
owed much
really
and
Serlio,
unique.
was only
to Italy
to Italian writers
English
air.
houses'
and
Apart from
was
called
so
such
much
as
in the
them 'prodigy
an apt description.
the scale
dis^
place
planning.
in
desire
for
symmetry,
formation of the
hall,
house where
warmth,
all its
into
which, with
screens passage,
its
something more
at
like a
grand
Hardwick by
vestibule.
the
end of
symmetry
WoUaton. By
least the
long
at
Hatfield -
history of planning.
and
- over 150
feet
latter
to the
to the
windows looking on
to the
rooms
ever designed.
WoUaton
224
Loire chateaux,
is
yet
and the
26j Long
gallery
(be^im i6oj).
at
House
Hatfield
typical arrangement,
windows along
ifgrander
one side
(compare Fontainehleau,
is
111.
abstract
as
we know from
the
first
his
its
own
tombstone
the
Middle Ages.
thanks
and
to centuries
glaziers
it
It
is
difficult
was
fill
lights.
the
homes o[
the
windows
of,
say,
to rich
men's
Gloucester choir or
of patronage from
Church
to laity.
(finished
i^SS), by
books,
tourelles
The plan
the roof
'great
even
in
the
is
based on Serlio)
the centre,
and
lit
and
chamber'
turn surmounted by a
26^,
ic^go-j),
-If-
1
:
The great
ffi
leaded
!i
Where Longleat
(A)
sive vestibule
its
fulfilled
room,
with
is
treated as an impress
- though
traditional
the
originally
role
'screens
as
passage'
(D). The
kitchen
chapel
it still
dining^
(E)
(C)
is
(opposite,
big
initials
gridAike
Wollaton has
fairy
lit
and
at the
rounding roof
level.
There
mock
windows,
note
the
in
huge
central hall,
oi^
square
fantastic
also
Serlio's
books,
have
been
it
was
'towers',
and
the
Shrewsbury, displayed
court,
(a)
Outside
had an inner
strapwork on
be
to
Hall,
the skyline
more
still
at
least
it
must
for the
house
is
windows - rooms
in themselves
romantic and
is
226
up above
.
sometimes forgotten
are carried
beautiful,
The glamour of
Middle Ages.
Elizabeth's reign
how much
that
is
is
such that
it
is
called 'Eliza^
I.
This
is
also true
to
'prodigy
there
is
and of a
Renaissance grandeur,
houses'.
oi^
for
26^7
instance,
to simpler dwellings
such
as
last years
case,
was an increasing
tion. It
but
IS
is
richness, a grotesque
altogether
ornamental
We
houses
in
earlier
Kirby
in
almost rivals
Hampshire (1605-12)
is
to
first
and
with a
Chambord. At Bramshill
and
full
We
latter
Jacobean flavour
as a display
Hall
stair is
grand
staircases in
England and
at
it
also
style.
we
Stair,
Hatjield
House
an Italian invention,
is
stair-'
here tranS"
and
there
Great
lattice
gates
straying upstairs
to
from
Cornells
Floris.
i^6i-^),
crowded and
grand exercise
was not
stood.
The
Gothic
central feature
is
really
disguised
gahle^jront,
in a
yet under
a
with
to
It
significant
is
be mentioned
book - Vredeman de
is
the
that
most
ornamental
details
by Primaticcio
used in
Town
work
less
Hall
in the
architects,
at
many
all
provided
years.
It
(i
561-5) by Cornells
new
such
style, is still
an
Floris, the
awkward
major
first
exercise. Later
as
with more
By
it
was
as
up
at
immune
chief models
to
for
the
to date as
finesse.
style that
Baroque and
to
Christopher
Sir
was
keep her
to
Wren
1660.
after
as the
berg
Italian^trained
Elias
35 J' ^y ](^<^ob
command of the
order in stone -from
first
Town
Holl, was to
26^ Mauritshuis,
Ottheinrichsbau
War
be
at
Heidel^
Hall by the
stifled
by the
tural
interest
north
Italy's
nearest
new
style.
A giant
its
base
storey
through
pilasters
is
to
set against
well as
in
influential
Holland
in
England
neighbour, France.
The flow of
deBrosse
(i
visits,
but
men
Vignola and
such
as
Salomon
as
Frangois Mansart
(i
Vau
2^0
Pavilion
de
I'Horloge
the
in
left
replica
(see
of
it
255J, with
111.
on the
the
order';
is
own
newfreedom
pediment,
'caryatid
classical style.
provides us with a
Lescot,
trebled
his
In the upper
right.
Louvre
court of the
adorned
it
to
present
its
400
feet
Vau
this
consists
pediment.
later,
It
flat
must owe
its
Ten years
columns topped by a
He
for
square.
ill
who
this front.
.,
____,
2']2
2^1,
j^
Paris.
tl
mil II
ttltllltH^WtfJiJl
>!f J" I itll.*"^
P-W^MJ^^E
left),
East front of
Bernini's
third
monumental but
Louvf?;^
the
design
(166^,
Baroque
the least
Work
and
stopped when he
the facade
was
left,
however,
of
With
coupled
flat
roofine,
columns,
and
its
monumental
boldly
organization, this
was
plished
building
classical
north of the
the
simple
most accom^
of
its
date
Alps
229
Mb
'W. '1^
16
Luxembourg,
(/
P(j/(2/i
27J
(begun
built
^J,
by
Paris
Salomon
de
Except
'
"
BiBi
'
Ii k
Louvre work
is
'^I^Bp
richly
recalls the
garden front
Florentine
of the great
Orleans
wing,
Mansart's classicism
is
Blois
tive carving
The
(i6j^).
northern
all,
medieval
castle.
The
separate roofing,
and consequent
is
inspiring.
roofs, elaborate
in
England a continuous
roofz-line
RENAISSANCE OUTSIDE
ITALY
De
he expressed
His chateaux
rustication.
court,
this
and
met
at
at
his
stamp of
architecte
it
His successor
his personality.
De
as premier
bear
the Louvre.
all
to
respond
has a
dome,
is
With
reaches
familiar
model of the
(Ills.
Gesu and an
chancel
on the
a two-'tier fagade
which
the
Mansart
Francois
most
interesting
d'Orleans decided
French
the
add a wing
to
is,
In
phase.
in
its
Renaissance
1635
to the vast
Gaston
chateau of
rather cold
way, an
earlier
to those
on
have some/
either side
classi/-
Mansart's building
At Maisons
is
taken
to
extremes with
great skill.
The
top of another.
The
dodge
The
Venice.
has a
uninhibited scale
It
of,
say,
a familiar
when
Baroque
used on the
in Paris (i 616-21)
by Clement Metezeau
is
another
example.
After
greatest
Blerancourt
of
all
the
dome on
its
Paris
Vau in
1657.
It
achieves
in
were
built
by
Lemercier,
after
ftp'
ht
false
^'"1
*
^ m
- *
276^,
I f
1
-
!':
^ka
VauxAe^Vkomte (i6^j),
Le Van, is one of the greatest
to Italian influence.
in its setting as
roofs, is
false
well as
But
its
the house,
bi^ pavilion
moat'
and
the
moat,
like
On
awkwardness.
an orchestra
pit,
separates the
approach
steps.
On
to a
Le
Notre laid out vast formal gardens on the axis of the oval
277
by Louis
highly
formal
salon.
law
in
work
at Versailles.
the
is
Le Vau was
Pans,
now the
on
is
grass, avenues,
- a Greek
Le Notre
Institut
de France, with
its
church of 1665
drum.
The climax of
reached in 1679
these
it
is
2']%
Church of
Invalides,
the
Paris
this
very
design, the
assured
and
successful
up
the volutes
and
an effect
Neo^Classicism
side of pomposity.
sions,
is
The
dome
effect
lit
dome
to perceive a richly
by concealed windows.
is
to reveal
Now
beneath the
it)
the total
The
Invalides
may
be the best
work of
the second
enormous
final version
at the
(the Neo-classical).
microcosm of French
architectural
it
offers
history.
In
us a
1624
233
Le
to
original
Van's
encasing
huntingAodge,
of the
The
i66g.
in
centre
in
The
16^8 onward.
from
sart
really
Man^
scale of
throughout,
built a
hunting chateau
this
concealed
for
XIV
Louis
From 1678 on
for
this
wai
further additions
the
la
largest
rooms
are
another - the
280
Versailles
building
in
from
the
the air.
centre,
Le Vau's
around three
of a courtyard. In an attempt
sides
it
is
to
give
his
corners
where
central block,
towards
the
these
From
ranges
the
two
meet
the
beyond.
For
the
283
234
state/
enfilade.
this
The two
finest
and
defects
things about
it
of French
are, as
it
were,
at
already noted
how, with
immigrants, the
the
first
opposed
At
to the true
Versailles,
it is
both
the interiors
have
generation of Italian
'artist^architect' as
We
its
green marble,
its
other rooms.
Those of
the
Petit
Trianon (1762-8),
history.
among
At the
French - the
vast layout.
The
281
The Galerie
sailles
(1680)
des
takes
Glaces
at
Ver^
up practically the
235
RENAISSANCE OUTSIDE
villas
ITALY
English manor-houses
in
the Italian
the
Roman Empire
again in Paris,
L'Enfant's
at
hills,
have
all
for the
first
Nancy,
an
In
an architectural thing.
art. It
Rome
is
of
fall
find
it
was
came about
it
France
in
it
not, of course,
was
wholly
France, as opposed to
'city
states'
in
We
it
Vaux/le^'Vicomte and in
at
in
Washington.
deliberate creation,
charms, but
their
Italy,
in
petty
England,
leading to infinity.
Le
and
the great
Petit Trianon,
Versailles (
ij6^-
Le Vau. Note
the effect
the palace
value
outwards
of
spreading
to form a
On
the
wide base
terrace
thing - the avenue and the grand canal led for two miles
King.
upon
the absolutely
a century after
are
innumerable walks,
to the forest.
parterres,
Among
the trees
water^gardens and
Grand
28j Plan of
tury.
In
Versailles in the
Baroque fashion,
8th cen^
the
vast
courts
On
very logical.
(bottom)
palace
are
stables
laid out
and
on a grid
broad avenues.
On
is
The
Trianon and
The
Petit
boredom -
deserts
in 1763-9.
again, lead to
now and
are the
huge
town-planning
flights
of
its
steps.
is
And
of Mansart's facade.
rises
water-'
however,
ful little
for Gabriel's
cube of the
Petit
at
of Europe were
to reach the
same
much
spot.
The
story
is
one
overlapping. In England,
237
RENAISSANCE OUTSIDE
^^^^^
perhaps,
can be followed
It
at its simplest.
reaction
Inigo
is
Jones
found mainly
in the
was
573-1652)
(i
bound
to
come. That
an
Italian^trained
As
buildings.
we know
nothing.
From 1605
to 161
the court
at
at
Court,
3,
visited
Duke
returned
year
with
later
appointed Surveyor
to the
of Arundel.
sketch-books,
full
King's
music,
effects.
Italy
which
he served James's
of the Medici,
erected
Works -
to
He
be
a post of the
He
restraint
and
fine proportions.
exorcized
He
gave
it
He
believed that
He had
fantasies,
no use
With
seen in Italy.
the
Scamozzi
at
classicism,
making
as
it
IS
IS
less
the very
word
Both
between them
wick and
It
was
the
in
'Palladian' as English
the point.
splendours or romantic
his
Italian.
for
238
and un/
is
at
say,
Hardwick
Greenwich - and
there
will see
last
between Hard/-
Gothic churches.
Queen's House.
It
may
hy
wall,
colonnade
from
derive
all
handled
is
Com^
228
The facade
the centre
is
articulated hy
and pilasters
Whitehall,
hiigo
two
in
tiers
large room
Jones.
columns
hardly
reflects
inside. It is a
more
was
the nucleus
all
the
same
It is
it
seems
to
the ensuing
is
proportioned
it
at
come
this large
its
own.
Poggio a Caiano
to us directly
from
It
was begun
I's
it
it
might have
239
RENAISSANCE OUTSIDE
ITALY
was planned
Peter Paul
House
less
modern town,
it
is
a most
is
harmonious
so
stronger
part of
is
that, in the
now
is
a large
it
which
English
for that
It is
In 1625, by proclamation,
piece of conscious
and
London was
deliberate
given
town-planning -
The
we
still
Paul's, essentially as
it
was.
It
is
it
is
based on Vitruvius's
meeting/house -
eaves.
would
Extremely simple,
Quaker
pass for a
repro^'
the
arcades have
its first
him
it is
is
charm/
Lindsey
town house
windows
286 St
Paul's,
its
The
bi^
end.
portico
Ills.
240
are
The
a
228, 22^)
is
arches flanking
Palladian
motif
the
(see
last years
of his
Caux on the
life,
we find
(c.i64q),
by
Wilton House
Inigo Jones
and
same
domestic scale;
at
enormous coved
ceiling creates
the
John
time,
it
the
grandeur
Van Dyck
portraits
all its
Scamozzi^like simplicity
that
and
flowers,
Wilton was
framing the
a fitting
end
The
fire
clusters
Van Dyck
of
portraits.
fire.
and
after
as
An
was
the
old
incomparable
forever.
The
up
tents
among
the
warm
ashes,
were prepared
to
241
obstruct any
King
his
plan for a
new
City.
It
was
to
a grand, rather
street vistas
It
was accepted
The
chants.
and
pattern of lanes
alleys
with
is still
us.
Christopher
in
geometrician.
fine
Any
Renaissance
man
considered a
St Stephen, Walhrook,
288, 28g
London (i6j2-8j), by Sir Chris^
topher
Wren,
the
City churches.
carried
over
cumamhient
an
aisle
longitudinal
below,
we
The
dome
plaster
octa^^on,
with
is
cir^
plans.
In
view
the
another.
as
Wren had
1662
In
one
for
fit
already
and
profession
of universal knowledge, as
to
top
Theatre
at
Oxford and,
Pembroke College
at
the
at
never
left
a chapel for
Cambridge. In 1665 he
same time,
at
work on
the Louvre.
England again.
By proclamation,
rebuilt in brick
and
London was to be
All the work was to pass
City of
the
plan
stone.
work of his
is
on
the old
sites,
architect.
contribution.
that, or
Wren was
visited
It
was not
creation of a
London that no
It
was
the
of buildings as well
it
as the
churches, for
all their
it
was
fully realized.
lost.
Wren's City
and
plaster, fitted
on
to
cramped
sites.
Even
risen
'
Wren
2 go
steeples
subordinate
London
at the
to the
tide
of
brown houses
little
white galleons
and
hundred
years,
paid court
to the great
more than
now
offices
almost complete.
to
be built cheaply,
- he ran
into
them
St Paul's
at
- and
in
having only
to
on the
ceiling,
its
eastern wall.
some carved
Grinling Gibbons - on
stalls,
teredos
and pulpit
that
the
combined.
St Mary/le^'Bow
faint idea
of that
The
Of the
and St
forest
artist
dome of St Paul's
Wren.
The
steeple
is
the
yet all
host of
medieval
Above
than Venice.
less fair
left it: a
the tallest in
ocean of
as
with
London
some
from
London,
it
of
appears second
Wren's
2(^2
Paul's shows
Italians,
he
Great
that,
would
centralized plan. It
with
alternately
like
Model for St
so many of the
have
is
preferred
straight
and concave
domed
vestibule.
The
domed octagon
design
by
shows
appear
in
Wren had
state
it
was decided
restored.
Wren
models.
The most
When,
Fire.
prepared a whole
notable
was
of plans and
series
Model,
Great
the
old
Italian
- not a nave -
Anglican divines
Puritan
less
persecution
The
to the west. In a
world of
this
Continental,
in
built,
compromise.
was -
like the
was
It
City
itself
a hopeless
compromise between
as
the clergy's
desire for a
and
aisles,
dome
for a
dominant
central
In the end the clergy got their plan, the architect got
his
dome, but
Baroque vocabulary
buttress.
Wren's
is
no such thing
shameful
little
as a flying
things, just
walls of
taken up the
full
gallery or
there
tall
buttresses are
aisles
to
be
obvious
from the
air.
the
dome
St Paul's
was
exaggeration;
it
one of the
itself is
finest
things in
all
RENAISSANCE OUTSIDE
half was an
ITALY
The dome
European Baroque.
Wren
did design a
dome which,
in
its
day, dominated
dome with
a soaring lantern,
upon
is
Two
itself
Baroque building;
is
now
half a
2g^, 2^4 Plan (opposite) and
air
view
compromise
space
central
nave and
choir.
consequences
The
air
sham
ingenuity
nificent
lifted his
drum
whose
open
which
Wren
the City,
upon a
with
dome above
colonnade
re^
is
at
245
RENAISSANCE OUTSIDE
ceiitury
^^"^^^
ings,
is
behind
When
that
- not
carving
Wren's palace
this
be granted
still
the
Grinling Gibbons's
least
monument of its
must
proportions,
the
silhouette,
it
the shifts
all
the
detail,
woodwork and
generation.
Hampton Court -
at
to
designed in 1689
Wolsey's Tudor
pile
The white
windows,
the dark
when
scintillating scene
tall
it
was never
At Greenwich
to
build
Hospital, Wren's
beautiful
House,
one
as
was
It
sees
in 1704,
from the
it
river.
the village of
combined
forces
in
Europe were
was rewarded by
He
could choose
really limited
Duke
of
virtually at
an
his
own
largest
houses in England.
was
of the
man
For
made
Howard
in
York/
needed
Hawksmoor
246
style
in
England
to
It
to
turn
his
impressionistic
its
the
Baroque
by Sir John
ning
(note
the
vista
of another arch
in scale,
is
one of England's
Baroque
romantic
castles,
note the
Roman
clothed in robust
Roman
detail
few
successful
interiors
- we
- and
Howard, designed
first
made
to
far^'flung
It
is
an immense house,
house
colonnades.
Vanbrugh
1699,
deliberately
in
itself,
to
which
The main
stable
much ground
dome;
building -
the
like
2^7
One
repeatable style.
wings
ordinate
showing how
out on
its
is
mu
seen
on
the
is
right,
spread
IS
Mausoleum,
all
serve to
is
not,
or even a house.
means
is
Castle
Howard
Greenwich -
is
to be, a
home,
Howard
a landscape
was
It
around
created
is
the
of rustication,
windows
library's
Howard
monument.
house,
niches
at
and
military
and
hall at Castle
artificial
interior.
by
an
Blenheim
articulation
Camera,
Radclijfe
Oxford
2gj
(ij^^^i)), by James Gibbs. Clear
forecourt
plateau
The
emphasizes
monumental rotundity
the
at
of a plateau.
From
the south
it is
It is set at
it
is
seen from
The huge
sky.
from
far
illusion
of a
other great
castle
add
to
the romantic
moment
terraced gardens
they
lies
in the stepping
down
of the
of the lake.
Vanbrugh was
in the rusticated
to
achieve romantic
(c.
1720-8) on
Northumberland moors,
the bleak
a strange
and ghostly
Baroque rum.
Hawksmoor
was
own
churches in
St
in his
the designer of
London -
for the
Spitalfields
St
we owe
to
him
London (1722-
St Martinz-in/the/Fields,
Fellows' Building
Camera
at
King's College,
Oxford (1739-49).
English Baroque, such as it was, had come
the Radcliffe
at
full circle.
The
next generation, as
may
we
shall see,
adopted a
style that
Europe
it
style still
had
at the cost
of
To the
northern
mind
this sort
of Baroque architecture
served a
it
sensuality,
every artifice
sculpture,
and fake
achieve
to
ends.
its
London
lary
late
of
Roman
architecture
(the
comes from
what
is in
used
Painting,
a single
mind
is
it
Loru
up
religion of austerity
Spitalfields,
to increase faith,
... or
America
for
two
The Baroque
was
at
first
centuries.
oi^
the Austrian
comparatively
Empire
moderate.
men
as
or of Bavaria
By
the
early
249
joi
(i'j2i-j),
Hildehrandt.
I:
Upper
Staircase in the
Vienna
From
this
Belvedere,
Lukas
by
light
von
and airy
dark
the
garden^room ;
upwards
the
entrance of
great
heavy
and deliberately
hall.
Note
the
exquisite
plasterwork
charming buildings
Germany
or the
first
homes of
fantastic
a cultivated
aristocracy.
the
Z winger
by Matthaus Poppelmann, a
galleries
at
at their
worst
many such
of
its
own
theatre
fairy palace
with
jo2 The
22)
free
is
Zwinger at Dresden
festival architecture at
and gayest.
The
( lyi 1its
most
'Wallpavillon',
almost as much
as to
to the
it
owes
sculptor Permoser
Matthaus Poppelmann,
the architect
--T^
^1
'^:
251
Fran9ois
Zimmer and
region of
he -
who
Cuvillies,
built
Munich,
AmaHenburg,
it
was
German Baroque
transmuting
for
in the
is
responsible
Reichen
the
first
into
behind them.
Outstanding
Neumann's
staircase
Wiirzburg
unique
joj Amalienhurg, Munich (ij^^-g),
by Francois Cuuillies.
The stucco
decoration - here, a detail from the
-
is
as
ga)
as
in
its
Neumann
in
its
themes
Bruchsal, where
in 1730, of
experienced by anybody
walk up one of
undamaged by
arabesque curves
staircase
work,
war.'
growing
spatial rapture'.
however,
its
over by
who
The
Balthasar
the
lowest hall
and
written:
lighter
is
to
and carefree
stair at
lighter as
Neumann's
great
good fortune
it
is
still
existed
sombre, the
pilgrimage
*a
immortal
church
of
J04
by Balthasar Neumann.
The
central
open
on
both
above
it
on
to a brightly lit
landing
252
coral of
jo^j
jo6
Vierzehnheili^en Pilgrimage
more
idea
achieves
its
is
lost in
admiration
at
the
arches, balconies
ballet;
is
it
and
float-'
architectural
From Munich
and
the
two
Asam
brothers
(Cosmas
Rome. What
they
brothers
saw and
series
of churches, mainly
worked on
Weltenburg
extraordinary ejects
into one another. It
huilt
up of intersecting
The
altar
is
placed
island, a highly
ceramic
can
view -gives
some
piece
of spaces fowing
^3ar.'->t^S8e*=-
here
it
circles
and
ovals.
unusual stroke
is
an
The
c.iyzi.
altar
the reredos
sheet of blazing
is
is
dragon
are
this great
silver
and
the
The
at
Quirin Asam,
glow, a
abbey church
from hidden
light
is
which
soars
vault,
owes much
above the
Cornaro Chapel.
to Bernini's St
The
reredos,
It
from which an
Virgin
ecstatic
is
ascending
vaults
its
to
Heaven.
and domes
as well as in the
Among
mention
^oj Rohr Abbey Church ( ijij-2z^).
The hi^h altar, by E^id Quirin Asam,
is a tableau vivant of the Assumption
Virgin
the
angels,
the
soaring
amazement round
is
aloft
the
Baroque drama
by
111.
Neumann's
to Balthasar
mann.
Domenikus Zimmer^
Zwiefalten
(f.
Michael Fischer.
by Johann
1758;
Above
all,
there
is
abbey of Einsiedeln
2^4)
such
that of Neresheim
most explicit
at its
Cornaro Chapel,
(cp. the
upheld
other
(r.
to
1720) by
Vierzehn^
after the
pronounced
austerity
of the early
jo8
Einsiedeln
Abbey
Church,
by
lyiy).
choir, the
nave
complex
has at
its
base a
interior is covered
shrine.
which
The whole
by a fantastic garment
Aztec
art
its
to
West. Certainly
Baroque reached
it
it
was
in
Mexico
that
Spanish
effects
were
startling
enough. In
254
^lA
.'s-:^
ki
jog
Toledo
Trasparente,
Cathedral
is
the
displayed in
must add
the
centre,
III.
yellow
is
surrounded by
2j^J. Ima^^ination
jio
Sacristy
Granada
valo.
In
Charterhouse,
of the
this
of
Aztec
To return,
!
finally, to Italy. It
had been
in
The
architecture.
unlikely
is
Piedmont, in
was
to go. It
far
was in Piedmont,
(1678-1736), was
to
that chapter,
and the
(e.g. the
provide the
last
Superga, outside
at
paragraph
Turm) and
to
Reale
coolness
and
clarity that
The pendulum,
look forward
Even
in
facade of St
Neo^Classicism.
was moving
in fact,
to
swiftly in that
Rome
the
two major
and 1740s,
the
new
style. It
was
to
are
dominate
nineteenth centuries.
31
Superga,
fuvarra takes an
Turin
eclectic
collection
iji 7-3 1 )
of
space church
is
set
into
almost as big as
itself
central^
one end of a
in a
independent
portico
convent
wings,
(cp.
24s)
III.
is
dome
(compare
the
Peter's,
almost
balanced by the
crowned with
towers
^57
Chapter Nine
To
explain the
of Neo/Classicism and
rise
in virtually identical
form
all
over Europe
its
adoption
would involve
There was,
be attempted here.
the
firstly,
same
ideas
seemed
Napoleon's
Arc
greater
and
dreamed.
possible.
But
setting
To
hold
its
swing towards
restraint
swing of the
own
to
Rome,
Rome
in
had
the vast
the
is
fact
Triomphe
de
that
^12
is
flanked not by
was
and with
and principles
rules
at
most
century
The
classical
Roman and
archaeology.
The
and
erudite works,
first
serious
of Rome, Athens,
ruins
in careful
the
mid-'Cighteenth
is
models
Split,
classics as
sites
were published
was
was
one of ideology.
To
Louis
XIV
of the
Roman
Classicism became
outward and
visible expression.
The
influence of Versailles
subordination of nature to
As
art,
was
the inspiration of
Hampton
259
II. Jill.
.<
'
'
11)
r w^ nijj^%fj
t
515 Nancy
stmction
in
iJS4>
were -
is
here seen at
square on the
Place de
"^'
^''"''^^
of con^
la
rij^ht,
Carriere
the forecourt
en suite
its best.
as
of the palace
with
in
Williamsburg
we can
in Virginia,
it
The urban
in the centre,
Court
f!
and
Versailles.
In France
the 'grand
itself
manner'
is
as
Apart from
mite of grandeur
their
own
its
When we
look
say,
at,
town
ville.
or the
may
be -
we
set
upon
towns of Europe.
the
whole
in a
way
that
not.
progeny make a
its
single,
Rome,
coherent,
exiled
and
de
off this
new
la
lies
street
the
street to
and
satisfying
and
finest
of Nancy.
new north-south
the
portion
eighteenth/century
the
Versailles
example
is
Stanislas,
Lorraine, drove a
little
its
forecourt.
The
260
Rococo
grilles, all
The
Place de
la
Carriere
is
down
scheme
is
the
centre.
scale
and
The whole
Some of the
been
It
was renamed
known
something
after the
to
Wren;
it is
less
it is
The dome
rises
in after
thanks
St Paul's
lighting of the
dome.
is
better seen
from Ludgate
Pantheon
is
Hill.
beautiful
to the
dome of
successful in
more
it is
than
The
is
the
internal
a fitting
mausoleum
for
Frenchmen.
rise
ideals
of the
Age of Absolutism.
to the
with
the
extra
panache
given
them
by
St Paul's,
accentuated by
the plain
Neo-classical
reasserted
that of
in
(i7S5~
Souffiot's
its
is
wall
III.
superb,
- more
severity
than
most
effective perspective
of arches
lit
261
Court decor
Pompeian and
the
as
Egyptian -
the
Napoleonic Pans
was taken
it
for
but
finished
Gabriel's Place de
Deputes and
handsome
Again,
classical
com^
Vi^non's
(top),
Roman
stands
Roy ale,
its
the
in
end oj the
iSoj
Rue
la
Concorde,
to the
of the
Roman
imitation of a
Chambre des
Rue Royale, is
that
it is
a fairly
temple.
rhythms of the
backcloth
Gardens,
far
is
which
London
that
is
to the 'carpet'
of the Tuileries
We may note in
same relationship -
the
to
much
of a town/planning back/
that
Rue
de Rivoli to
Revolutionary
with
at
temple he^un
relationship,
Louis^Philippe)
under
only
are primarily a
tecture
The
Rue de
ji6
classical style.
far
effects;
for instance,
1807
Romantic
Place de
la
Concorde
a splendid
is
monument -
the greatest of
setting.
True,
Napoleon's
it
is
Paris
part of the
in
that
it
Romantic Classicism of
manage
does
really
makes
gloire
however - the
almost credible.
Etoile
Its
immediate
consists o( so
many
to
that
setting,
radiating
no enclosure of space,
Elsewhere
in
is
possible.
Europe,
had
Classicism
been
the
retains
many of the
Potsdam (1745-7)
but the Neues Palais, built towards the end of his reign,
and
the
Brandenburg Gate
monumentally
262
rather
supreme autocracy,
than
at
Berlin
charm.
classical severity
In
both aim
Russia,
at
the
was tempered by
ji/
by Percier
the
street,
hand-^
arcaded
more
effective because
excellent
it
Gardens - an
Terrace,
street
London
Rue
park.
change
ground
necessary by a
level,
has
Doric
and
tsarinas. Peter
as
Bartolommeo
spirit
two
Italy,
last
and
great
(111.
26)
263
the
Italians
style,
Quarenghi), Scots
(e.g.
'international'
unique
in Mil
power and
court to approach
Bourbon kings
The
prosperity.
was
it
built their
It
Theatre
Rossi
Leningrad,
Street,
(i82j-^2).
Flanking
lead
to
the
bination of white
characteristic
theatre.
blocks
The conu
pre/
where the
that of Naples,
and surpasses
it
in
and 1774.
monotony.
by
the
only southern
520
produce
makes Leningrad
still
city.
rogative of
blend that
to
It is
something of a
relief to
forbidding exercises
to
the
less
is
informality
of Leningrad
may
social structure,
with
nobility
and middle
English
domestic
its
class,
and
tradition
building.
in
still
The good
find a
changed, but
tradition.
we now
Customs House
or,
rebuilt that
above
all,
the
Bell of
little
Lynn who
in
Lynn,
or
in King's
who,
after a disastrous
Woods,
father
and
Woods
English
Air view of the section of Bath
planned by the Woods, father and son,
32 i
it
Gay
with
right,
tree^
Street leads up to
turn linked with
the
Royal Circus,
the
264
began
in
left)
'terrace'
First,
house, prototype of
streets
and
squares
in Britain
century.
New
and
England
Queen
Second, in
T?
for
,nhni]i|itl3l8ill3illl1fil
Square,
Gay
the
Street,
j22 Royal
Crescent, Bath
Wood
by John
the
of the hemicycle
Woods
created a
landscape
to the
ijb^-j^),
south
makes
this
one
which,
domesticity anywhere.
as a piece
The whole
of town-planning, belong
to history.
order,
relationship of architect^patron^-builder,
it
and
elegance, purity
new
correctness, architecture
stress
was
The
use of a giant
on
be^-
This
fact lies
movement.
their
Its
chief exponents
the 'Palladians'
successors
(i 68 5-1 748),
1729),
Adam
and
(d.
(1728-92), the
last
the
curious
status
demean
of architecture.
It
was
in
was not
shows the
danger of
Lord Burlington's
villa,
is
now
beautifully restored.
J2J
Chiswick
London
House,
himself.
Rotonda
at
Based
Vicenza
upon
(III.
the
zzg),
Villa
this
tiny
may
RETURN TO CLASSICISM
and
steps
portico,
Rotonda
north of latitude 51
it is
praised
but
is
at
in so far as
Vicenza;
as a
it
dweUing
much
charm
has great
it
Rooms
in
fact
at
begun
in 1734.
for
Holkham
it
has far-flung
complex house
is
Palladian classical.
Holkham
is
an austere masterpiece.
many
of
somehow manages
to
large
his
book, Vitruvius
account of great
English
Britannicus,
houses,
is
remodel
to
best
known
which
including
is
several
^24
Holkham Hall
fbe^^im
ij^4),
to
sides,
sion in
man^
portico,
the
pavilions
partite 'Palladian'
each
is
The
with
separate study
Strong horizontal
their
tri^
lines
in
the
style.
to
be seen
at
Mereworth
in
Kent
(c.
for
1722-5),
design
IS
an
on
all
Rotonda.
If
William Chambers
is
this
igth^century
originally
rising
view as
it
was
directly
from
the
given
long facade
is
columns and
pilasters,
Thames. The
variety
by giant
studied in Paris
and
Italy.
He
started to build
offices in
Somerset
1776; until
a rusticated
straight out
of the
water.
Robert
both
Adam,
with
his
two
brothers,
had
offices in
professional
wealthy
He had
limits
clients.
studied
organization
Some
and
long
list
of
Palace of Diocletian
as
with a
one can
treated the
at
Spalato.
He was a true
Palladian,
Kedleston or Osterley,
liberality.
He
yet
he
extracted
of Kedleston in Derby
(ij6i-^) shows Robert Adam
combining Palladianism with a new
archaeological approach. The sides are
Renaissance, the centre - with its
Pantheon^type dome - Roman, and
-^
shire
the
earlier
267
RETURN TO CLASSICISM
own
to suit his
From France
purpose.
of rooms
series
rooms
Rome
ceiling
and
columns (cp.
delicate
III.
stucco
also inspired
in
the
form
the se^^mental
exedra
gi),
in
screened
by
ornament
the
which
had
'grottesche'
Raphael
(III.
210)
to
English
from the
later
and shape -
Italian
Adam
From France
also,
much
Renaissance, he learnt
Italy,
The
Baalbek.
lie
learnt
his
of Palmyra and
his decoration,
Robert
but
as
in
en suite, as at
the French
much
he learnt
it
Adam
has a long
list
his credit.
Yorkshire,
Croome Court
life
in Wiltshire,
It
as
is
Adam
marble
all this
Adam
fireplaces
make
should be
discovered refinement. In
to
in
Bowood
in Worcestershire,
plaster ceilings.
shortly
Harewood
remembered and
at
to
Brummel was
fashionable,
cleanliness
so
Adam
Without
his
ordinarily insipid,
clientele
who
style'
but he worked
about
classical elegance.
'good
taste' in
great
'Adam
last
for
can be extra/
an
aristocratic
generation to care
England was
to
to lie
not so
much
new concept
of urban existence.
While Napoleon's
Paris into a city
architects
were trying
to
transform
was
city
not,
be,
anything in
London of the
classical expertise
Paris,
but in
middle
way - that of a
its
class
made
it
The
contribution.
its
Prince
architect as ingenious as he
was
was
that of a
He
cosmopolitan
into a
complex of
streets, terraces,
architect.
shifting
city,
thus
its
in the north
made London
centre of gravity
from the old maze of alleys and lanes of the City or Soho,
to
more fashionable
the
His
Mayfair.
'terraces'
scheme
districts
consisted
finely
new 'Royal
Regent
mainly
Adam's
of St James's and
ten
aristocratic houses
Mile'
Piccadilly
of the
Circus,
and subsidiary
Nash was
is
best
probably the
Athenaeum Club,
built
The
greatest merit
by Decimus Burton in
827-30.
was through
painted
stucco
Neo^Greek
o( the
houses.
Stucco,
so
- as can
is
flat,
still
elegant detail
than
which
Roman. Nash's
is
somehow
architecture
gay, versatile
and
as
careless.
oi^
His
Regent
street
Street
carefully
therefore
to
linking
more irregular
turesque
London
for
in black
explains
informality in
the
than, say,
new
cult
quite
is
Nancy
of the Pic^
deliberate
design - as can be
- was good;
the
demarcated by such
269
j2p
Re^^ent Street.
Colonnaded jootwalks,
Regent Street
in
diminish^
as
good
as
Street
anything of
its
born
when
formal architecture
is
is
so mysteriously
given an informal
itself
setting.
To compare
equivalent
sense
streets in
come
is
to
over
architecture.
At
this
century, a
itself felt:
new
aspect of architecture
America.
dynamism and
apparent until
The
later,
but
boldness
we must
assess
all
about
to
make
impact of American
full
technological
is
its
will
pause here
not
to trace
be
its
contribution.
and climate -
bears the
stamp of the
America had
and North
from
that
centuries
its
architecture
was
returntoclassicism
'
the
That
well as brick.
United
lively
is
would make
its
as
firsts'
an
have
real
enterprising
and
early date,
The proud,
not surprising.
mind of
wide
distinction
or second^generation colonial
mark, in
While
New
England was
first
Cambridge
intellectuals,
in
and
a colonial's birthright.
The
capitals
state
background
England
The
lies
found no
Nantucket
in
that
new
ruthlessness of a
of
to a
was
land
earliest
called architecture
quality to a rather
They were
- a few
at least
planning
stack.
all
the
Within
rooms around
England
huge
A freak survival
Virginia,
New
is
to
tradition of
central
chimney/
be found in
where St Luke's
is
Isle
of Wight County,
an 'English' Gothic
271
RETURN TO CLASSICISM
Through
the
first
Tidewater
states
- was
still
colonial; just as
America and
Deep South,
the
any
virtually limited in
on Latin
effect
New
and
so Virginia
modern
side with
still persists.
many
and
large
unnoticed
The
to
extent to
close.
actually
Williamsburg, Virginia,
Wren;
he
was
Williamsburg
Virginia in 1699.
It
in
popularly attributed to
are
which was
in
original buildings of
Christopher
for a
a sketch
a royal foundation.
established
the
as
capital
of
any standards.
A three/
was
a tree^lined
Governor's House to
also,
steeple
marked
The modern
axis.
tourist,
however,
this
is
not easy.
so
Much
The College
is
the
most
intact
we
much
deserves
as
it
was
greatest single
It
is
named
in
great days.
monument
It
ofthe Colonial
Williamsburg
its
fame
as the
era.
taught amateurs.
272
its
see
documentary
were mainly
self/
Taliaferro
rebuilt
ig^2):
'brick
and cupola,
it
is
typical
of English
time
domestic
architecture
William
appearance of
jji
the
of
this style in
America
Taliaferro,
American
was
ian
The
one
of
architects,
the
first
known
and the
big
all very
of
the
plan
ning
Only
to
back
a typical classical
lands.
Taliaferro, but
and
it is
fire/
at this
many
joiners,
by
date
reasonably
established locally.
Ariss appears
when
he advertises
have built
Mount
He may
273
^8)
the
influence
of Gihhs,
important as being
England
to
depart
from
this
the first
church
in
is
New
the tradition of
house
central block
in fact the
Palladianism. Little
The
else
Palladian,
real
known
is
a fine
American
of Ariss.
Newport, with
piece of true
first
Redwood
built the
Roman
Library,
in the
in Boston, a
first
first
of a whole
from Wren,
Hawksmoor
Chapel and
the
same
series
of steeples, derived
or Gibbs.
Christ Church,
architect's
fine ceilings.
In spite of the
of
may
his generation.
at
graceful interiors
charm of
so
much
Thomas
achieved fame
as
Independence,
Washington,
oddly -
as
was
a Virginian.
Secretary
of State
as a legislator, as a free-thinker
an
He
architect.
He
had
to
George
and -
profound
rather
faith in
274
effete,
Palladians
whom,
in
fact,
he
despised
as
own
inspiration, that of
Rome. In
villa
1769, on a romantic
of Monticello which,
after
hill,
many
When
Williamsburg
State Capitol.
home
to
Richmond,
He was
Roman Maison
in
much
sketch
of Virginia was
capital
the
Europe
classical
for the
this
designed the
the time
and
sent
by the genumely
University of Virginia
By
26).
at
influenced
Jefferson
moved from
its
in
at
however,
time,
general layout.
its
Even
Charlottesville (1817Jefferson
was
deeply
immersed
ments
in affairs of state,
for the
renamed Washington.
at
Georgetown,
He
of
to be referred to below.
as a designer
is
now
who
demoli^'
ifei
81
^-26
America of a new
The
Chiswick House
(III.
is,
j2^)
derived mainly
like
classicism,
self-conscious.
house
from
the designs
foreground
the architect
of
out in
arrival in
More famous
Vir^
the University of
shed.
designs
(above,
the
Pantheon for
the sides
Jefferson
sources, returning
inspiration.
Along
-vi!
tti^isi^'
mimn;aM
>^
^M
w^
-^
JJ5
dome and
due
in
in
the
To
the
centre,
fanked by jlat
wings - heavier
feature
mainly
lies
Capitol
Washington, D.C.,
- and
with
i'jg2-i82'/)
its
pilastered
the
colonnade
walls.
The
dome
Thomas U. Walter,
are the
after
8^ i
is still
Washington -
to other
landmark on Beacon
men's designs
(see
in
below) - and
Meanwhile
in
Washington
L'Enfant
Pierre Charles
work of
we know.
difficult;
he was
and of
hands.
The
the
hite
House was
entrusted to other
after
a rather
(The
dubious
resulting building
was
itself virtually
after
in 1827.
submerged
1851.)
276
and
we must
Empire,
until
briefly
it
finally
is
new
engulfed by the
currents.
The most
and
were those
who
tried to
new kind of
towards a
Classicism, in
harmony and
virtues of proportion,
which
the
would be
restraint
abandoned. This
buildmgs conceived
(1728-99) whose
with a
Roman
cypresses.
The
mausoleum, ringed by
and
conceit
the
form
are
equally Neo-classical
bolder imagination -
such an
up by
the
brilliant
his
a far
cylinders
it is
as
to
fairly
on paper show
projects
back
(i.e.
city* at
his best
Chaux and
work,
his
show that
of practicality. In the
to lack
such
as
his
geo-'
cemetery
by a central
331 33^
'eye'.
may
be
modern
as
times.
drawn between
his
Some
Sir
however,
that of the
more
England.
His
Grecian
In
1788
He was
also a
Soane,
after
architect to the
Romanticism
was
Bank
in
oi^
fact
into vaults
- which
are themselves
Ledoux
s Barriere de
la
reduced to
their
simplest
ideal
cemetery
elements are
parallels,
work and
^"
remained unbuilt.
usually of a
flat
One may
almost nonz-existent.
Adam
had exploited
to
house
museum), he devised
several origmal
in daylight at
his
own
it
lightly constructed
offices
of the
freedom given
would have
delighted
by modern pre^
to the designer
stressed concrete.
in his
house
in
London (181 2)
Bank
are se^^'
fat Grecian
enters indirectly
mirrors.
piquantly
Above,
and gleams
Below,
the flat
contrasted
modelled caryatids
light
the
cupola
man
appointed
of United States
to the post
to
on
America
in
He worked
1796.
with
convex
surfaces
with
in the
in
of the next
of
delicacy.
first
sensitive architects
can be
generation.
the
more
his influence
are
fully
and then,
in 1798,
Romantic
at
as built,
at
Classic
Baltimore in
owed much
to
By
the
third
Bank of England.
Munich
or
Edinburgh,
in
an aura of scholar^
Klenze's
Glyptothek
(1815-34)
begun
in 1846.
essays
and
As
his
Leo von
Propylaea
of Alexander
Thomson
and perhaps
the plan,
perspective
the
from
of
the
the Pantheon,
ment
of the
come from
pendentives
Soane
building,
and
Grecian portico
side
aedicules
perhaps too
width
nearly equal in
- was
house the
Duke
collection
of antique sculpture
built
to
of Bavaria's magnificent
revival:
to
Edinburgh's
fine
Athenian
Hellenic
essay
in
Edinburgh from
podium,
its
own
it
surveys
'acropolis',
Calton Hill
architect,
Philadelphia
the city's
Greek
William Strickland.
An elegant Corinthian
Order rounds
the
corner,
Athens
279
RETURN TO CLASSICISM
city.
(i
to
made
(the
his
name with
bank
in the
and an elegant
essay
the
in
States,
Brighton.
of the
Nash's
(iSi^-2i), which
stucco
on cast iron,
Royal
Pavilion,
transformations
included domes of
turned a convene
town
8),
major work,
his last
the
jf^S
345 I Detail
designed in
Grecian
this
Age
was dawning.
will be described
the features
common
and
all-'inclusive,
One
of
- not the
this
least
many
elements that go to
here.
Among
make up Romanticism
artist,
is
the
the
last
first
onslaught
black
inevitable.
no
of industrialism,
Romantic than
less
that
kind of nostalgia
is
is
to
Gothic, in that
it
flight
some
was
extent
represents a
world of Greece
Enlightenment, the
the
They had
their
necessary
- charm,
As
early as the
gentle
slopes
all,
Good
design - such
become
whether in poetry,
romantic qualities
had
historical association.
Gothic
ruin,
in 1748
was designed
among
J46
house.
the
to
first
had any
Tollies'
intrinsic merit;
d'Amour',
Trianon with
or Walpole's
Gothic mansion
Pagoda
at
valid, but
dairies
o^ the
anglais'
'Jardin
'Hmdu'
Kew - all
Pavilion
at
were certainly
literary or
Rococo
cells,
- even the
its
at
Strawberry
f begun
Hill,
Twickenham
a kind
a rather
the
new
Georgian room -
of Gothic rococo
'Temple
Strawberry
Brighton, or the
which might be
purely architectural.
d'esprit,
when
the patron
was
come
by. In the
more
the same,
and
its
greatest
exponent (indeed
may
its
only
Schinkel.
perhaps be regarded
as
281
j4j,
ri^ht,
J48 Karl
the
(iSig-21) ;
Berlin
Friedrich
Schinkel:
Schauspielhaus,
Berlin
Museum,
(1824-8)
Germany -
a master both
more
eclectic
of stylistic
is
to say
it.
he was - for
all his
like
use
Ledoux.
was
the Berlin
first
large
work
Ledoux
or a Soane.
8) in Berlin that
and
essential to the
his
It
was
work of a Schinkel,
in the Altes
Museum
to realize his
(1824genius
full
Museum
facade
designed
but
more superbly
detailed.
In
and
sculpture^halls
Schinkel
the
picture^'galleries
anticipated
the
lighting
and
the
display
Chapter Ten
When
the
first
England by
taken across
train, the
first
now
hundred and
years
fifty
either the
- the
styles
latter so
where
life is
world saw
so
lived.
many
religious, technical
During
know
that buildings
that century
portentous changes
and
a half the
- political,
social,
places like
cities
shown
to be
more
agonizing about
true,
efficient
style,
architect,
During
to
who was on
the
first
The
architect,
of life and
than stone.
the
them.
was
He
band-wagon of his
time.
macadam
whole nature of
cities,
and
alter the
so also of architecture,
was
professional
architects
building well.
style
were,
after
all,
still
^49
is
at least impressive
But
this
very heavy^handedness
is
huted -
often
unjustly
to
the
i^th
century
conu
of
it
can, moreover, be
a great
an integral part
free, festive
build-up
minating
in
is
of Renaissance
Apollo with
cuh
As
Empire and
Second
the
High
Victorian
style
of
point
IS
The
rare.
mediocrities
as
S.
Veneto
in
Turin (1852),
the
Opera House
in
Hanover
284
the
Opera House
list
could be multiplied
in
many
times.
so on.
The
i^i
House:
richly
an
architecture
if heavily
of 'occasion,
decorated,
gleaming
demanding
often very
we must
architecture
which
merits
make
to
look
its
its
sense of
on
the Paris
It
its
for those
Opera House.
own,
to appreciate
as far as possible
strove
it
and
standards,
its
1862.
urbanism and
diamond^shaped
its
It
has
two
great
sense of occasion.
the point
where
There
Its
plan,
was
no
'back':
importance.
The
every
facade
solution
at
site at
was
shows the
its
best
of architectural
tradition of the
and most
brilliant:
285
every axis
developed
is
to give the
utmost value
to every
building gives
the
it
down
vistas
This
is
one
and promenades,
foyers
facet
an occasion,
combme
all
to
moment.
for a particular
start
with, almost
number of English
until the
As
made
and of
to
at
last
Downing
Italian
High Renaissance -
manner of
214)
the
his
finished
college'.
Even
classical
a plain wall in
Palazzo Farnese
much
such
better
as
it
stands
University College,
as
was never
It
to
it is
solid
Cam/
College,
the
of the
was
English essay in
London
(1827) or the
as the
To
this later
his
Decimus
London:
the Travellers'
and
the
London
Reform.
cortile
An
may
Italian
be great
One
of Barry's contemporaries
was C. R. Cockerell
who
scholarship of the
(i
788-1 863), a
could also
still
Augustan Age
sensitive
and
culti/
The Taylorian
of his time.
IS
his
most
England
Institute in
Oxford
work, while
'intellectual'
realities
(i
handling complex
skill in
classical detail.
A building which, in
Ionic colonnade,
841-5)
Bank of
his
in
still
its
(i
the
scintilla
Museum.
It
was
Museum
is
with
Schinkel's
London museum
but suffers
from column/'mania -
It is
Altes
is
too
impressive,
forty^eight gigantic
Elmes (1814-47)
in
1840.
Its
merit
lies
H. L.
partly in
its
way
the
J55
which would
4y),
England
is
small island.
Napoleonic Wars
to the start
of its sloping
From
of the
site.
end of the
World War -
the
First
m
#
British
by
Robert
Smirke.
An
over^
whelmingly single-minded
exterior,
made
tremendously
by
sheer
impressive
the
most
the
also
and most
philistine
work of
the engineers
Classicists
Styles'
and
little
Each upheld
was
the
the utilitarian
and
The
steel.
own
his
was
glass
waged
interest to
which might be
reasons
iron,
the Gothicists
- of very
testants.
in
was
side. First
stylistic
literary,
convictions for
moral or even
aesthetic,
to serve the
work of the
stations
and railway
at all.
and
liberalism
and
and
sentimentality,
the general
domination of bourgeois
laissez-faire,
taste.
as inevitable as a
Roman
Revival in fourteenth/
century Florence.
if
class taste.
had
The
lived on,
Through
more than
a fashion,
no more than a
and Gothic
the centuries
itself
like a
more
- one
like
died.
calls
survival.
built in
Castle
put
to
It,
288
and
Nash
The
poets, even
more than
From
alive.
spirit
the architects,
on
Gothic
Tennyson's
to
the
time
the
had kept
Idylls of the
King^
it
was
is
site to
build
constant theme.
stylobate
to 'gothicize'
- upon which
the
'temple'
is
Strawberry
then placed
Hill as early as
Tewkesbury.
Wyatt
built a vast
gimcrack
filled
At
eccentric,
for that
many
lineage
the
nationalism 'castles'
aristocrats felt
such pride in
Gothic Revival
that they
By
were
is
all
their ancient
perhaps a facet of
building themselves
Adam's
(c.
of Windsor by
- containing
the
old
289
J55 i^ouses of
(1840-6^) the
London
Parliament,
Gothic skyline of
towers and pinnacles, combined with the
:
rich
conflict in
destroyed by
that
fire.
Gothic was
Houses
suite
the
in
reflects the
ing:
it
is
House of Lords,
a four-square
igtlu century
290
again
detail
classically
the
in
who worked
new
Gothic or
Gothic
style.
as Italianate,
of Big Ben
in the
in the air
Elizabethan
Barry,
and
government.
symmetrical facade
Gallery
much
men
for bi-cameral
so
Parhamentary Committee of
now
to the
efficient
It
had
a perfect
a long
Thames.
in
as well
machine
and completely
placed
at
odd
corners to
whole
give the
Gothic
a spurious
irregularity.
The
detail
was
He knew
Pugin, a
it,
and
fiery
away from
young A. W. N.
and
quite
Gothic
the eccentrics
The building
and made
it
wy'mriiijmnM^^jti^ji^
official.
If Barry's
took
the recog-'
style,
the
made him
a difficult
among
he did find
problem
for
most
clients,
was
said that
Pugin
or St Giles's,
It
reredos
and
in the
House
altar
Westminster.
that
forties,
We
841-6),
we
find the
find
and
rood screen,
in the
oi^
(i
tends to be hard
chancel -
only in the
is
Cheadle
as
central lobby at
it
The work
the
Gothic Revival
was
puritanical Anglican,
Church
clergy
medievalist at
structural
and
all.
He was
with
the
darling of the
an odd
yet, in
integrity,
sense,
altars.
was
less
He
intent
High
was hardly
his
belief that
the spirit o(
and
to drains
upon
making Gothic
into
'modern'
style,
upon
using sound
glazed bricks,
his ends.
in
All
The
Saints',
35^ Above:
Minton
tiles
and
Margaret
Street,
is
to be seen
St
mean.
St Chad's,
3S7>
Street,
by Butterfield
Saints',
London (iS^g-^g),
in
significant that
Butterfield
Sir
is
John Summerson's
entitled
It is
surely
on
excellent essay
being
many
Scott's
to
and
literal
make
J59 ^^^^rf Memorial, London
i86j). Prince Albert
sits in
it
and pathos,
excesses
as well as
representation of virtue
a complete
its
its
'modern'
iconography
and sentiment,
for
as
St
also
It is,
Pancras
(he^iin
a Gothic
shrine
Its
some of
are
London, of 1865,
its
epoch.
It
that
is
combines
and
the booking^'of^ices) in
all
ofgreat
artists.
symbolic
carving.
This
is
literal
and
Scott's
The
relationship
trainshed behind
up a ramp
behind
292
nil.
it
of the
fill.
Cabs
to the level
its
and
solid philistinism.
terraces,
of uninhibited design.
display
Victorian
j6o
stylistic
generation.
hotel
^64) -
to
the
visible
carried passengers
of the platforms
its
it is
With
its
emplacement upon
in
its
own
tremens
a plinth
When
the old
number of miscellaneous
The
was
ultimate consequence
won
this
building
George
commission
the
Edmund
poor acoustics.
finest interior
It
fact
(1824-81)
its
The
gloom and
its
of the
Street
in a competition in 1866.
is
lost.
it
Its
is
exterior
cleverly
- though
broken up
appreciated in a narrow
Alfred Waterhouse
street.
(i
makes him
Gothic Revival
Town
^61
and
the
commercialism of our
it
built.
own
Among
day.
He
his larger
could
com^
Hall
(i 867),
the City
Manchester
(i86g):
Hall, Manchester
Gothic style
buildings
massive
Hall
day
to
with
^reat
require^
In the
it
civic
The
ingenuity.
- an extremely
^62
elaborate
the
ments
being
efficient
Town
own
in its
building
The
streetAeuel arcade
ties
the
composition together
293
tint.
Tennyson
read
to
exposed
age
the
schizophrenia
Oxjo rd Museum
demonstrates
jiict
in
of the a^e.
succinct
The
form
the con^
iron^and^glass roof
upon with
never meet.
to
most marked
pride
as
of hypocrisy.
charge
the
well
financial
as
satisfaction;
Nothing could
dichotomy more
two
cases of
the
Oxford
the
St
Pancras
Museum.
medieval
This
'architecture'. Classical or
reveal this
which most
is
or
London and
Hotel in
St Pancras towers
up from
- a
the street
At
great
the back,
spandrels
is
W.H. Barlow
two
years
evidence that
a hotel
it
cuts
ever occurred to
anyone
quite
no
is
that a station
and
directly
(Another
was
Ruskin was
inspired
P. B.
by
Ruskin's
Wight's
Academy
magic
'Doge's
extraordinary
of Design in
New
York.)
prose.
a late
was
to be used.
and
foliations
beautifully
cast,
the
lighting
excellent.
use of iron
head
in 1851
virtually
- was brought
to a
Hyde
to
Park, London.
j64 The
iron roof by
W.H.
Barlow
London (1864)
is
one of the
Note how
little
Gothic windows
^j6<f
Crystal Palace
London
photograph
was made of
story has
been told
many
times. In essence
Park,
retained a touch of
The
Hyde
contemporary
of Paxton's prefabricated
exhibition building
it
in
This
(18^1).
end
at the
sections,
still
it
Regency elegance
was
it
large
Devonshire, was
conservatories
now
of a mile long,
structure in iron
factories
and
and
by designing a prefabricated
glass;
finished in six
was
to
months.
It
this
be
made
was
its
made
clear
to all
same again.
most
marriage of
in
it
that iron
also
and
It
and
was
its
all
opened with
from a
also
rat
a definition
'only sheds'.
They had
to
stations as being
architectural laws'.
Even
there
would be new
cast
Ste/
Genevieve;
the
exterior
is
conventional
Bunning designed
the
masonry
London
interior
glass roof
the richest
296
ornament
ai
1 iWf
'.''
Ir?;
shell.
at
St^Eugene in
Paris, built
Paris
Bibliotheque
(184^-^0).
Ste^Genevieve,
in
Henri Labrouste
repeated
his
and
in 1862 Labrouste
columns and
airy
first
metal construction
shells.
It
who
was Gilbert
triumph
however, had
to
continent. Iron
be
left
to
nature of
new
opens up a perfectly
Museum
d'esprit
such
buildmg and,
therefore,
was not a
as the
steel
of
It
real
Oxford
changed the
cities.
It
was,
and
As
nineties,
first steel/
to
another
to a close in the
office
297
belong
to different worlds.
architects
home
Palace brought
the Crystal
- bogged
down
to the
in 'style'
professional
the potentialities of
misunderstanding
crass
production were
the
of the
blatant.
all
was against
It
of mass
processes
all this
romantic
reaction
Revolution stood
in the
against
- technically and
for
the
had been
Industrial
socially
so
now,
capitalism with
all
that
it
that
all
that
his disciples,
a nadir
in design. Excessive
had reached
dream-world
of the
caused his
artist,
medieval
flight into
craftsman:
Pre^
wonderful
of the English
garden
cities
but with
all
textiles,
oak
village, the
week-end
like
cottage, the
first
medieval farms -
The
Morris
to
hundred
years of country/
house building.
When
revelled in
its
spires'.
Oxford
in 1853 he
England back
through
to
85
seen
and
taste.
in
producing
textiles for
(1831-1915)
298
'dreaming
to
Heath
to
in Kent.
build
him
This house
the
is
Red House
now
at
Webb
Bexley
considered to be an
The
j68
Coalpitheath
Vicarage,
In
(184^1-^^).
spite
Butterfielcl's
of
ahead of
Webb
traditional
Like
house.
in his appreciation
and
medieval
buildings,
inside out
of the
English
craftsmanlike
it
is
the irregular
j6ij
it
Philip
romantic
built
at
for
a picturesque
grouping
of roof and
chimneys around the focal point of a welU
head. There is practically no ornament or
stylistic
equally
detail;
what
there
is
comes
century
historical
landmark.
London,
as well as
At
many
a time
when
the
West End of
still
being
used brick,
tiles
was
its
a few
its
lines
manner^
justification
tall
chimneys
299
Morris and
With
Webb
a discovery.
their
styHstic
Gothic
iron
was
was
the vernacular
fifty
that
and
the
part of
least
that
its
many
forms in
Norman
with most
fully
dealt
en Atigleterre (1890),
Hans (1904-5). At
englische
is
it
least
it
received
in
Das
European
recognition.
igo^)
work,
in
if stylistic
with
Northern
Renaissance
for
own
in
came
to
it
was when he
Even
so,
Baroque
The
abandoned
nearest he
books.
original.
At
as
1870,
maniac mansion
in
the
style
at
megaW
splendidly sited on a
prolific career,
Theatre
wooded
hill.
Towards
the
end of a
as the
Gaiety
He was
work shows
versatility
Edwin
enterprises as
New
Delhi
become something of an
At
to his
'architect laureate' in
to
England.
was building
for
Cra^side
J7^
pastiche.
- ^ahle
element
so on
Shaw
iSjo)
is
a fantastic
to create
what
is
muUion and
virtually the
Northumberland moors
wooded
mood
is
hill,
and
the
wings.
wonderful
Munstead
at
gardens.
Among
Wood in Surrey
Sonning
in
the
set
more famous
brief
dream was
banded
trademark
in
are
Garden
The
Shaw
the
world
Europe before
died, in
the
[first]
war'.
It all
died, as
it
should have
August 1914.
j 73 Deanery Garden, Sonning ( igoi),
one of the most serene of Lutyens's
earlier houses.
This
is
the architectural
with
its
and garden
301
C.
F.
A. Voysey was
governed
all.
There was
his frank
richness
He
He was
with
austerity
about
his
no prophet of
acceptance of the
nor
and
a delightful freshness
modernism.
As
in a different category.
that
fact
Gothic
neither
Windermere (1898)
at
Chorley
Wood
woodwork,
mullions
all
in
bright
came
or, a
as
as
few years
Broadleys on Lake
later, his
own
house
tiles,
something of a shock
*it
was
Van
in the nineties,
de Velde said of
as if Spring
had come
all
of a sudden'.
This curious
phase
easily
are only a
rich.
was
least the
of the
first
Broadleys,
Lake
Windermere
best houses,
is
302
too
until
at
- such
as
all
the
jj^
At
those
in
the found/
ingofthe
good working/'class
flats
to the
and
designed by
However,
Parker.
belong
these
'garden
first
city'
another
to
'housing'
houses
when some
in Hertfordshire
Howard and
896,
Letchworth
and
century
to
great
another
chapter.
This whole
story of
garden
city
is
compounded, on
It
the
was
wealthy
and refashioned
hand
tecture as
socialist
later
we know
a philanthropic,
it
in the
world today.
America saw
architecture.
the exploration of
upon
a slight influence
nineteenth century in
was
was
architecture as
there
there
these concepts
The
to suit
On
the one
the
hand
techniques
was academicism,
led
by such firms
as
at the
source of
famous
American academicism - he
for the
'Romanesque
is
perhaps most
Revival' initiated
by
his
who
joined
him
in the
could. In 1872 he
Church, Boston,
won
a fashionable
303
made
that
his
Like
his reputation.
bold and
work,
it
shows
skillful
and
preferred granite),
his
shown by
glass
Church
is
contains stained
number of buildings
in
Store (see
below
use historical
and
p. 308).
knowledge
His genius
in a
It
was
brilliant architects
this
Wholesale
dominant composi^
two most
for the
modern movement.
Both
C.F.McKim
Stanford
pioneers'.
White,
with
architect
historicism
in
of the
domestic
time
abandoning
towards
building:
there
can
be
no
enormous^roofed
The Great Hall of Pennsylvania
New York (n)o6--io), a
major work by the successful firm of
j^75
Station,
an
un^
Thermae of Caracalla
combined
however
304
with
(cp.
an
III.
40 J,
efficient
W. G. Low House
in
Rhode
Island
57^
(iSj^-
to
masses,
control
of the tower.
The
the
to the
inspiration
is
his
almost
climax
clearly
Romanesque
Italian facade
owes something
Malatestiano
(1887).
turned
*Queen
American
and
to
its
to
Alberti's
Tempio
igS)
doing in England,
(III.
increasingly
to
equivalent,
they
formality
abandoned
and
the
picturesque
favour
in
of
Their
we have seen,
- and
fashionable practice
architecture
for,
and
was to
effect
of
their
into the
The
the
'Academic Reaction'. In
this attitude
305
^'
l^
Chapter Eleven
So
far in this
Now we
have
to give
jy8
(
Marquette
Chicago
Building,
at
an
that up,
whole world.
the
national
style'
One may
since character
as
Renaissance,
modern
new
planetary
is
design,
is fully
proclaimed
though
by
law
in the
it
gridAike
had
to
be
covered by masonry
two
frame
The
knowledge
within a week.
It is
modern movement
tours de force as the
lies
in Britain
States that
for the
the
United
States,
it
was
new
first
and
large-scale
principles.
Within
Chicago
born Root,
Well/-
Sullivan -
who
modern commercial
the
ally
first
architecture. In
Chicago we
planned foundations
for
aesthetic
programmes
find
first scientific/'
development of
oi^
first
and
to suit the
the
new
techniques.
Several
things
forcing-'ground of
contributed
to
modern urban
make Chicago
building.
One was
the
its
307
emergence
as the capital
new
New York-San
north-south
Another
cultural
factor
was
the great
let
in the person
New
of Boston
axis
was
of
east-west commercial
Orleans.
of 187 1 which
fire
city
left
the
any architect of
to
He
architect.
demo^
important
democracy
to a
as
different: a strict
SSs-j), by H. H. Richard^
Chicago
son:
lesson
in
grandeur,
if not
in
technique
functionalist, he
and
efficiently,
and providing
Home
bolted
'shelves'
carried entirely
is
to
by means of metal
metal
central
core.
Auditorium
SSj-g),
by
lesson learned
Building,
Louis
Sullivan
the
fully
Chicago
today
offices,
office at
Tacoma
it
his principles
Sullivan,
in Jenney's
all
closely.
Their
a vast audi^
all success^
on concrete
subsoil
rafts;
for the
first
time.
Holabird and
its
frame construction
is
expressed
sides.
fixed centre
Burnham and
carefully
Chicago
Root's
worked out
who saw
found
and movable
to
and simplifying
to erect
and sooner
them'.
details.
Soon
or later a
client
pay well in
way
will be
storeys; the
Though higher
had been common^
feet
elevators
New
York,
and
in
it
was obvious
to be metal/framed.
Perhaps the
would have
that they
1871 -
full
designed
after
Monadnock
Building, but
its
The
aesthetic inspiration of
H.H.Richardson's Mar^
rusticated
struction
and
which was
paraphrase
free
simplified
and
committed
firmly
so
soon
of an
and enlarged,
masonry con^
to the
Renaissance
covered an entire
What
boldly
is
be superseded by
to
Italian
it
It
steel.
palace,
city
block
monumental composition,
its
vitality.
Just
how
is
on
augmented
a two^storey plinth,
the
set
back by a
by
D.H.Burnham
astonishingly
modem
pktely recognized
and Co.
design,
An
which com^
tions
dows
in lioht terracotta
office space.
Wainwright Building
thirteen^'Storey
in St Louis,
spreading
east
bottom than
and
in
1894 ^^^
and
at the
for
west).
The
its
principles were
in
which
the
at the
word
On
impressive attempt to
the
make
and
masonry look what it is -
whole
the
there
is
a real
a veneer.
Carson
309
^J
lt\
icaaraHn
j82 Carson
( i8gg-igo4).
few
years
later
its li^^ht,
broad fenestration,
is
..i^j
School
the corner in
incredible for
time in the
accepts,
date
The white
structure.
building -
and considered
and indeed
this
a success.
It
of
its
emphasizes the
terracotta sheathing
it.
any
at
elbow and
thirty, at his
One
thing
he created a
j8^, ^84 Opposite: above, 'L'lnnova^
tion' in Brussels (igoi), by
Victor
Horta;
below,
'La
Samaritaine'
in
at the
tive,
holding
round
it
the
glass
and
at least links
new
drawing-board.
new kind
the finest
ground
floor
made some of
his time.
The
decora^^
swirling
so austere,
There
Matthew
310
at the
lay
the
link with
Digby Wyatt's
Europe.
traceried
As
iron
far
back
girders
as
at
architectural, but
decoration.
structural or even
rise to its
own
kind of
such
stores,
Victor Horta's
as
'A
I'lnnovation'
Brussels (1901)
two
aspects of the
levels.
an architectural
as
modern movement
part of the
rejected
it
as a
artist
in
historical
models.
favourite
Its
was found
flowing
While
hair.
architecture could
all
and
too easily
it
was
is
shown by the
work of
Its
diversity
at its best
whom we
Sullivan,
Antoni Gaudi
in
Gaudf
Antoni
religious
and by
(i
man, inspired
nature.
He
was
852-1926)
in his
work by
profoundly
the
Middle Ages
a 'biological' style, a
change apparent
commissioned in
88
his early
in the transept of
openwork
unique,
its
encrusted with
Batllo (1905-7)
is
fish.
hke the
balconies;
its
coloured ceramic.
an iridescent
ripples
surrealist,
The Casa
forms;
spires
from
left
to right like
internal plan
is
spiky, seaweedy
entirely free,
and highly
at the basis
of Gaudf 's
3^5
Crypt
Coloma
Santa
of
de
Coloma Guell
i8g8-igi<,). Gaudi
supports
is
to
both
quality
rou^h
organic
and
to
create a
and inclined
avoid buttresses.
Surrealist
effect,
The
result
medieval
architecture
in
indeed,
structural innovations.
The
less
strings
modern
walls,
his
life
Gaudi was
new
columns and
their angles
with
Colonia
solutions
on
Victor Horta
the
(i
his builders
and improvising
ever^
site.
86 1
and undisciplined
motifs.
ornament
was
the
it
Van
de
should be
been mentioned.
stair/rail
and of the
The
snake^-like
surface decoration
in the Tassel
the
the
their
to use materials,
the culmination of
this
glass
set
- by law -
Chicago. Inside
as
it
had been
auditorium
in the large
it
was not
'Si j'etais
International
Modern
Robert Mallet^Stevens,
architect,
'And
if
said,
should design
'I
like
Mackintosh
far
(i
The
behind.
especially
868-1928)
houses
Windyhill,
left
he
are
as
in
and
exteriors,
and Germany.
home, but
it
is
in
and
by
It
first
As
Vienna
his influence
Glasgow
at the
He went
Their
stairs.
strong in Austria
at
gleaming
interiors
stencilled decoration,
heeded
Hill
Glasgow,
outside
built
was
largely un/
was
part
built in
is
two
a straight/
The
j86
unfinished
Sa^rada Familia
188^)
in
transept
and
we see
the
As
is
of the
Barcelona (hegun
it
the
owed
Gothic in^
openwork
spires,
ofperhaps
in
all
architecture
league with
novation',
in iron
it
new
techniques.
Like 'L'ln^
and glass
be done
windows
big studio
we must remember,
Paris
and dominate
are a fantastic
the
little
Nouveau - and
finials
removed from
became famous
library itself
for
its
gallery
screen
create
spatial
ejjects;
the
appears
in the
windows
again the
is
it
running through
oriels
functionalism
several
than the
less
The
its
structure;
foreshadowing
German Expressionism
of
the twenties.
At
same time,
the
in
frieze
utilitarian,
windows
mere shed.
Now
the
complex handling of
^88
on
railings.
outside
or
far
then
built
the
the
purely
steel^framed
monumental masses of
last
torical prestige
big
as
earlier, in Buffalo,
N.Y.,
in his later
work,
built the
office, top/lit
Larkin Builds
and surrounded by
galleries.
it
Pevsner even
is
calls
it
'ethereal'.
ruthless.
Nikolaus
machine
age.
It
was done
it.
In
masonry was
modern
a wholes
fact,
to
so well,
however,
this
we
Egyptian weight of
structure
would
left, in
Art
i8gj-i).
It
Nouveau
windows
of igoj-^, on the
later section
makes
library's
in
The
right,
from
the
set
the steep
street
^gi For
Factory
his
in
(igo8-g)
Peter
steel
is
Fagus Factory
the
the
at
in 191
1.
This went a
Chicago engineers:
stage further
than
is
therefore set
was seen
to
irrelevant.
finally disappeared.
Massive masonry
At
Also
World War
in the
Werkbund
year
It
was
atmosphere of post^
war Germany,
that
combine
to
the
Bauhaus.
first
and craftsmen.
It
Its
teachers were
artists,
symbolized in educational
it
Its
it.
a tool.
One must
potentialities
must
machine and
to
all
Gropius the
design for
be
to
not
it,
not
glorified,
minimized.
In 1925 the
Weimar;
it
was
for
it
re/
was always
Bauhaus influence on
ig2^-6), by
are three
ground
left
main
back^
it
it.
also
doomed, brought
to
an
Chair of Architecture
therefore,
indirectly
at
to
to
to
subordinated
the
stifled the
modernism
initiated
by Sullivan.
In
3^4
( igjo),
tional
steep
the
Midler House,
Prague
his June--
site.
The masses
to a
new
Europe
to
same way,
inspiration from
had returned
functionalist doctrine of
lucid architecture
that
House
all
unornamented
is
express
its
and
was
It
for
built
of reinforced concrete.
plan:
its
like
differentiating
rooms by
by doors.
for
was
its
it
remarkable
also
fascinated
than
architecture,
in
in the
In
by the possibility of
their shapes
work
his
these
House
at
and
levels rather
themes
reached
Prague (1930).
School:
Louis Sullivan's
Wright. In
star
pupil,
Frank Lloyd
a la
317
395>
zontal emphasis
Above,
in its
the
hori^
marriage of building
to landscape,
Research Tower of
and
Son
at Racine; core^
S. C.fohnson
lecture'.
Below,
the
among
these 'Prairie
House
Chicago (1909).
in
work appears
Illinois,
Outstanding
The more
eaves.
in
the
Unity Church
Oak
at
was
it
Park,
the
first
unbroken bands of
true
account of the
were
of
Wright
that enabled
it
in 19 16, did
it
two
great tours de
in
its
built his
reinforced concrete.
Tokyo, begun
at
possibilities
to pass before
force in
this
little
first
was
is
The main
a
was
office
development of the
office
is
The second
the
tour de force^
of the same
Kaufmann House
the
rooms
are
as
Bear
at
it
were
strong horizontal
verticality
Ten
The
years
later
cantilever even
Johnson
Wax
modern
This was a
construction.
more daringly:
at
trees.
in the Research
is
the
Tower of
cantilevered out
entire building is
of concrete poured
in
moulds
beautifully
columns
slender
built in defiance
mushroom
of the general
ofglass tubes
3gg
Kaufmann
(1936).
House,
Bear
of everything
Wright
'organic architecture'. It
built,
Run
nearest,
to
true
319
400, 401
for
decoration
novation.
of Poelzi/s
Berlin
in-'
Grosses Schauspielhaus,
(igig). Ri^ht:
the
Solomon
(built
ig^6-g),
powerful
of city blocks
now commonly
used in
skyscraper building.
built
vitality
and
1956-9) demonstrates
originality.
It
his
unflaggmg
ramp
suite.
is
It
is
The
spiral
past.
man who,
fifty
is
a tribute to
years before,
Church.
Frank Lloyd Wright's
that in speaking
the
whole
granted.
spite
story
That
of the
of
his later
to take
story
is
employ both
life
steel
same
architects could,
and concrete
for
for in
and
did,
either separately or in
The
result
now
two
is
is
to
modern
glass classicism
the other
architectures.
Le Corbusier
The
1905
when
Maillart
bridges in Switzerland.
was building
assumed
yet
Poelzig
remodelled
Berlin, in
of
the
full use
as the
these stalactites
of the
swooning
Hans
Schauspielhaus
Grosses
The
in
Tower
re^
its
graceful
inforced concrete.
Observatory
first
which
stalactites
his
- designed
the Einstein
etc.,
402
Observatory
Einstein
Neuhahelsherg
Tower,
(igig-21), by Erich
ironically
became
and economics
of reinforced concrete
Mendelsohn's
freely
at that
streamlined,
forms
in design rather
than
During
Auguste
found an evangelist in
He was
at
Le
Gothic
coloured casket.
achieve a similar
form
resting
is,
as
it
were, within a
a possibility only
in concrete
111
m^m
the
lit
ground for
in
order to
trees,
grass,
At
ig4j-^2, below)
on
'pilotis'
among
trees
concrete grille
achieves
its
filled
with stained
The
the
The
building thus
new
Corbusier,
virtually
proscribed
by
his
Adolf Loos,
at that
material.
Radieuse he produced
glass.
Marseilles he
to
He
in concrete.
its
climax in
In 1923
Le
colleagues,
and La
Ville
years before,
had
uttered his
famous dictum.
our Hellenes'.
to
was
It
for
Le Corbusier
to state implicitly
what
and
La
In
Ville Radieuse
also to
who saw
he
that skyscrapers
New
because, as in
among
trees
and
lakes, they
could give back the space they had saved, thus enabling
ordinary people to live with light,
a
tremendous
there are a
air
and
foliage.
It
was
now, although
as
Towards
might
how men
Le Corbusier contributed
live in cities,
number
Nantes (1952-7),
The
etc.
'Unite'
roof'top creche
Marseilles
at
own shops,
its
and gymnasium.
It
to the
self-contained
and
restaurant,
storeys,
5^foot/high
Mediterranean or
has an ingenious
is
to the
with
windows
mountains:
406
bare concrete
is
relieved
The whole
colour.
air.
Externally the
building
is
raised
on gargantuan
Roehampton
(ig^2-g),
County Council
ment,
is
Estate,
designed
hy
the
London
London
Architects' Depart^
a practical
and economic
inters
pylons or
pilotis; aesthetically
lies
balconied
pilotis.
It
windows and
This indeed
was
is
Corbusier ranked
his
an
artist
Radieuse' theory.
in the
using concrete.
in
later
sensitivity for
composition, that
as a master; this
Le
La
323
/foj In the
(
Law
Courts
at
is
Kiinj
l8BvL.L
Chandigarh
! am
III
111' V-r
v,
to
textures and
also highly
func^
court^rooms
sculptural unity.
('brut'),
the
The
to
concrete
create
is
rough
calculated irregularity
Visual Arts
Chandigarh
at
Law
and
which forms
the entrance,
pilgrimage church
the broad
windows
concrete.
The
is
removed -
324
is
in
as
it
(1950-4)
eaves,
as against
and
the tiny
actual surface of
rough, just
aesthetic
Ronchamp
irregular
is left
at
emerges
Le Corbusier's
when
concrete
on how an
become commonplace.
now
That
Crete
free
does
and
fantastic shapes
mean
not
such
that
shapes
always
are
of
steel,
contrary
to
the
or stone. In
whole
Giuseppe Terragni
cultural
Casa
built the
1932-6,
clearest
same may
Stockholm Crematorium,
architectural
designed by
Gunnar Asplund
made
Rohe
moving but
in
its
the
of Fascism -
del Fascio
all
for instance
ethos
Como,
statements
in steel.
very
The
subdued
splendid landscape,
193
5-
40^
engineering
possible
with
the
by concrete has
modern movement.
prefers
to
call
Pier
Luigi
Nervi
himself an engineer.
(born
The
Casa
Fascio,
del
Como
Mussolini
pompous
regime;
it
stylism of the
also
defies
the
1891)
His stadmm
at
absolutely
pure
geometric
statement,
410,
J 7
lecture
rij^ht,
the
Florence
Communal
(ig-^o- 2);
archie
Below
Stadium
rij^ht,
the
at
'rib^
412
Virgin,
Mexico City
ig^^j, Candela
III.
straight shutterinj^
a scissor^likc structure
and
a roof
Orbetello (1938^
while the
first
nearly 300
IS
is
300
feet
Exhibition Hall
feet.
at
Turin has
Rome. Most
in
or the factory at
across
Brynmawr
shuttering,
and
in
and domes
arc
network of ribs
are
Olympic
Le Raincy,
Wales roofed by
the
domes each 90
poured on
In Nervi's work,
for the
span of
Games
to
continuous
unbroken
soffits.
and
in the
pounng of concrete.
\^
c^ medieval aichitectuie
:hat in the
:^
.1-
e ..i::
as, in
the course of
some four
of Flamboyant Gothic.
Only
Among the
fev^-
can be noted.
centur.
vaults,
::^
:-?
Giuii ^
?c
:ela, especially
..i^ous Virgin in
.:
f" successful,
the
Sweden,
at
more
Lulel,
Ri rh
concourse. In
straightforvi-'ard
E:>x
:.;
?3), a
:iesigned the
Sub^
Cmema n f^
^ij
ping Caittr,
Erskme.
shell,
cmema,
a j
:c
concrete
it.
its
dark^pamted
effects
cm
'amhulcSory'.
he produced on
near
Ae
Ae
li^kt^colomei intemr
Ae
spotligkts
Sh^
adkuce. Here
is
Sub^Arctic
suspended
fftr
screen.
fftr
Li^
wdb
At
projection
hy
ifcr
room
are
innumerable
and
office
apart^
- are
as in all ages
1937
Ldcio
by
UNESCO
and
Costa
Oscar
Niemeyer;
in
the
at
Aluminum
New
York
Lincoln Center,
State Theater at
(1962-4)
by Philip Johnson;
Theatre,
Minneapolis (1961-3)
New
York
Tyrone Guthrie
the
by Ralph
Rapson;
(1937-43),
de
Costa
designed by
This
can
to
its
new
Building
at
office
level
Builds'
Minoru
(igS9)>
Yamasaki, shows the enrichment and
at
Detroit
glamour given
to
The
still
popularly
screen fai^ade
Hans Scharoun;
the
United
Germany (1963)
in
States embassies in
here
appropriately, of aluminium
two
last
in
London
Dublin (1963) by
window
unit; both
harmonize
to
.
their
scale
with
is
trade^mark of Yamasaki;
virtually
it is,
Wolfsburg
Arts
the
rich
standardized world
the
lift
block
building, with
Arne Jacobsen;
the
^#ta:aiittv.dMw
drawing-board the
:
right angle
and
Min^
Theatre,
ig6i-j). Ralph
Rap son
here
^ive
to
unity
to
awkward
the
41 J Yale University
New
A forceful com^
tecture Building,
position
studio
of towers framing
the
in
big
The smoothness of
rejected
in
111.
the glass
j^o).
wall
is
418 United
(
approach
wall
is
to
building
built
sections. It rests,
like,
in
concrete:
the
up
of regular pre^cast
however, on a fortress^
rusticated basement.
The
circular
awkward
site
329
41 g
port,
is
TWA
New
here
used
movement and
made
sculpturally
models
realizing
express
to
rather
with
that
drawing,
than
concrete
no
one
^^:
longer designs
lost significance.
is
seagull in flight
It
His
- but
architect
Jorn Utzon
building
now
Opera
Sydney
House
motif of the
TWA
enclose space. It
is
(begun
uses the
wing
used for
its
own
to
sake,
tremendous
330
effect
on a particular
site
wing/shaped roof - a
it
its
spatial effect.
won
Sydney
harbour in which
its
420
for
it is
reflected.
The corresponding
list
The
greatest master
of the
is
As
of the Bauhaus.
^.^
early
1929, in the
,^^S
the staff
German
and quality of
sophisticated but no
less
his
House,
the Farnsworth
Illinois
(1950),
Lake Shore
Illinois Institute
Seagram Building
in
New York
chaste
all
'V,;,
essays
on
the
rectangle.
In the
'
ujq
"'^
./
superfluity,
The
to
buildings
is
theme -
in
Mies van
,j
let
call
the
Second only
-miiiwir n
to
>
,.
J";
JiiiitntMU
iiHitiiinniiiiiiH
'
'
in fii^ifHii |||iliMliintM|
nimiiiiniM nHnmninHi immi<
iimiiini
^'
-"W||w,,
..,,.";:;;;;;;;:
'I'
,
,1'
I
III!
,i.<.,
:i:^...,r.'"'"
":
'Miesian'
upon
Gaudi
or
Mies van
American
"'HlHlHn'-.
mm
'iiiHWifniii nmimmmiMinniii
'.;::' -''M.^,;:;;
More'.
recalls
tradition
the
is
one
<
-:--
m'g^
firm of
offices in
many
Two
421, 422
essays in the
theuse^of
use qfjTHe
fine steelwork
to
and related
offices
in
liberates
Seagram Building
space.
in
Above,
New
York
steel
the
(de^
ig^6-8):
there
is
ground
level
plaza
331
this
cities
firm
astounded
phenomenon
is
Gordon
York
in the
Lever Building
high/rise building;
iii'
would have
In
centuries.
earlier
all
that
its
it
among world
si*';.
"''Si
may
a precedent that
capitals.
The Lever
it
brown
glass
I.
we owe
Merrill
!!
Academy
at
and bronze.
the
.,'.<> !S
Force
42J
level
Building, sheathed in
SSHSsSs i?^:iNiiii
,
new
to a
'"1
It
York
.Jli
New
lift
it
which
New
Bunshaft, gave to
BuiUing,
Steel
York
House
at
rooms
are
office
glass
tower with a
The most
evocative
New
- have been
grouped around
a small court
of the Miesian
One
geometry.
is
at
with an old
res^
formal landscape
Chicago
at
New
and
the chaste,
set in
The
clarity
largest
and
is
at
Rjodovre,
Denmark
austerity,
building in
an essay in pure
this
idiom
is
the
uncompromising
severity
new
influenced partly by
at Marseille.
Peter
In their school
on the
guishable.
and
their intention
cathedrals, technique
Unite
Hunstanton (1949-53),
Mies.
at
his
fifties,
art
whether of ships or
indistin^
42 S
Owinp
set a
large
One
Deir eUBahari
u)
(111.
to
steel: a glass
by
its
42-/
by
box for
setting in lake
and
living in Justified
and woodland
relationship,
pure geometric
unelaborated,
between
all glass,
the
and the
(1949- S3),
by Peter and Alison Smithson. This is
the
to
achieve
an 'honest' architecture
333
phrase 'the
Corbusier 's
Brutalism* - both a
pun on Le
and a
reference
to the
New
Two things,
One
is
that this
- has given
other
Tokyo
42(^
(ig6o), by
project
the
An
interesting
attempt
Le
Corbusier
to
take
the
spaced,
and
to
them
cottage,
skills
both
into
that
is
us a
and
craft,
with
its
Today
techniques, whether
this
steel
is
no longer
or concrete, are
housing problems
Modern
true.
now
own
from
'architecture'.
to solve
canvas; the
being used
all
an expanding
population.
not possible to deal fully with this separate theme.
It is
English legislation,
establishing
it
number of 'New
post-war move.
first
must be recorded
It
came
as
Cumbernauld,
near
Japan has
problem
in the
world.
The i960
Team
itself,
as well as
project for
its
Tokyo by
by Noriaki Kurokawa,
all,
Kenzo Tange
helical or
the
is
Tokyo
another
Tokyo
project with
however -
if still
only a hypothesis -
on
conceived
Ocean City
as a series
is
is
of
poetic
Coventry or Rotterdam
4^0 Ocean
City
(igs^)> Kiyonori
artificial islands.
may
he the
most
The
circular tower
of
Marina Towers,
may prove
to
be
of the future
335
pedestrians.
Cities
actually
planned
Niemeyer. Brasilia
is still
hundred thousand
live in the
still
built.
vast
far
However
the
Brasilia,
the
for
new
are
novo
de
arid tracts,
the formal
St Petersburg,
Washington, Canberra,
Chandigarh and,
New
The
emerges magnificently.
Byzantium)
4P
Brasilia, by
Oscar Niemeyer.
Palace,
It
has a
the
first
is
Delhi and
its
around the
and was
The main
centre of
panorama,
sets
in careful
chapel shaped
tall
bowl and
the
dome of the
for the
way
to
go before
next generation
it
it
can
may
network of world
igS^- ^^^
they
Surely there
is.
style,
Like
all
strictly
is
or at least a
habits,
followed
by
whether in concrete or
to a
Congress
the
Niemeyer's buildings
'"
^ horizontal
landscape,
in
the
twin
office
towers of
housing
Chamber of Deputies
world approach.
own epoch,
an
steel,
architectural
designers.
and human
interpretation,
must produce a
total solution
this
be found the
to
analysis of function
scientific
withm
not, even
make
form, as
traditions, there
emergence of a world
Brasilia,
yet
^32 At
rise
is
certainly a style.
gaucheries, a tremendous
Rome, but
style,
It is
way
in fact, despite
as brutal as that
This
or
is
of
judgement
fall.
337
A SHORT BIBLIOGRAPHY
General
Bacon, E.N.
Fletcher,
B.
London, 1967
Design of Cities.
Architect
History.
in
Oxford, 1927
Pevsner, N. An
1961
Harmondsworth, i960
Bell,
R.P.,
rev.
W.B. Dinsmoor.
The Architecture of
London, 1927
Ancient Greece.
Architecture of Ancient
E. Hellenic Architecture.
London, 1920
Temples,
in
History.
Harmondsworth, 1942
ed.
Cambridge,
1943
Smith,
W. S.
Wheeler, M. Roman
Art and
Architecture.
Harmondsworth, 1958
London, 1964
Braun, H. S. The
London, 1948
Davis,
J.
G. The
1952
Evans,
J. Life in
The Romanesque
Frankl,
London, 1957
Cambridge, 1938
p. Gothic Architecture.
Harmondsworth, 1962
London,
reli^ieuse en
France
Webb, G.
of Byzantium.
Architecture
in
a I'epoque gothique,
of St Sophia.
London, 1894
London, 1959
Britain:
Renaissance to Classicism
Blunt, A. Art
and Architecture
in
France: 1^00-iyoo.
Kaufmann,
E. Architecture
in the
Age
New
Europe.
Harmondsworth, 1965
of Reason.
in
Harmondsworth, 1953
Italy. London, 1944
in Transactions of
Series,
and Architecture
in
their
American
Murray,
W.
Deutscher Barock,
SuMMERSON,
J.
ed. Konigstein,
Architecture in Britain:
WiTTKOWER, R.
Art and
2nd
1924
Architectural Principles
Architecture in Italy:
in
London, 1969
in the
Age
London, 1962
Banham, R.
Clark, K. The
CoNDiT, C. W.
GiEDiON,
2nd
Gothic Revival,
First
ed.
Harmondsworth, 1950
S. Space,
Hatje, G.,
in the
Time and
ed. Encyclopedia of
Hitchcock, H.^R.
Modern
Architecture
New
York, i960
Architecture.
London
1963
2nd
ed.
Harmonds^
worth, 1963
Early Victorian Architecture
JoEDiCKE,
J.
Jordan, R.
in Britain,
2 vols.
Furneaux
Victorian Architecture.
New Haven
London, 1959
Harmondsworth, 1966
Pevsner, N.
Richards,
M. An
J.
The Functional
Introduction to
Modern
Harmondsworth, 1968
New
Harmondsworth, 1959
London, 1958
Architecture of Europe.
London, 1962
39
OF ILLUSTRATIONS
LIST
Saqqara,
in italic
complex of
Egypt:
Pyramid of Zoser;
III
Reconstruction by
J. P.
the
Step
Courtesy
wood;
the
Giza, of the
Pyramid
IV
built. Courtesy
Museum
of
section of the
1312-f. 1235
BC.
XIX
and Rameses
After
in the east
wing of
mam
staircase
the Palace of
XIX
Dynasty. A.Jdnicke
room
in the Palace
bc
c 1450
18 Mycenae,
tion
Greece:
isometric
of the palace;
Drawn
by Michael
reconstruct
C. bc.
14th- 13th
Langham Rowe
19 Pottery
Heraeum
decoration
is
Museum,
Athens
Italy:
(Temple of Hera
C. B c. Hirmer
Fotoarchiv
I);
mid/6th
Munich
22 Paestum,
Italy
so-called temple of
Nep^
B c. S.f. Brandon
23 Ephesus, Turkey: view across the portico
of the Temple of Artemis; begun c. 540
BC. Restoration drawing by F. Krischen,
Gruben,
Hirmer,
from
Abu
north-west;
Marburg
Minos;
Rameses
are
bowl
pool and
Banister
Fletcher
hall;
house
a copper
Fotoarchiv Munich
6 Thebes,
II,
and
c.
as
of
Dynasty,
Science, Boston
XIX
c.
II
tomb of Meket^re
the
eans
Mykerinus
340
entrance
trees
in the
pillars in the
showmg Rameses
could be
Institute,
12
14
Fotoarchiv Munich
(2680-2565
11
XIX
Osiris;
Lauer
13
(i
XIX
Berve,
Greek
26 Athens:
as
43
Gruben,
Berve,
Hirmer,
Thermae of
ad
and
new
Michelangelo's
plaster)
modelling
(i
in the i8th
C.
survive.
vaults (under
561-5) altered
little;
it
was overlaid by
the structure
ad
section of
Fletcher
bc
47 Rome:
of the
interior
Pantheon;
William Suddaby
Athens:
tion
Parthenon,
and
peristyle
view
between the
Fotoarchiv
Munich
ig^g
ad
Hellenistic times.
35 Athens:
seat
of Dionysus
detail
Suschitzky
copy of a Greek
C. AD. Frank
Rome:
W.
by
I.
(died
Gismondi. Museo
della
37),
restored. J.
52, 53
Civilta
Savio
38
c.
Rome:
Rome:
70-82.
Ward
frons
ad
113.
of the
the auditorium;
has
since
been
Perkins
ad
seum;
54
Ij
scaenae
city in
ad
Libya:
51 Sabratha,
Roman
14
original,
cad
aqueduct;
Pen/old
120-4.
Josephine Powell
36
ad
3rd
re^
but
33
Diocletian,
Greek
Suschitzky
ad 21 1- 17.
31
Rome:
AD
Thermae of
of the
ManselUAlinari
Canada
view
air
it
42 Rome:
exterior
of the Colosseum;
ad
Fotocelere, Turin
soz-called
39
Rome:
ad
40 Rome:
tins,
of the Basilica of
looking west;
Maxen^
ad 313. Recon^
William Suddaby
Jon Broome
west;
CAD
lining a
air
57 Palmyra, Syria:
after
struction painting by
56 Timgad, Algeria:
main
Corinthian colonnades
street;
late
2nd C. ad.
Miss G. Farnell
58 Baalbek,
daby
341
59 Pompeii,
before
Fuller,
Via dell'Abbondanza;
is the House of the
Italy:
ad
79.
and
On the left
peristyle; before
ad
ad
before
the
79.
House of
After the
the
official
62 Tivoli,
Italy:
detail
Dr
Dr
of model by
cad
ad
2 1 Josephine Powell
,
1037-46.
87
Moscow:
looking
east;
Sergius
527-36.
and
Like
Outline
of European
ed., i960,
Architecture,
76 Ravenna,
Jubilee
Italy:
Italy:
S.
Vitale;
detail
of the
interior
of
342
526-47. ManselUAlinari
St
Mark's,
90, 91
C Jean Roubier
Rome:
interior
ad
92 Rome:
c.
93
Rome:
east;
c.
across
section
330, After
Old
St
Peter's;
Ciampini
interior
of S. Clemente, looking
c.
94 Rome:
USSR
of
interior
Italy:
east;
the
in^
(Dordogne),
France:
89 Perigueux
tenor of St^Front, looking east; begun
by
painting
f.
of SS.
Reconstruction
William Suddaby
looking
interior
Hautes Etudes
88 Venice,
Institute, Inc.
Pierer
London
Outline
Perissinotto
c.
Courtauld
83 Chios:
68, 69 Istanbul:
72 Istanbul:
Bacchus,
sculpture.
532-7. Antonello
earlier
1 3
aisle;
with
1250,
south
81 Aght'amar,
E. Richter
Italy:
Josephine Powell
66 Venice,
\2xtr.
E.
130.
of St Irene, lookmg
interior
532 and
Hirmer
later.
Venii,
the
towards
atrium
the
78 Istanbul:
east;
House of
Italy:
from
looking
f. 1 1
30.
plan of S.
Clemente;
c.
I084-
96 Annaberg, Germany;
looking
east
interior
of St Anne,
ales),
looking
only
Roman
(with
blocked by
after.
brick
Norman
The Saxon
arches
voussoirs)
were
Kouhier
c.
for the
monastery of St Gall,
Redrawn from
c.820.
the
N. Pevsner, An
From
tecture.
Penguin Books
114 Tournus (Saone^'et^Loire), France: detail
of St^Philibert, showing vaulting of nave
and
;
Switzerland;
east;
at either
800.
1
aisle;
vaults
early
nth and
early
Aachen,
Germany:
Chapel,
Palatine
115
103 Gloucester
looking
C. By
courtesy of Professor
and
the
Kenneth J. Conant
116 Cluny (Saone^et/Loire), France: recon/struction model of the third church, seen
Marburg
England: nave,
begun 1087. Sydney Pitcher,
Cathedral,
east;
Cluny
Ar-'
chives Photographiques
Gloucester
1 1
for centering
arches.
107 Southwell
Compostela
de
Spain: nave;
c.
England: view
c. 1
30. National
Cathedral,
1075-1150. Mas
Minster
east;
Archives Photographiques
106 Santiago
(Nottinghamshire),
south^'east
nave;
the
Compostela
de
119 Santiago
Spain: plan; f. 1075-1150
Cathedral,
from
Sernin
the
east;
begun
1080.
c.
Giraudon
Monuments Record
111 Pontigny
Bildarchiv Foto
east;
c.
1030.
Marburg
no
St/Martin^du^Canigou (Pyrenees^Orient^
France: monastery from the south;
1001-26. The buildings have since been
ales),
of the
church, looking
Germany:
Premonstratensian
east;
c.
in/
abbey
east/
343
of the church;
portals
finished
c.
1170.
Jean Roubier
127
128
Durham
Cathedral,
vaults;
c. 1 1
England:
nave
abbey church;
1 1
nanhex and
mid" 1 3 th C.
chevet,
c.
142 Chartres
Cathedral
(Eure^et^Loir),
France: west front; nonh tower begun
1 1 34,
south tower begun 1142, Portail
Royal and lancet windows above it c.
1145-50; rose window and gable built
after
the
fire
Bulloz
c.
east;
f.
interior
Italy:
lookmg
interior
choir
east;
of S. Miniato
of S. Ambrogio,
nave begun
1080. ManselUAlinari
east;
145
133
Jean Roubier
Long Melford
glass figure
east
(Suffolk),
of
window
Alfred
England
stained
the
of the church;
C.
15th
Cathedral
north
begun
World War
I;
begun
c.
1229.
ND^Giraudon
137 Kuttenberg
(Kutna
Hora),
Czecho^
Slovakia
double
147
aisles;
air
looking
east;
(Oise),
France:
begun
1150. Martin
c.
in^
Hurlimann
148 Beauvais Cathedral (Oise), France: in/
terior of the choir, looking east from the
crossing; I22<,l^j-'j2 (see
1^8), vaults
///.
scale
of St
the
153 Wells
view
showing
Drawn
the
development of
by Jon Broome
Cathedral
north
C.I
across
(Somerset),
the
nave;
England:
cathedral
first
third
344
old photograph
Noyon Cathedral
terior,
begun
vaulting.
From an
139 Diagram
I.
Elisabeth,
north--
Lammer
front, before
(Eure^et^Loir),
looking
transept,
Chartres
France:
al
c.940,
143
cathedral
parts
Cathedral
looking
155 Salisbury
England:
nave,
quarter of the 13 th
156
(Wiltshire),
looking
choir
c.
of the
vaults
Hans von
1408.
Burg/-
Landeshildstelle,
France: in^
Marburg
159 Carlisle
begun
hausen,
east;
Austria:
Franciscan Church; by
C. Edwin Smith
168 Salzburg,
second
east;
(Cumberland),
Veit
is
left,
Sakramentshaus
the
Adam
(tabernacle)
by
A. F. Kersting
161 Exeter Cathedral (Devon), England:
tier^
C,
Giovanni
by
1284
Anderson
174 Venice,
162 Bristol Cathedral, England: south
the choir;
aisle
1 3
of
37.
Italy:
Doge's Palace;
14th
late
iy$ Toledo
Cathedral,
163 Ely
(Cambridgeshire),
Cathedral
England
laid
begun
Cathedral
England:
interior
(Cambridgeshire),
of the octagon from the
restored
Gilbert
and
Carpenter,
partially rebuilt
Scott
in
the
1322-42,
by Sir George
19th
C. Martin
Vendome
ambulatory;
A.F.
Kersting
Jean Rouhier
Cathedral
mission on Historical
(Seine^'Maritime),
Jean
Rouhier
Monuments
Spain:
ments Record
166 Rouen
Mas
additions.
Hurlimann
165
Cathedral,
1
may have
(construction
1227
before then).
176 Burgos
Martin Hurlimann
164 Ely
in
begun
detail
181
1240-8. Giraudon
Sainte^Chapelle;
f.
Aachen
Germany:
choir;
Minster,
begun 1355.
interior
Bildarchiv Foto
of the
Marburg
nave
1
Yevele,
345
83 Gloucester
cloister
England:
Cathedral,
walk (on
washing^place) ;
the
after
left
1 3
5 1,
south
monks'
chiefly c 1 3 70.
is
the
Edwin Smith
Hurlimann
Malatestiano (S.
begun
Alberti
tista
Bat^'
unfinished.
1447,
ManselU Alinari
199 Mantua,
Leone
1690
Cantahrigia Illustrate^
Tempio
fagade of S. Andrea; by
Italy:
Alberti;
Battista
1470-2, unfin/
ished. Anderson
200 Mantua,
Leone
1503-19.
201
Rome:
1470-2
leria;
1
plan of S. Andrea; by
Italy:
Battista Alberti,
King Manuel
I;
c.
Glass ner
Colonia, 1482-94.
Simon de
202 Rome:
Tempietto of S. Pietro
in
Montorio; by Donato Bramante, 1502.
Georgina Masson
203
Mas
built
190 Venice,
lagoon;
Italy: Libreria
by
Jacopo
Brunelleschi,
roundels by
by
142 1-4,
with
terracotta
ManselU Alinari
193 Florence,
looking
Italy:
interior
by
of Sto Spirito,
Filippo
Brunelleschi,
208
1436-82. Alinari
Peter's,
Nazionale
Rome:
part
of the
fa9ade
of Palazzo
Vidoni/CaffareUi; by Raphael,
Collection
and courtyard
of the Palazzo Strozzi; begun 1489 by
Benedetto da Maiano, continued by Cro^
naca, 1497- 1507, completed 1536. Geor^
gina
346
Masson
Rome;
east;
for St Peter's,
Filippo
Rome;
Innocenti;
Peter's,
of the Cathedral;
Alinari
degli
St
546
206 Rome: St
Italy:
for
1505/6
ManselU Alinari
192 Florence,
Ospedale
del
addition.
Sansovino,
dome
Cortile
later
C.I
of the
level
1503.
House,
Rome: upper
Belvedere; by
209 Florence,
Italy:
c.
1515-
ManselU Anderson
part
of the
facade
210 Rome:
interior
Madama;
cuted by Giulio
gina
of
AV
Masson
Romano, 1516-27.
Geor^
211
Rome:
Rome;
116 Venice,
Anderson
Andrea
is
Palladio,
Pevsner,
tecture.
Italy:
231
c.
1530.
Georgina
c.
Rotonda; by Andrea
An
232 Rome:
detail
233
Rome:
Kersting
596-1603. Anderson
Palazzo Bevilacqua; by
SanmicheU;
56).
Maderna,
///.
Penguin Books
Michele
Masson
Italy: Villa
of courtyard facade
of the Palazzo del Te; by Giulio Romano,
(see
Italy: detail
111 Verona,
229 Vicenza,
A. F. Kersting
219 Mantua,
Palazzo Chiericati; by
Masson
Fletcher
Italy:
Palladio,
forum buildings
Italy: Sta
Baldassare
Staatliches
Museum Schwerin
Georgina
235
Rome:
Anderson
1568. Anderson
11$
Rome:
Vignola,
Insignium
son
Giacomo
238
H7
240 Rome:
255 Paris:
Giraudon
detail of Lescot wing in the Cour
du Vieux Louvre; by Pierre Lescot, with
sculpture by Jean Goujon, begun 1546.
della Sapienza;
241
Rome:
Fontane; by Borromini,
1667.
ManselU
Anderson
242
243
Rome
Jean Roubier
Rome:
Pietro
da
Cortona,
1656-7.
2$7 Anet
Georgina
the
Masson
by
Rome:
Italy
interior
chapel of the
of the
Santissima
of courtyard of the
by Pedro Machuca,
detail
V;
Hampton Court
(Middlesex), England:
Museum, London
260 London: Strand front of Old Somerset
House; 1547-52 (demolished c. 1777).
From a drawing by John Thorpe.
Courtauld
Institute
oj Art,
University
of
Trustees of Sir
1554 and
Robert Smythson
Summerson,
after.
at
Hatfield.
Architecture
England:
MS by
After a
in
From
Britain:
J.
is^o-
Schmidt^ Glassner
251
I,
1576
air
Chambord
348
France: interior of
dome of the
Sindone; by
Guarino Guarini, 1667-90. Edwin Smith
244 Turin,
245
(Eure^'Ct-'Loir),
circular
interior
east;
Smythson, 1590-7
:;
Town
ACL
272 Pans:
east front
erie
Glaces;
des
by
Hardouin
Jules
2S2 Versailles
Trianon;
by
Jacques^
1763-9. Giraudon
Charles
France: Petit
(Seine-'et^Oise),
A nge
Gabriel;
From
J.F.
IV,
Architecture fran^oise,
1756
London
Perrault
A.F.
Works
Kersting
House
287 Wilton
(Wiltshire), England:
room; by Inigo Jones and
John Webb; c. 1649. A.F. Kersting
288 London: plan of St Stephen, Walbrook;
Orleans
274 Blois
(Loir-'et/'Cher),
France:
'double-'cube'
An
N.
begun
1645 by
Francois Mansart, continued by Jacques
Lemercier after Mansart's dismissal, com^
Val/de^'Grace;
275 Paris:
Pevsner,
of
European
by courtesy
of Penguin Books
289 London:
interior
of St Stephen,
Wal"
Wren,
Christopher
Outline
1672-87.
National
Monuments Record
i'j6
Vaux^le^Vicomte
(Seine^et'-Marne),
Le
Outline
(Seine/et^Marne),
277 Vaux^e^Vicomte
France air view of the chateau by Louis
Le Vau,
Museum
A. F. Kersting
Wren
London;
Society Report,
Sir
for
1673
XIV,
Christopher
St
Paul's
From
the
by courtesy of
London
279 Versailles (Seine/et^Oise), France: garden
front of the palace; by Louis Le Vau,
1669 et seq., and Jules Hardouin Mansart,
1678 et seq. A.F. Kersting
280 Versailles
(Seine-'et^Oise),
France:
air
1710
349
Howard
295 Castle
detail
(Yorkshire),
England:
Mas
1721-32.
Keith Gibson
Italy:
convent
of San
312 Paris:
Nancy
tail
Schmidt^ Glassner
301
showing
Vienna:
staircase in the
Upper
Belvedere;
detail
of cornice in
in
1754,
out by
Musee
Stanislas.
air
la
(by
Edwin Smith
for
Nancy
laid
11 J Pans:
Amalienburg; by
Belprey,
Jacques^Ange Gabriel,
1755 et seq.) and the Rue Royale Unking
it with the Madeleine (by Pierre Vignon,
Germany:
de
places
Historique Lorrain,
Concorde
303 Munich,
Plan
three
Emmanuel Here
316 Pans:
Glassner
171 1-
the
the
from
319 Berhn:
20 Leningrad Theatre
:
vich Rossi,
c.
Street
1827-32.
by Karl Ivano^
From A. Grabar,
1743-62.
Marburg
Neumann, 1743-62
307 Rohr, Germany: detail of reredos in the
abbey church; by Egid Quirin Asam,
1717-25. Hirmer Fotoarchiv Munich
350
Chiswick
Buildings and
London:
Burlington,
324
c.
A. F.
House;
by
Lord
Ministry
of
Public
Works
Holkham Hall
front;
1725.
by William Kent,
Kersting
begun 1734.
325 London:
Sir
3 3
T.A.
i9th^C. engraving by
Prior after
black,
in
the
1812-27
From
Architect
Museum,
to
Bank of England
329 London:
by
demolished).
House; 1705,
Andrews
ernor's
rebuilt 1932.
Wayne
School;
Taliaferro,
1832-4.
land,
D.C.:
United
States
335 Washington,
Capitol. Central section by William
Thornton, Charles Bulfinch and others,
1792-1827; wings and dome by Thomas
U. Walter, 1851-65. Washington Convene
and Visitors Bureau, Infoplan
c.
Newton; by
1784.
old
photograph,
BouUee,
an
Edwin Smith
of Thomas Jefferson ; by
From
Scotland:
Royal
High
Thomas Hamilton, begun
Etienne-' Louis
by
U.S.A.: house of
Schaefer
and Son
From
tion
by courtesy of
Soane's
Fire
London
J.
W. Newbery,
Sydney
8 12.
the
Life
328
Biblio^
Horace
Walpole,
1754
(house
begun
War
II. Staatliche
Museen zu Berlin
de Justice;
Poelaert, 1866-83.
349 Brussels:
Palais
by Joseph
ACL
Opera House
351
365
London:
<:.
Record
355
Museum;
the
1849
367 Paris: reading room in the Bibliotheque
Ste^Genevieve; by Henri Labrouste, 1 84350. Archives Photographiques
William Butterfield,
Monuments Record
river;
A. F. Kersting
356 London: Houses of Parliament, Royal
Gallery in the House of Lords; by Sir
Charles Barry and A. W. N. Pugin, com^
pieced by
357 Birming
interior
east;
>
by
70
'
St
\.W.N.
London
National
Piccadilly Hotel ; by R.
Shaw, 1905-8.
371
(Warwickshire), England:
1844-5.
847. A. F. Kersting
im
Record
353
Cragside
(Northumberland),
England:
Norman
Norman
National Monuments
Record
Monument Record
358
Record
Town
London
362 London:
detail
Street,
Edwin
garden
by
Sir
Life
New
York:
Station; by
1906-10
interior
of
Pennsylvania
(demolished).
Charles
White,
Phelps
Cushing
Woodward,
352
(Illinois),
by
U.S.A.: Marquette
and Roche,
Holabird
Company
Photographing
tectural
Company
U.S.A.:
(Illinois),
1890-4
382 Chicago
Scott
(Illinois),
Store,
in
U.S.A.: Carson
its
original
state
Pirie
before
left
tectural
Photographing
Company
from
pi.
Coloma de
Colonia Giiell; by
Antoni Gaudi, 1 898-1 91 5- Only the
crypt of the chapel was ever completed.
Amigos de Gaudt
Cervello,
the
in
Mas
interiors,
salvaged,
Dr Franz
Bauhaus
complex
Walter
Gropius,
Stoedtner
395 Buffalo
fay
W.
Baxtresser
397
399 Bear
number of
the iron^framed
and
are at
present in storage.
Studio Minders
into the
Annan, Glasgow
Press,
by
south;
the
1925-6.
L'Architecture,
Germany:
393 Dessau,
1899-
AEG
Glasgow School
Behrens, 1908-9.
Reliance
Building; by D. H.
the
of Art
391 Berlin:
381 Chicago
last
Com^
pany
New
York
400
New
signed
1943,
built
State Department of
1956-9.
New
York
Commerce, Infoplan
by Hans Poelzig,
191 9. Bildarchiv
Foto Marburg
402 Neubabelsberg,
Germany:
Einstein
Auguste
Perret,
353
From
1925.
for Paris,
W.
by Le Corbusier,
Boesiger and
H.
Girs/
berger,
419
Associates
of Roehampton Estate;
detail
tect's
H.
Law
^22 Mexico
igio-6<
Offices;
(Haute^Saone),
France:
nil,
409 Como,
Giuseppe Terragni, 1932-6. By
Casa
del
Luigi
Italy: aircraft
Nervi,
1938.
By
courtesy of
hangar; by Pier
courtesy
of
the
architect
411 Florence,
Italy:
grandstand of the
and
Com^
Gautherot
U.S.A.:
(Minnesota)
416 Minneapolis
Tyrone Guthrie Theatre; by Ralph Rap^
son, 1 96 1-3. Eric Sutherland
New Haven
U.S.A.:
and Architecture
by Paul Rudolph, 1961-3.
(Connecticut),
University
Building;
An
Merrill,
completed
1959.
Hedrich^
Blessing
426
New Canaan
(Connecticut),
U.S.A.:
From
Philip
427 R0dovre,
1953-4
413 Lulea,
Arctic
by
Fascio;
410 Orbetello,
New
Bunshaft of Skidmore,
Martin Hurlimann
4,
Italy:
Yale
Balthazar Korab
423
Notre^Dame^du^Haut; by Le Corbusier,
417
S toller
1967
408 Ronchamp
1950
Ezra
Corbusier
Le
Girsberger,
by
Tourist Commission
421
Courts; by Le
From W.
TWA,
Boesiger and
Corbusier, 1952-6.
Terminal Building,
Saarinen, 1956-62.
don Council
TWA
York:
Kennedy
406 London:
354
New
429 Project
across
for
the
Tokyo by building
Yokohama, detail of
extending
bay
to
completed by i960
432
Brasilia: general
showing
Chamber
INDEX
Exhibition
Barcelona,
work
311, ji2,
Gaudf
331;
jij
Palatine
ijij;
Abu
Simbel 20, 21
Adam, Robert 265, 26J, 268, 288, 289
Adler, Dankmar 307, 309
Aght'amar 89, go
Agliate, S. Pietro 107
Agrigento
Alberti,
i8j,
Leone
Battista
171,
174-6,
195-6
Buffalo,
Abbey
Henry 264
AEG Turbine Factory
harmonic
(Schinkel) 282
Schauspielhaus
328;
naro
127,
Andrea
al
228,
22g, 2^2
88, 91
Bexley Heath,
60, 61
St^Trophime 117
in
Ashridge 289
Asplund, Gunnar 325
Athens 25, 32, 39; Acropolis 29, 32,
jj, j4, 43; Erechtheum ^2, jj, ^4,
Little
J5, 57; Kapnikarea 92;
Metropole Cathedral 90, 91 --2; Par/
thenon 12, j2, 3^, ^4, 35, j6-4y,
Dionysus 32,
Temple of
42, 4^
264;
205
1,
del
Condestable) 16^
Burlington, Lord
266
26^1,
Cambridge
Bourges
Downing
162;
Cathedral
126,
136,
140,
Church 274
Cameron, Charles 264
Campbell, Colen 265, 266
Canberra 336
Candela, Felix ^26, 327
Canterbury Cathedral 121,
Capet,
Hugh
126
Castle
Rock of 27
Howard 246, 247, 248
Caux,
Isaac de 240-1
Cashel, Great
Chambers,
Sir
2<,8, 262
William 265, 266,
Chambord, Chateau
Brasilia ^^6,
Charlottesville,
j^y
Breuer, Marcel 328
Brighton, Royal Pavilion 280, 281
Cathedral 148, 14^
Bnxworth, Saxon church gg
Bristol
Brosse,
Va.,
Virginia 27^
Chartres Cathedral
University
113,
126,
of
127,
228, 2^0, 23
Brunelleschi,
178, 184
220
Salomon de
Briihl, Schloss
142, 14J,
160
267
141. 157
Autun Cathedral
Chapel
Chalgrin, J.F. T.
Broadleys )0 2
College
rebuilding
Trinity
35;
town
250, 257
8g, 90, 91
J2-4,
Chad's Cathedral
Nike Apteros
St
Bryanston joi
architecture
298, 2gg,
291
Blandford,
Armenia, Byzantine
for the
Birmingham,
Am
Roman town
Red House
300
Propylaea
Palazzo
2oy,
Byzantine architecture in
station 112;
Chapel 202,
Aries,
314,
Guaranty Building
House ^18
Bell,
N.Y.,
164, 16$
Anatolia,
ji^; Palais
Berlin,
1,
W. H. 294, 2g^
Barnngton Court 220
Batalha
Minster
Aachen,
Chapel J 00, 117
Aalto, Alvar 328
Horta work ^1
de Justice 284
Barlow,
Pa^e numbers
Brussels,
1,
234
307-8,
Building 308,
313;
309;
252
Filippo
218
Chicago
168,
i6g-ji,
Illinois Institute
Auditorium
Carson Pine
Crown
Hall,
of Technology 331;
355
309;
Monadnock Building
Montauk Block 308; Reliance
309;
332
Hadrian, Emperor
Citeaux 114
Clairvaux 114
Clermont/Ferrand, Notre^Dame^du'
Port 103
Cluny no,
C.R. 286-7
Cologne, Cathedral 152, 15J; Opera
House 284
Colorado Springs, U.S. Air Force
J25;
Romans
151
Epidauros, theatre 43
Erskine,
Ralph j2y
70, 73
Hawksmoor, Nicholas
Johann Michael 254
Fischer von Erlach, Johann Bernhard
Fischer,
250
Florence
168; Biblioteca
167,
Lau^
Cockerell,
if,o,
py
Gropius, Walter
y6, 317, 320
Guarini, Guarino 210, 211, 257
170;
i6t),
155,
Communal
214
3,
190; Palazzo
Pitti
Monte
123;
122,
Sta
Maria
ly i; Uffizi 193
Floris,
Cornells 228
Howard, Ebenezer
Hugh
Fontenay
Fonthill 289
118
75
Fontevrault
Ictinus 37,
Abbey
Frangois
214, 218
Gabriel, Jacques^
William H. 328
88;
100,
126,
336;
Hagia Sophia
88, 89;
86, 8y; St
Jacobsen,
Genoa 197
Jefferson,
Romano
Arne
328, 332,
jj^
Giulio
Giza 11,12
Glasgow, Mackintosh work 313,374,
Jerusalem,
della Porta,
Giacomo
196
della Robbia, Andrea lyo
de
Gallarus Oratory gg
Garnier, Charles 284, 28^, 286
Dashur, pyramid 12
Deane and Woodward 2p^
Deir el^Bahari 18, ig, 20, 21
12
Isidore of Miletus 81
262
1 1
^^y 334
40
g, 10, 11,
Blue Mosque
Cumbernauld 336
Deitrick,
Imhotep
115
Culzean 289
303
Abbot of Cluny
17
Fountains
I
of Semur,
rOrme,
Reynolds
Aluminum
Build'
ing ^28
356
2gi, 2g2,
2gy
2g4,
298-9
Jerash,
Roman town
62,
64
116
Church of
the
Resur^
rection 74
Johansen, John
M.
328,
pg
jy,
332, ^^^
Jones, Inigo 238, 2^g, 240, 241, 249
Jourdain, Frantz 37 1
Juan Bautista de Toledo 213, 214
Julius
II,
Pope
179,
182,
188,
196,
206
Jumieges, Notre^Dame ti8, ng, 120
Emperor
Justinian,
8
1
dington
Hotel
293;
Station
310;
Piccadilly
Building
Prudential
300;
Kedleston Hall 26
Kent, William 265, 266
Kenwood House 268
Kiev Cathedral 93
56,
2y8; Somerset
St Bar^
bara 1^1
Travellers'
Langenstein 1^4
Langhans, K. G. 265
Long
Landshut 154
2jg
Le Corbusier (C.E. Jeanneret) 174,
Le Puy
178,
W.R.
-231,
Limoges, St^Martial 1 1
Lincoln Cathedral 142,
232, 255
146,
145,
2%
26
Bank
eum
282,
House
263; Christ Church,
28-/ ;
Terrace 262,
190;
Palazzo
i8j,
190;
Peter's
181,
180,
200,
182,
St
257;
Ambrogio
Lorenzo 73;
Sta
102, 123;
Maru
delle
Sanderson 280
1 1
Monreale Cathedral 1
Montacute House 227
Monticello 275
Montserrat, Sta Cecilia 107
30s
Macaulay, Rose 65
Machuca, Pedro 213
Mackintosh, Charles
111,314,31s
Maderna, Carlo 180,
203, 20^, 206
303, 304,
Rennie
311,
747,148
Liverpool, St George's Hall 287,
1
i8g,
186,
303
Loches, casde
298,
23
188,
184,
Mnesicles 34, 35
Modena Cathedral
214
Chapel
Farnese
300, 301
112, 117
Miller,
28
Edwin Landseer
326, 327
Meyer, Adolf 5 75
32J
Luxor
107
Lutyens, Sir
Le Notre, Andre
Mexico
Carlton
Spitalfields
Manchester
Town
19
Hall 2^3
236-7
Mantua, Alberd work 176; Giulio
234, 23s,
Romano work
Medum, pyramid
12
Nancy
260, 261
Naples 214;
Reale 226;
264; Poggio
Francesco di Paola
Caserta
S.
284
Nash, John 263, 26g, 2jo, 288
Nashville, Tenn., State Capitol 280
Tower 321
Neumann, Balthasar
254
New Canaan, Conn., Philip Johnson
House
New
New
332, 333
Delhi 300, 336
274
357
j 2
New York
Academy
of Design
R. Guggenheim
Museum j2o; Lever Buildmg j22;
Lincoln Center 328; Pennsylvania
Station 54, ^04, 305; Pierpont
Morgan Library 305; Seagram
Building ^31;
Building,
309;
Solomon
294;
TWA
Kennedy
International Airport
jjo
town 61
Nonsuch Palace 220, 221
Novgorod 93
Nowicki, Matthew 328
Noyon Cathedral
Nuremberg,
Oak
Park,
Odo
of Metz 100
Roman
Orange,
i<,4
J26
Museum
238, 249
Palladian movement 199, 238, 239,
Roman town
Paray^le^Monial
Paris
65, 66,
268
1 1
omphe
Arc
de Tri^
la
Nations
232;
Eiffel
Invalides
311;
Petra 65
Pevsner, Sir Nikolaus 132, 167, 193,
work
work 278;
Hans 320,
Tower
297,
church 232,
2jj;
218, 219, 22^, 230,
Temple of
183;
74,
2.
186,
187,
Agnese
206; S.
Carlo
208,
alle
209;
S. Filippo
Nen
209; S.
Roman town
61
Old
g6; St Peter's,
257; S. Pietro
in
offices
of S. C. Johnson
Stazione
Montorio,
Termim
(Cortile del
Concorde 234,
la
Rivoli
de
Sainte^Chapelle
i^g,
262,
26y,
162;
St'
UNESCO
2p
183,
Mad'
ama
191
Pope Julius
196
Ronchamp,
NotrcDame'du'Haut
207, 324
Percier,
P.F.L.
Charles,
2.62,
26
and
Battista
2ig
ancient:
44;
Basilica
of
Colosseum
49,
63,
64;
Forum
Abbey Church
13^
332
55, 98, 113,
136, 167
St'Gilles'du'Gard
St Lcuis,
ij;
St'Denis
Rom^
Fontaine,
138, 143
Rolir
Vatican
327;
Belvedere)
Rue
Tem^
i7g,
3-20
House
Place de
172,
56,
Racine, Wis.,
new
262,
Giacomo
3 3
Rouen Catheral
261;
191,
211, 250; S.
Pantheon
190,
Rheims Cathedral
Baroque
after:
Louvre 210,
55, 54;
Farnese 184,
321
2i<), 228
Procopius 82, 86, 88
Pugin, Augustus Welby Northmore
244-5, 2t)o, 2^1
Pula,
73,
&
Palmyra,
252, 314
Phidias 37, 38, 40-2
Philadelphia, Pa., Latrobe
58,
Qalat'Siman, martyrium 88
Quarenghi, Giacomo 264
Padua, S. Antonio 94
Paestum 30, jj, 201
Primaticcio, Francesco
292;
Golden House of
^7;
70, 184;
57,
Priene
Oxford
Andrea
Claude 22g
Auguste j2i, izz
Palladio,
Nero
Perrault,
Poelzig,
theatre 62
Orbetello, hangar
Romanum
117
111.,
t^^,
Perret,
Strickland
136, 141
Lorenz
St
Perigueux, St/'Front
1 1
309
Salisbury Cathedral
127,
1^2,
143,
14s, 146
Salonika,
Holy Apostles ^2
Antonio da
154
if,2,
Sanmicheli, Michele
ii)2,
193-4
Vignon,
Viollet/le^Duc,
52,
10, 11, 12
Tomar Abbey
iSf,
Tome, Narciso
254, 2<,6
534
Smythson, Robert 223, 223, 226, 22y
Soane, Sir John 86, 277, 27^, 288
Somerset,
Vanbrugh,
Sir
John 246,
2^7, 248,
Trinite
i<i6,
1^4,
195;
Piazzetta
^4,117, 1^6
Verona, Roman town 61
work ig2, 193-4
Versailles, 232, 233,
307,
ic^6,
1^4;
II
Sanmicheli
2^4,
235,
2j6,
House 317
161, 163
Hampton Coun
196,
244,
24^,
261;
Sheldonian
Theatre 242
259-60
Vezelay, La Madeleine 112, 113
Vicenza 197, ig8, igg; Villa Rotonda
Vierzehnheiligen
Wieskirche 254
Wight, P.B. 294
2jJ, 250,
152
Doge's Palace
1^4; Libreria Vecchia 166,
ii)4;
167
Sullivan,
i<,i,
i^g
Stupinigi 257
Soger, Abbot of St^Denis 135, 136,
298
242;
domestic architecture 228, 272; plan
for London 242; City churches 211,
264
Stanislas,
25^3,
Inter/-
249, 266
Vendome, La
Dulles
Chapel
303
Protector 222
27^;
14
Capitol
Skellig Michael 99
288
Unwin, Raymond
St Mary's
11 j
Urbino 177
V, Pope 200
276^
Tutankh'Amun
117, 119
Thomas U.
Webb,
Toulouse, St'Sernin
300,
Seville
Sixtus
(TraS'
157,
Norman
1^6,
Annesley
Charles F.
^02
336;
Toledo Cathedral
parente) 254, 2^6
Sicily,
projects
jj4
Cathedral 165
Voysey,
Warwick,
1J2
for rebuilding
Eugene Emmanuel
132, 296
Walter,
6f,
Pierre 262
Henry 160
York, Assembly
Rooms
266; Minster
76, 142
^, 10, 11
359
^boUt this
Book
'Architecture
is
and
politics, art
cli-
tower.
make
The author's
Robert Furneaux Jordan (1905-78) was one of the leading authorities on the
history of architecture.
History
and
Design
He was Lecturer
the
in
Architectural
Association
School 1934-63; Principal of the Architectural Association
School 1946-51; Lecturer in Planning at the University of
London 1952-53; and Architectural Correspondent of
The Observer 1951-63. He wrote European Architecture in
Colour, Victorian Architecture, The Timber House and The
English House, and contributed frequently to architectural
periodicals.
Printed in
Spam
at
Architectural