RENAISSANCE ARCHITECTURE IN GREAT BRITAIN, SPAIN, AND PORTUGAL.
ENGLAND.--CHRONOLOGICAL SKETCH.
In England, as in France and Germany, the introduction of the Italian
Renaissance was not accomplished without a period of transition. The
architecture of this period is known as Elizabethan, though it lasted
long after Elizabeth's reign. Sometimes it is called Tudor; but it is
more convenient and not unusual to limit the term Tudor to the latest
phase of English Gothic.
Probably the earliest introduction into any English building of a
feature derived from the newly-revived classic sources is in the tomb
of Henry VII. in Westminster Abbey. The grille inclosing this is of
good, though late Gothic design; but when the tomb itself came to be
set up, for which a contract was made with Torregiano in 1512, it was
Italian in its details. The earliest examples of Renaissance features
actually built into a structure, so far as we are aware, is in the
terra-cotta ornamentation of Layer Marney House in Essex, which it is
certain was erected prior to 1525. It is however long--surprisingly
long--after this period before we come upon the traces of a general
use of Renaissance details. In fact, up to the accession of Elizabeth
(1558) they appear to have been little employed. It is however said
that early in her reign the treatises on Renaissance architecture of
Philibert de l'Orme and Lomazzo were translated from Italian into
English, and in 1563 John Shute published a book on Italian
architecture.
John of Padua, an Italian architect, was brought to this country by
Henry VIII. and practised here; and Theodore Havenius of Cleves was
employed as architect in the buildings of Caius College, Cambridge
(1565-1574). These two foreigners undoubtedly played an important part
in a change of taste which, though not general so early, certainly did
commence before Elizabeth's death in 1603.
At the two universities, and in many localities throughout England,
new buildings and enlargements of old ones were carried out during the
long and prosperous reign of Elizabeth; and the style in which they
were built will be found to have admitted of very great latitude.
Where the intention was to obtain an effect of dignity or state, the
classic principles of composition were more or less followed. The
buildings at Caius College, Cambridge, Longleat, built between 1567
and 1579 by John of Padua, Woollaton, built about 1580 by Smithson,
and Burleigh (built 1577), may be named as instances of this. On the
other hand where a manorial or only a domestic character was desired,
the main lines of the building are Gothic, but the details, in either
case, are partly Gothic and partly modified Renaissance. This
description will apply to such buildings as Knowle, Penshurst,
Hardwick, Hatfield, Bramshill, or Holland House (Fig. 81). In the
introductory chapter some account has been given, in general terms, of
the features familiar to most and endeared to many, which mark these
peculiarly English piles of buildings; those remarks may be
appropriately continued here.
[Illustration: FIG. 81.--HOLLAND HOUSE AT KENSINGTON. (1607.)]
The hall of Gothic houses was still retained, but only as one of a
series of fine apartments. In many cases English mansions had no
internal quadrangle, and are built as large solid blocks with boldly
projecting wings. They are often of three storeys in height, the roofs
are frequently of flat pitch, and in that case are hidden behind a
parapet which is sometimes of fantastic design. Where the roofs are
steeper and not concealed the gables are frequently of broken outline.
Windows are usually very large, and with mullions and transoms, and it
is to these large openings that Elizabethan interiors owe their bright
and picturesque effects. Entrances are generally adorned with some
classic or semi-classic features, often, however, much altered from
their original model; here balustrades, ornamental recesses, stone
staircases, and similar formal surroundings are commonly found, and
are generally arranged with excellent judgment, though often quaint in
design.
"This style is characterised by a somewhat grotesque application of
the ancient orders and ornaments, by large and picturesquely-formed
masses, spacious staircases, broad terraces, galleries of great length
(at times 100 feet long), orders placed on orders, pyramidal gables
formed of scroll-work often pierced, large windows divided by mullions
and transoms, bay windows, pierced parapets, angle turrets, and a love
of arcades. The principal features in the ornament are pierced
scroll-work, strap-work, and prismatic rustication, combined with
boldly-carved foliage (usually conventional) and roughly-formed
figures."--M. D. W.
Interiors are bright and with ample space; very richly ornamented
plaster ceilings are common; the walls of main rooms are often lined
with wainscot panelling, and noble oak staircases are frequent.
In the reign of James I., our first Renaissance architect of mark,
Inigo Jones (1572-1652) became known. He was a man of taste and
genius, and had studied in Italy. He executed many works, the designs
for which were more or less in the style of Palladio. These include
the addition of a portico to the (then Gothic) cathedral of St.
Paul's, and a magnificent design for a palace which Charles I. desired
to build at Whitehall. A fragment of this building, now known as the
Chapel Royal Whitehall, was erected, and small though it be, has done
much by its conspicuous position and great beauty, to keep up a
respect for Inigo Jones's undoubted high attainments as an artist.
More fortunate than Inigo Jones, Christopher Wren (1632-1723) had just
attained a high position as a young man of science, skill, and
cultivation, and as the architect of the Sheldonian Theatre at Oxford,
when in 1666 the great fire of London destroyed the Metropolitan
Cathedral, the parochial churches, the Royal Exchange, the Companies'
Halls, and an immense mass of private property in London, and created
an opportunity which made great demands upon the energy, skill, and
fertility of design of the architect who might attempt to grasp it.
Fortunately, Wren was equal to the occasion, and he has endowed London
with a Cathedral which takes rank among the very foremost Renaissance
buildings in Europe, as well as a magnificent series of parochial
churches, and other public buildings. It is not pretended that his
works are free from defects, but there can be no question that
admitting anything which can be truly said against them, they are
works of artistic genius, full of fresh and original design, and
exhibiting rare sagacity in their practical contrivance and
construction.
St. Paul's stands second only to St. Peter's as a great domical
cathedral of Renaissance architecture. It falls far short of its great
rival in actual size and internal effect, and is all but entirely
devoid of that decoration in which St. Peter's is so rich. On the
other hand, the exterior of St. Paul's (Fig. 82) is far finer, and as
the English cathedral had the good fortune to be erected entirely from
the plans and under the supervision of one architect, it is a building
consistent with itself throughout, which, as we have seen, is more
than can be said of St. Peter's.
The plan of St. Paul's is a Latin cross, with well marked transepts, a
large portico, and two towers at the western entrance; an apse of
small size forms the end of the eastern arm, and of each of the
transepts; a great dome covers the crossing; the cathedral has a crypt
raising the main floor considerably, and its side walls are carried
high above the aisle roofs so as to hide the clerestory windows from
sight.
The dome is very cleverly planted on eight piers instead of four at
the crossing, and is a triple structure; for between the dome seen
from within, and the much higher dome seen from without, a strong cone
of brickwork rises which bears the weight of the stone lantern and
ball and cross that surmount the whole. The skill with which the dome
is made the central feature of a pyramidal composition whatever be the
point of view, the great beauty of the circular colonnade immediately
below the dome, the elegant outline of the western towers, and the
unusual but successful distribution of the great portico, are among
the most noteworthy elements which go to make up the charm of this
very successful exterior.
[Illustration: FIG. 82.--ST. PAUL'S CATHEDRAL, LONDON. (1675-1710.)]
Wren may be said to have introduced to Renaissance architecture the
tower and spire, for though many examples occur in Spain, there is
reason to suppose that he was before the architects of that country in
his employment of that feature. He has enriched the City of London
with a large number of steeples, which are Gothic so far as their
general idea goes, but thoroughly classic in details, and all more or
less distinctive. The most famous of these is the one belonging to Bow
Church; others of note belong to St. Clement Danes and St. Bride,
Fleet Street.
The interiors of some of these churches, as for example St. Stephen,
Walbrook, St. Andrew, Holborn, and St. James, Piccadilly, are
excellent both for their good design and artistic treatment, and for
their being well contrived and arranged for the special purposes they
were intended to fill.
Wren's secular works were considerable. The Sheldonian Theatre at
Oxford, the library of Trinity College, Cambridge, and the theatre of
the College of Physicians London (long since disused), are a group of
special buildings each of which was undoubtedly a remarkable and
successful work. Chelsea and Greenwich hospitals are noteworthy as
among the first specimens of those great buildings for public purposes
in which England is now so rich, and which to a certain extent replace
the monastic establishments of the middle ages. At Chelsea the
building is simple and dignified. Without lavish outlay, or the use of
expensive materials, much ornament, or any extraneous features, an
artistic and telling effect has been produced, such as few hospitals
or asylums since built have equalled. Greenwich takes a higher level,
and though Wren's work had the disadvantage of having to be
accommodated to buildings already erected by another architect, this
building, with its twin domes, its rich outline, and its noble and
dignified masses, will always reflect honour upon its designer. The
view of Greenwich hospital from the river may fairly be said to be
unique for beauty and picturesqueness. At Greenwich, too, we meet with
some of that skill in associating buildings and open spaces together
which is so much more common in France than in this country, and by
the exercise of which the architecture of a good building can be in so
many ways set off.
Wren, like Inigo Jones, has left behind him a great unexecuted design
which in many respects is more noble than anything that he actually
built. This is his earlier design for St. Paul's Cathedral, which he
planned as a Greek cross, with an ampler dome than the present
cathedral possesses, but not so lofty. A large model of this design
exists. Had it been carried out the exterior of the building would
probably not have appeared so commanding, perhaps not so graceful, as
it actually is; but the interior would have surpassed all the churches
of the style in Europe, both by the grandeur of the vast arched space
under the dome and by the intricacy and beauty of the various vistas
and combinations of features, for which its admirably-designed plan
makes provision.
Wren had retired from practice before his death in 1723. His immediate
successors were Hawksmoor, whose works were heavy and uninteresting,
and Sir James Vanbrugh. Vanbrugh was a man of genius and has a style
of his own, "bold, original, and pictorial." His greatest and best
work is Blenheim, in Oxfordshire, built for the Duke of Marlborough.
This fine mansion, equal to any French chateau in extent and
magnificence, is planned with much dignity. The entrance front looks
towards a large space, inclosed right and left by low buildings,
which prolong the wings of the main block. The angles of the wings and
the centre are masked by two colonnades of quadrant shape, and the
central entrance with lofty columns which form a grand portico, is a
noble composition.
The three garden fronts of Blenheim are all fine, and there is a
magnificent entrance hall, but the most successful part of the
interior is the library, a long and lofty gallery, occupying the
entire flank of the house and treated with the most picturesque
variety both of plan and ornament.
Vanbrugh also built Castle Howard, Grimesthorpe, Wentworth, King's
Weston, as well as many other country mansions of more moderate size.
Campbell, Kent, and Gibbs are the best known names next in succession.
Of these Campbell is most famous as an author, but Gibbs (1674-1754)
is the architect of two prominent London churches--St. Martin's and
St. Mary le Strand, in which the general traditions of Wren's manner
are ably followed. He was the architect of the Radcliffe Library at
Oxford. Kent (1684-1748) was the architect of Holkham, the Treasury
Buildings, and the Horse Guards. He was associated with the Earl of
Burlington, who acquired a high reputation as an amateur architect,
which the design of Burlington House (now remodelled for the Royal
Academy), went far to justify. Probably the technical part of this and
other designs was supplied by Kent.
Sir William Chambers (1726-1796) was the architect of Somerset House,
a building of no small merit, notwithstanding that it is tame and very
bare of sculpture. This building is remarkable as one of the few in
London in which the Italian feature of an interior quadrangle is
attempted to be reproduced. Chambers wrote a treatise which has
become a general text-book of revived classical architecture for
English students. Contemporary with him were the brothers John and
Robert Adam, who built much, and began to introduce a severity of
treatment and a fineness of detail which correspond to some extent to
the French style of Louis XVI. The interior decorations in plaster by
these architects are of great elegance and often found in old houses
in London, as in Hanover Square, on the Adelphi Terrace, and
elsewhere. The list of the eighteenth century architects closes with
the names of Sir Robert Taylor and the two Dances, one of whom built
the Mansion House and the other Newgate; and Stuart, who built several
country mansions, but who is best known for the magnificent work on
the antiquities of Athens, which he and Revett published together in
1762, and which went far to create a revolution in public taste; for
before the close of the century there was a general cry for making
every building and every ornamental detail purely and solely Greek.
The architects above named, and others of less note were much employed
during the eighteenth century in the erection of large country houses
of Italian, usually Palladian design, many of them extremely
incongruous and unsatisfactory. Here and there a design better than
the average was obtained, but as a rule these stately but cold
buildings are very far inferior to the picturesque and home-like
manors and mansions built during the reigns of Elizabeth and James I.
[Illustration: FIG. 83.--HOUSES AT CHESTER. (16TH CENTURY.)]
It is worth notice that the picturesque element, inherited from the
Gothic architecture of the middle ages, which before the eighteenth
century had completely vanished from our public buildings, and the
mansions of the wealthy did not entirely die out of works executed in
remote places. In the half-timbered manors and farmhouses which
abound in Lancashire, Cheshire, Shropshire, and Staffordshire, and in
other minor works, we always find a tinge, sometimes a very full
colouring, of the picturesque and the irregular; the gables are sharp,
upper storeys overhang, and the treatment of the timbers is
thoroughly Gothic (Fig. 83); so are the mouldings, transoms and
mullions to the windows, and barge boards to the roofs. In the reign
of James I. a mode of enriching the exteriors of dwelling-houses, as
well as their ceilings, chimney-pieces, &c., with ornaments modelled
in plaster came in, and though the remaining specimens are from year
to year disappearing, yet in some old towns (_e.g._ in Ipswich)
examples of this sort of treatment (known as Jacobean) still linger.
In Queen Anne's reign a semi-Gothic version of Renaissance
architecture was practised, to which great attention has been directed
in the present day. The Queen Anne style is usually carried out in
brickwork, executed in red bricks and often most admirable in its
workmanship. Pilasters, cornices, and panels are executed in cut
bricks, and for arches, niches, and window heads very finely jointed
bricks are employed. The details are usually Renaissance, but of
debased character; a crowning cornice of considerable projection under
a high-pitched hipped roof (_i.e._ one sloping back every way like a
truncated pyramid) is commonly employed; so also are gables of broken
outline. Dormer windows rich and picturesque, and high brick chimneys
are also employed; so are bow windows, often carried on concave
corbels of a clumsy form. Prominence is given in this style to the
joiner's work; the windows, which are usually sash windows, are
heavily moulded and divided into small squares by wooded sash bars.
The doors have heavily moulded panels, and are often surmounted by
pediments carried by carved brackets or by pilasters; in the interiors
the woodwork of staircases such as the balusters, newel posts, and
handrails is treated in a very effective and well considered way, the
greater part of the work being turned on the lathe and enriched with
mouldings extremely well designed for execution in that manner. By
this style and the modifications of it which were more or less
practised till they finally died out, the traditional picturesqueness
of English architecture which it had inherited from the middle ages
was kept alive, so that it has been handed down, in certain localities
almost, if not quite, to the present century.
SCOTLAND.
The architecture of Scotland during the sixteenth and succeeding
centuries possesses exceptional interest. It was the case here, as it
had been in England, that the most important buildings of the time
were domestic; the erection of churches and monasteries had ceased.
The castles and semi-fortified houses of Scotland form a group apart,
possessing strongly-marked and well-defined character; they are
designed in a mixed style in which the Gothic elements predominated
over the classic ones. But the Scottish domestic Gothic, from which
the new style was partly derived, had borne little or no resemblance
to the florid Tudor of England. It was the severe and simple
architecture of strongholds built with stubborn materials, and on
rocky sites, where there was little inducement to indulge in
decoration. Dunstaffnage or Kilchurn Castles may be referred to as
examples of these plain, gloomy keeps with their stepped gables, small
loops for windows, and sometimes angle turrets.
The classic elements of the style were not drawn (as had been the case
in England) direct from Italy, but came from France. The Scotch,
during their long struggles with the English, became intimately allied
with the French, and it is therefore not surprising that Scottish
Baronial architecture should resemble the early Renaissance of French
chateaux very closely. The hardness of the stone in which the Scotch
masons wrought forbade their attempting the extremely delicate detail
of the Francois I. ornament, executed as it is in fine, easily-worked
stone of smooth texture; and the difference in the climate of the two
countries justified in Scotland a boldness which would have appeared
exaggerated and extreme in France. Accordingly the style in passing
from one country to the other has changed its details to no
inconsiderable extent.
Many castles were erected in the sixteenth and following centuries in
Scotland, or were enlarged and altered; the most characteristic
features in almost all of them are short round angle turrets, thrown
out upon bold corbellings near the upper part of towers and other
square masses. These are often capped by pointed roofs; and the
corbels which carry them, and which are always of bold, vigorous
character, are frequently enriched by a kind of cable ornament, which
is very distinctive. Towers of circular plan, like bastions, and
projecting from the general line of the walls, or at the angles,
constantly occur. They are frequently crowned by conical roofs, but
sometimes (as at Fyvie Castle) they are made square near the top by
means of a series of corbels, and finished with gables or otherwise.
Parapets are in general use, and are almost always battlemented.
Roofs, when visible, are of steep pitch, and their gables are almost
always of stepped outline, while dormer windows, frequently of
fantastic form, are not infrequent. Chimneys are prominent and lofty.
Windows are square-headed, and, as a rule, small; sometimes they
retain the Gothic mullions and transom, but in many cases these
features are absent. Doorways are generally arched, and not often
highly ornamented.
Cawdor Castle, Glamis Castle, Fyvie Castle, Castle Fraser, the old
portions of Dunrobin Castle, Tyninghame House, the extremely
picturesque palace at Falkland, and a considerable part of Stirling
Castle, may be all quoted as good specimens of this thoroughly
national style, but it would be easy to name two or three times as
many buildings nearly, if not quite, equal to these in architectural
merit.
Heriot's Hospital, Edinburgh, may be quoted (with part of Holyrood
Palace) as showing the style of the seventeenth century. Heriot's
Hospital was built between the years 1628 and 1660. It is built round
a great quadrangle, and has square towers at the four corners, each
relieved by small corbelled angle turrets. The entrance displays
columns and an entablature of debased but not unpleasing Renaissance
architecture, and the building altogether resembles an English
Elizabethan or Jacobean building to a greater extent than most
Scottish designs.
When this picturesque style, which appears indeed to have retained its
hold for long, at last died out, very little of any artistic value was
substituted for it. Late in the eighteenth century, it is true, the
Brothers Adam erected public buildings in Edinburgh and Glasgow, and
carried out various works of importance in a classic style which has
certainly some claim to respect; but if correct it was tame and
uninteresting, and a poor exchange for the vigorous vitality which
breathes in the works of the architects of the early Renaissance in
Scotland.
SPAIN AND PORTUGAL.
In the Spanish peninsula, Renaissance architecture ran through three
phases, very strongly distinguished from one another, each being
marked by peculiarities of more than ordinary prominence. The early
stage, to which the Spaniards give the name of Plateresco, exhibits
the same sort of fusion of Gothic with classic which we find in France
and Scotland. The masses are often simple, but the individual features
are overladen with an extravagant amount of ornament, and, as in
France, many things which are essentially Gothic, such as pinnacles,
gargoyles, and parapets, are retained. The Renaissance style was
introduced at the latter part of the fifteenth century, and a very
considerable number of buildings to which the description given above
will apply were erected prior to the middle of the sixteenth. Among
these may be enumerated the cathedral at Granada, the Hospital of
Santa Cruz at Toledo (1504-1514), the dome of Burgos Cathedral (1567),
the Cathedral of Malaga, San Juan della Penitencia at Toledo (1511),
the facade of the Alcazar at Toledo (1548), the Town Hall (1551), and
Casa Zaporta (1560) at Zarragoza, and the Town Hall of Seville (1559).
A great number of tombs, staircases, doorways, and other smaller
single features, executed during this period from the designs of good
artists, are to be found scattered through the country. "These
Renaissance monuments exhibit an extraordinary degree of variety in
their ornaments, which are of the most fantastic nature; an exuberant
fancy would seem to have sought a vent, especially in the sculptured
ornament of the style, which though at times crowded, overladen, and
we must add disfigured by the most grotesque ideas, is very striking
for its originality and excellent workmanship."--(M. D. W.)
[Illustration: FIG. 84.--THE ALCAZAR AT TOLEDO. (BEGUN 1568.)]
The second phase of Spanish architecture was marked by a plain and
simple dignity, equally in contrast with the Plateresco which had
preceded it and with the extravagant style to which it at length gave
place. The earliest architect who introduced into Spain an
architectural style founded on the best examples of Italy, was Juan
Baptista de Toledo. He in the year 1563 commenced the Escurial
Palace--the Versailles of Spain; but the principal part of the
building was erected by his more celebrated pupil, Juan de Herrera,
who carried on the works during the years from 1567 to 1579. This
building, one of the most extensive palaces in Europe, is noble in its
external aspect from a distance, thanks to its great extent, its fine
central dome, and its many towers, but it is disappointing when
approached. Of the interior the most noteworthy feature is a
magnificently decorated church, of great size and unusual arrangement;
and this dignified central feature has raised the Escurial, in spite
of many faults, to the position of the most famous and probably most
deservedly admired among the great Renaissance palaces of Europe.
By the same architect numerous buildings were erected, among others
the beautiful, if somewhat cold, arcaded interior of the Alcazar of
Toledo (Fig. 84), which may be taken as a fair specimen of the noble
qualities to be found in his dignified and comparatively simple
designs. About the middle of the sixteenth century Charles V. erected
his palace at Granada; but here the architecture is strongly coloured
by Italian or French examples, and much of the building resembles
Perrault's work at the Louvre very closely. Herrera and his school
were probably too severe in taste to suit the fancy of their
countrymen, for Spanish architecture in the eighteenth century fell a
victim to debased forms and a fantastic and exaggerated style of
ornament. Churriguera was the architect who has the credit of having
introduced this unfortunate third manner, and has lent it his name.
For a time "Churriguerismo" found general acceptance, and the century
closed under its influence.
We must not pass over the excellent and varied Renaissance towers and
steeples of Spain in silence. They are not unlike Wren's spires in
general idea; they are to be met with in many parts of the country
attached to the churches, and their variety and picturesqueness
increase the claim of Spanish architecture to our respect.
* * * * *
The one Renaissance building in Portugal which has been much
illustrated, and is spoken of in high terms, is the Convent at Mafra,
a building of the eighteenth century, of great extent and picturesque
effect. Great skill is shown in dealing with the unwieldy bulk of an
overgrown establishment which does not yield even to the Escurial in
point of extent. We are, however, up to the present time without the
means of forming an opinion upon the nature and value of the
architecture of Portugal as a whole.
[Illustration: {ORNAMENTAL FOLIAGE PATTERN.}]
[Illustration: {FROM A FRIEZE AT VENICE.}]
INDEX.
_See also CONTENTS at beginning._
Adam, John and Robert, 223.
Alberti, _Architect_, 167.
Amiens Cathedral, 76, 78.
Andernach, Church at, 96.
Anne, Queen, Style of, 225.
Arnstein Abbey, 94.
Baptista, _Architect_, 232.
Batalha, Monastery at, 142, 153.
Beauvais Cathedral, _Interior_, 86.
Belgium and Netherlands, _Gothic_, 87.
---- _Renaissance_, 206.
Bernini, _Architect_, 175, 181, 203.
Blenheim, 221.
Blois, Chateau of, 194.
Blois, Capital from St. Nicholas, 84.
Bourges, House of Jaques Coeur, 15.
Bramante, _Architect_, 168, 174, 180.
Brunelleschi, _Architect_, 120, 166.
Buttresses, 32.
Caen, Saint Pierre at, 37.
Cambridge, King's College, 63.
Campaniles in Italy, 128.
Capitals, Gothic, 43.
Certosa, near Pavia, _frontispiece_, 183.
Chambers, _Architect_, 222.
Chambord, Chateau of, 194.
Chartres, Stained glass at, 65, 69.
Chester, Old Houses at, 38, 224.
Churriguera, _Architect_, 230.
Colmar, Window at, 206.
Cologne Cathedral, 97, 104.
Columns and Piers, 40.
Cortona, Pietro da, _Architect_, 198.
Cremona, Palace at, 117.
Dantzic, Zeughaus at, 203.
De Caumont. _Abecedaire_, 71.
Decorated style of Architecture, 24.
Delorme, _Architect_, 200, 214.
Domestic Buildings, _Gothic_, 14.
Early English Architecture, 24.
Eltham Palace, Roof of, 53.
England, Gothic Architecture in, 21.
---- Renaissance in, 213.
Florence, Cathedral at, 121.
---- Pandolfini Palace, 170, 173.
---- Riccardi Palace, 167.
---- Strozzi Palace, 169.
Fontevrault, Church at, 70.
France, Gothic Architecture in, 69.
---- Renaissance in, 193.
Francis the First of France, 193.
Friburg Cathedral, 98.
Gables in Gothic Architecture, 36.
Germany, Gothic Architecture in, 93.
---- Renaissance, 209.
Ghent, Tower at, 90.
Gibbs, _Architect_, 222.
Giotto's Campanile at Florence, 120.
Gothic, The word, 5.
Goujon, Jean, _Sculptor_, 198.
Haddon Hall, 17.
Havenius of Cleves, _Architect_, 214.
Hawksmoor, _Architect_, 221.
Heidelberg, Castle of, 156, 209.
Herrera, Juan de, _Architect_, 217.
Holland House, 215.
Italy, Gothic Architecture in, 112.
---- Renaissance in, 165.
John of Padua, _Architect_, 214.
Jones, Inigo, _Architect_, 217.
Kent, _Architect_, 222.
Kuttenberg, St. Barbara at, 99.
Lescot, _Architect_, 198.
Leyden, Council-house at, 210.
Lichfield Cathedral, West Door, 5.
Lincoln Cathedral, General view, 35.
Lippi Annibale, _Architect_, 192.
Lisieux, Old Houses at, 41.
Loches, Doorway at, 72.
London, St. Paul's Cathedral, 218.
Maderno, _Architect_, 175, 181.
Mafra, Convent at, 232.
Mansard, _Architect_, 160.
Michelangelo _as an Architect_, 170, 174.
Michelozzo, _Architect_, 167.
Middleburgh, Town Hall at, 89.
Milan Cathedral, 115.
Misereres in Wells Cathedral, 68, 92.
Mouldings, Gothic, 62.
Nuremberg, St. Sebald's at, 109.
Oakham, Decorated Spire of, 60.
Ogee-shaped arch, 129.
Oppenheim, St. Catherine at, 107.
Orleans, Capital from house at, 197.
Orleans, Window at, 196.
Pavia, Certosa, near, 114, 188.
Palladio, _Architect_, 172, 184, 187.
Paris, Cathedral of Notre Dame, 74.
---- Hotel des Invalides at, 205.
---- Louvre, Capital from, 202.
---- Louvre, Pavillon Richelieu, 199.
---- Pantheon at, 204.
---- Tuileries, by Delorme, 200.
Perpendicular Architecture, 25.
Peruzzi, _Architect_, 181.
Peterborough Cathedral, Plan, 6.
Pisano, Nicola, _Sculptor_, 120.
Plateresco, _Spanish_, 230.
Principles of Gothic Design, 146.
Raphael _as an Architect_, 170.
Renaissance Architecture, 154.
Regensburg (Ratisbon), Well at, 20.
Rheims Cathedral, Piers, 80.
Rome, Monument in Santa Maria del Popolo, 179.
Rome, Palazzo Giraud, 178, 180.
---- St. Peter's, 174, 177.
---- Villa Medici, 191.
Saint Gall Manuscript, The, 13.
Salisbury Cathedral, Section, 7.
Saint Iago di Compostella, 137.
Sangallo, _Architect_, 181.
Sansovino, _Architect_, 178, 184.
Scamozzi, _Architect_, 184.
Scotland, Cawdor Castle, 227.
---- Dunrobin Castle, 228.
---- Heriot's Hospital, 228.
Schalaburg, Castle of, 212.
Schwartz-Rheindorff, Church at, 101.
Serlio, _Architect_, 198.
Seville, The Giralda at, 140.
Siena Cathedral, 123.
Spain, Gothic Architecture in, 137.
---- Renaissance in, 228.
Spires, 58.
Stained Glass, 64.
Strasburg Cathedral, 98.
Thann, Doorway at, 106.
Tivoli, Window from, 134.
Toledo, Alcazar at, 232.
---- Cathedral, 138.
Towers and Spires, 33.
Tracery, Venetian, 130.
Tudor Architecture, 25.
Vanbrugh, _Architect_, 221.
Venice, 182.
Venice, Church of Redentore, 186.
---- Ducal Palace at, 118.
---- Palaces on Grand Canal, 18.
Vienna, St. Stephen at, 98.
Vignola, _Architect_, 172, 181, 182.
Warboys, Early English Spire, 59.
Warwick Castle, Plan, 16.
Wells Cathedral, Nave, 9.
Westminster Abbey, Plan, 11.
Westminster Abbey, Carving, 67.
---- Henry VII.'s Chapel, 57.
---- Triforium, 49.
Windows, 46, 47, 48, 50, 51.
Window, Italian Gothic, 134, 136.
Worcester Cathedral, Choir, 9.
Wren, Sir C., _Architect_, 203, 217, 220.
LONDON: R. CLAY, SONS, AND TAYLOR.
_Now in course of Publication._
A NEW SERIES
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* CLASSIC and ITALIAN. By EDWARD J. POYNTER, R.A., and PERCY R. HEAD,
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Transcriber's Note
Minor punctuation errors have been repaired.
Hyphenation and accent usage has been made consistent.
Spelling was made consistent as follows:
Page xxxvii--Transome amended to Transom--"TRANSOM.--A
horizontal bar (usually of stone) ..."
Page xl--Hardwicke amended to Hardwick--"THE END-PAPERS ARE
FROM A TAPESTRY IN HARDWICK HALL."
Page 198--di amended to da--"... built from the designs of
Pietro da Cortona, ..."
Page 217--transomes amended to transoms--"... and with
mullions and transoms, ..."
Page 217--transomes amended to transoms--"... large windows
divided by mullions and transoms, ..."
Page 224--Cotemporary amended to Contemporary--"Contemporary
with him were the brothers John and Robert Adam, ..."
Page 226--transomes amended to transoms--"... so are the
mouldings, transoms and mullions to the windows, ..."
Page 236--Middleburg amended to Middleburgh--"Middleburgh,
Town Hall at, 89."
Page 236--Nicolo amended to Nicola--"Pisano, Nicola,
_Sculptor_, 120."
Page 236--Strassburg amended to Strasburg--"Strasburg
Cathedral, 98."
Page 236--Van Brugh amended to Vanbrugh--"Vanbrugh,
_Architect_, 221."
The following amendments have been made:
Page x--omitted page number added--"3. SCOTLAND, WALES, and
IRELAND 91"
Page xxiv--frize amended to frieze--"... the architrave,
which rests on the columns, the frieze and the cornice."
Page xxiv--The entry for Entablature originally followed
Embattled. It has been moved to the correct place in the
glossary.
Page xxv--Styl amended to Style--"FRANCOIS I. STYLE.--The
early Renaissance architecture of France during part of the
sixteenth century."
Page xxvii--Lintol amended to Lintel--"LINTEL.--The stone or
beam covering a doorway ..."
Page 12--arrangment amended to arrangement--"The whole
arrangement of pier and arch ..."
Page 25--ierced amended to pierced--"Parapet pierced with
quatrefoils and flowing tracery."
Page 30--repeated 'and' deleted--"... Gothic dwelling-houses
of the fourteenth and fifteenth centuries exist, ..."
Page 36--constrast amended to contrast--"... is to combine
and yet contrast its horizontal and vertical elements."
Page 39--storys amended to storeys--"... and sometimes also
the basement storeys, ..."
Page 46--and amended to end--"... occupying the eastern end
of one of the transepts ..."
Page 82--semi-circula amended to semicircular--"... and the
roofs of semicircular and circular apses, ..."
Page 88--achitecture amended to architecture--"... their
architecture, though certainly Gothic, is debased in style."
Page 114--laboration amended to elaboration--"... remarkable
specimens of the ornamental elaboration which can be
accomplished in brickwork."
Page 142--Ths amended to The--"The great church at Batalha
..."
Page 159--omitted 'the' added before building--"... in his
treatment of the same part of the building ..."
Page 176--repeated 'is' deleted--"... as long as the
building is seen in front ..."
Page 186--builing amended to building--"... lofty pilasters
to include two storeys of the building ..."
Page 194--first amended to First--"...than the best
specimens of the style of Francis the First ..."
Page 226--82 amended to 83--"... the treatment of the timbers
is thoroughly Gothic (Fig. 83); ..."
Page 230--archiect amended to architect--"The earliest
architect who introduced into Spain an architectural style
..."
Page 233--picuresque amended to picturesque--"... a building
of the eighteenth century, of great extent and picturesque
effect."
Page 235--page references put into numerical
order--"Brunelleschi, _Architect_, 120, 166."
Page 235--137 amended to 173--"Florence ... ---- Pandolfini
Palace, 170, 173."
Page 235--omitted 7 added--"Haddon Hall, 17."
Illustrations have been moved where necessary so that they are not in
the middle of a paragraph.
There was an error in the List of Illustrations. The original read:
66. PALAZZO GIRAUD, ROME. BY BRAMANTE. (1506.) 180
67. THE CHURCH OF ST. FRANCESCO, AT FERRARA. INTERIOR 183
68. ITALIAN SHELL ORNAMENT 184
69. THE CHURCH OF THE REDENTORE, VENICE. (1576.) 186
70. CERTOSA NEAR PAVIA. PART OF WEST FRONT. (BEGUN 1473.)
189
70A. EARLY RENAISSANCE CORBEL 192
71. WINDOW FROM A HOUSE AT ORLEANS. (EARLY 16TH CENTURY.)
195
The listed Fig. 67 does not appear anywhere in the text. The List of
Illustrations has been amended to accurately list the figures in the
main body of the book, by removing the erroneous listing, renumbering
the figures as necessary, including a previously omitted figure, FIG.
70.--VILLA MEDICI--ON THE PINCIAN HILL NEAR ROME. BY ANNIBALE LIPPI
(NOW THE _Academie Francaise_). (A.D. 1540.), and amending the page
numbers.
The advertising material has been moved to the end of the book.