Chapter XXVIII

ORIENTAL ARCHITECTURE.

INDIA, CHINA, AND JAPAN.

Books Recommended: Cole, Monographs of Ancient Monuments of India. Conder, Notes on Japanese Architecture (in Transactions of R.I.B.A., for 1886). Cunningham, Archæological Survey of India. Fergusson, Indian and Eastern Architecture; Picturesque Illustrations of Indian Architecture. Le Bon, Les Monuments de l’Inde. Morse, Japanese Houses. Stirling, Asiatic Researches. Consult also the Journal and the Transactions of the Royal Asiatic Society.

INTRODUCTORY NOTE. The architecture of the non-Moslem countries and races of Asia has been reserved for this closing chapter, in order not to interrupt the continuity of the history of European styles, with which it has no affinity and scarcely even a point of contact. Among them all, India alone has produced monuments of great architectural importance. The buildings of China and Japan, although interesting for their style, methods, and detail, and so deserving at least of brief mention, are for the most part of moderate size and of perishable materials. Outside of these three countries there is little to interest the general student of architecture.

INDIA: PERIODS. It is difficult to classify the non-Mohammedan styles of India, owing to their frequently overlapping, both geographically and artistically; while the lack of precise dates in Indian literature makes the chronology of many of the monuments more or less doubtful. The divisions given below are a modification of those first established by Fergusson, and are primarily based on the three great religions, with geographical subdivisions, as follows:

THE BUDDHIST STYLE, from the reign of Asoka, cir. 250 B.C., to the 7th century A.D. Its monuments occupy mainly a broad band running northeast and southwest, between the Indian Desert and the Dekkan. Offshoots of the style are found as far north as Gandhara, and as far south as Ceylon.

THE JAINA STYLE, akin to the preceding if not derived from it, covering the same territory as well as southern India; from 1000 A.D. to the present time.

THE BRAHMAN or HINDU STYLES, extending over the whole peninsula. They are sub-divided geographically into the NORTHERN BRAHMAN, the CHALUKYAN in the Dekkan, and the DRAVIDIAN in the south; this last style being coterminous with the populations speaking the Tamil and cognate languages. The monuments of these styles are mainly subsequent to the 10th century, though a few date as far back as the 7th.

The great majority of Indian monuments are religious—temples, shrines, and monasteries. Secular buildings do not appear until after the Moslem conquests, and most of them are quite modern.

GENERAL CHARACTER. All these styles possess certain traits in common. While stone and brick are both used, sandstone predominating, the details are in large measure derived from wooden prototypes. Structural lines are not followed in the exterior treatment, purely decorative considerations prevailing. Ornament is equally lavished on all parts of the building, and is bewildering in its amount and complexity. Realistic and grotesque sculpture is freely used, forming multiplied horizontal bands of extraordinary richness and minuteness of execution. Spacious and lofty interiors are rarely attempted, but wonderful effects are produced by seemingly endless repetition of columns in halls, and corridors, and by external emphasis of important parts of the plan by lofty tower-like piles of masonry.

The source of the various Indian styles, the origin of the forms used, the history of their development, are all wrapped in obscurity. All the monuments show a fully developed style and great command of technical resources from the outset. When, where, and how these were attained is as yet an unsolved mystery. In all its phases previous to the Moslem conquest Indian architecture appears like an indigenous art, borrowing little from foreign styles, and having no affinities with the arts of Occidental nations.

BUDDHIST STYLE. Although Buddhism originated in the sixth century B.C., the earliest architectural remains of the style date from its wide promulgation in India under Asoka (272–236 B.C.). Buddhist monuments comprise three chief classes of structures: the stupas or topes, which are mounds more or less domical in shape, enclosing relic-shrines of Buddha, or built to mark some sacred spot; chaityas, or temple halls, cut in the rock; and viharas, or monasteries. The style of the detail varies considerably in these three classes, but is in general simpler and more massive than in the other styles of India.

TOPES. These are found in groups, of which the most important are at or near Bhilsa in central India, at Manikyala in the northwest, at Amravati in the south, and in Ceylon at Ruanwalli and Tuparamaya. The best known among them is the Sanchi Tope, near Bhilsa, 120 feet in diameter and 56 feet high. It is surrounded by a richly carved stone rail or fence, with gateways of elaborate workmanship, having three sculptured lintels crossing the carved uprights. The tope at Manikyala is larger, and dates from the 7th century. It is exceeded in size by many in Ceylon, that at Abayagiri measuring 360 feet in diameter. Few of the topes retain the tee, or model of a shrine, which, like a lantern, once crowned each of them.

Besides the topes there are a few stupas of tower-like form, square in plan, of which the most famous is that at Buddh Gaya, near the sacred Bodhi tree, where Buddha attained divine light in 588 B.C.

CHAITYA HALLS. The Buddhist speos-temples—so far as known the only extant halls of worship of that religion, except one at Sanchi—are mostly in the Bombay Presidency, at Ellora, Karli, Ajunta, Nassick, and Bhaja. The earliest, that at Karli, dates from 78 B.C., the latest (at Ellora), cir. 600 A.D. They consist uniformly of a broad nave ending in an apse, and covered by a roof like a barrel vault, and two narrow side aisles. In the apse is the dagoba or relic-shrine, shaped like a miniature tope. The front of the cave was originally adorned with an open-work screen or frame of wood, while the face of the rock about the opening was carved into the semblance of a sumptuous structural façade. Among the finest of these caverns is that at Karli, whose massive columns and impressive scale recall Egyptian models, though the resemblance is superficial and has no historic significance. More suggestive is the affinity of many of the columns which stand before these caves to Persian prototypes (see Fig. 21). It is not improbable that both Persian and classic forms were introduced into India through the Bactrian kingdom 250 years B.C. Otherwise we must seek for the origin of nearly all Buddhist forms in a pre-existing wooden architecture, now wholly perished, though its traditions may survive in the wooden screens in the fronts of the caves. While some of these caverns are extremely simple, as at Bhaja, others, especially at Nassick and Ajunta, are of great splendor and complexity.

VIHARAS. Except at Gandhara in the Punjab, the structural monasteries of the Buddhists were probably all of wood and have long ago perished. The Gandhara monasteries of Jamalgiri and Takht-i-Bahi present in plan three or four courts surrounded by cells. The centre of one court is in both cases occupied by a platform for an altar or shrine. Among the ruins there have been found a number of capitals whose strong resemblance to the Corinthian type is now generally attributed to Byzantine rather than Bactrian influences. These viharas may therefore be assigned to the 6th or 7th century A.D.

The rock-cut viharas are found in the neighborhood of the chaityas already described. Architecturally, they are far more elaborate than the chaityas. Those at Salsette, Ajunta, and Bagh are particularly interesting, with pillared halls or courts, cells, corridors, and shrines. The hall of the Great Vihara at Bagh is 96 feet square, with 36 columns. Adjoining it is the school-room, and the whole is fronted by a sumptuous rock-cut colonnade 200 feet long. These caves were mostly hewn between the 5th and 7th centuries, at which time sculpture was more prevalent in Buddhist works than previously, and some of them are richly adorned with figures.

JAINA STYLE. The religion and the architecture of the Jainas so closely resemble those of the Buddhists, that recent authorities are disposed to treat the Jaina style as a mere variation or continuation of the Buddhist. Chronologically they are separated by an interval of some three centuries, cir. 650–950 A.D., which have left us almost no monuments of either style. The Jaina is moreover easily distinguished from the Buddhist architecture by the great number and elaborateness of its structural monuments. The multiplication of statues of Tirthankhar in the cells about the temple courts, the exuberance of sculpture, the use of domes built in horizontal courses, and the imitation in stone of wooden braces or struts are among its distinguishing features.

FIG. 226.—PORCH OF TEMPLE ON MOUNT ABU.

JAINA TEMPLES. The earliest examples are on Mount Abu in the Indian Desert. Built by Vimalah Sah in 1032, the chief of these consists of a court measuring 140 × 90 feet, surrounded by cells and a double colonnade. In the centre rises the shrine of the god, containing his statue, and terminating in a lofty tower or sikhra. An imposing columnar porch, cruciform in plan, precedes this cell (Fig. 226). The intersection of the arms is covered by a dome supported on eight columns with stone brackets or struts. The dome and columns are covered with profuse carving and sculptured figures, and the total effect is one of remarkable dignity and splendor. The temple of Sadri is much more extensive, twenty minor domes and one of larger size forming cruciform porches on all four sides of the central sikhra. The cells about the court are each covered by a small sikhra, and these, with the twenty-one domes (four of which are built in three stories), all grouped about the central tower and adorned with an astonishing variety of detail, constitute a monument of the first importance. It was built by Khumbo Rana, about 1450. At Girnar are several 12th-century temples with enclosed instead of open vestibules. One of these, that of Neminatha, retains intact its court enclosure and cells, which in most other cases have perished. The temple at Somnath resembles it, but is larger; the dome of its porch, 33 feet in diameter, is the largest Jaina dome in India. Other notable temples are at Gwalior, Khajuraho, and Parasnatha.

In all the Jaina temples the salient feature is the sikhra or vimana. This is a tower of approximately square plan, tapering by a graceful curve toward a peculiar terminal ornament shaped like a flattened melon. Its whole surface is variegated by horizontal bands and vertical breaks, covered with sculpture and carving. Next in importance are the domes, built wholly in horizontal courses and resting on stone lintels carried by bracketed columns. These same traits appear in relatively modern examples, as at Delhi.

FIG. 227.—TOWER OF VICTORY, CHITTORE.

TOWERS. A similar predilection for minutely broken surfaces marks the towers which sometimes adjoin the temples, as at Chittore (tower of Sri Allat, 13th century), or were erected as trophies of victory, like that of Khumbo Rana in the same town (Fig. 227). The combination of horizontal and vertical lines, the distribution of the openings, and the rich ornamentation of these towers are very interesting, though lacking somewhat in structural propriety of design.

HINDU STYLES: NORTHERN BRAHMAN. The origin of this style is as yet an unsolved problem. Its monuments were mainly built between 600 and 1200 A.D., the oldest being in Orissa, at Bhuwanesevar, Kanaruk, and Puri. In northern India the temples are about equally divided between the two forms of Brahmanism—the worship of Vishnu or Vaishnavism, and that of Siva or Shaivism—and do not differ materially in style. As in the Jaina style, the vimana is their most striking feature, and this is in most cases adorned with numerous reduced copies of its own form grouped in successive stages against its sides and angles. This curious system of design appears in nearly all the great temples, both of Vishnu and Siva. The Jaina melon ornament is universal, surmounted generally by an urn-shaped finial.

In plan the vimana shrine is preceded by two or three chambers, square or polygonal, some with and some without columns. The foremost of these is covered by a roof formed like a stepped pyramid set cornerwise. The fine porch of the ruined temple at Bindrabun is cruciform in plan and forms the chief part of the building, the shrine at the further end being relatively small and its tower unfinished or ruined. In some modern examples the antechamber is replaced by an open porch with a Saracenic dome, as at Benares; in others the old type is completely abandoned, as in the temple at Kantonnuggur (1704–22). This is a square hall built of terra-cotta, with four three-arched porches and nine towers, more Saracenic than Brahman in general aspect.

The Kandarya Mahadeo, at Khajuraho, is the most noted example of the northern Brahman style, and one of the most splendid structures extant. A strong and lofty basement supports an extraordinary mass of roofs, covering the six open porches and the antechamber and hypostyle hall, which precede the shrine, and rising in successive pyramidal masses until the vimana is reached which covers the shrine. This is 116 feet high, but seems much loftier, by reason of the small scale of its constituent parts and the marvellously minute decoration which covers the whole structure. The vigor of its masses and the grand stairways which lead up to it give it a dignity unusual for its size, 60 × 109 feet in plan (cir. 1000 A.D.).

At Puri, in Orissa, the Temple of Jugganat, with its double enclosure and numerous subordinate shrines, the Teli-ka-Mandir at Gwalior, and temples at Udaipur near Bhilsa, at Mukteswara in Orissa, at Chittore, Benares, and Barolli, are important examples. The few tombs erected subsequent to the Moslem conquest, combining Jaina bracket columns with Saracenic domes, and picturesquely situated palaces at Chittore (1450), Oudeypore (1580), and Gwalior, should also be mentioned.

CHALUKYAN STYLE. Throughout a central zone crossing the peninsula from sea to sea about the Dekkan, and extending south to Mysore on the west, the Brahmans developed a distinct style during the later centuries of the Chalukyan dynasty. Its monuments are mainly comprised between 1050 and the Mohammedan conquest in 1310. The most notable examples of the style are found along the southwest coast, at Hullabid, Baillur, and Somnathpur.

FIG. 228.—TEMPLE AT HULLABÎD. DETAIL.

TEMPLES. Chalukyan architecture is exclusively religious and its temples are easily recognized. The plans comprise the same elements as those of the Jainas, but the Chalukyan shrine is always star-shaped externally in plan, and the vimana takes the form of a stepped pyramid instead of a curved outline. The Jaina dome is, moreover, wholly wanting. All the details are of extraordinary richness and beauty, and the breaking up of the surfaces by rectangular projections is skilfully managed so as to produce an effect of great apparent size with very moderate dimensions. All the known examples stand on raised platforms, adding materially to their dignity. Some are double temples, as at Hullabid (Fig. 228); others are triple in plan. A noticeable feature of the style is the deeply cut stratification of the lower part of the temples, each band or stratum bearing a distinct frieze of animals, figures or ornament, carved with masterly skill. Pierced stone slabs filling the window openings are also not uncommon.

The richest exemplars of the style are the temples at Baillur and Somnathpur, and at Hullabîd the Kait Iswara and the incomplete Double Temple. The Kurti Stambha, or gate at Worangul, and the Great Temple at Hamoncondah should also be mentioned.

DRAVIDIAN STYLE. The Brahman monuments of southern India exhibit a style almost as strongly marked as the Chalukyan. This appears less in their details than in their general plan and conception. The Dravidian temples are not single structures, but aggregations of buildings of varied size and form, covering extensive areas enclosed by walls and entered through gates made imposing by lofty pylons called gopuras. As if to emphasize these superficial resemblances to Egyptian models, the sanctuary is often low and insignificant. It is preceded by much more imposing porches (mantapas) and hypostyle halls or choultries, the latter being sometimes of extraordinary extent, though seldom lofty. The choultrie, sometimes called the Hall of 1,000 Columns, is in some cases replaced by pillared corridors of great length and splendor, as at Ramisseram and Madura. The plans are in most cases wholly irregular, and the architecture, so far from resembling the Egyptian in its scale and massiveness, is marked by the utmost minuteness of ornament and tenuity of detail, suggesting wood and stucco rather than stone. The Great Hall at Chillambaram is but 10 to 12 feet high, and the corridors at Ramisseram, 700 feet long, are but 30 feet high. The effect of ensemble of the Dravidian temples is disappointing. They lack the emphasis of dominant masses and the dignity of symmetrical and logical arrangement. The very loftiness of the gopuras makes the buildings of the group within seem low by contrast. In nearly every temple, however, some one feature attracts merited admiration by its splendor, extent, or beauty. Such are the Choultrie, built by Tirumalla Nayak at Madura (1623–45), measuring 333 × 105 feet; the corridors already mentioned at Ramisseram and in the Great Temple at Madura; the gopuras at Tarputry and Vellore, and the Mantapa of Parvati at Chillambaram (1595–1685). Very noticeable are the compound columns of this style, consisting of square piers with slender shafts coupled to them and supporting brackets, as at Chillambaram, Peroor, and Vellore; the richly banded square piers, the grotesques of rampant horses and monsters, and the endless labor bestowed upon minute carving and ornament in superposed bands.

OTHER MONUMENTS. Other important temples are at Tiruvalur, Seringham, Tinevelly, and Conjeveram, all alike in general scheme of design, with enclosures varying from 300 to 1,000 feet in length and width. At Tanjore is a magnificent temple with two courts, in the larger of which stands a pagoda or shrine with a pyramidal vimana, unusual in Dravidian temples, and beside it the smaller Shrine of Soubramanya (Fig. 229), a structure of unusual beauty of detail. In both, the vertical lower story with its pilasters and windows is curiously suggestive of Renaissance design. The pagoda dates from the 14th, the smaller temple from the 15th century.

FIG. 229.—SHRINE OF SOUBRAMANYA, TANJORE.

ROCK-CUT RATHS. All the above temples were built subsequently to the 12th century. The rock-cut shrines date in some cases as far back as the 7th century; they are called kylas and raths, and are not caves, but isolated edifices, imitating structural designs, but hewn bodily from the rock. Those at Mahavellipore are of diminutive size; but at Purudkul there is an extensive temple with shrine, choultrie, and gopura surrounded by a court enclosure measuring 250 × 150 feet (9th century). More famous still is the elaborate Kylas at Ellora, of about the same size as the above, but more complex and complete in its details.

PALACES. At Madura, Tanjore, and Vijayanagar are Dravidian palaces, built after the Mohammedan conquest and in a mixed style. The domical octagonal throne-room and the Great Hall at Madura (17th century), the most famous edifices of the kind, were evidently inspired from Gothic models, but how this came about is not known. The Great Hall with its pointed arched barrel vault of 67 feet span, its cusped arches, round piers, vaulting shafts, and triforium, appears strangely foreign to its surroundings.

CAMBODIA. The subject of Indian architecture cannot be dismissed without at least brief mention of the immense temple of Nakhon Wat in Cambodia. This stupendous creation covers an area of a full square mile, with its concentric courts, its encircling moat or lake, its causeways, porches, and shrines, dominated by a central structure 200 feet square with nine pagoda-like towers. The corridors around the inner court have square piers of almost classic Roman type. The rich carving, the perfect masonry, and the admirable composition of the whole leading up to the central mass, indicate architectural ability of a high order.

CHINESE ARCHITECTURE. No purely Mongolian nation appears ever to have erected buildings of first-rate importance. It cannot be denied, however, that the Chinese are possessed of considerable decorative skill and mechanical ingenuity; and these qualities are the most prominent elements in their buildings. Great size and splendor, massiveness and originality of construction, they do not possess. Built in large measure of wood, cleverly framed and decorated with a certain richness of color and ornament, with a large element of the grotesque in the decoration, the Chinese temples, pagodas, and palaces are interesting rather than impressive. There is not a single architectural monument of imposing size or of great antiquity, so far as we know. The celebrated Porcelain Tower of Nankin is no longer extant, having been destroyed in the Tæping rebellion in 1850. It was a nine-storied polygonal pagoda 236 feet high, revetted with porcelain tiles, and was built in 1412. The largest of Chinese temples, that of the Great Dragon at Pekin, is a circular structure of moderate size, though its enclosure is nearly a mile square. Pagodas with diminishing stories, elaborately carved entrance gates and successive terraces are mainly relied upon for effect. They show little structural art, but much clever ornament. Like the monasteries and the vast lamaseries of Thibet, they belong to the Buddhist religion.

Aside from the ingenious framing and bracketing of the carpentry, the most striking peculiarity of Chinese buildings is their broad-spreading tiled roofs. These invariably slope downward in a curve, and the tiling, with its hip-ridges, crestings, and finials in terra-cotta or metal, adds materially to the picturesqueness of the general effect. Color and gilding are freely used, and in some cases—as in a summer pavilion at Pekin—porcelain tiling covers the walls, with brilliant effect. The chief wonder is that this resource of the architectural decorator has not been further developed in China, where porcelain and earthenware are otherwise treated with such remarkable skill.

JAPANESE ARCHITECTURE. Apparently associated in race with the Chinese and Koreans, the Japanese are far more artistic in temperament than either of their neighbors. The refinement and originality of their decorative art have given it a wide reputation. Unfortunately the prevalence of earthquakes has combined with the influence of the traditional habits of the people to prevent the maturing of a truly monumental architecture. Except for the terraces, gates, and enclosures of their palaces and temples, wood is the predominant building material. It is used substantially as in China, the framing, dovetailing, bracketing, broad eaves and tiled roofs of Japan closely resembling those of China. The chief difference is in the greater refinement and delicacy of the Japanese details and the more monumental disposition of the temple terraces, the beauty of which is greatly enhanced by skillful landscape gardening. The gateways recall somewhat those of the Sanchi Tope in India (p. 403), but are commonly of wood. Owing to the danger from earthquakes, lofty towers and pagodas are rarely seen.

The domestic architecture of Japan, though interesting for its arrangements, and for its sensible and artistic use of the most flimsy materials, is too trivial in scale, detail, and construction to receive more than passing reference. Even the great palace at Tokio,28 covering an immense area, is almost entirely composed of one-storied buildings of wood, with little of splendor or architectural dignity.

MONUMENTS (additional to those in text). BUDDHIST: Topes at Sanchi, Sonari, Satdara, Andher, in Central India; at Sarnath, near Benares; at Jelalabad and Salsette; in Ceylon at Anuradhapura, Tuparamaya, Lankaramaya.—Grotto temples (chaityas), mainly in Bombay and Bengal Presidencies; at Behar, especially the Lomash Rishi, and Cuttack; at Bhaja, Bedsa, Ajunta, and Ellora (Wiswakarma Cave); in Salsette, the Kenheri Cave.—Viharas: Structural at Nalanda and Sarnath, demolished; rock-cut in Bengal, at Cuttack, Udayagiri (the Ganesa); in the west, many at Ajunta, also at Bagh, Bedsa, Bhaja, Nassick (the Nahapana, Vadnya Sri, etc.), Salsette, Ellora (the Dekrivaria, etc.). In Nepâl, stupas of Swayanbunath and Bouddhama.

JAINA: Temples at Aiwulli, Kanaruc (Black Pagoda), and Purudkul; groups of temples at Palitana, Gimar, Mount Abu, Somnath, Parisnath; the Sas Bahu at Gwalior, 1093; Parswanatha and Ganthai (650) at Khajuraho; temple at Gyraspore, 7th century; modern temples at Ahmedabad (Huttising), Delhi, and Sonaghur; in the south at Moodbidri, Sravana Belgula; towers at Chittore.

NORTHERN BRAHMAN: Temples, Parasumareswara (500 A.D.), Mukteswara, and Great Temple (600–650), all at Bhuwaneswar, among many others; of Papanatha at Purudkul; grotto temples at Dhumnar, Ellora, and Poonah; temples at Chandravati, Udaipur, and Amritsur (the last modern); tombs of Singram Sing and others at Oudeypore; of Rajah Baktawar at Ulwar, and others at Goverdhun; ghâts or landings at Benares and elsewhere.

CHALUKYAN: Temples at Buchropully and Hamoncondah, 1163; ruins at Kalyani; grottoes of Hazar Khutri.

DRAVIDIAN: Rock-cut temples (raths) at Mahavellipore; Tiger Cave at Saluvan Kuppan; temples at Pittadkul (Purudkul), Tiruvalur, Combaconum, Vellore, Peroor, Vijayanagar; pavilions at Tanjore and Vijayanagar.

There are also many temples in the Kashmir Valley difficult of assignment to any of the above styles and religions.

APPENDIX.

A. PRIMITIVE GREEK ARCHITECTURE.—The researches of Schliemann commented by Schuchardt, of Dörpfeld, Stamakis, Tsoundas, Perrot, and others, in Troy, Mycenæ, and Tiryns, and the more recent discoveries of Evans at Gnossus, in Crete, have greatly extended our knowledge of the prehistoric art of Greece and the Mediterranean basin, and established many points of contact on the one hand with ancient Egyptian and Phœnician art, and on the other, with the art of historic Greece. They have proved the existence of an active and flourishing commerce between Egypt and the Mediterranean shores and Aegean islands more than 2000 B.C., and of a flourishing material civilization in those islands and on the mainland of Greece, borrowing much, but not everything, from Egypt. While the origin of the Doric order in the structural methods of the pre-Homeric architecture of Tiryns and Mycenæ, as set forth by Dörpfeld and by Perrot and Chipiez, can hardly be regarded as proved in all details, since much of the argument advanced for this derivation rests on more or less conjectural restorations of the existing remains, it seems to be fairly well established that the Doric order, and historic Greek architecture in general, trace their genesis in large measure back in direct line to this prehistoric art. The remarkable feature of this early architecture is the apparently complete absence of temples. Fortifications, houses, palaces, and tombs make up the ruins thus far discovered, and seem to indicate clearly the derivation of the temple-type of later Greek art from the primitive house, consisting of a hall or megaron with four columns about the central hearth (whence no doubt, the atrium and peristyle of Roman houses, through their Greek intermediary prototypes) and a porch or aithousa, with or without columns in antis, opening directly into the megaron, or indirectly through an ante-room called the prodomos. Here we have the prototypes of the Greek temple in antis, with its naos having interior columns, whether roofed over or hypæthral (see pp. 54, 55). It is probable also that the evidently liberal use of timber for many of the structural details led in time to many of the forms later developed in stone in the entablature of the Doric order. But it is hard to discover, as Dörpfeld would have it, in the slender Mycenæan columns with their inverted taper, the prototype of the massive Doric column with its upward taper. The Mycenæan column was evidently derived from wooden models; the sturdy Doric column—the earliest being the most massive—seems plainly derived from stone or rubble piers (see p. 50), and thus to have come from a different source from the Mycenæan forms.

The gynecæum, or women’s apartments, the men’s apartments, and the bath were in these ancient palaces grouped in varying relations about the megaron: their plan, purpose, and arrangement are clearly revealed in the ruins of Tiryns, where they are more complete and perfect than either at Troy or Mycenæ.

B. CAMPANILES IN ITALY.—Reference is made on page 264 to the towers or campaniles of the Italian Gothic style and period, and six of these are specifically mentioned; and on page 305 mention is also made of those of the Renaissance in Italy. The number and importance of the Italian campaniles and the interest attaching to their origin and design, warrant a more extended notice than has been assigned them in the pages cited.

The oldest of these bell-towers appear to be those adjoining the two churches of San Apollinare in and near Ravenna (see p. 114), and date presumably from the sixth century. They are plain circular towers with few and small openings, except in the uppermost story, where larger arched openings permit the issue of the sound of the bells. This type, which might have been developed into a very interesting form of tower, does not seem to have been imitated. It was at Rome, and not till the ninth or tenth century, that the campanile became a recognized feature of church architecture. It was invariably treated as a structure distinct from the church, and was built of brick upon a square plan, rising with little or no architectural adornment to a height usually of a hundred feet or more, and furnished with but a few small openings below the belfry stage, where a pair of coupled arched windows separated by a simple column opened from each face of the tower. Above these windows a pyramidal roof of low pitch terminated the tower. In spite of their simplicity of design these Roman bell-towers often possess a noticeable grace of proportions, and furnish the prototype of many of the more elaborate campaniles erected during the Middle Ages in other central and north Italian cities. The towers of Sta. Maria in Cosmedin, Sta. Maria in Trastevere, and S. Giorgio in Velabro are examples of this type. Most of the Roman examples date from the eleventh and twelfth centuries.

In other cities, the campanile was treated with some variety of form and decoration, as well as of material. In Lombardy and Venetia the square red-brick shaft of the tower is often adorned with long, narrow pilaster strips, as at Piacenza (p. 158, Fig. 91) and Venice, and an arcaded cornice not infrequently crowns the structure. The openings at the top may be three or four in number on each face, and even the plan is sometimes octagonal or circular. The brick octagonal campanile of S. Gottardo at Milan is one of the finest Lombard church towers. At Verona the brick tower on the Piazza dell’ Erbe and that of S. Zeno are conspicuous; but every important town of northern Italy possesses one or more examples of these structures dating from the eleventh, twelfth, or thirteenth century.

Undoubtedly the three most noted bell-towers in Italy are those of Venice, Pisa, and Florence. The great Campanile of St. Mark at Venice, first begun in 874, carried higher in the twelfth and fourteenth centuries, and finally completed in the sixteenth century with the marble belvedere and wooden spire so familiar in pictures of Venice, was formerly the highest of all church campaniles in Italy, measuring approximately 325 feet to the summit. But this superb historic monument, weakened by causes not yet at this writing fully understood, fell in sudden ruin on the 14th of July, 1902, to the great loss not only of Venice, but of the world of art, though fortunately without injuring the neighboring buildings on the Piazza and Piazzetta of St. Mark. Since then the campanile of S. Stefano, in the same city, has been demolished to forestall another like disaster. The Leaning Tower of Pisa (see p. 160, Fig. 92) dates from 1174, and is unique in its plan and its exterior treatment with superposed arcades. Begun apparently as a leaning tower, it seems to have increased this lean to a dangerous point, by the settling of its foundations during construction, as its upper stages were made to deviate slightly towards the vertical from the inclination of the lower portion. It has always served rather as a watch-tower and belvedere than as a bell-tower. The Campanile adjoining the Duomo at Florence is described on p. 263 and illustrated in Fig. 154, and does not require further notice here. The black-and-white banded towers of Sienna, Lucca, and Pistoia, and the octagonal lanterns crowning those of Verona and Mantua, also referred to in the text on p. 264, need here only be mentioned again as illustrating the variety of treatment of these Italian towers.

The Renaissance architects developed new types of campanile, and in such variety that they can only be briefly referred to. Some, like a brick tower at Perugia, are simple square towers with pilasters; more often engaged columns and entablatures mark the several stories, and the upper portion is treated either with an octagonal lantern or with diminishing stages, and sometimes with a spire. Of the latter class the best example is that of S. Biagio, at Montepulciano,—one of the two designed to flank the façade of Ant. da S. Gallo’s beautiful church of that name. One or two good late examples are to be found at Naples. Of the more massive square type there are examples in the towers of S. Michele, Venice; of the cathedral at Ferrara, Sta. Chiara at Naples, and Sta. Maria dell’ Anima—one of the earliest—at Rome. The most complete and perfect of these square belfries of the Renaissance is that of the Campidoglio at Rome, by Martino Lunghi, dating from the end of the sixteenth century, which groups so admirably with the palaces of the Capitol.

C. BRAMANTE’S WORKS.—A more or less animated controversy has arisen regarding the authenticity of many of the works attributed to Bramante, and the tendency has of late been to deny him any part whatever in several of the most important of these works. The first of these to be given a changed assignment was the church of the Consolazione at Todi (p. 293), now believed to be by Cola di Caprarola; and it is now denied by many investigators that either the Cancelleria or the Giraud palace (p. 290) is his work, or any one of two or three smaller houses in Rome showing a somewhat similar architectural treatment. The evidence adduced in support of this denial is rather speculative and critical than documentary, but is not without weight. The date 1495 carved on a doorway of the Cancelleria palace is thought to forbid its attribution to Bramante, who is not known to have come to Rome till 1503; and there is a lack of positive evidence of his authorship of the Giraud palace and the other houses which seem to be by the same hand as the Cancelleria. To the advocates of this view there is not enough resemblance in style between this group of buildings and his acknowledged work either in Milan or in the Vatican to warrant their being attributed to him.

It must, however, be remarked, that this notable group of works, stamped with the marks and even the mannerisms of a strong personality, reveal in their unknown author gifts amounting to genius, and heretofore deemed not unworthy of Bramante. It is almost inconceivable that they should have been designed by a mere beginner previously utterly unknown and forgotten soon after. It is incumbent upon those who deny the attribution to Bramante to find another name, if possible, on which to fasten the credit of these works. Accordingly, they have been variously attributed to Alberti (who died in 1472) or his followers; to Bernardo di Lorenzo, and to other later fifteenth-century artists. The difficulty here is to discover any name that fits the conditions even as well as Bramante’s; for the supposed author must have been in Rome between 1495 and 1505, and his other works must be at least as much like these as were Bramante’s. No name has thus far been found satisfactory to careful critics; and the alternative theory, that there existed in Rome, before Bramante’s coming, a group of architects unknown to later fame, working in a common style and capable of such a masterpiece as the Cancelleria, does not harmonize with the generally accepted facts of Renaissance art history. Moreover, the comparison of these works with Bramante’s Milanese work on the one hand and his great Court of the Belvedere in the Vatican on the other, yields, to some critics, conclusions quite opposed to those of the advocates of another authorship than Bramante’s.

The controversy must be considered for the present as still open. There are manifest difficulties with either of the two opposed views, and these can hardly be eliminated, except by the discovery of documents not now known to exist, whose testimony will be recognized as unimpeachable.

D. L’ART NOUVEAU.—Since 1896, and particularly since the Paris Exposition of 1900, a movement has manifested itself in France and Belgium, and spread to Germany and Austria and even measurably to England, looking towards a more personal and original style of decorative and architectural design, in which the traditions and historic styles of the past shall be ignored. This movement has received from its adherents and the public the name of “L’Art Nouveau,” or, according to some, “L’Art Moderne”; but this name must not be held to connote either a really new style or a fundamentally new principle in art. Indeed, it may be questioned whether any clearly-defined body of principles whatever underlies the movement, or would be acknowledged equally by all its adherents. It appears to be a reaction against a too slavish adherence to traditional forms and methods of design (see pp. 370, 375), a striving to ignore or forget the past rather than a reaching out after any well-understood, positive end; as such, it possesses the negative strength of protest rather than the affirmative strength of a vital principle. Its lack of cohesion is seen in the division of its adherents into groups, some looking to nature for inspiration, while others decry this as a mistaken quest; some seeking to emphasize structural lines, and others to ignore them altogether. All, however, are united in the avoidance of commonplace forms and historic styles, and this preoccupation has developed an amazing amount of originality and individualism of style, frequently reaching the extreme of eccentricity. The results have therefore been, as might be expected, extremely varied in merit, ranging from the most refined and reserved in style to the most harshly bizarre and extravagant. As a rule, they have been most successful in small and semi-decorative objects—jewelry, silverware, vases, and small furniture; and one most desirable feature of the movement has been the stimulus it has given (especially in France and England), to the organization and activity of “arts-and-crafts” societies which occupy themselves with the encouragement of the decorative and industrial arts and the diffusion of an improved taste. In the field of the larger objects of design, in which the dominance of traditional form and of structural considerations is proportionally more imperious, the struggle to evade these restrictions becomes more difficult, and results usually in more obvious and disagreeable eccentricities, which the greater size and permanence of the object tend further to exaggerate. The least successful achievements of the movement have accordingly been in architecture. The buildings designed by its most fervent disciples (e.g. the Pavillon Bleu at the Exposition of 1900, the Castel Béranger, Paris, by H. Guimard, the houses of the artist colony at Darmstadt, and others) are for the most part characterized by extreme stiffness, eccentricity, or ugliness. The requirements of construction and of human habitation cannot easily be met without sometimes using the forms which past experience has developed for the same ends; and the negation of precedent is not the surest path to beauty or even reasonableness of design. It is interesting to notice that in the intermediate field of furniture-design some of the best French productions recall the style of Louis XV., modified by Japanese ideas and spirit. This singular but not unpleasing combination is less surprising when we reflect that the style of Louis XV. was itself a protest against the formalism of the heavy classic architecture of preceding reigns, and achieved its highest successes in the domain of furniture and interior decoration.

It may be fair to credit the new movement with one positive characteristic in its prevalent regard for line, especially for the effect of long and swaying lines, whether in the contours or ornamentation of an object. This is especially noticeable in the Belgian work, and in that of the Viennese “Secessionists,” who have, however, carried eccentricity to a further point of extravagance than any others.

Whether “L’Art Nouveau” will ever produce permanent results time alone can show. Its present vogue is probably evanescent and it cannot claim to have produced a style; but it seems likely to exert on European architecture an influence, direct and indirect, not unlike that of the Néo-Grec movement of 1830 in France (p. 364), but even more lasting and beneficial. It has already begun to break the hold of rigid classical tradition in design; and recent buildings, especially in Germany and Austria, like the works of the brilliant Otto Wagner in Vienna, show a pleasing freedom of personal touch without undue striving after eccentric novelty. Doubtless in French and other European architecture the same result will in time manifest itself.

The search for novelty and the desire to dispense wholly with historic forms of design which are the chief marks of the Art Nouveau, were emphatically displayed in many of the remarkable buildings of the Paris Exhibition of 1900, in which a striking fertility and facility of design in the decorative details made more conspicuous the failure to improve upon the established precedents of architectural style in the matters of proportion, scale, general composition, and contour. As usual the metallic construction of these buildings was almost without exception admirable, and the decorative details, taken by themselves, extremely clever and often beautiful, but the combined result was not satisfactory.

In the United States the movement has not found a firm foothold because there has been no dominant, enslaving tradition to protest against. Not a few of the ideas, not a little of the spirit of the movement may be recognized in the work of individual architects and decorative artists in the United States, executed years before the movement took recognizable form in Europe: and American decorative design has generally been, at least since 1880 or 1885, sufficiently free, individual and personal, to render unnecessary and impossible any concerted movement of artistic revolt against slavery to precedent.

E. RECENT AMERICAN ARCHITECTURE.—Architectural activity in the United States continues to share in the general prosperity which has marked the years since 1898, and this activity has by no means been confined to industrial and commercial architecture. Indeed, while the erection of “sky scrapers” or excessively lofty office-buildings has continued to be a feature of this activity in the great commercial centres, the most notable architectural enterprises of recent years have been in the field of educational buildings, both in the East and West. In 1898 a great international competition resulted in the selection of the design of Mr. E. Bénard of Paris for a magnificent group of buildings for the University of California on a scale of unexampled grandeur, and the erection of this colossal project has been begun. An almost equally ambitious project, by a firm of Philadelphia architects, has been adopted for the Washington University at St. Louis; and many other universities and colleges have either added extensively to their existing buildings or planned an entire rebuilding on new designs. Among these the national military and naval academies at West Point and Annapolis take the first rank in the extent and splendor of the projected improvements. Museums and libraries have also been erected or begun in various cities, and the New York Public Library, now building, will rank in cost and beauty with those already erected in Boston and Washington.

In other departments mention should be made of recent Federal buildings (custom-houses, post-offices, and court-houses) erected under the provisions of the Tarsney act from designs secured by competition among the leading architects of the country; among those the New York Custom House is the most important, but other buildings, at Washington, Indianapolis, and elsewhere, are also conspicuous, and many of them worthy of high praise. The tendency to award the designing of important public buildings, such as State capitols, county court houses, city halls, libraries, and hospitals, by competition instead of by personal and political favor, has resulted in a marked improvement in the quality of American public architecture.

F. THE ERECHTHEUM: RECENT INVESTIGATIONS.—During the past two years, extensive repairs and partial restorations of the Erechtheum at Athens, undertaken by the Greek Archæological Society, have afforded opportunities for a new and thoroughgoing study of the existing portions of the building and of the surrounding ruins. In these investigations a prominent part has been borne by Mr. Gorham P. Stevens, representing the Archæological Institute of America, to whom must be credited, among other things, the demonstration of the existence, in the east wall of the original structure, of two windows previously unknown. Other peculiarities of design and construction were also discovered, which add greatly to the interest of the building. These investigations are reported in the American Journal of Archæology, Second Series; Journal of the Archæological Institute of America, Vol. X., No. 1, et seq. The illustrations, Figures 35 and 36, are, by Mr. Stevens’ courtesy, based upon, though not reproductions of, his original drawings.

GLOSSARY OF TERMS NOT DEFINED IN THE TEXT.

Alcazar (Span., from Arabic Al Kasr), a palace or castle, especially of a governing official.

Archivolt, a band or group of mouldings decorating the wall-face of an arch; or a transverse arch projecting slightly from the surface of a barrel or groined vault.

Astylar, without columns.

Balnea, a Roman bathing establishment, less extensive than the thermæ.

Bel Etage, the principal story of a building, containing the reception rooms and saloons; usually the second story (first above the ground story).

Broken Entablature, an entablature which projects forward over each column or pilaster, returning back to the wall and running along with diminished projection between the columns, as in the Arch of Constantine (Fig. 63).

Cantoned Piers, piers adorned with columns or pilasters at the corners or on the outer faces.

Cartouche (Fr.), an ornament shaped like a shield or oval. In Egyptian hieroglyphics, the oval encircling the name of a king.

Cavetto, a concave, quarter-round moulding.

Chevron, a V-shaped ornament.

Chryselephantine, of ivory and gold; used of statues in which the nude portions are of ivory and the draperies of gold.

Console, a large scroll-shaped bracket or ornament, having its broadest curve at the bottom.

Corinthianesque, resembling the Corinthian; used of capitals having corner-volutes and acanthus leaves, but combined otherwise than in the classic Corinthian type.

Empaistic, made of, or overlaid with, sheet-metal beaten or hammered into decorative patterns.

Exedræ, curved seats of stone; niches or recesses, sometimes of considerable size, provided with seats for the public.

Fenestration, the whole system or arrangement of windows and openings in an architectural composition.

Four-part. A four-part vault is a groined vault formed by the intersection of two barrel vaults. Its diagonal edges or groins divide it into four sections, triangular in plan, each called a compartment.

Gigantomachia, a group or composition representing the mythical combat between the gods and the giants.

Half-timbered, constructed with a timber framework showing externally, and filled in with masonry or brickwork.

Imaum, imâm, a Mohammedan priest.

Kaabah, the sacred shrine at Meccah, a nearly cubical structure hung with black cloth.

Karafah, a region in Cairo containing the so-called tombs of the Khalifs.

Laconicum, the sweat-room in a Roman bath; usually of domical design in the larger thermæ.

Mezzanine, a low, intermediate story.

Mueddin, a Mohammedan mosque-official who calls to prayer.

Narthex, a porch or vestibule running across the front of a basilica or church.

Neo-Gothic, in a style which seeks to revive and adapt or apply to modern uses the forms of the Middle Ages.

Neo‑Mediæval,

Oculus, a circular opening, especially in the crown of a dome.

Ogee Arch, one composed of two juxtaposed S-shaped or wavy curves, meeting in a point at the top.

Palæstra, an establishment among the ancient Greeks for physical training.

Pavilion (Fr. pavillon), ordinarily a light open structure of ornate design. As applied to architectural composition, a projecting section of a façade, usually rectangular in plan, and having its own distinct mass of roof.

Quarry Ornament, any ornament covering a surface with two series of reticulated lines enclosing approximately quadrangular spaces or meshes.

Quatrefoil, with four leaves or foils; composed of four arcs of circles meeting in cusps pointing inward.

Quoins, slightly projecting blocks of stone, alternately long and short, decorating or strengthening a corner or angle of a façade.

Revetment, a veneering or sheathing.

Rustication, treatment of the masonry with blocks having roughly broken faces, or with deeply grooved or bevelled joints.

Soffit, the under-side of an architrave, beam, arch, or corona.

Spandril, the triangular wall-space between two contiguous arches.

Squinch, a bit of conical vaulting filling in the angles of a square so as to provide an octagonal or circular base for a dome or lantern.

Stoa, an open colonnade for public resort.

Tepidarium, the hot-water hall or chamber of a Roman bath.

Tympanum, the flat space comprised between the horizontal and raking cornices of a pediment, or between a lintel and the arch over it.

Voussoir, any one of the radial stones composing an arch.

INDEX OF ARCHITECTS.

A B C D E F G H I J K L M N O P R S T U V W Z Highlighted names link back to the beginning of this Index. Page numbers link to the referenced page.

The surname is in all cases followed by a comma.

Abadie, 373

Adams, Robert 234

Agnolo, Baccio d’ 291

Agnolo, Gabriele d’ 287

Alberti, Leo Battista 277, 280

Alessi, Galeazzo 299, 302

Ammanati, Bartolomeo 300

Anselm, Prior 219

Anthemius of Tralles, 127

Antonio, Master 259

Arnold, Master 243

Arnolfo di Cambio, 162, 265

Baccio D’ Agnolo, 291

Ballu, 371, 373

Baltard, Victor 371

Barry, Sir Charles 380

Bassevi, 356

Battista, Juan 351

Benci di Cione, 266

Benedetto da Majano, 280, 281

Bernardo di Lorenzo, 282

Bernini, Lorenzo 295, 303, 319

Berruguete, Alonzo 348, 350

Bianchi, 305

Bondone, Giotto di 258, 263, 272

Boromini, Francesco 303, 304

Borset, 334

Bramante Lazzari, 289, 290, 294, 295, 321

Brandon, Richard 378

Bregno, Antonio 284

Brongniart, 363

Brunelleschi, Filippo 275, 276, 280, 281, 289

Bullant, Jean 316, 317

Bulfinch, Charles 390

Buon, Bartolomeo 284

Buonarotti, Michael Angelo 289, 292, 294, 295, 296, 299

Burges, William 380

Callicrates, 63

Cambio, Arnolfo di 162, 265

Campbell, Colin 333

Campello, 255

Caprarola, Cola da 293

Caprino, Meo del 286

Chalgrin, 362

Chambers, Sir William 333

Chambiges, Pierre 313

Chrismas, Gerard 327

Christodoulos, 150

Churriguera, 348, 352

Cimabue, 258

Civitale, Matteo 281, 283

Columbe, Michel 310

Cortona, Domenico di 316

Cossutius, 68

Cronaca, 280, 291

Dance, George 334

De Brosse, Salomon 318, 319

De Fabris, 261

De Key, Lieven 336

De Keyser, Hendrik 336

Della Porta, Giacomo 292, 299, 300

Della Robbia, Luca 281

De l’Orme, Philibert 316, 317

Déperthes, 373

Derrand, François 319

Desiderio da Settignano, 281

De Tessin, Nicodemus 337

De Vriendt (or Floris), Cornelius 334, 335

Diego de Siloë, 348

Domenico di Cortona, 316

Donatello, 275

Dosio, Giovanni Antonio 291

Duban, Félix 364

Duc, 364, 365

Du Cerceau, Jean Batiste 318

Edington, 226

Emerson, William 382

Enrique de Egaz, 349

Erwin von Steinbach, 241

Fain, Pierre 310

Federighi, Antonio 282

Ferstel, H. von 375

Fiesole, Mino da 281

Filarete, Antonio 283

Flitcroft, 333

Floris (De Vriendt), Cornelius 334, 335

Fontaine, 362

Fontana, Domenico 295, 299, 300, 304

Fra Giocondo, 286

Fra Ristoro, 256

Fra Sisto, 256

Fuga, Ferdinando 305

Gabriel, Jacques Ange 324, 367

Gabriele d’Agnolo, 287

Gaddi, Taddeo 263

Gadyer, Pierre 315

Galilei, Alessandro 305

Garnier, Charles 372

Gerhardt von Riel, 243

Giacomo di Pietrasanta, 286

Gibbs, James 332, 333, 356, 385

Giocondo, Fra 286

Giotto di Bondone, 258, 263, 272

Giuliano da Majano, 286, 287

Giulio Romano, 289, 292

Goujon, Jean 316, 321

Gumiel, Pedro 349

Hallet, Stephen (Étienne) 389

Hansen, Theophil 360

Have, Theodore 327

Hawksmoor, 332

Hendrik de Keyser, 336

Henri de Narbonne, 249

Henry of Gmünd, 255

Herrera, Francisco 352

Herrera, Juan d’ 348, 350, 351

Hitorff, J. J. 364, 372

Hoban, Thomas 390

Holbein, Hans 327

Hübsch, Heinrich 375, 376

Hunt, Richard M. 393

Ictinus, 62, 63, 65

Isodorus of Miletus, 127

Ivara, Ferdinando 352, 365

Jacobus of Meruan, 255

Jansen, Bernard 327

Jefferson, Thomas 390

John, Master 243

John of Padua, 328

Jones, Inigo 328, 332, 333

Juan Battista, 351

Junckher of Cologne, 241

Kearsley, Dr. 386

Kent, 333

Klenze, Leo von 359, 360, 367

Labrouste, Henri 364

Lassus, J. B. A. 371

Latrobe, Benjamin H. 389

Laurana, Francesco 310

Laurana, Luciano 287

Le Breton, Gilles 313

Lefuel, Hector 372

Lemercier, Jacques 312, 319, 322

Le Nepveu, Pierre 314

Lescot, Pierre 316, 321

Le Vau (or Levau) 320

Lieven de Key, 336

Ligorio, Pirro 293

Lippi, Annibale 293

Lira, Valentino di 343

Lombardi, Antonio 284

Lombardi, Martino 284

Lombardi, Moro 284

Lombardi, Pietro 284

Lombardi, Tullio 284, 293

Longhena, Baldassare 304

Lorenzo, Bernardo di 282

Louis, Victor 362

Luca della Robbia, 281

Lunghi, Martino (the elder) 304, 305

Machuca, 351

Maderna, Carlo 295, 303

Majano, Benedetto da 280, 281

Majano, Giuliano da 286, 287

Mansart, François 322

Mansart, Jules Hardouin 320, 321, 322

Marchionne, 305

Marini, Giovanni 339

Martino, Pietro di 287

Matthew of Arras, 243

Meo del Caprino, 286

Meruan, Jacobus of 255

Métézeau, 318

Michelozzi, Michelozzo 279, 283

Mino da Fiesole, 281

Mnesicles, 65

Mullet, A. B. 392

Narbonne, Henri de 249

Nénot, Henri P. 374

Ohlmüller, 375

Palladio, Andrea 299, 301, 319, 328, 350

Percier, Charles 362

Perrault, Claude 320

Peruzzi, Baldassare 289, 291, 292, 294

Phidias, 62

Philibert de l’Orme, 316, 317

Pietrasanta, Giacomo di 286

Pintelli, Baccio 286

Pisano, Giovanni 260

Pisano, Niccolo 272

Polaert, 382

Poyet, 363

Pugin, A. Welby 378

Pythius, 71

Raphael Sanzio, 289, 290, 291, 292, 293

Renwick, James 391, 392

Revett, Nicholas 355, 358

Richardson, Henry H. 393, 394

Rickman, Thomas 378

Riel, Gerhardt von 243

Ristoro, Fra 256

Rizzio, Antonio 284

Romano, Giulio 289, 292

Rossellini, Bernardo 286

Ruiz, Fernando 352

Salvi, Niccola 305

Sammichele, Michele 293, 299, 300, 329

San Gallo, Antonio da (the Elder) 294

San Gallo, Antonio da (the Younger) 289, 291, 294

San Gallo, Giuliano da 278, 291, 292, 294

Sansovino, Giacopo Tatti 289, 293, 299, 300, 304

Satyrus, 71

Scamozzi, Vincenzo 299, 339

Schinkel, Friedrich 358, 360, 376

Schmidt, F. 378

Scott (General) 382

Scott, Sir Gilbert 380

Semper, Ottfried 376

Sens, William of 219

Servandoni, 323

Settignano, Desiderio da 281

Shaw, Norman 382

Siccardsburg, 376

Smirke, Robert 356

Smithson, Robert 328

Soane, Sir John 356

Soufflot, J. J. 362

Steinbach, Erwin von 241

Stella, Paolo della 339

Stern, Raphael 305, 365

Street, George Edmund 380

Stuart, James 355, 358

Stuhler, 359

Talenti, Francesco Di 259, 263

Talenti, Simone di 266

Taylor, Robert 334

Tessin, Nicodemus de 337

Thomson, Alexander 357

Thornton, 389

Thorpe, John 328

Titz, 376

Torregiano, 327

Trevigi, 327

Upjohn, Richard 392

Val Del Vira, 348

Valentino di Lira, 343

Van Aken, 343

Van Brugh, Sir John 332

Van Noort, William 336

Van Noye, Sebastian 336

Van Vitelli, 304

Vasari, Giorgio 162

Viart, Charles 311

Viel, 372

Vignola, Giacomo Barozzi da 289, 292, 296, 299, 300, 301

Vignon, Pierre 362

Viollet-le-Duc, Eugene Emmanuel 370, 371

Vischer, Kaspar 343

Vischer, Peter 347

Visconti, Louis T. J. 371, 372

Vitoni, Ventura 293

Vitruvius, 56, 71, 77

Von der Null, 376

Wallot, Paul 377

Wallot, Jean 333

Walter, Thomas Ustick 391

Waterhouse, Alfred 381

Webb, Aston 382

Wilkins, 357

William of Sens, 219

William of Wykeham, 222, 226

Wood, 333

Wren, Sir Christopher 329, 331, 332, 356, 385

Ziebland, 375

INDEX.

A B C D E F G H I J K L M N O P R S T U V W X Y Z Highlighted names link back to the beginning of this Index. Page and figure numbers link to the referenced page or figure.

The buildings are arranged according to location. Those which appear only in the lists of monuments at the ends of chapters are omitted. Numerals in parentheses refer to illustrations.

Abayagiri.

Tope, 403

Abbeville.

St. Wulfrand, 209, 213

Abu-Seir.

Stepped pyramid, 9

Abydos.

Columns, 12.

Temple, 19, 21.

Tombs, 11 (5)

Addeh.

Grotto-temple, 22

Æmilia.

Churches in, 157, 262

Agra, 149.

Pearl Mosque, 148.

Taj Mahal, 148 (86)

Agrigentum.

Temple of Zeus, 56, 61 (33)

Ahmedabad, 148

Aix-la-Chapelle.

Minster (palatine Chapel), 172.

Palace of Charlemagne, 176

Aizanoi.

Temple of Zeus, 67.

Theatre, 70

Ajmir, 148

Ajunta.

Brahman Chaityas, 404;

viharas, 405

Albano.

Tomb, 89

Albany.

All Saints’ Cathedral, 394.

Capitol, 391

Alby Cathedral, 185, 205, 206, 212, 249 (123)

Alcala de Heñares, 352.

Archepiscopal Palace, 350.

College, 349

Alcantara.

Bridge, 108

Alençon Cathedral, 209, 213

Alexandria Troas.

Palæstra, 71.

Allahabad.

Akbar’s Palace, 148

Altenburg Cathedral, 242.

Town hall, 344

Amada.

Columns, 12

Amboise Castle, 310

Amiens Cathedral, 189, 197, 201, 203, 205, 206, 219, 232 (122);

west front of, 207, 208, 212, 227

Amravati.

Topes, 403

Amsterdam.

Bourse (Exchange) Hanse House, Town hall, 336

Ancy le Franc.

Château, 317

Anet.

Château, 317

Angers.

Cathedral S. Maurice, 200.

Hospital, 214

Angora (Ancyra), 118

Angoulême Cathedral, 164

Ani, 134

Annapolis.

Harwood and Hammond Houses, 386

Antioch, 115

Antiphellus.

Theatre, 70.

Tombs, 72

Antwerp

Cathedral, 190, 246, 247.

Town Hall, 334, 336

Aquitania.

Churches of, 164, 167, 168, 179, 373

Aranjuez.

Palace, 352

Arezzo Cathedral, 257.

Sta. Maria della Pieve, 159

Argos.

Gates, 45

Arizona.

Spanish churches in, 388

Arles.

St. Trophime, 165

Aschaffenburg.

Church, 243

Asheville.

Biltmore House, 399

Asia Minor, 53, 55, 58, 62, 66, 122

Aspendus.

Theatre, 70

Assisi.

Church of St. Francis (S. Francesco), 255, 256, 258

Assos, 55.

Public cquare, 69.

Temple, 61

Asti.

Church, 256

Astorga.

Rood-screen, 352

Athens.

Academy, 365.

Acropolis, 65, 69.

Agora Gate, 68.

Cathedral, 134.

Choragic Monument of Lysicrates, 66 (30, 38).

Erechtheum, 64 (35, 36).

Museum, 365.

Odeion of Regilla (of Herodes Atticus), 68, 69, 70.

Parthenon, 56, 58, 63, 64, 131, 359 (Frontispiece, 31 d, 34).

Propylæa, 58, 65, 69, 358 (37).

Stoa of Attalus, 67.

Temple of Nike Apteros, 64, 65.

Temple of Olympian Zeus, 68 (39).

Theatre of Dionysus, 69, 70.

Theseum (Temple of Theseus or Heracles), 62.

Tower of Winds (Clepsydra of Cyrrhestes), 53, 67.

University, 365

Attica, 50, 55

Augsburg.

Town hall, 344

Austria, 330

Autun Cathedral, 166, 167

Auvergne.

Churches, 204

Auxerre Cathedral, 197, 201

Avignon.

Notre Dame Des Doms, 165

Avila.

S. Vincente, 180, 247;

Tombs in, 352

Azay-le-rideau.

Château, 316

Baalbec (Heliopolis), 83.

Circular Temple, 94.

Temple of Sun, 92

Bab-el-Molouk, 14

Bagdad.

Tombs, etc., 145, 146

Bagh.

Viharas, Great Vihara, 405

Baillur.

Temples, 409, 410

Bamberg.

Church, 243

Barcelona.

Cathedral, 189, 249.

Sta. Maria del Pi, 249

Barolli.

Hindu Temple, 409

Basle.

Spahlenthor, 246

Bassæ (Phigalæa).

Temple of Apollo Epicurius, 65

Batalha.

Church, mausoleum, 251

Bavaria, 342

Bayeux Cathedral, 197, 205

Bayonne Cathedral, 197

Beaugency.

Town hall, 316

Beaumesnil.

Château, 319

Beaune.

Hospital, 214

Beauvais Cathedral, 189, 197, 211, 219;

chapels, 205;

size, 206, 211, 212, 243

Beit-el-wali.

Rock-cut Temple, 22

Belem.

Church, 251, 352.

Cloister, tower, 352

Belgium, 334.

Benares.

Hindu Temples, 408, 409

Beni Hassan.

Columns, 11, 24, 50.

Speos Artemidos, 22.

Tombs, 11 (6, 7)

Bergamo.

Town Hall, 266

Berlin.

Bauschule, 376.

Brandenburg Gate, 358.

Old Museum, 359 (200).

New Museum, 359.

Alphabetized as shown; body text has “Museum” and “New Museum”.

Parliament House, 377.

Theatres, 360, 376

Bethlehem.

Church of the Nativity, 115

Bhaja.

Chaityas, 404

Bhilsa.

Topes, 403

Bhuwaneswar.

Hindu temples, 408

Bidar, 146

Bijapur.

Tomb of Mahmud, 148, 153 (85).

Jumma Musjid, 148.

Mogul architecture, 149

Biltmore House, 399

Bindrabun.

Ruined temple, 408

Birs Nimroud.

Stepped pyramid, 31

Blenheim House, 332 (188)

Blois.

Château of, 216, 310, 313 (175, 176)

Bohemia, 338

Bologna, 157.

Brick houses, 266.

Campo Santo, 382.

Frati di S. Spirito, 279.

Local style, 283.

Pal. Bevilacqua, Pal. Fava, 283.

Palazzo Communale (town Hall), 266.

Renaissance churches in, 277, 293.

S. Francesco, 256, 263.

S. Petronio, 257, 258, 259, 263.

Sta. Maria dei Servi, 263

Bonn.

Minster, 174.

Baptistery, 175

Bordeaux.

Cathedral, spires, 209.

Grand Théatre, 362

Boston.

Ames Building, 397.

Custom House, 390.

Faneuil Hall, 388.

Fine Arts Museum, 394.

Hancock House, 387.

Old State House, 388.

Old South Church, 386.

Public Library, 399.

State House, 390.

Trinity Church, 394 (222)

Bourges Cathedral, 189, 197, 199, 202, 249;

chapels, 205;

size, 206;

portals, 208.

House of Jacques Cœur, 215 (127)

Bournazel.

Château, 315

Bowden Park, 357

Bozrah Cathedral, 117 (70)

Brandenburg.

St. Catherine, St. Godehard, 244

Bremen.

Town hall, 246, 344

Brescia.

Sta. Maria dei Miracoli, 287

Brieg.

Piastenschloss, 343

Bristol Cathedral, piers, 178

Bruges.

Ancien Greffe, 334.

Cloth hall, 247.

Ste. Anne, 334.

Town hall, 247

Brunswick.

Burg Dankwargerode, 176.

Town hall, 246

Brusa, 150

Brussels.

Bourse, 382.

Cathedral (ste. Gudule), 246.

Pal. de Justice, 382.

Renaissance Houses, 335 (190).

Town Hall, 247

Bubastis.

Temple, 13

Buda-Pesth.

Synagogue, 378

Buddh Gaya.

Tope or stupa, 404

Buffalo.

Guaranty Building, 397

Bulach.

Basilica, 375

Burgundy.

Cathedrals in, 197

Burghley House, 328 (184)

Bury.

Château, 315

Burgos Cathedral, 248, 249, 251 (145)

Byzantium, 92;

See Constantinople

Caen.

Churches, 167, 178;

St. Étienne (Abbaye aux Hommes) and Ste. Trinité (Abbaye aux Dames), 168;

St. Pierre, 312.

Hôtel D’Écoville, 316

Cahors Cathedral, 164

Cairo.

Karafah (Tombs of Khalîfs), 137, 138, 139.

Mohammedan monuments (list), 136, 153.

Mosque of Amrou, 136;

of Ibn Touloun, 136;

of Barkouk, 137;

of Kalaoun, 137;

of Sultan Hassan, 137, 138 (80);

of El Muayyad, 137;

of Kaîd Bey, 137 (81)

California.

Spanish missions and churches, 388

Cambodia.

Temple of Nakhon Wat, 413

Cambray Cathedral, 197

Cambridge.

Caius College, Gate of Honor, 328.

Fitzwilliam Museum, 356.

King’s College Chapel, 223, 227, 234.

Trinity College Library, 332

Cambridge (Mass.).

Craigie (Longfellow) House, 387 (219)

Canterbury Cathedral, 219;

central tower of, 228;

chapels, 231;

transepts, 232;

minor works in, 234

Caprarola.

Palace of, 300

Capua.

Amphitheatre, 103

Caria, 71;

see Halicamassus

Carinthia, 338, 339

Carlton House, 357

Carter’s Grove, 386

Caserta.

Royal Palace, 304

Castle Howard, 332

Cérisy-la-Forêt.

Church, 178

Ceylon.

Topes, 403

Chaise-Dieu.

Cloister, 213

Châlons (Châlons-sur-Marne) Cathedral, 205

Chalvau.

Château, 314

Chambord.

Château, 314 (177, 178)

Chantilly.

“Petit Château,” 317

Charleston.

St. Michael’s, 385

Charlotteville.

University of Virginia, 390

Charlton Hall, 328

Charlton-on-Oxmore.

Plate tracery (110)

Chartres

Cathedral, 197, 201, 203;

chapels of, 205;

size of, 206;

W. front, 207;

transept porches, 208;

spires, 209;

capital from (126 C).

hospital, 214

Chemnitz Cathedral, 245

Chenonceaux.

Château, 316, 317

Chiaravalle.

Certosa, 255

Chicago.

Auditorium Theatre, 399.

Columbian Exposition, 393, 399.

Masonic Building, 396.

Fisher Building, Schiller Building, 397

Chichester Cathedral, spire, 229

Chihuahua.

Church, 352

Chillambaram.

Dravidian Temple, Mantapa of Parvati, 411

Chiswick.

Villa, 328, 329

Chittore.

Hindu temples, 409.

Palace, 409.

Towers, 407, 408 (227)

Clermont (Clermont-Ferrand)

Cathedral, 197;

chapels of, 205, 212.

Notre-Dame-du-Port, 165, 204 (96, 97)

Cluny.

Abbey Church, 166.

Houses at, 214.

Hôtel de (at Paris), 216

Coblentz.

Church of St. Castor, 237

Coimbra.

Sta. Cruz, 352

Coleshill.

House, 329

Cologne.

Apostles’ Church, 174, 243 (101).

Cathedral, 189, 192, 205, 243, 249;

vaulting of, 239;

spires, 240, 241;

plan, 189, 205, 242 (141).

Church of St. Mary-in-the-Capitol, 174.

Great St. Martin’s, 174, 243.

Romanesque Houses, Etc., 176

Como.

Town hall (broletto), 266

Compostella.

St. Iago, 180

Conjeveram.

Dravidian temple, 411

Constantine.

Amphitheatre, 92

Constantinople, 120.

Byzantine monuments (list), 134.

Church of Hagia Sophia (Santa Sophia, Divine Wisdom), 111, 123, 124, 127–131, 132, 133, 150, 151 (72, 75, 76, 77).

Church of the Apostles, 132.

Early Christian monuments (list), 119.

Fountains, Fountain of Ahmet III., 152, 153.

Mosque of Ahmet II. (Ahmediyeh), 151 (88);

of Mehmet II., 150, 151 (87);

of Osman III. (Nouri Osman), 151;

of Soliman (Suleimaniyeh), 151 (89);

of Yeni Djami, 151.

Palaces, 153.

St. Bacchus, 127.

St. John Studius (Emir Akhor mosque), 118.

St. Sergius, 117, 127 (74).

Tchinli Kiosque (Imperial Museum), 153;

sarcophagi in, 66.

Tombs, 152.

Turkish mosques, 150

Copenhagen.

Exchange, Fredericksborg, 336

Cordova, 141;

Great Mosque, 142, 143 (83)

Corinth.

Temple of Zeus, 60

Coutances Cathedral, 197;

chapels of, 205;

spires, 209

Cracow Castle, 338.

Chapel of Jagellons, 338

Cremona.

Town hall, 266

Ctesiphon.

Tâk-kesra, 145

Damascus, Mosque of El-walîd, 136

Dantzic.

Town hall, 344

Dashour.

Pyramid, 9

Deir-el-bahari.

Tomb-temple of Hatasu, 15, 21

Deir-el-medineh.

Temple of Hathor, 19

Delhi.

Jaina Temples, 407.

Jumma Musjid, 148.

Mogul Architecture of, 149.

Palace of Shah Jehan, 148.

Pathan arches, Etc., 148

Delos.

Gates, 45;

Portico of Philip, 67

Denderah.

Temple of Hathor, 17.

Group of Temples, 22, 24.

Hathoric columns, 24

Detroit.

Majestic Building, 397

Dieppe.

Church of St. Jacques, 213

Dijon.

St. Michel, 312

Dol Cathedral, east end, 205

Dresden.

Castle, Georgenflügel, 342.

Church of St. Mary (Marienkirche) 346 (194).

Theatre, 376 (213).

Zwinger Palace, 346 (193)

Drügelte.

Circular church, 175

Durham Cathedral, 177, 178, 220, 221 (102);

central tower of, 228;

Chapel of Nine Altars, 232

Earl’s Barton.

Tower, 176

Ecouen.

Château, 316

Edfou.

Great Temple, 16, 17, 22 (9, 10, 14).

Peripteral Temple, 22

Edinburgh.

High School, Royal Institution, 357

Egypt.

Early Christian buildings in, 118

Elephantine.

Temple of Amenophis III., 22

El Kab.

Temple of Amenophis III.; 18

Eleusis.

Propylæa, 69

Ellora.

Chaityas, 404.

Dravidian Kylas, 413

Elne.

Cloister, 170, 213

Ely Cathedral, 220;

choir vault, 222;

octagon, 224, 330;

clearstory, 225;

towers, 228;

interior, 229;

size, 232;

Lady Chapel, 234

Ephesus.

Temple of Artemis (Artemisium), 66;

Ionic Order, 53.

Palæstra, 71

Erech, 31

Escurial.

Monastery, 351

Esneh.

Hathoric columns, 25.

Temple, 23.

Essen.

Nun’s choir, 172

Esslingen.

Church spire, 240

Etchmiadzin.

Byzantine monuments, 134

Evreux Cathedral, 197

Exeter Cathedral, 221 (129)

Ezra.

Church of St. George, 117

Feraig.

Rock-cut Temple, 22

Ferrara Cathedral, 261, 304.

Churches, 277, 293.

Palaces Scrofa, Roverella, 283

Firouzabad.

Sassanian Buildings, 144

Florence.

Baptistery, 162.

Bartolini, Guadagni, Larderel, Pandolfini, Serristori palaces, 291.

Campanile, 263, 264 (147 a).

Cathedral (Duomo, Santa Maria del Fiore), 257, 258, 263;

façade, 261;

marble incrustation, 263;

dome, 273–275 (147, 148, 159, 160).

Church

of San Miniato, 115, 161, 162;

of Or San Michele, 264.

Gondi Palace, 291.

Loggia dei Lanzi, 266.

Loggia di San Paolo, 281.

Minor works, 287.

Ospedale degli Innocenti, 281.

Palazzo Vecchio, 265.

Pitti Palace, 280, 300, 319.

Riccardi Palace, 279, 280, 281, 290 (162).

Rucellai Palace, 280, 282.

Santa Croce, 258;

Pazzi Chapel of, 276;

pulpit in, 281;

Marsupini tomb, 281.

San Lorenzo, 276.

San Spirito, 276 (161),

Santa Maria Novella, 256, 258;

façade, 277;

fountain in sacristy of, 281.

Strozzi Palace, 280, 290 (163)

Flushing.

Town hall (Hôtel de Ville), 335

Fontainebleau.

Palace, 313, 318

Fontevrault.

Abbey, 164

Fontfroide.

Cloister, 213

France.

Romanesque monuments (list), 170, 171;

Gothic monuments (list), 216, 217;

Renaissance monuments (list), 324, 325

Frankfort.

Salt House, 346

Freiburg Cathedral, 239, 242, 243;

Spire, 240

Freiberg im Erzgebirge.

Golden portal, 242

Fritzlar.

Church, 243

Fulda.

Monastery, 172, 173, 175

Furness.

Abbey, pointed arches, 219

Futtehpore Sikhri.

Mosque of Akbar, 148

Gandhara.

Monasteries, 404

Gaillon.

Château, 310

Gelnhausen.

Abbey Church, 243. Castle ruins, 176

Genoa.

Campo Santo, 382.

Cathedral, west front, 261.

Palaces:— Balbi, Brignole, Cambiasi, Doria-tursi (municipio), Durazzo (reale), Pallavicini, University, 302.

Sta. Maria Di Carignano, 299

Germany.

Mediæval, 172.

Romanesque monuments (list), 180.

Gothic monuments (list), 252.

Renaissance monuments (list), 353

Gernrode.

Romanesque church, 173

Gerona Cathedral, 185, 249, 250

Ghent (Gand).

Cloth hall, 247

Gherf Hossein.

Rock-cut temple, 22

Ghertashi (Kardassy).

Temple, 23

Ghizeh.

Pyramids, 4;

Pyramid of Cheops, 7 (1, 2);

of Chephren, 8;

of Mycerinus, 8.

Sphinx, Sphinx temple, 10 (3, 4)

Girnar.

Jaina temples, 407.

Temple of Neminatha, 407

Glasgow.

Churches in Greek style, 357

Gloucester Cathedral, 178, 220, 222;

cloisters, 222;

east window, 227;

central tower, 228;

Lady Chapel, 234

Goslar.

Palace of Henry III., 176

Gournah.

Columns, 24.

Temple, 21

Gran.

Cruciform Chapel, 338

Granada, 141.

Alhambra, 142, 143, 144, 351 (84).

Cathedral, 348, 350;

minor works in, 352.

Palace of Charles V., 352 (197)

Grange House, 357

Great Britain.

Gothic monuments (list), 235, 236.

Norman monuments (list), 181.

Renaissance monuments (list), 337

Guadalajara.

Infantado, 350

Gujerat, 146

Gwalior.

Jaina Temples, 407.

Palace, 409.

Teli-ka-mandir, 409

Haddon Hall, 326

Hague, The.

Town hall, 336

Hämelschenburg Castle, 343 (191)

Halberstadt Cathedral, 244.

Town hall, 245

Halicarnassus.

Mausoleum, 4, 53, 71, 72 (41)

Hamoncondah.

Temple, 410

Hampton Court, 326, 332

Hartford.

State Capitol, 393

Hauran.

Roman works in, 92;

domestic buildings, 118

Hardwicke Hall, 328

Hatfield House, 328

Hecklingen.

Romanesque church, 173

Heidelberg Castle, 343 (192).

Ritter House, 346

Heilsberg Castle, 245

Heldburg Castle, 342

Hengreave Hall, 326

Herculanum, 86.

Amphitheatre, 92.

Houses, 107.

Theatre, (61)

Hereford Cathedral, 220

Hierapolis.

Early Christian buildings in, 118

Hildesheim.

Kaiserhaus, 346.

Renaissance houses, 345.

St. Godehard, 173.

Town hall, 245.

Wedekindsches Haus, 346

Holland House, 328

Howard Castle, 332

Hullabîd.

Temples, 409;

double temple, 410 (228);

Kaît Iswara, 410

Iffley.

Church, 179(104)

India, 146–149.

Moslem monuments (list), 154.

Non-moslem monuments (list), 415

Innsbrück, Schloss Ambras, 339

Ipsamboul.

(Abou Simbel). Grotto temples, 21, 22 (13)

Ireland.

Celtic Towers, 176

Ispahan.

Meidan (Meidan-Shah), Mesjid-Shah, Bazaar, Medress, 146

Issoire.

Church of St. Paul, 165, 204

Italy.

Early Christian monuments (list), 119;

Romanesque monuments (list), 170;

Gothic monuments (list), 268–269;

Renaissance monuments (list), 306–307

Jaen Cathedral, 348, 350

Jamalgiri.

Monastery, 405

Jerusalem.

Church of the Ascension, 115.

Early Christian churches, 111.

Herod’s temple, 41, 83.

Mosque of Omar (Dome of the Rock, Kubbet-es-sakhrah), 116, 136.

Octagonal church on temple site, 115, 116.

Tombs of the Kings, Etc., 39.

Tomb of Absalom, of Hezekiah, Golden Gate, Solomon’s temple, 40.

Wall of Lamentations, 41.

Zerubbabel’s temple, 41

Jaunpore, 146

Kalabshé.

Columns, 12.

Temple, 23

Kalb Louzeh.

Church, 117(69)

Kalburgah, 146

Kanaruk.

Hindu temples, 408

Kantonnuggur.

Hindu temple, 408

Kardassy (Ghertashi).

Temple, 23

Karli.

Chaityas, 404

Karlstein Castle, 245

Karnak, 50.

Great Temple (of Amen Ra) and Hypostyle Hall, xxiii., 17, 18, 19, 24, 36 (11, 12).

Ancient temple, 13.

Temple of Khonsu, 16, 20

Kaschau Cathedral, 245

Kasr.

Mound, 31

Keddlestone Hall, 334

Kelat Seman.

Church of St. Simeon

Stylites, 117

Khajuraho.

Jaina temples, 407.

Kandarya Mahadeo, 408

Khorsabad.

Palace of Sargon, 31, 32 (18).

City Gate, 32, 33, (19)

Kirkstall Abbey, pointed arches, 219

Königsberg.

Church At, 244

Koyunjik.

Palaces of Sennacherib and Assur-bani-pal, 31

Kuttenberg.

Church of St. Barbara, 239, 240

Laach.

Abbey of, 174

Labyrinth (of Moeris or Fayoum in Egypt), 26

La Muette.

Château, 314

Landshut.

Residenz, 342.

St. Martin’s, 240, 244

Langres Cathedral, 167

Laon Cathedral, 197, 205, 206, 210;

porches, 208

La Rochefoucauld.

Château, 315

Laval Cathedral (La Trinité), 201

Le Mans Cathedral, 197, 200, 205, 206 (118);

tomb in, 310

Leon.

Cathedral, 189, 249.

Panteon of S. Isidore, 179, 180

Le Puy (Puy-en-Vélay).

Church, 204;

cloister of same, 213

Leipzig.

Fürstenhaus346

Lemgo.

Town hall, 344

Leyden.

Town hall, 336

Lichfield Cathedral, 225, 229 (135);

west front, 228 (134);

spire, 229

Liège.

Archbishop’s Palace, 334.

Church of St. Jacques, 247

Limburg-on-the-Hardt.

Church, 193

Limburg-on-Lahn.

Abbey Church, 174.

Cathedral of St. George, 239 (139)

Limoges Cathedral, 197, 205, 212

Lincoln Cathedral, 219, 225, 229, 232;

west front, 227;

central tower, 228;

chapter-house, 223

Lisbon, 352

Lisieux Cathedral, 197

Liverpool.

St. George’s Hall, 358(199)

Loire Valley.

Churches of, 165

Lombardy.

Romanesque Monuments In, 157

London.

Albert Memorial, 380.

Albert Memorial Hall, 382.

Bank of England, 334, 356.

British Museum, 356 (198);

Elgin marbles in, 57;

mausoleum fragments in, 71.

Cathedral (St. Paul’s), 329–331 (186, 187).

Chapel Royal (Banqueting Hall, Whitehall), 329 (185).

Churches:—

Bow Church, 332;

St. George’s, Bloomsbury, 333;

St. Martin’s-in-the-Fields, 333 (189);

St. Mary’s, Woolnoth, 332;

St. Pancras’s, 357;

St. Paul’s Cathedral, 329–331 (186, 187);

St. Paul’s, Covent Garden, 329;

St. Stephen’s, Walbrook, 331;

St. Stephen’s Chapel, Westminster, 234;

Temple Church, pointed arches in, 219;

Westminster Abbey, 220 (137);

Henry VII.’s chapel in same, 192, 223, 227, 229, 234 (136).

Greenwich Hospital, 332.

Mansion House, 334.

Natural History Museum, South Kensington, 381 (216).

New Law Courts, 380.

Newgate Prison, 334.

Parliament Houses, 234, 380 (215).

Somerset House, 329, 333.

South Kensington Museum, new building, 382.

University, 357.

Westminster Abbey, see above.

Westminster Hall, 233.

Whitehall Palace, 329;

Banqueting Hall (Chapel Royal) in same, 329 (185)

Longleat House, 328

Louvain

Cathedral, 246, 247.

Cloth hall, 247.

Town hall, 248 (144)

Lübeck.

City Gates, 246.

St. Mary’s, 242, 244.

St. Catharine’s, 244.

Town hall, 246

Lucca.

Campanile, 264.

Cathedral (S. Martino), 161, 257, 258, 260 (149);

tempietto in same, 281;

tomb of P. di Noceto in same, 281 (164).

S. Frediano, S. Michele, 161.

Minor works, 282, 283.

Palazzo Pretorio, Pal. Bernardini, 283

Lupiana Monastery, 350

Luxor, 50.

Temple, 19, 20.

Osirid Piers, 24

Luz.

Church at, 352

Lycia.

Tombs, 37, 39, 52

Madrid.

First Palace, 350.

New Palace, 352

Madrid, Château de (at Boulogne), 314

Madura.

Choultrie of Tirumalla Nayak, 411.

Great Temple, corridors, 411.

Palace, 413

Mafra.

Palace, 353

Magdeburg Cathedral, 189, 242, 243

Mahrisch Trübau.

Castle portal, 338

Maisons.

Château, 322

Malaga.

Alcazar, 142, 143.

Cathedral, 348

Malines (Mechlin).

Cathedral of St. Rombaut, 246, 247.

Cloth hall, 247.

Hôtel du Saumon, 324

Manchester.

Assize Courts, 380(216)

Manikyala.

Tope, 403

Manresa.

Collegiate Church, 249

Mantinæa.

Theatre, 69

Mantua.

Campanile, 264.

Church of S. Andrea, 279.

Early Renaissance palaces, 283.

Palazzo del Té, 289

Marburg.

St. Elizabeth, 240, 242 (140)

Marienburg Castle, Great Hall, 245

Marienwerder.

Castle, 245

Marseilles.

Chapel of St. Lazare, 310.

Fountain of Longchamps, 372 (211)

Mashita.

Palace of Chosroes, 145

Massachusetts.

Country house in (225)

Maulbronn.

Monastery, 176

Mayence Cathedral, 174

Meaux Cathedral, 212

Mecca.

Kaabah, 136

Medina de Rio Seco.

Rood-screen, 352

Medinet Abou.

Osirid piers, 24(15).

Pavilion of Rameses III., 26.

Peripteral temple, 22.

Tomb-temple of Rameses III., 15, 21

Meissen.

Albrechtsburg, 245

Meroë.

Pyramids, 9

Metz Cathedral, 244

Meydoum.

Stepped Pyramid, 9

Milan, 157.

Arcade, 382.

Cathedral, 243, 255, 257, 260, 261, 262, 263, 264.

Domical churches, 278.

Ospedale Maggiore, 283.

S. Ambrogio, 158, 159 (90).

S. Eustorgio, Portinari Chapel in, 283.

S. Satiro, sacristy of, 289.

Sta. Maria delle Grazie, 278, 289

Miletus.

Temple of Apollo Didymæus, 53, 66 (28, 29)

Minden Cathedral, 244

Mœris.

Labyrinth of, 26

Moissac.

Cloister, 170, 213

Monreale.

Churches, cathedral, 162

Mons.

Cathedral, St. Wandru, 246, 247

Montepulciano.

Church of S. Biagio, 294

Montmajour.

Cloister, 170, 213

Mont St. Michel.

Abbey, 167, 168, 213, 214;

cloister of same, 213

Moret.

House of Francis I., 316

Moscow.

The Kremlin, 366

Mosul, 33

Mount Abu.

Jaina temples, Temple of Vimalah Sah, 405, 406 (226)

Mount Athos.

Monastery, 134

Mugheir.

Temple of Sin Or Hurki, 30

Mujelibeh.

Mound, 31

Mukteswara.

Hindu temples, 409

Mülhausen.

Town Hall, 344

Munich, 366.

Auekirche, 375.

Basilica, 375.

Cathedral, 240, 242.

Glyptothek, 359.

Ludwigskirche, 375.

Propylæa, 360 (201).

Ruhmeshalle, 359.

St. Michael’s, 344.

Münster.

Church at, 243.

Town hall, 245

Münzenberg.

Castle ruins, 176

Mycenæ.

Fortifications, 44(23).

Lion Gate, 44 (22).

Tholos of Atreus, 45, 46, 148 (24, 25).

Tombs, 4

Mylassa.

Tomb, 72

Myra.

Theatre, 69.

Tombs, 72

Nakhon Wat, Temple of, 413

Naksh-i-roustam (persepolis), 36.

Tomb of Darius, 37

Nancy.

Ducal Palace, 216, 311

Nankin.

Porcelain Tower, 414

Naples.

Arcade, 382.

Arch of Alphonso, 287.

Church

of Gesù Nuovo, 304;

of S. Francesco di Paola, 305, 365;

of S. Lorenzo, 263;

of S. Severo (173).

Minor works, 281, 282.

Pal. Gravina, Porta Capuana, 287.

Royal Museum, 304.

Royal Palace, 304, 305.

Theatre of S. Carlo, 305, 365

Narbonne Cathedral, 197, 205, 211

Nassick.

Chaityas, 404

Naukratis, 44

Naumburg.

Church At, 243

Netherlands, 146.

Gothic monuments (list), 252–253

Neuweiler.

Church of St. Peter And St. Paul, 243

Nevers.

St. Étienne, 165

New Mexico.

Spanish churches, 388

Newport.

Town hall, 388.

Trinity Church, 386

New York.

American Surety Building, Broadway Chambers, 397.

Casino, 399.

Cathedral

of St. John the Divine, 399;

of St. Patrick, 375, 391.

Century Club, 399.

City Hall, 389.

Custom House, 390 (221).

Grace Church, 392.

Huntington house, 399.

Madison Square Garden, Metropolitan Club, 399.

St. Paul’s, 386.

Sub-Treasury, 390.

Times Building, (224).

Trinity Church, 392.

Vanderbilt and Villard houses, 399

Nîmes.

Amphitheatre, 92.

Maison Carrée, 93, 94

Nimroud.

Palaces of Assur-nazir-pal and Shalmaneser, 31, 32

Nineveh, 31

Nippur (Niffer).

Ruins of, 29, 31

Normandy.

Romanesque churches in, 167, 177;

cathedrals in, 197, 213

North Germany.

Brick churches in, 244

North Woburn.

Rumford House, 387

Norwich Cathedral, 177, 178, 220

Noyon Cathedral, 197, 200, 203, 205, 246

Nubia.

Early Christian buildings, 118

Nuremberg, 238.

Churches of St. Sebald, St. Lorenz, 245.

Funk, Hirschvogel, and Keller houses, 346.

Renaissance houses, 345.

Town hall, 344.

Shrine of St. Sebald, 347

Olympia.

Altis, Echo Hall, 69.

Heraion, 50, 62.

Temples, 55;

sculptures from, 57.

Temple of Zeus, 62

Oppenheim.

St. Catharine’s, 239, 242, 244

Oudeypore.

Hindu temples, palace, 409

Orange.

Theatre, 101

Orchomenos.

Ceiling, 47

Orléans.

Houses, 316.

Town hall (hôtel de ville), 311

Orvieto Cathedral, 257, 259, 261;

façade of same, 260

Osnabrück.

Church at, 243

Ottmarsheim.

Church at, 172

Oudenärde.

Town hall, 247

Ourscamp.

Hospital, 214

Oxford.

All Souls’ College, 333.

Cathedral (Christ Church), 220, 222.

Christ Church Hall, 233, 234.

Merton College Chapel, 234.

Radcliffe Library, 333.

Sheldonian Theatre, 332

Paderborn.

Town hall, 344

Padua.

Arena chapel, 258.

Palazzo del Consiglio, 287

Pæstum.

Basilica, 69.

Temples, 61

Pailly.

Château, 317

Palermo.

Churches of Eremitani, La Martorana, 162

Palmyra, 83.

Temple of the Sun, 92.

Ceiling panels (50 a)

Parasnatha.

Jaina temples, 407

Paris.

Arch of Triumph of the Carrousel, 362, 363;

of l’Étoile, 362, 363 (204).

Bourse (Exchange), 363.

Cathedral (Notre Dame), 189, 197–202, 249 (116, 117, 124);

rose windows, 203, 212;

chapels, 205;

size, 206, 232;

west front, 207, 227 (124);

capital from (126 b);

early carving (114).

Churches:—

Chapel and Dome of the Invalides, 321 (182);

Madeleine, 362, 363 (205);

Panthéon, 361, 362 (202, 203);

Sacré-Cœur at Montmartre, 373;

Sainte Chapelle, 185, 203, 224 (106, 121);

capital from same (126 a);

Sorbonne, 319;

St. Augustin, 371;

Ste. Clothilde, 371, 375;

St. Étienne-du-Mont, St. Eustache, 312;

St. Jean de Belleville, 371;

St. Merri, St. Sévérin, 213;

St. Paul-St. Louis, 319;

St. Sulpice, 323, 361 (183);

St. Vincent-de-Paul, 364;

Val-de-Grâce, 322.

Collège Chaptal, 371.

Colonnades of the Garde-Meuble, 361, 367.

Column of July (Colonne Juillet), 365.

Corps Législatif (Palais Bourbon), 363.

École des Beaux-Arts, 355, 370, 392, 393;

library of same, 364;

door (206).

École de Médecine, new buildings, 374.

Exhibition buildings, 374.

Fountains:— of Cuvier, Molière, St. Michel, 372.

Halles Centrales, 371.

Hôtel-de-Ville (town hall), 316;

new building, 373.

Hôtels:—

Carnavalet (de Ligeris), 316;

de Cluny, 216;

des Invalides, 321.

House of Francis I. (Maison François I.), 316.

Library of the Beaux-Arts, 364;

of Ste. Genéviève, 365.

Louvre (see palaces). Museum (Musée) Galliéra (212).

Opera House (Nouvel Opéra), 372 (210).

Palaces:—

Palais Bourbon (Corps Législatif), 363;

Palais de l’Industrie, 364;

Pal. de Justice, 364;

Louvre and Tuileries, 215, 315–319, 321, 362, 371, 372 (179, 208, 209);

Luxemburg Palace, 318 (180).

Places (Squares):—

de la Concorde, 324;

Royale, 319;

Vendôme, 322.

Railway stations (du Nord, de l’Est, d’Orléans), 372.

Sorbonne, new academic buildings, 374.

Paulinzelle.

Romanesque church, 173

Pavia, 157.

Certosa, 255, 262, 263, 278, 283, 284 (152, 153).

Church of S. Michele, 159.

Domical churches, 278

Pekin.

Summer pavilion, Temple of Great Dragon, 414

Pergamon (Pergamus).

Altar of Eumenes II., 67.

Christian buildings, 118

Perigueux.

St. Front, 164(94, 95)

Peroor.

Temple, 411

Persepolis, 145.

Columns, 37, 38 (21).

Hall of Xerxes, 36, 37.

Palaces, 35, 69

Persia.

Moslem architecture, 145, 146 (list 154).

Sassanian buildings, 144, 145

Perugia.

Oratory of San Bernardino, 279.

Town hall (Pal. Communale), 266.

Roman Gates, 88

Peterborough Cathedral, 178, 220;

retro-choir, 222;

west front, 227

Phigalæa (Bassæ).

Gate, 45.

Sculptures from, 57.

Temple of Apollo Epicurius, 65

Philadelphia.

Christ Church, 386(218).

Girard College, 390, 391.

Independence Hall, 388.

Marine Exchange, Mint, 390.

Municipal Building, 391

Philæ.

Great Temple, 22.

Peripteral temple, 22

Piacenza, 157. Campanile, 159 (91).

Cathedral (91).

Town hall, 266

Piastenschloss at Brieg, 343

Pienza.

Palazzo Piccolomini, etc., 282

Pierrefonds.

Château, 371

Pisa.

Churches in, 115, 261;

minor works in, 282;

early Renaissance in, 282–283.

Baptistery, 160 (92).

Cathedral (Duomo), 159, 160, 276 (92, 93).

Leaning Tower, 160 (92).

Sta. Maria della Spina, 264

Pistoia.

Campanile, 264.

Churches, 161, 261.

Podestà, Palazzo Communale, 266.

Sta. Maria dell’ Umiltà, 293

Pittsburgh.

Carnegie Building, 397.

Carnegie Library, 399.

County Buildings, 394

Plagnitz.

Castle, 343

Plassenburg.

Castle, 343

Poitiers Cathedral, 197, 201, 205

Pola.

Amphitheatre, 92, 102

Pompeii.

Amphitheatre, 92.

Baths, 86.

Houses, 72, 107, 108;

House of Pansa (65).

Theatre, 101.

Tombs, 105

Pont Du Gard.

Bridge, 108

Portsmouth.

Sherburne House, 387

Portugal, 352.

Gothic monuments (list), 253

Potsdam.

St. Nicholas Church, 359

Prague.

Belvedere, 339.

Cathedral, 239, 242, 244.

Palace on Hradschin, Schloss Stern, Waldstein palace, 339

Prato.

Churches in, 161, 293.

Madonna delle Carceri, 278

Prentzlau.

Church, 244

Priene.

Ionic order, 53;

Propylæa, 69

Provence, 164.

Provins.

Houses at, 214

Puri.

Temples, 408.

Temple of Jugganât, 409

Purudkul.

Rock-cut raths, 413

Ramesseum (Thebes). Tomb-temple of Rameses II., 15, 21, 24 (8)

Ramisseram.

Temple, corridors, 411

Ratisbon (Regensburg) Cathedral, 239, 241, 244.

Town hall, 245.

Walhalla, 359

Ravenna, 114.

Baptistery of St. John, 119.

Byzantine monuments (list), 134.

Cathedral, 304.

Early Christian monuments (list), 119.

S. Apollinare Nuovo, S. Apollinare in Classe, 114.

S. Vitale, 117, 122, 127, 172 (73)

Reggio.

Amphitheatre, 92

Reims Cathedral, 189, 197, 201, 202, 203, 205;

size, 206;

west front, 207, 213, 227;

towers, 209;

portals, 208, 210

Rimini.

S. Francesco, 277

Rochester Cathedral, 220

Rodez Cathedral, 197, 212

Rome.

Ancient monuments, (list) 108, 109.

Amphitheatre of Statilius Taurus, 102.

Arches:—

in general, 77, 103;

of Constantine, 80, 103 (63);

of Septimius Severus, 103;

of Titus, 92, 103;

of Trajan, 97, 103.

Basilicas:—

in general, 97, 98;

Basilica Æmilia, 98;

of Constantine, xxiii, 80, 82, 98, 99 (50 b, 58, 59);

Julian Basilica, 98;

Sempronian, 98;

Ulpian, 97, 98 (57).

(For Early Christian Basilicas, see Churches.)

Baths (Thermæ):—

in general, 71, 92, 99;

of Agrippa, 91, 100;

of Caracalla, 87, 92 (60);

of Diocletian, 92, 100, 101;

of Titus, 86, 91, 100, 105.

Campanile of Campidoglio (Capitol), 305.

Capitol, 91;

palaces on, 299.

Churches:—

in general, 293;

Church of Gesù, 299;

Sistine Chapel of Vatican, 286, 289;

Sta. Agnese

(basilica), 112

(modern church), 303;

S. Agostino, 286;

S. Clemente, 114;

Sta. Costanza, 111 (66);

St. John Lateran, 113, 251, 304, 305;

cloister of same, 281;

S. Lorenzo, 112;

S. Lorenzo in Miranda, 93;

Sta. Maria degli Angeli, 101;

Sta. Maria Maggiore, 113, 305;

Chapel of Sixtus V. in same, 299;

Sta. Maria del Popolo, 286, 287;

Chigi Chapel in same, 293;

Sta. Maria della Vittoria, 303;

Sta. Maria sopra Minerva, 256;

St. Paul-beyond-the-Walls, 113, 281 (67, 68);

St. Peter’s, original basilica, 113;

existing church of, 274, 286, 289, 290, 294–296, 299, 321 (169, 170, 171);

colonnade of same, 295, 303, 367;

sacristy of same, 305;

S. Pietro in Montorio, Tempietto in court of, 209.

Circuses:—

Maximus, 103;

of Caligula and Nero, 103, 113.

Cloaca Maxima, 81, 90.

Colosseum (Flavian amphitheatre) 91, 92, 102 (45, 62).

Columns:— 103;

of Marcus Aurelius, 104;

of Trajan, 97, 104.

Early Christian monuments, 111; (list), 118, 119.

Fora:—

in general, 97;

of Augustus, 91, 97;

of Julius, Nerva, Vespasian, 97;

Forum Romanum (Magnum), 97, 98;

Forum of Trajan, 97, 98 (57).

Fountain of Trevi, 305.

Houses:—

in general, 105, 106, 108;

of Vestals (Atrium Vestæ), 94, 106;

of Livia, 107.

Lateran, carved ornament from Museum of (49);

palace of, 300.

Mausoleum of Augustus, of Hadrian, 104.

Minor Works in Rome, 287.

Monument to Victor Emmanuel, 382.

National Museum, 382.

Palaces (Ancient):—

of Cæsars on Palatine Hill, 86, 91, 105;

of Nero (Golden House), 91, 92, 100, 105;

Septizonium, 105.

Palaces (Renaissance):—

Altemps, 292;

Barberini, 304, 305;

Borghese, 304;

Braschi, 305;

of Capitol, 299;

Cancelleria, 290, 291;

Corsini, 305;

Farnese, 292 (167, 168);

Farnesina, 291;

Giraud, 290, 291 (166);

Lante, 292;

Massimi, Palma, 291;

Quirinal, 300;

Sacchetti, 291;

Vatican, Belvedere, greater and lesser court, Court of S. Damaso, Loggie, 209, 291;

Braccio Nuovo, 305, 365;

Casino del Papa in gardens, 293;

papal residence, 300;

Scala Reggia, 305;

palazzo di Venezia, 286.

Pantheon of Agrippa, 82, 91, 94–96, 100, 118, 122, 127, 365 (54, 55, 56).

Pons Ælius (Ponte S. Angelo), 108.

Porta Maggiore, 108.

Portico of Octavia, 91.

Temples:—

Of Castor and Pollux (Dioscuri), 84, 91, 94 (44);

of Concord, 94;

of Faustina, 93;

of Fortuna Virilis, 89, 90, 93;

of Hercules or Vesta, 90;

of Julius, 94;

of Jupiter Capitolinus, 68, 89, 91;

of Jupiter Stator, so called (see Temple of Castor and Pollux);

of Jupiter Tonans, 91;

of Mars Ultor, 91;

of Minerva Medica, 127;

of Peace, 98;

of Trajan, 97;

of Venus and Rome, 94 (53);

of Vesta, in Forum, 94;

of Vesta, so called, or Hercules, 90.

Theatres:—

Of Marcellus, 91, 101 (42);

of Mummius, of Pompey, 101.

Tombs:— 86, 104;

of Caius Cestius, of Cecilia Metella, 104;

of Helena, 118

Rosenborg Castle, 336

Rosheim.

Church façade, 175

Rothenburg.

Town hall, 344

Rouen, 310.

Cathedral, 192, 197, 201, 202, 205;

size of, 206;

west front, 207;

rose windows, 212.

Hôtel Bourgtheroude, 316.

Palais de Justice, 214.

St. Maclou, 209.

St. Ouen, 212, 213, 375;

rose window from (112)

Rouheiha.

Early Christian church, 117

Royal Domain, 166, 167, 197

Ruanwalli.

Topes, 403

Russia, 367.

Byzantine monuments (list), 134

Sadri.

Temple, 406

Sakkarah.

Pyramid, 9

Salamanca.

Casa de las Conchas, 349.

Cathedral (old), 180, 248;

(new), 250, 348.

Monastery of S. Girolamo, 348.

S. Domingo, 348.

University, 349;

portal of (195)

Salisbury

Cathedral, 219, 223, 225, 229, 232 (128);

west front, 228;

spire, 228, 229.

Market cross, 234

Salonica.

Church of St. George, 118.

Other monuments (list), 134

Salsette.

Viharas, 405

Salzburg.

Church of St. Francis, 242

Samos.

Gate, 45

Sanchi.

Brahman temple, 404.

Tope, 403

San Ildefonso.

Royal Palace, 352

Sabagossa.

Casa de Zaporta, 350(196)

Saxony, 173

Schalaburg.

Castle, 339

Schlettstadt Cathedral, 239

Schloss Hämelschenburg, 343 (191)

Schloss Porzia at Spital, 338

Schloss Stern at Prague, 339

Schwarz-Rheindorf.

Church, 174

Schweinfürth.

Town hall, 344

Scinde, 146

Secundra.

Tomb of Akbar, 148

Sedinga.

Hathoric columns, 24

Séez Cathedral, 197

Segovia Cathedral, 190, 249, 348.

Church of S. Millan, of Templars, 180

Selinus.

Temples, 49;

northern temple, 60;

Temple of Zeus, 61

Semneh.

Pavilion, 26

Senlis Cathedral, 197, 200, 209

Sens.

Archbishop’s palace, 317.

Cathedral, 203, 219

Serbistan.

Sassanian buildings, 144

Seville.

Alcazar, 142, 143.

Casa de Pilato (House of Pilate), 142, 350.

Cathedral, 244, 250, 257, 351.

Giralda, 142, 143, 352

Sheepree.

Pathan arches, 148

Sienna.

Brick houses, 266.

Campanile, 264.

Cathedral (Duomo), 257, 259, 263 (150);

west front, 260 (151).

Loggia del Papa, 282.

Minor works, 282.

Palaces:—

Del Governo, Piccolomini, Spannocchi, 282;

Palazzo Pubblico, 266.

Renaissance churches, 293.

S. Giovanni in Fonte, 260

Silsileh.

Grotto temple, 22

Soissons Cathedral, 197, 200, 203, 205, 243

Somnath.

Jaina temple, 407

Somnathpur.

Chalukyan temples, 409, 410

Southwell Minster, carving from, (115)

Spain, 347.

Gothic monuments (list), 253.

Romanesque churches, 179–180

Spalato.

Palace of Diocletian, 92, 106, 113 (64)

Spital.

Schloss Porzia, 338

Spires (Speyer) Cathedral, 174 (100)

St. Alban’s Abbey, tombs, etc., in, 234

St. Augustine.

Fort Marion (S. Marco), 388.

Ponce de Leon Hotel, 399.

Roman Catholic cathedral, 388.

St. Benoît-sur-Loire.

Antechurch, 177

St. Denis.

Abbey, 197, 198, 200, 202, 203 (120);

tomb of Louis XII. in, 316;

of Francis I., 317

St. Germain-en-Laye.

Château, 313;

Royal chapel in, 204

St. Gilles.

Church, 165

St. Louis.

Union Trust Bdg., 397

St. Paul.

State Capitol, 400

St. Petersburg, 366, 367.

Admiralty, 367.

Cathedral of St. Isaac, 367 (207).

Churches:—

of the Citadel, of the Greek Rite, 366;

of Our Lady of Kazan, 367.

New Museum, Palace of Grand Duke Michael, 367.

Smolnoy Monastery, 366.

St. Rémy.

Tombs, 105

Stabiæ, 92

Stockholm.

Palace, 337

Strasburg

Cathedral, 243;

spire of, 238, 240, 241, 243.

University Buildings, 376

Stuttgart.

Old Castle, 343.

Technical School, 376

Styria, 339

Sully.

Château, 317

Sultaniyeh.

Tomb, 145

Sunium.

Propylæa, 69

Susa, 145.

Palaces, 35

Syracuse.

Theatre, 70

Syria, 122;

early Christian churches in, 115, 116, 117; (list), 119

Tabriz.

Ruined Mosque, 145

Tafkhah.

Early Christian Church, 117

Takht-i-Bahi.

Monastery, 405

Tängermünde.

Church, 244

Tanjore.

Great temple, 412.

Palace, 413.

Shrine of Soubramanya, 412 (229)

Tarputry.

Gopura, 411

Teheran, 146

Tel-el-Amarna, 27

Tewkesbury Abbey, 222 (130)

Thebes.

Amenopheum, 15.

Ramesseum, 15 (8)

Thoricus.

Gate, 45;

Stoa Diple, 69

Tinnevelly.

Dravidian temples, 411

Tiruvalur.

Dravidian temples, 411

Tiryns, 44

Tivoli.

Circular temple, 90, 356 (52).

Villas:—

D’Este, 293;

of Hadrian, 87, 106

Tokio.

Great Palace, 415

Toledo.

Archbishop’s Palace, 360.

Cathedral, 189, 248, 348.

Gate of S. Martino, 350.

Hospital of Sta. Cruz, 349.

S. Juan de los Reyes, 251

Tonnerre.

Hospital, 214

Torgau.

Hartenfels Castle, 342

Toro.

Collegiate church, 180

Toulouse Cathedral, 212.

Church of St. Sernin, 204.

Houses, 317

Tournay Cathedral, 190, 197, 205, 209;

rood-screen in, 335

Tours, 310.

Cathedral, 197, 205, 209;

towers of, 312;

tomb of children of Charles VIII. in, 310, 342

Trausnitz Castle, 342

Treves (Trier).

Cathedral, 174.

Frauenkirche (Liebfrauenkirche, Church of Our Lady), 189, 242, 243 (142)

Troyes

Cathedral, 197, 201, 205;

size, 206;

west portals, 209.

St. Urbain, 212

Tucson.

Church, 352

Tuparamaya.

Topes, 403

Turin.

Church of La Superga, 365

Turkey, 149.

Monuments (list), 154

Tusculum.

Amphitheatre, 92

Tyrol, 338, 339

Udaipur (near Bhilsa). Hindu temples, 409

Ulm Cathedral, 238, 239, 241, 243;

spire, 241

Ur, 30

Urbino.

Ducal palace, 287

Utrecht Cathedral, 244

Valencia Cathedral, 249

Valladolid.

Cathedral, 350.

S. Gregorio, portal (146)

Vellore.

Gopura, 411

Vendôme Cathedral, portal, 209

Venetia, 157, 262, 305

Venice, 300.

Campaniles of St. Mark, of S. Giorgio Maggiore, 305.

Churches:—

Frari (S. M. Gloriosa dei Frari), 256;

Redentore, 299;

S. Giobbe, 284;

S. Giorgio dei Grechi, 293;

S. Giorgio Maggiore, 299, 305;

SS. Giovanni e Paolo, 256;

Sta. Maria Formosa, 293;

S. M. dei Miracoli, 283;

S. M. della Salute, 304, (174);

St. Mark’s, 132, 164 (78, 79);

Library of same (Royal Palace), 301 (172);

S. Salvatore, 293;

S. Zaccaria, 284.

Doge’s Palace, 267, 284 (157).

Minor works, 287.

Palaces:— 267, 283, 284;

Cà d’Oro, Cavalli, Contarini-Fasan, 268;

Cornaro (Corner de Cà Grande) 301;

Dario, 285;

Ducale (Doge’s Palace), 267, 284 (157);

Foscari, 268;

Grimani, 300;

Pesaro, 304;

Pisani, 268;

Rezzonico, 304;

Vendramini (Vendramin-Calergi), 284, 285 (165);

Zorzi, capital, 275 (158)

Vercelli.

S. Andrea, 256, 263

Verneuil.

Château, 317

Verona, 157.

Amphitheatre, 92, 102.

Campanile, 264.

Church

of Sta. Anastasia, 256, 258;

of S. Zeno, 159, 175.

Palaces:— 283;

Bevilacqua, Canossa, 300;

del Consiglio, 286;

Pompeii, Verzi, 300.

Tombs of Scaligers, 264

Versailles Palace, 320

Vézélay.

Abbey, 166, 198, 203

Vicenza, 300, 301.

Basilica, 301.

Palaces:— 283;

Barbarano, Chieregati, Tiene, Valmarano, 301;

Villa Capra, 301, 328

Vienna, 347.

Arsenal at Wiener Neustadt, 338.

Burgtheater, 376.

Cathedral (St. Stephen), 239, 240, 241;

spire of, 240, 241.

Church of St. Charles Borromeo, 358.

Imperial Palace, portal, 339.

Museums, 378.

Opera House, 376.

Parliament House, or Reichsrathsgebäude, 360, 378.

Residence-block (Maria-Theresienhof), 378 (214).

Sta. Maria in Gestade, 245.

Town hall, University, 378.

Votiv Kirche, 375

Vijayanagar.

Palace, 413

Vincennes.

Royal chapel, 204

Viterbo.

Houses, 267.

Town hall (Palazzo Communale), 266.

Villa Lante, 293

Volterra (Volaterræ).

Gate, 88

Waltham.

Abbey, 178.

Eleanor’s Cross, 234

Warfield.

St. Michael’s, window (111)

Warkah (Erech).

Palace terraces, 31

Wartburg Castle, 176

Washington.

Capitol, 389, 391 (220).

Congressional Library, 399.

Patent Office, 390.

State, Army, and Navy Building, 392.

White House, 390

Wells Cathedral, 222, 225, 232;

west front, 228;

chapter house of, 223 (131)

Westminster.

See London

Westonzoyland.

Ceiling of St. Mary’s (138)

Westover House, 386

Wiener-neustadt.

See Vienna

Williamsburg.

Town hall, 385

Wilton House, 329

Winchester Cathedral, 178, 220, 222, 226, 229 (103);

tombs, etc., in, 234

Windsor.

St. George’s Chapel, 223, 227, 234

Wismar.

Castle (Fürstenhof), 343.

City Gates, 246

Woburn.

Public Library (223)

Wollaton Hall, 328

Wolfenbüttel.

Marienkirche, 345

Wolterton Castle, 326

Worangul.

Kurti Stambha, 410

Worcester Cathedral, 232

Worms.

Minster (cathedral), 174 (99)

Würzburg.

University Church, 345

Xanten.

Church, 242

Xanthus.

Nereid monument, 71

York Cathedral, 192, 225, 226;

west front, 227;

tower, 228;

minor works in, 234

Ypres.

Cloth hall, 247

Zurich.

Polytechnic School, 376

Zwettl Cathedral, 242