READINGS IN ART.

GOTHIC ARCHITECTURE.[B]

We do not know just when this term Gothic was first applied to the kind of architecture it is used to designate. It was probably intended to indicate something rude or barbaric in its features, but not that the Goths themselves invented or practiced it. That uncultured, warlike race knew little or nothing of architecture; but when, in the twelfth century, there arose in the north countries of Europe a new style of the art, those in the east and south, meaning to charge it with want of refinement, called it Gothic. There is not now the slightest reproach in the term, but rather the contrary. It won high, and for a time almost universal appreciation among all lovers of art. If, as compared with what went before, it is in a sense rude and wild, these very qualities command respect and admiration. It became the favorite architecture of the fourteenth century, reaching its highest state of development about the first of the fifteenth.

We can but imperfectly note the changes that took place in this style during its prevalence in England and other countries, for it had nearly the same phases in many lands, though not quite simultaneously. Changes were constantly made, both in language and architecture, that were not radical or destructive. As the change from the rude Anglo-Saxon forms of speech to the polished periods of Addison did not destroy the language, neither did the progress and improvement of this style of architecture change its identity.

Its characteristic features were maintained throughout. Some or all of these, “boldness, naturalness, grotesqueness and redundancy,” are evident in every stage, quite enough to vindicate its claim to be Gothic. Many years before the Roman emperors had introduced into Europe something like a universal architecture. The buildings of every Roman colony bore a strong resemblance to those of every other colony and of the metropolis. They were, in general, heavy in appearance, simple in structure, and had all their arches semi-circular.

Just what led to a change so marked and general it is perhaps impossible to tell. It was an age of much religious zeal; not always according to knowledge. In England, France, Germany, Lombardy, and South Italy many costly churches were demanded. A keen rivalry existed among the builders of these churches; each must be larger and finer than previous examples; and the details grew more elaborate. Architects of ability applied themselves diligently. Difficulties of construction that had seemed insuperable were overcome. The pointed arch was adopted, not only as more beautiful, but because it could be successfully used in important situations where the other was found impracticable. Whatever was lacking in religious society of the age, grand and liberal ideas were entertained as to the size and cost of churches; and architects had ample encouragement to do their best. And they did, both in designing new, and remodeling old buildings.

Mr. Smith says: “At the beginning of the twelfth century many local peculiarities—some due to accident, some to the quality of the building materials, and some to other causes, began to make their appearance in the buildings in various parts of Europe; and through the whole Gothic period they were met with; still the points of similarity were greater and more numerous than the differences. So, when we have gone through the course which the style ran in one country where it prevailed, we have a general outline of the whole, and may omit to speak particularly of them all without serious loss. On some grounds France would be the most suitable to select for the purpose, as the new order appeared earlier and had a more brilliant course in that country than in any other. But the balance of advantage lies in selection of Great Britain. The various phases the art has passed through in that country are well marked; and even the American student, who can not visit the country, may acquire some helpful information through engravings and photographs, that are happily quite common.”

By far the most important specimens of Gothic architecture are the cathedrals and large churches. They are more complete as works of art than any other structures, and in all respects fit examples of pointed architecture.

The ground plan of the Peterborough Cathedral is especially simple; give a competent builder the order he is to follow, and he will need no picture, the plan tells him the whole.

Cathedrals are all similarly located as to the points of compass, and the principal entrance is in the west end. The one mentioned is about five times as long as it is wide. The wall is relieved by a large transept, the east wall of which begins about one third the distance from the east end. This gives the building the form of a cross. The part from the west end to the crossing of the transept is called the nave. The ends of the transept extend about one-third of the width of the building. The nave is flanked by avenues on each side, narrower and lower than itself, called aisles. They are separated from it by a row of columns or piers, connected by arches. Thus the nave has an arcade on each side, and each aisle has an arcade on one side, and the outer wall pierced by windows on the other. The strong arches of the arcade carry the walls that rise above the roofs of the aisles. These walls are usually divided internally into two stories. The lower story consists of a series of smaller arches, forming a second arcade, called the triforium, that opens into the dark space above the ceiling of the aisles, and is hence called the blind story.

The upper story has a range of windows, giving light to the nave, and is called the clere-story. Thus a spectator standing in the nave and looking toward either side, will see before him the main arcade and side windows, above the arcade the triforium, and above this the clere-story, beautifully illuminated and crowned with the nave, vault or roof. The great size and height give sublimity to the sight. The east arm of a cathedral is that to which most importance is attached, and has greater richness and more elaborate finish.

When the termination is semi-circular or polygonal it is called an apse or apsidal east end. Attached to some of the side walls it is usual to have a series of chapels, partially shut off from the main building, yet of easy access.

Tombs and enclosures connected with them, called chantry chapels, are met in various positions, especially in the eastern arm. Below the raised floor of the choir there is a subterranean vaulted structure called the crypt.

Passing to the exterior, the principal doorway is in the west front, deeply recessed, and elaborate in design. There are also doors in both ends of the transept, and one or more side entrances. In a complete cathedral the grand architectural effect is principally due to the towers with which it is adorned, the most massive standing at the crossing of the transept.

To cathedrals and abbey-churches a group of monastic buildings was attached; sometimes very expensive and in the best style of the art. The most important of these is the Chapter House, which is frequently lofty and highly ornamented. The extent and arrangement of the monastic buildings adjoining the cloister vary with the needs of the different order of monks. The monk’s dormitory was on the east side of the great cloister, the refectory and kitchen on the south, and on the west the great cellar, and a hospitum for the entertainment of guests.

The house for the abbot, the infirmary, the school building for novices, with its chapel, and more remotely the granaries, mills, bake-houses, offices, garden, cemetery—taken all together, a monastery shows an extensive group of buildings well arranged for the purposes intended.

Some military and domestic buildings are also of great interest. In those centuries dwellings of much consequence were all more or less fortified. Some were built with a lofty square tower, called a “keep,” and capable of standing an assault or a siege. The number and character of the buildings in the enclosure around the keep of course depended on the ability of the proprietor. The outer buildings of the Tower of London, though much modernized, give a good idea of what a first-class castle grew, by successive additions, to be. In those erected near the close of the thirteenth century, the square tower was abandoned, and better provision made for the comfort and convenience of the occupants.

Warwick Castle might be cited as a good example of an English castelated mansion, of the time of Richard II. But still more interesting is Haddon Hall, the residence of the Duke of Rutland, in Derbyshire. It consists of two internal quadrangles separated by the great hall, with its dais, its minstrel’s gallery, its vast open fire-place, and its traceried windows. Probably nowhere in England can the growth of domestic architecture be better studied, whether we look to the alterations which took place in arrangement, or to changes in the treatment of windows, battlements, doorways, and other features, than at Haddon Hall.

English Gothic architecture has generally been divided into three periods: The Early, the Decorated, and the Perpendicular. The following condensed list of the peculiarities of each period will be found useful for reference. Early English: General proportions more slender, and height of walls and columns greater; arches pointed, generally lancet, often richly moulded; triforium and arcades often with trifoiled heads. Piers were more slender, composed of a central shaft surrounded by several smaller ones almost or quite detached; capitals concave in outline, moulded or carved with conventional foliage, delicately executed. The windows were at first long, narrow, and deeply splayed internally, the glass being within a few inches of the outer face of the wall; later in style more acute, divided by mullions, enriched with cuspated circles in the head, and often with three or more lights—the center lights being the highest. Doorways were deeply recessed, enriched with slender shafts and elaborate mouldings. Buttresses were about equal in projection to their width, with but one set off, or without any. The mouldings were bold and deeply undercut.

In the Decorative style the proportions were less lofty, the arches mostly enclosing an equilateral triangle; mouldings bold, finely proportioned, and often ornamented with ball, flower, foliage of ivy, oak, and vine leaves, the execution being natural and beautiful.

The Perpendicular or Tudor style had walls profusely decorated with paintings, parapets embattled, and paneled; open timber roofs of moderate pitch, but of elaborate construction, having hammer beams, the moulded timbers often richly ornamented with pierced tracery, and carved figures of angels.

Ornamental materials of all kinds, such as mosaic, enamel, metal-work, and inlays were freely employed; but the crowning invention of Gothic artists, which contributed largely to the architectural effect of their finest buildings, was stained glass. So much of the old glass has perished, and so much of the new is not even passable, that this praise may seem extravagant to those who have never seen any of the best specimens that still exist. In the choir at Canterbury there is a remnant of the best glass in England, and some good fragments remain at Westminster, but to judge of glass at its best, the student must visit La Sainte Chapelle, of Paris, or the cathedrals at Chartres, Bourges or Rheims, when effects in colors are gorgeous in their richness, brilliancy and harmony. Fresco painting may claim a sort of brightness, and mosaics, when executed in polished materials, have some brilliancy, but in stained glass the light which comes streaming through the window itself gives evidence, while the quality of the glass determines the colors, and we thus obtain a glowing luster which can only be compared to the beauty of the richest gems.

Color was freely introduced both by the employment of colored materials and by painting the interior with colored pigments. Painted decorations were constantly made use of with the happiest effect.

Sculpture is the noblest ornament, and the Gothic architects, of a later day, seem to have been alive to its use, as in all their best works statues abounded. If sometimes uncouth, they always contributed to the effect intended. Whether rising to grace and grandeur or sinking to grotesque ugliness, they had a picturesque power, and added life to the whole. Monsters gaped and grinned from waterspouts; little figures of strange animals twisted in and out of the foliage at angles and corbels; stately effigies occupied dignified niches, and in the head of a doorway there was often carved a whole host of figures representing heaven, earth, and hell, with a rude force and eloquence that, to the present day, has not lost its power.

RENAISSANCE ARCHITECTURE.

Toward the close of the fifteenth century men’s minds and tastes were ripening for a change. The beautiful Gothic, in its most improved characteristics, did not satisfy. The change first took place in Italy, and was closely connected with the revival of letters. There all the characteristics of the middle ages were rapidly thrown off. The old Roman blood in the Italians asserted itself, and almost at a bound literature and the arts put on the old forms they had displayed fifteen hundred years before. In the schools there was a rage for classic Greek and Latin; and among architects old Roman or Græco-Roman forms were applied to buildings with much freedom and spirit.

The revival of classic taste in art was appropriately called the Renaissance.

In other countries the change came slowly, and people were not prepared to welcome it unreservedly. In France and England there was a transition period, during which most buildings were designed in a mixed style. This in England lasted almost through the century. It was indeed a picturesque and telling style, in its earlier stages called Tudor, and later Elizabethan. In its mixture of classic and Gothic forms there are often incongruities, and even monstrosities; but it allowed unrestrained play for the fancy. Some of the best mansions of the time, such as Hatfield, Hardwick, and Audley End are unsurpassed in their pleasing picturesqueness. The wide oak staircase, with its carved balusters, ornamented newel-post, and heavy hand-rails, the old wainscoted parlor, with its magnificent chimney piece reaching to the ceiling, are all essentially English features, and full of vigor and life, as the work of every transition period is likely to prove. The period in France produced exquisite works, more refined and elegantly treated than those in England, but not so vigorous. No modern buildings are so finely ornamented and yet not spoiled.

In Italy Renaissance churches, magnificent secular buildings, and palaces of wealthy families abound, as in Naples, Rome, Florence, Genoa, Venice, and indeed in every great city.

The plan of Renaissance buildings was uniform and symmetrical; not widely different from those in Italy before the revival of classic art; but it will be remembered that they were by no means so picturesque or irregular, at any time, as were the plans of French and English churches.

The mediæval use of small materials for external walls, involving many joints, has disappeared, and they are universally faced with stone or plaster, and consequently smooth. The principal feature to note is the great use made of that elaborate sort of masonry, in which the joints of the stones are carefully channeled or otherwise marked, and which is known by the singularly inappropriate name of rustic work. The basements of most Italian and French palaces are thus built, and in many cases, as the Pitti Palace, Florence, the rustic work covers the whole façade.

Towers are less frequently employed. In churches they sometimes occur; none more picturesque than those designed by Sir Christopher Wren for many of his parish churches. But in this style the dome takes the place of the tower, both in churches and secular buildings.

The dome is the glory of Renaissance architecture, as it had been of the old Roman. It is the one feature by which Renaissance architects had a clear and defined advantage over those of the preceding century, who had, strange to say, almost abandoned the dome. The mouldings and all other ornaments of this order are much the same as those of the Roman. The sculptures and mural decorations were all originally drawn from classic sources. But these attained very great excellence—the decorative painting of Raphael and his scholars at Rome, Genoa, and elsewhere, probably far exceeding anything which the old Roman decorative artists ever executed.

ROME.

In the capital of the country is St. Peter’s, the most magnificent building of fully developed Renaissance. Beamanti, a Florentine, was the architect, to whom the task of designing a cathedral to surpass any thing existing in Europe, was committed by Pope Julius II. The project had been entertained, and architects worked at it fifty years before; but nothing satisfactory was done. A new design was now made, and the first stone laid by the pope in 1506. Beamanti died in seven years, and six architects, in succession, of whom Raphael was one, proceeded with the work, without advancing it rapidly, for nearly half a century, during which the design was again and again modified.

In 1646 Michael Angelo was appointed architect, and the last eighteen years of his life were spent in carrying on the great work. He completed the magnificent dome in all its essential parts, and left the church in plan a Greek cross, i. e., one in which all the four arms are equal, and the dome at the crossing. The boast is attributed to him that he would “Take the dome of the Pantheon and hang it in the air.” And this he virtually accomplished in the dome of St. Peter’s; a work of the greatest beauty of design and boldness of construction. Unfortunately for the symmetry of the structure, the nave was subsequently lengthened, the existing portico built, and Bernini added the vast fore-court, lined by colonnades, which now forms the approach, and sadly obstructs the view. The exterior, seen from the front, is disappointing. The façade is so lofty, and advances so far in front as to quite hide the lower part of the dome.

To have an idea of the building, as Michael Angelo designed it, it is necessary to go round to the back; and there, with the height and contour of the dome fully seen, all its lines of living force carrying the eye with them up to the elegant stone lantern that crowns the summit, some conception of the hugeness and symmetry of this mountain of art seems to dawn on the mind. But, from the best point of view, it is with the utmost difficulty one can apply any scale of measurement to what, by its vastness and perfection, is bewildering. The interior is most impressive. The arrangements are simple. Passing the vast vestibule, there is the nave of four bays, with two side aisles, and an immense central space, over which hangs the great dome. There are transepts and a choir, each with one bay, and an apse; and there are two side chapels.

Since this largest church in the world is divided into so few parts, all of these must be of colossal dimensions. The piers are wonderful masses of masonry, while the spaces spanned by the lofty arches and vaults are prodigious. There is no sense of mystery felt about the interior. The eye at once grasps it as a whole, but hours must be spent before an adequate idea of its gigantic size is at all possible. The beauty of coloring adds wonderfully to the effect. The interior of the dome especially, and the drum on which it rests, are decorated in color throughout, in excellent taste. The designs are simple, the light to show them is ample; and though so rich, there is no impression of excessive decoration. The connection between the dome and the rest of the building seems admirable; and the spectator standing under its soaring vault has an impression of vastness made by no other work of art.

In England the new order was introduced with a longer transition period. For a generation or more the style was mixed. In many instances the main lines are Gothic, while the details are partly Gothic and partly modified Renaissance. This is true of such buildings as Knowle, Penshurst, Hardwick, Hatfield, and many others.

England has churches that take rank among the best in Europe, especially St. Paul’s, London, which has a world-wide celebrity as second only to St. Peter’s. It falls short of its great rival in size and internal effect; being almost wholly devoid of the artistic decoration, in which St. Peter’s is so rich. But the exterior is far finer, and the building is consistent with itself throughout. The plan of St. Paul’s is a Latin cross, with well marked transepts, a large portico, and two towers at the west entrance. An apse of small size forms the end of the eastern arm, and of each of the transepts; a great dome covers the crossing. The cathedral has a crypt raising the main floor considerably, and its side walls are carried high above the aisle roofs, so as to hide the clere-story windows from sight. A great dome, planted on eight piers, covers the crossing. The skill with which the dome is made the central feature of a pyramidal composition, whatever be the point of view; the great beauty of the circular colonnade immediately below the dome; the elegant outline of the western towers, and the unusual but successful distribution of the great porticos, are among the most noteworthy elements which give a charm to this very successful exterior. But no verbal description can adequately present its excellence; nor will the reader be fully satisfied with the meager account here given.