Chapter III
Francis Plumptre Beresford Osmaston translation
ROMAN ARCHITECTURE
1. General Architecture 89
2. Particular architectural modes of configuration 91
(a) As the basic form we have the wholly shut away dwelling-house 91
[(α) Relation of this form to the ideal character of the Christian religion 91
(β) Exclusion of light and access to mundane life
(γ) The aspect of soaring in tower and pinnacle] 92
(b) The form of the exterior and interior 92
[(α) The figure of the square and rectangular roofing not appropriate. Parallel between the vaulting of a Gothic church and a roofing of forest trees. Distinction between piers and columns. The pointed arch. Distinction between choir, transept, nave, and aisles. The baptismal font and entrance 93
(β) In contrast to the Greek temple decoration and and general co-ordination of parts determined from within outwards. The form of Cross. The doors. Flying buttresses, pinnacles, and towers] 100
(c) The mode of decoration 102
[(α) Importance of ornament to Gothic architecture 102
(β) Lightness and delicacy a prevailing feature, especially on the outside 103
(γ) Display of romantic imagination therein] 104
3. Different types of building in romantic architecture 104
(a) The pre-Gothic architecture distinct from it. The basilica 105
(b) Genuine Gothic architecture of the thirteenth century 105
(c) Secular architecture of the Middle Ages. The art of garden-making 106
SUBSECTION II
SCULPTURE
INTRODUCTION
[Sculpture makes a direct use of the human form instead of accepting a symbolical mode of expression merely suggestive of spiritual import. Does not primarily express emotion or spiritual life in action or the focus of soul-life. Absence of colour] 109
Division of subject 118