Page:A history of architecture on the comparative method for the student, craftsman, and amateur.djvu/590

 532 COMPARATIVE ARCHITECTURE. some of the old German towns, and often verging on the grotesque, but at the same time thoroughly suited to the use of bricks, and possessing a certain characteristic quaintness. Many of these street fronts are good examples of the treatment of large window spaces. In Holland, especially, these quaint buildings, of varied colors, rising very often from the sides of canals, group most harmoniously, and form fascinating studies for water-color sketching. 4. COMPARATIVE. A. Plans. — The great development of domestic Gothic formed the groundwork of the achievements of the Renaissance in these countries. It was in the modifications of detail that the influence of the latter was felt, Italian forms, generally much corrupted, being gradually adopted. B. "Walls. — Gables of curly outline, grotesque, picturesque, and rococo in character, are crowded together in streets and squares. Their general effect and grouping must be enjoyed, with- out too much inquiry into their rationale or detail (Nos. 232 D, E, g and 231 d). c. Openings. — These were numerous and crowded, and were in continuation of the Gothic practice (No. 232 d). The orders took the place of the niches, statuary, and traceried panelling, that surround the windows of the previous period (Nos. 232 and 234 c, g). _ D. Roofs. — The high-pitched forms continued long in favour, as well as the dormers, towers of many stages (No. 232 c, e), and visible chimney stacks (Nos. 232 and 233). E. Columns. — The orders were used as decorative features, being heavily panelled, rusticated, and otherwise treated in a licentious and grotesque fashion (Nos. 232 g and 234 c, g, j). F. Mouldings. — The same defect, that of coarseness, referred to under Gothic, continued in this period, and the further divorce of detail from construction and material rather accentuated the evil. G. Ornament (No. 234). — Carving of vigorous grotesques occupies any vacant panel or space (Nos. 232 f, h and 234 k), the motifs being usually Italian, " corrupted " or " original," according to the critic's point of view. The woodwork (No. 234 a, b, f, h) and stained glass of this age are especially worthy of study. 5. REFERENCE BOOKS. Ewerbeck (T.). — " Die Renaissance in Belgien und Holland." 2 vols., folio. Leipzig, 1883. George (E.). — " Etchings in Belgium." 4to. 1878. Ysendyck (J. J. van). — " Documents classes de TArt dans les Pays- Has." 5 vols., folio. Antwerp, 1880-1889. Haggard (H. R.).— " Lysbeth." (Historical Novel.)