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 other by vaulted corridors; this arrangement is not intelligible until one sees the exterior view, which accounts for the plan; each one of these halls is crowned by lofty towers with bulbous domes, the centre one rising above all the others and terminated with an octagonal roof, probably derived from the Armenian conical roof. The oldest and most interesting church in Moscow is the church of the Assumption (1479), where the tsars are always crowned; but as it measures only 74 ft. by 50 ft., it is virtually little more than a chapel; the plan is that of a Greek cross with central dome and four others over the angles. One other church deserves mention—at Curtea de Argesh, in Rumania. It was built in 1517–1526, and though small (90 by 50 ft.), is built entirely of stone, instead of brick covered with stucco, as is the case with the churches in Moscow. The interior has been entirely sacrificed to the exterior, the domes being raised to an extravagant height. The relative proportion of width of nave to height of dome in St Sophia at Constantinople is about one to two; in the church at Curtea de Argesh it is about one to five; and yet there can be little doubt the design was made by one of those Armenian architects who seem to have been always employed at Constantinople, and who presumably based their designs there on St Sophia as regards its principal features. Here, however, he was working for Tatar employers who attached more importance to display than to good proportion. In general design the church is based on Armenian work. The elaborately carved panels and disks are copied from the inlays in the mosques in Damascus and of Sultan Hassan at Cairo, and the stalactite cornices and capitals of the columns are transcripts of the Mahommedan style of Constantinople, which was derived from the style developed by the Seljuks.

We were only able to point to a single example of a tower in the Byzantine style, but in Russia the towers not only constitute the principal accessory to the church but were necessary adjuncts, in order to provide accommodation for bells, the casting of which has at all times formed one of the most important crafts in Russia. The chief examples, all in Moscow, are the tower attached to the church of the Assumption; the tower of Boris, inside the Kremlin; and that erected over the sacred gate of the same. But they abound throughout Russia and in some cases form important features in the principal elevations on either side of the narthex.

Of the earliest examples of the housing of the Christian church few remains exist, owing partly to their destruction from time to time by imperial edicts, and partly to the fact that in most cases they were only oratories of a small and unpretending nature, which, immediately after the Peace of the Church, were rebuilt of greater size and with increased magnificence. In Rome itself, the principal religious centre was that which was found in the (q.v.), almost the only resort in times of persecution. In the houses of the wealthy Romans who had been converted, rooms were set apart for the reception of the faithful, and these may have been increased in size by the addition of side aisles. At all events, either in Rome or in the East, where greater freedom of worship was observed, the requirements of the religious had already resulted in a traditional type of plan, which may account for the similarity of all the great churches built by Constantine. It has often been assumed that the great Roman basilicas, if not actually utilized by the Christians, were copied so far as their design is concerned. This, however, is not borne out by the facts, there being very little similarity between the first churches built and the two great Roman basilicas, the Ulpian basilica and that built by Constantine; the latter was roofed with an immense vault, an imperishable covering, not attempted till two centuries later in Byzantium, and the former had its entrance in the centre of the longer side, and the tribunes at either end were divided off from the basilica by a double aisle of columns. The basilica plan was adopted because it was the simplest and most economical building of large size which could be erected, having an immense central area or nave well lighted by clerestory windows, and single or double aisles to divide the two sexes, and further because the immense supply of columns which could be taken from existing temples or porticoes enabled the architect to provide at small cost the colonnades or arcades between the nave and the aisles. On the other hand, there is no doubt that the temples, for which there was no further use, were largely appropriated, not only in Italy but in Greece, Sicily and elsewhere, and it is to this appropriation that we owe the preservation of the Parthenon, the Erechtheum and the temple of Theseus at Athens. There are some cases in which it is interesting to note the changes which were made to convert the temple into a church. In the temple of Athena at Syracuse, walls were built in between the columns of the peristyle, the cella was appropriated for the nave, and arcades were cut through the cella walls to communicate with the peristyle, so as to constitute the aisles. In the temple of Aphrodisias, in Asia Minor, a further development occurred. The walls of the cella were taken down, a wall was built outside the columns of the peristyle to form aisles, and the columns of the east and west end were taken down and placed in line with the others, in order to increase the length of the church.

The earliest Christian basilica built in Rome was the Lateran, which has, however, been so completely transformed in subsequent rebuildings as to have lost its original character. The next in date was that of the old St Peter’s, which was taken down in 1506, in consequence of its ruinous condition, in order to make way for the present cathedral, begun by Pope Julius II. It was of considerable size, covering an area of 73,000 ft. Its plan consisted of an atrium, or open court, having a fountain in the centre, and arcades round; a nave, 275 ft. long and 77 ft. wide, with double aisles on each side; a transept, 270 ft. long by 54 ft. wide; and a semi-circular apse or tribune with a radius of 27 ft.; the high altar being in the centre of its choir, and ranges of marble seats and the papal throne in the middle, corresponding to the benches and the judge’s seat of the Roman tribune. The nave, therefore, with its double aisles, was similar to that of the Ulpian basilica, but the aisles were not returned across the east end, and at the west end, in their place, was the great triumphal arch opening into the transept. The monolith columns of the nave and their capitals (together 40 ft. high) were all taken from ancient buildings, as also were those of the aisle arcades and in the atrium.

The basilica of St Paul, outside the walls, was originally of comparatively small dimensions, with its apse at the west end; in 386 the church was rebuilt on a plan similar to St Peter’s, with nave and double aisles, divided by columns carrying arches, transept and apse. In the Lateran basilica, St Peter’s, Santa Maria Maggiore, and St Lawrence (outside the walls), the columns of the nave were close-set (i.e. with narrow intercolumniations) and supported architraves, but in St Paul (outside the walls) the columns of the second church ( 386) were wider apart and carried arches. The same feature is found in the church of St Agnes, founded 324, but rebuilt 620–640; here the arcade is carried across the west end and there are galleries above, the arches being carried on dosseret blocks above the capitals; these are also found in the galleries over the western end of St Lawrence, added by Honorius ( 620–640); the dosseret, a Byzantine feature, being derived either from Ravenna or from the East. In the church of Santa Maria-in-Cosmedin ( 772–795) another Byzantine feature appears in the triple apse at the east end, the earliest example in Europe. In this church, as also in those of San Clemente and San Prassede, piers are built at intervals to carry the arcades separating the nave and aisles. Those in the latter, however, were probably added when the great arches were thrown across the nave. The church of San Clemente was built in 1108, above a much older church dating from 385 and restored later; it is almost the only church in Rome which has preserved its atrium intact; the internal arrangement of the church also is different from that found elsewhere, the choir, enclosed with marble piers and screens removed from the lower church and erected in front of the tribune, dating from 514–523. The mosaics executed in 1112 are in fine preservation.

Other early churches in Rome are those of Santa Pudenziana (335); San Pietro-in-Vincoli (442), with Doric columns in the nave; SS. Quattro Coronati (450); Santa Sabina (450), an interesting church on account of the marble inlaid decoration in the arch spandrils of the nave, which date from 824; San Prassede (817), with arches thrown across the nave later; San Vincenzo ed Anastasio alle Tre Fontane (626); and Santa Maria in Domnica, where there are galleries over the aisles and across the east end as in St Agnes.

Hitherto we have said little about the architectural design, the fact being that externally these churches had the appearance of barns; it is only in a few cases, notably in St Peter’s, that the principal fronts were decorated with mosaics. The magnificent materials employed internally, the monolith marble columns, the enrichment of the apse and the triumphal arch with mosaics, and probably the painting and gilding of the ceiling or roof, gave to the early basilican churches in Rome that splendour which characterizes those in Byzantium and in Ravenna.

With the exception of the baptistery attached to St John Lateran, and the so-called tomb of Santa Constantia, both erected by Constantine, the circular form of church was not adopted in Rome; there is one remarkable circular building of great size, San Stefano Rotondo, at one time thought to have been a Roman market, but now known to have been erected by Pope Simplicius (468–482). It consisted of a central circular nave, 44 ft. in diameter, and double aisles round. In the arcade dividing the aisles the arches are carried on dosserets, the earliest known example of this feature in Rome.

Although inferior in size, the two churches of S. Appollinare Nuovo, built by Theodoric (493–525) and Sant’ Apollinare-in-Classe (538–549), both in Ravenna, have the special advantage that they were constructed in new materials, there being no ancient Roman temples there to pull down. The ordinary basilican plan was adhered to, but as the architects and workmen came from Constantinople, they incorporated in the building various details of the Byzantine style, with which they were best acquainted. Thus the contour of the mouldings, the carrying of the capitals and imposts, the dosseret above the capital, and the scheme of decoration of the interior with marble casing on the lower portion of the walls and mosaic above, are all Byzantine. Externally the churches are extremely plain, the wall surfaces of the nave and aisle walls being varied by blind arcades.

The earliest building in Ravenna is the tomb of Galla Placidia, built 450, a small cruciform structure with a dome on pendentives over the centre, perhaps the earliest example known. The baptistery of St John, which was attached to the cathedral built by Archbishop