Page:Encyclopædia Britannica, Ninth Edition, v. 2.djvu/515

Rh COLOUR.] ARCHITECTURE 457 elaborate manner, the upper part with illustrations of field sports, and the lower part with geometrical patterns. Here, too, and in Giotto s campanile at Florence, the shafts themselves are inlaid in the same way as the rest of the work. In the arcades outside the walls of San Fernio Maggiore, and in the windows of the little church opposite the cathe dral, at Verona, great effect is produced by the ingenious combination of brick and stone; and throughout the north of Italy examples of this sort of arrangement of colour occur, and there is none more easy of imitation or repro duction with good effect at the present day and in our own country. In Sant Antonio, at Padua, an arcade of brick and stone in the west front has all its spandrils filled in with red marble; and the case of the east end of the church at Murano will be remembered by all who have read Mr Iluskin s Stones of Venice. Here the substance of the walls is red brick for a few feet from the ground, and above that a rather coarse yellow brick ; red brick is used in place of labels, &c., to define the arches ; the shafts are of various marbles ; and courses of marble, cut in triangles and alternately coloured and carved, are also introduced. The examples here given are enough to show, at any rate, the general prevalence of a love of colour in the Middle Ages throughout Europe. It would be somewhat beyond the scope of the exami nation of such a subject from its architectural side to go at any length into the mode of decorative painting, which was almost universally adopted at the same time. In this application of colour all countries agree, and there is hardly room to doubt the beauty and expediency of the practice. The passage to the chapter-house at Salis bury, the early church of St Mary at Guildford, the chapels at the east end of Winchester Cathedral, are interesting English examples of early work. The Xorfolk screens and roofs are still more interesting and beautiful works of the richest description, .and so numerous were these that at one time no church seems to have been thought furnished which had none of this kind of decora tion. These had every portion of their moulded surfaces adorned in the richest way with gold and colours, whilst their solid panels were covered with pictures of single figures or subjects. English roofs were decorated in the same fashion, and of these the finest examples are in Peter borough Cathedral and St Alban s Abbey. If we turn to the pages of illuminated manuscripts we shall find views of towns in which whole houses are decorated with masses of colour on the outside to distinguish them from their neighbours. And in rather later times, as we see in Florence, in Brescia, at Augsburg, at Meran, and often else where, most brilliant effects were produced by painting subjects on the external walls of palaces and houses. But, generally speaking, beautiful as this sort of decoration was, it erred rather in ignoring to a considerable extent the architecture which it adorned, unlike the earlier works, where the effort of the colourist was usually and rightly to make all the mouldings or members of the work decorated more distinct and intelligible than they can be in the absence of colour. Without coloured illustrations of an elaborate description it would be impossible to explain any or all the features of architectural polychrome. But enough has been said to show that the subject is one not only of interest to architects, but of importance to all who care for architecture, for it is hardly possible that works such as those which have here been shortly referred to should be passed over by the student or amateur of architecture as though they had no interest for us, and it may be confidently asserted that modern schools of archi tecture cannot with safety ignore so interesting a develop ment of the art. (T. n. L. G. E. s.) BIBLIOGRAPHY. The following works may be consulted on the various departments of the subject: EGYPTIAN. Denon, Voyage dans la Haute ct Basse Egyple ; F. C. Gau, Antiquitis de la Nubie ; K. B. Lepsius, Denkmaler aus Aegyptcn und Acthiopien ; Aug. Marietta, Itincraire de la Haute- Egypte ; Murray s Handbook for Egypt ; Prof. Piazzi Smyth, Our Inheritance in the Great Pyramid ; General Howard Vyse, Pyramids of Gizch, illustrated by J. S. Perring ; Sir J. Gardner Wilkinson, Ancient Egyptians, and Architecture of Ancient Egypt. JEWISH. L. Canina, L Architcttura Antica, vol. i. ; J. Fergus- son, articles in Smith s dictionary of Bible ; Count M. de Vogue, Les Eglises de la Terre Sainte. ASSYRIAN. P. E. Botta, Monuments de Nineve ; J. Fergusson, Palaces of Nineveh and Pcrscpolis ; A. H. Layard, Journey to Nineveh and its Remains ; Victor Place, Nineve et VAssyrie ; C. J. Eich, Ruins of Babylon, and Journey to Persepolis. PERSIAN. L. Canina, Architcttura Antica ; E. Flandin and P. Coste, Voyage en Perse ; W. K. Loftus, Chaldasa and Susiana ; H. B. Tristram, Land of Moab. LYCIAN, &c. L. Canina, Architcttura Antica; Sir C. Fellows and G. Scharf, Travels in Asia- Minor, and Discoveries in Ancient Lycia; C. T. Newton, Discoveries in the Levant ; C. Texier, Descrip tion de I Asie Mineure. GRECIAN. C. E. Cockerell, Temples of Egina and Basses; Un edited Antiquities of Attica, and Ionian Antiquities, published by the Dilettanti Society ; J. I. Hittorf, Architecture antique de la Sidle; Duke of Serradifalco, Antichita di Sicilia ; Stuart and Eevett, Antiquities of Athens; C. Texier, Asia Mineure; &quot;NV. Wilkins, Antiquities of Magna Gra:cia. ETRUSCAN. L. Canina, L Antica Etruria Maritima ; G. Dennis, The Cities and Cemeteries of Etruria. EOMAN. G. A. Blouet, Baths of Caracalla; Canina, Archi- tettura Antica ; A. Desgodets, Les Edifices antiques de Rome; Sir W. GellandJ. P. Gandy, Pompciana; F. Mazois, Palais dc Scaurus; F. Mazois and F. C. Gau, Pompeii; A. Palladio, L Antichita di Roma; G. L. Taylor and E. Cresy, Architectural Antiquities of Rome; Vogue, Syrie Centrale ; E. Wood, Ruins of Palmyra and Balbcc. POINTED. Various essays in A rchccologia ; J. Britton, Cathe drals and Architectural Antiquities; C. L. Eastlake, History of the Gothic Revival ; J. H. Parker, Introduction to the Study of Gothic Architecture; A. Pugin, Specimens and Examples of Gothic Archi tecture ; T. Eickman, Styles of Gothic Architecture; G. E. Street, Gothic Architecture in Spain. SARACENIC. P. Coste, Les Aralcs en Espagne, and Architecture Arabe de Caire ; Owen Jones and Jules Goury, Plans, d-c., of the Alhambra; Girault de Prangey, Monuments Arabcs ct Moresques.^ CHINESE. J. Fergusson, History of Architecture ; Quatremere do Quincy, Dictionnaire Historique d Architecture ; W. Simpson, Lecture before R.I.B.A. 1873-4 ; Detached Essays of Arch. Pub. Society. EARLY AMERICAN. T. J. Hutchinson, Two Years in Peru; C. E. Markham, Travels in Peru ; E. G. Squier s Pamphlet (1870) ; J. L. Stephens and F. Gather wood, Incidents of Travel. List of Plates accompanying this Article. Plate VII. Egyptian. Pa.n, section, and elevations of the temple of Apollinopolis Magna at Edfoo. VIII. Grecian Doric. Plan, elevations, and details of Octa.- style temples. IX. Grecian Doric. Plan, elevations, and details of Hexa- style temples. X. Grecian Doric. Temple of Minerva Parthenon, Athens. XI. Grecian Ionic. Plan, elevation, and details of Ionic temples. XII. Grecian Corinthian and Caryatic. Choragic monu ment and Caryatic portico, Athens. XIII. Mouldings and ornaments, Grecian and Eomau. XIV. Roman Corinthian. Columns of temples. XV. Roman. Columns of Corinthian, Composite, Ionic, and Doric orders. XVI. Roman. Various Eoman buildings, to the same scale. XVII. Roman. Plans, elevations, and sections of Eomau mansions. From Pompeii. XVIII. Pointed. Nave and choir of Lincoln Cathedral. XIX. Fronts of York and Pisa Cathedrals. XX. Elevation, plan, and details of Westminster Hall. XXI. Farnese palace, Eome; Villa Giulia, near Rome; Villa Capra, near Vicenza. XXII. Elevations of St Paul s, London, and St Peter s, Eome. XXIII. Flank elevations of St Paul s and St Peter s. XXIV. Diagram showing the details of an order ; tLe live Italo-Vitruvian orders. II- 53