Page:Encyclopædia Britannica, Ninth Edition, v. 2.djvu/532

Rh 474 AKCHITECTURE [GLOSSARY. ?TORT (Lat. tabulalum, Fr. ttage, Ital. piano, Ger. Geschoss). When a house has rooms one over the other, each set of chambers divided horizontally by the floors is called a story. They are thus named in the different languages : English. French Italian. German. Lowest story. Ground do. Basement. Ground floor. Souterrain Cave. Rez de chausse&quot;e. Sotterraneo. Pianterreno. Kellergeschoss. Bodengeschoss. Half story or Mezzanine. Entresol. Mezzanino. intermediate. First story. First floor. Premier (Stage, Primo piano, Hauptgeschoss. also Hel (Jtage. also piano, nooile. Second story. Second floor. As their numbers. Upper story. Garret. JIansard. Solaio. Dachgeschoss. STOUP (Fr. bdnitier), a vessel placed close to the entrance of a church to contain the holy water. They are generally small bowls fixed against a column, or on a stem. In the north of Italy they are larger, and often carried on the back of a lion, and sometimes they are elegant tazze of exquisite workmanship. STRING or STRING-COURSE, a narrow, vertically-faced, and slightly projecting course in aii elevation. If window-sills are made continuous, they form a string-course ; but if this course is made thicker or deeper than ordinary window-sills, or covers a set-off in the wall, it becomes a blocking-course. STRING-COURSES, horizontal mouldings running under windows, separating the walls from the plain part of the parapets, dividing towers into stories or stages, &c. Their section is much the same as the labels of the respective periods ; in fact, these last, after passing round the windows, frequently run on horizontally and form strings. Like labels they are often decorated with foliages, ball-flowers, &c. STRIP PILASTER, a very narrow pilaster. STUDS, an old name for upright quarters or posts ; thus door-studs are door-posts or jambs. STYLE (Gr. &amp;lt;TTVOS, a column). The term style in architecture has obtained a conventional meaning beyond its simpler one, which applies only to columns and columnar arrangements. It is now used to signify the differences in the mouldings, general outlines, ornaments, and other details which exist between the works of various nations, and also those differences which are found to exist between the works of any one nation at different times. STYLOBATE (Gr. 0-rDA.os, a column, and /3a&amp;lt;m, a base), a base ment to columns. (See STEREOS ATE.) Stylobate is synonymous with pedestal, but is applied to a continued and unbroken substruc ture or basement to columns, while the latter term is confined to insulated supports. SURBASE (Lat. super, when 3e the Fr. sur, above or upon, and BASE, q.v.), an upper base is tie term applied to what, in the fittings of a room, is familiarly called the chair-rail. It is also used to distinguish the cornice of a pedestal or stereobate, and is separ ated from the base by the dado or die. SYSTYLE (Gr. avv, together with, and oTvAoy, a column), having columns rather thickly set, an iutercolumniation to which two diameters are assigned. (See EUSTYLE.) TABERNACLE, a species of niche or recess in which an image may be placed. In Norman work there are but few remains, and these generally over doorways. They are shallow and comparatively plain, and the figures are often only in low relief, and not detached statues. In Early finviish work they are deeper, and instead of simple arches there is often a canopy over the figure, which was placed on a small low pedestal. Later in the style the heads of the tabernacles became cusped, either as trefoils or cinquefoils, and they are often placed in pairs, side by side, or in ranges, as at Wells Cathedral. Decorated tabernacles are still deeper and more ornamented, the heads are sometimes richly cusped and sur mounted with crocketed gables, as at York, or with projecting canopies, very much like the arcade at Lich field. In this case the under side of the canopy is carved to imitate groin ribs, and the figures stand either on high pedestals, or on corbels. Perpen dicular tabernacles possess much the same features, but the work is generally more elaborate ; the figures generally stand on rich pedestals, but sometimes on corbels, and the canopies generally project, sometimes in a triangular form, and sometimes with a sort of domical top. (See CORBEL, CANOPY, NICHE, &c.) The word tabernacle is also often used for the receptacle for relics, which was often made in the form of a small house or church. (See SHRINE.) TABERNACLE- WORK. The rich ornamental tracery forming the canopy, &c., to a tabernacle is called tabernacle-work; it is common in the stalls and screens of cathedrals, and in them is generally open or pierced through. TABLE, TABLET, a name for various mouldings, as string-courses, cornices, &c. TERMINAL. Figures of which the upper parts only, or perhaps the head and shoulders alone, are carved, the rest running into a parallelepiped, and sometimes into a diminishing pedestal, with feet indicated below, or even without them, are called terminal figures. TESSELLATED PAATEMENTS, those formed of tesserce, or, as some write it, tcssellce r or small cubes from half an inch to an inch square like dice, of pottery, stone, marble, enamel, &c. (See MOSAIC.) TESTER, anything placed horizontally over the head, as the sound board of a pulpit, the flat boards over an old-fashioned bed, &c. TETRASTOON (Gr. rfrpa, four, and &amp;lt;rr&a, a portico). An atrium or rectangular court-yard, having a colonnade or projected orthostyle on every side, is called a tetrastoon. TETRASTYLE (Gr. rerpa, four, and &amp;lt;TTVOS, a column), a portico of four columns in front. THOLOBATE (Gr. 66os, a dome or cupola, and j8a(m, a base or substructure), that on which a dome or cupola rests. This is a term not in general use, but it is not the less of useful application. What is generally termed the attic above the peristyle and under the cupola of St Paul s would be correctly designated the tholobate. A tholobate of a different description, and one to which no other name can well be applied, is the circular substructure to the cupola of the University College, London. THROUGH CARVING, a term supposed to signify such as is much undercut, as the tendrils, stalks, &c., in Decorated, and the vignettes in Perpendicular work. In the Durham roll it clearly means perforated work, as it is &quot; to giue ayre.&quot; TILES, ROOF (Lat. tcgula, imbrex, Fr. tuile, Ital. tcyola), flat pieces of clay burned in kilns, to cover roofs in place of nlates or lead. In England, in mediaeval times, the flat or planetile seems only to have been used, judging from what we find now left. From MS. and remains abroad, a kind of plane tile, with ornamented ends, forming a sort of scale covering, seems to have been in vogue. TORUS (Lat.), a protuberance or swelling, a moulding whose form is convex, and generally nearly approaches a semicircle. It ia most frequently used in bases, and is generally the lowest moulding in a base. TOWER (Gr. Tlvpyos, Lat. turris, Fr. tour, docker, Ital. torre, Ger. Tkurm), an elevated building originally designed for purposes of defence. Those buildings are of the remotest antiquity, and are, indeed, mentioned in the earliest Scriptures. In mediaeval times they are generally attached to churches, to cemeteries, to castles, or are used as bell-towers in public places of large cities. In churches, the towers of the Saxon period are generally square, the only round example being supposed to be that of Tasburgh. They are not very lofty, and are of strong, rude workmanship. Two only, Brigstock and Brixworth, have staircases supposed to be original ; both these are on the west front of the tower. The masonry partakes of the usual character attributed to Saxon work, as strip pilasters, long and short work, &c. The upper windows are generally circular-headed in two lights, separated by a shaft much resembling . a turned baluster sometimes with heavy projecting caps. Norman towers are also generally square. Many are entirely without buttresses ; others have broad, flat, shallow projections, which serve for this purpose. The lower windows are very narrow, with extremely wide splays inside, probably intended to be defended by archers. The upper windows, like those of the preceding style, are generally separated into two lights, but by a shaft or short column, and not by a baluster. Sometimes these towers have arcades round them, and are ornamented, as at St Albans, in some cases very richly, as at Norwich, Winchester, Tewkesbury, Southwell, Sandwich, &c. They frequently have stone staircases at one of the angles. . In many of our churches the Norman tower is placed between the chancel and nave, and ia of the full width of the latter. For the covering of these towers abroad, see SPIRE, PINNACLE, PARAPET. A few round towers of this period (and also of the next) are found on the coasts of Norfolk and Suffolk ; as these mostly have no external doors, and are accessible only from the church, and as some have chimneys, they are supposed to have been built as places of refnge in case of invasion. Early English towers are generally taller, and of more elegant proportions. They almost always have large projecting buttresses, and frequently stone staircases. The lower windows, as in the former style, are frequently mere arrow-slits ; the upper are in couplets or triplets, and some times the tower top has an arcade all round, as at Middleton Stoney. The spires are generally BROACH SPIRES (which see) ; but sometimes the tower tops finish with corbel courses and plain parapets, and (rarely) with pinnacles. Some of the towers and spires, particularly in the midland counties, are richly orna mented ; a very good specimen is at Eaunds. A few Early English towers break into the octagon from the square towards the top, and still fewer finish with two gables, as at Brookthorpo and Ickford. Both these methods of termination, however, are common on the Continent. At VendSme, Chartres, and Senlis, the towers have octagonal upper stages surrounded with pinnacles, from which elegant spires arise. Decorated towers differ but