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40 burst from its chrysalis state, and assumed a form of external beauty. It must have emerged from its earthen envelope, and taken a form which it did take in Africa a thousand years afterwards,—a richly-ornamented podium, surmounted by a stepped cone and crowned by a stele. In Greece it went no further, and its history and its use were alike strange to the people who afterwards occupied the country.

In Italy its history was somewhat different. The more mixed people of Rome eagerly adopted the funereal magnificence of the Etruscans, and their tumuli under the Empire became magnified into such monuments as the Tomb of Augustus in the Campus Martius, or the still more gorgeous mausoleum of Hadrian, at the foot of the Vatican hill.

In like manner, it would not be difficult by the same process to trace the steps by which the rude tepés of the Tartar steppes bloomed at last into the wondrous domes of the Patan and Mogol Emperors of Delhi or the other Mahomedan principalities in the East. To do all this would form a most interesting chapter in the history of architecture, more interesting, perhaps, than the one we are about to attempt; but it is not the same, though both spring from the same origin. The people or peoples who eventually elaborated these wonderful mausoleums or domed structures affected, at the very earliest periods at which we become acquainted with them, what may be called Microlithic architecture. In other words, they used as small stones as they could use, consistently with their constructive necessities. These stones were always squared or hewn, and they always sought to attain their ends by construction, not by the exhibition of mere force. On the other hand, the people whose works now occupy us always affected the employment of the largest masses of stone they could find or move. With the rarest possible exceptions, they preferred their being untouched by a chisel, and as rarely were they ever used in any properly constructive sense. In almost every instance it was sought to attain the wished-for end by mass and the expression of power. No two styles of architecture can well be more different, either in their forms or motives, than these two. All that they