Page:The American Cyclopædia (1879) Volume I.djvu/699

 ARCHITECTURE 663 roof, assuming a more and more pointed shape, approached the form of the spire, as it was in- troduced in countries where the climate was more severe. The monasteries and convents generally contained an interior court surround- ed by porticos, about which were placed the cells of the inmates. The lower stories of the royal palaces and town halls presented a simi- lar disposition. External porticos, or lodges, also existed. During this period it is supposed that the construction of houses in stories be- came general. The habitations of the mass of the people were poor and irregularly planted about the town hall in the cities, or clustered Celtic Gothic Cloister, Kilconnel Abbey, Ireland. about the massive feudal castles. These edi- fices consisted of a main tower, or keep, the walls of which were from six to twelve feet thick, with windows, consisting of holes one or two feet wide, placed at irregular intervals. The several floors were constructed on arches ; the roof was flat, or had battlements, and pos- sessed a notched parapet for the purposes of defence. The main tower was surrounded by a courtyard protected by a high wall, and the arched entrance was strongly secured by a falling gate or portcullis. Around the whole was a deep ditch, or fosse, which could be filled with water. Many of the castle fortresses were on a plan of great magnitude, consisting of two or more towers and divers inner buildings, in- cluding chapels. While the whole of Europe was convulsed with the international and social strife and invasions of barbarians which result- ed in its complete reorganization, the study of the arts, sciences, and literature took refuge in the monasteries. The influence of the cler- gy declined, however, as free institutions arose, and the pointed Gothic must be regarded as the work rather of secular than of clerical architects. This change was doubtless made more complete by the increasing importance of the fraternity of freemasons. In Italy dur- ing the 10th century we find the corporation of magistri comacini exercising great influ- ence, and giving to Grecian artists shelter from the political troubles of the East, and from the persecutions of the iconoclasts. These artists promulgated among the Lombards the Byzan- tine elements of design, whose influence, as we have seen; was more or less felt throughout the architectural schools of Europe. Under Erwin von Steinbach of Germany, during the 13th century, the ffutten, or lodges, were or- ganized, one object of which was the study of architecture, over which they exercised a pow- erful influence. In Strasburg existed the Haupt- Hutte, or main lodge. Under Jost Dotzinger of Worms (who in 1444 succeeded the archi- tect J. Hult), the various sects of the German freemasons were incorporated into one body, and, in virtue of an act passed at Ratisbon the same year, the architect of the cathedral of Strasburg was elected the sole grand master of the fraternity. These magistri lapidum were likewise sole directors or supervisors of all the religious structures. Protected by the church, architecture in their hands passed from the old Gothic through various phases of the pointed style. The spirit of the age seems embodied in the Gothic cathedral, the work of minds in- spired with solemn and devotional feelings. The cathedrals in the pointed style most justly de- serve admiration. The pointed style is custom- arily divided into three periods : the first, or primary, dating from the latter end of the 12th century ; the second, or decorated, or rayonnant, from the commencement of the 14th century ; and the third, or perpendicular, or flamboyant, from the end of the 14th to the 16th century. The essential element of this style is the point- ed arch. Were it not for this feature, it would be often difficult to distinguish between the earlier works of the first period of the pointed and the later works of the old Gothic. It is during the first period that the spire surmounting the tower becomes of so great importance, forming one of the striking characteristics of this style. In the finer examples it is octagonal and very pointed, either plain or ribbed, sometimes pierced, sometimes crocketed, and invariably bearing a finial. Buttresses and flying but- tresses also form a striking feature ; these latter being somewhat massive and heavy at first, but gradually becoming more and more elegant aa they approached the second period. The set- offs are formed by inclined slabs, or by a ped- iment with finial, the face of the buttresses being ornamented at times with panels and niches ; in some cases also the space between the arches of the flying buttresses is occupied by radiating columns. The parapet is uninter- rupted, and is either decorated or plain. Tur- rets were either square or octagonal, their pin- nacles being mostly of the latter form, either crocketed or not. The rose windows of this period are quite simple : small columns radiating from the centre receiving foiled arches tangent to the circumference. The lancet arch pre- dominates. The windows are very long and narrow, and are either simple or coupled, in