Byza-ntine and Romanesque Architecture. By 



Sir Thomas Graham J acks07t, Bart., R.A., Hon. D.C.L. 

 Oxford, Hon. LL.D. Cambridge, Hon. Fellow of 

 Wadham College, Oxford, Associ^ de r Acaddmie Royale 

 de Belgique. 



Crown 4to. In two volumes. Vol. I, pp. xx + 274. Vol. II, pp. viii + 286. With 



165 plates, 4 of which are coloured, and 148 illustrations in the text, a large 



number being reproduced from the author's own drawings. Bound in cloth, with 



parchment back lettered and ornamented in gold, gilt top. 



Price £2. IS. od. net. 



Extract fro7n the Introduction 



The modern artist still lies under the necessity of studying 

 the art of the past. To shut our eyes to it, as some younger 

 ardent spirits would have us do, would mean the extinction of 

 all tradition, and with it of art itself. For all art, and all 

 science, is based on inherited knowledge, and every step 

 onward is made from the last vantage won by those who have 



gone before us and shown the way It will therefore be the 



object of the following pages not merely to describe but to try 

 and explain the development of architecture from style to 

 style since the decline of classic art in the 3rd and 4th cen- 

 turies of our era, down to the dawn of Gothic architecture, by 

 connecting its constructive details and outward features with 

 those social reasons which served to mould them into the 

 forms we know. From this point of view it is important to 

 compare the rate of progress of the new art in different 

 countries : to mark not only the main current of the move- 

 ment, but the irregular and unequal advances by which it 

 pushed its way in each instance. For though the general 

 set of the movement was all in one direction it advanced much 

 faster in some places than in others, and in each country it 

 took a distinctive national character. For this purpose the 

 comparative and parallel tables of examples at the end of the 

 book will I hope be found useful. It is important too to 

 observe the continuity of architectural history ; how one style 

 gave birth to another ; for no new style was ever invented, 

 but always grew out of an older one ; how this progression 

 from style to style was always unintentional and unconscious : 

 and how revival after depression always began by the attempt 

 to revive an older art, with the result that when art did revive 

 it was always something new, for no dead art was ever made 

 to live again, or ever will be. 



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