ARCHITECTURE. 



Greeks, although not so splendid and enduring as 

 their temples, were more varied in style, and ex- 

 hibited many picturesque and beautiful forms, 

 which are now lost. 



ROMAN ARCHITECTURE. 



We have hitherto been describing styles of art 

 which are the product of the countries in which they 

 nourished. But we have now arrived at a stage 

 in which is displayed a mixture of all styles. We 

 have seen that the Etruscans established their 

 early art in Italy as the Greeks did in Magna 

 Graecia, and these certainly both had influence on 

 the styles of Roman art. But with the conquest 

 of Carthage, Greece, and Egypt, the Romans 

 became better acquainted with the arts of those 

 countries, and began to use them for the embellish- 

 ment of the imperial city. Besides, the artists of 

 all countries were naturally attracted to the 

 capital. It resulted from the position of the 

 Romans as conquerors of the world that the 

 architecture of Rome became a mixed style, 



the columns they placed square piers, and from 

 these threw arches which supported the wall. This 

 favourite arrangement may be seen in all their 

 important works. They also piled one order 

 on the top of another to the height of several 

 stories. As the applications of their architecture 

 became more complicated, it was found to be 

 impossible to bring in the ' orders ' in every case, 

 and the arch became gradually a more promi- 

 nent feature. The straight architrave was thus 

 gradually changed into an arched one, with hori- 

 zontal cornice above, as at Spalatro ; and when 



Fig. 20. Doric Arcade. 



borrowing its decorative features from all sides. 

 From Greece the ' orders ' were imported, and 

 became gradually subjected to sundry varia- 

 tions. Doric was used without fluting, and 

 with cap and base and entablature greatly 

 altered. The Ionic had the volutes turned 

 out angularwise, so as to present a similar 

 face in each direction. The Corinthian 

 order was the greatest favourite, being best 

 suited to express the taste which existed for 

 richness and luxury in architecture. Many 

 fine examples of this style exist in Rome 

 (the Pantheon, Jupiter Stator, &c.) and in 

 the provinces. The ' composite order ' was 

 invented by the Romans. It is a combina- 

 tion of the Ionic and Corinthian. 



The original feature in the architecture of 

 the Romans is the introduction of the arch, 

 which they were the first to use as a decora- 

 tive feature. Long after they began to use it 



Fig. 21. Courtyard at Spalatro. 

 (From Sir Gardner Wilkinson's Dalmatia.) 



this point was gained, further progress in the 

 development of the arched style was rendered 

 easy, and was naturally accompanied by the exten- 

 sive use of vaulting. 



One of the most interesting examples in Rome 

 is the Pantheon. The portico is of the age of 

 Augustus, but the rotunda is probably consider- 

 ably later. The temple consists of a great round 

 hall, 145 feet in span, vaulted with a single dome, 

 147 feet high. 



The basilicas, amphitheatres, and baths are 

 the most numerous and stupendous works of 



Fig. 22. Transverse Section of Basilica of Maxentius. 

 (From Fergusson's Hand-book qf Architecture.} 



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for structural purposes, they concealed it, but it , Roman art, and all shew that, in architecture, tri 

 gradually came into view. In using the Greek exterior decoration was now subordinated 1 

 stvlpc; i rnnnprtinn with the arrh. the Romans interior construction. The Basilica of Maxentius 



styles in connection with the arch, the Romans 

 placed the columns at wide intervals, and set 

 them on pedestals, so as to give them, with their 

 entablatures, a proper proportion in the second- 



(fig. 22), with its great intersecting vaults, and 

 vaulted aisles and buttresses, contains the germs 

 of the later Christian styles. Roman architecture 



^ULClUlctLUlCOj CL pi Wp^l pi wpwi UWU 1*1 V11V* J\*V,V/11\A v* - - j 



ary position now assigned to them (fig. 20). Behind is thus more of a transition than a per 



