ARCHITECTURE. 



appropriate style in use for modern street archi- 

 tecture. 



The course of the Renaissance in England was 

 similar to its progress in France, but slower. It 

 was more than a century after the foundation 

 of St Peter's, that Henry VIII. brought over two 

 foreign artists to introduce the new style. Of 

 their works, we have many examples at Oxford 

 and Cambridge, in the latter half of the sixteenth 

 century. Little classical feeling prevailed till 

 about 1620. The general expression of all the 

 buildings before that date is essentially Gothic. 



The pointed gables, mullioned windows, oriels, 

 and dormers, are all retained long after the intro- 

 duction of quasi-classic profiles to the mould- 

 ings. This style is called ' Elizabethan,' and 

 corresponds to that of Francis I. in France. 



This was followed in the reign of James I. by 

 a similar, but more extravagant style, called 

 Jacobean, of which Heriot's Hospital in Edin- 

 burgh is a good example, the fantastic ornaments, 

 broken entablatures, &c. over the windows being 

 characteristic of this style, as they are of the time 

 of Henry IV. in France. 



Inigo Jones (temp. James I.) was the first archi- 

 tect who introduced the true Italian features into 

 England, and they then became more generally 

 adopted. 



In the latter half of the seventeenth century, 

 Sir C. Wren rebuilt St Paul's and many other 

 churches in London in this style. During the 

 eighteenth century, classic feeling predominated, 

 and gradually extended to all classes of buildings, 

 the requirements of which were sacrificed here, 

 as in France, to the stately inflexibility of the 

 classic art. St Pancras Church in London is a 

 good example. It is made up of portions from 

 nearly every temple in Greece. 



After the revival of classic art had been pushed 

 to the extreme point above indicated, a natural 

 reaction arose, and about the beginning of this 

 century, a return to Gothic architecture was com- 

 menced. A very large number of churches has 

 been erected in the Gothic style within the last 

 twenty years, both in this country and on the 

 continent. The most magnificent modern ex- 

 ample is the Palace or Houses of Parliament at 

 Westminster. 



The course of architecture during modern times 

 has been similar in Germany, Russia, and every 

 country in Europe, to that in France and England. 



Of the other countries of Europe, the only one 

 which deserves remark for its Renaissance build- 

 ings is Russia. St Petersburg is, of all the cities 

 of Europe, the one which best merits the name of 

 a city of palaces. From the date at which the city 

 was founded, these are necessarily all classic in 

 character, and are nearly all the works of German 

 or Italian architects. They are, unfortunately, in 

 the coldest and dullest style, the palaces being 

 ornamented with large pilasters, crowned by 

 broken entablatures, and ornaments of the flim- 

 siest rococo. 



It is fortunate that we find, as above indicated, 

 in many quarters a strong desire to throw off the 

 thraldom of the earlier styles, and already both in 

 Classic and Gothic there is promise of free and 

 independent action. Let us hope that, by a natural 

 and judicious system of selection, the architects 

 of the latter half of the nineteenth century will 

 develop a worthy style out of the principles so 



carefully and painfully laid down for them by 

 their predecessors of the first half of the century. 



INDIAN ARCHITECTURE. 



The styles of art which have flourished in India 

 and other eastern lands vary, as elsewhere, with 

 the religion prevalent at different times. The 

 earliest of these faiths of which we have any 

 structural monuments is that of Buddhism. The 

 earliest monuments of this religion date from 

 the time of Asoka, a powerful monarch, who 

 about 250 B.C. became a strenuous supporter 

 and propagator of Buddhism. From his time to 

 the present day the architectural sequence is un- 

 broken, and the whole history of Buddhist archi- 

 tecture can be traced either in India or in Ceylon, 

 Java, and Tibet, where this faith still flourishes, 

 although now extinct in the land of its origin. 

 The best account of these Indian styles is con- 

 tained in the History of Architecture, by Mr 

 Fergusson, who has devoted much time and atten- 

 tion to the investigation of Indian art. 



The earliest Buddhist remains consist of pillars 

 erected to contain edicts of the Buddhist faith. 

 These are frequently crowned with a lion standing 

 on a carved capital, in which we recognise a 

 strong resemblance to the honeysuckle ornament 

 of Assyria and the carving of Persepolis. Other 

 points of resemblance seem to point to an Assyrian 

 origin. 



The strictly architectural remains of Buddhism 

 are of two kinds : first, Sthupas, or topes monu- 

 ments erected to commemorate events, to mark 

 sacred spots, and to contain relics ; second, 

 Chaityas, or churches, and Viharas, or monasteries. 



The topes consist universally of a dome-shaped 

 mound, topped by the tee, or relic shrine. The 

 dome is solid, being built with bricks and mud, 

 and the exterior faced with dressed stone. The 

 tope has a raised base, and is surrounded by a 

 rail carved in stone, but evidently copied from an 

 earlier wooden fence. The gates are also clearly 

 of wooden origin, and are covered with fine 

 sculpture. From the above closeness of imitation 

 of wooden forms, these are evidently examples of 

 the early developments of a style. The topes are 

 often accompanied with circles of standing stones 

 and burial-mounds ; in fact, the tope is probably 

 a lineal descendant of the ancient tumulus. 



Of the chaityas and viharas no built examples 

 remain ; they are all excavated out of the solid 

 rock. The oldest are at Bahar and Cuttack, in 

 Bengal (200 B.C.), but they are few in number, nine- 

 tenths of the caves being in the Bombay presidency. 

 The latter date from the beginning of the Christian 

 era to the tenth century. The cave-temple at 

 Karli (fig. 35) is one of the largest, and is of a 

 good style. In plan and general arrangements, it 

 strongly, though no doubt accidentally, resembles 

 a Christian basilica, with nave, aisles, and vaulted 

 roof, and an apse, with the shrine in the place of 

 the altar. There is also an outer hall or atrium, 

 and a gallery like a rood-loft. On the roof are 

 numerous wooden ribs attached to the vault. 

 These and other portions indicate that the build- 

 ing from which the cave was copied was wooden, 

 which may account for the absence of earlier- 

 built examples. This cave is 126 feet long, 45 feet 

 7 inches wide, and 40 to 45 feet high. 



The vihara, or monastery, consists of a central 



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