ARCHITECTURE 326 



projection, at the end. These features, which 

 are illustrated in the picture of Saint Paul's 



ARCHITECTURE 



Interior of "Saint Paul Outside the Walls," as 

 rebuilt after a destructive fire of 1 y 



Outside the Walls, have influenced church 

 architecture from Constantine's time to the 

 present day. 



There was in the West no type of archi- 

 tecture to blend with the Roman and form a 

 style corresponding to the Byzantine in the 

 East. What took place was a gradual devel- 

 opment into the fashion called Romanesque. 

 In general the tendency was away from the 

 heaviness of the older construction. In Lom- 

 bardy vaults were supported by ribs at the 

 intersections of surfaces (see the article VAULT 

 and the picture of a groined vault), the ribs 

 resting on pillars and making massive walls 

 unnecessary. In Burgundy architects learned 

 to construct groined vaults in oblong shape in 

 place of the square vaults to which others had 

 been confined. In Germany first, then else- 

 where, the church tower was made a part of 

 the main building, instead of a separate struc- 

 ture (see CAMPANILE). 



Gothic, the Expression of a New Life. The 

 student of architectural history misses half the 

 interest of his subject if he does not notice 

 how clearly the buildings of a nation or of an 

 age may indicate the spirit of the times. The 

 solemnity of old Egypt, the keen intelligence 

 of Greece, the unconquerable will of Rome 

 are all recorded in brick and stone. When 

 we come to the age of awakening understand- 

 ing which preceded the glorious rebirth of 

 Europe, called the Renaissance, we find an 

 example even more striking. Emerson calls 

 the Gothic cathedral "a blossoming in stone" 

 and adds: "The mountain of granite blooms 

 into an eternal flower, with the lightness and 

 delicate finish, as well as the aerial proportions 

 and perspective of vegetable beauty." 



Structurally Gothic architecture is marked 

 first of all by the pointed arch, which can be 



to impressive heights without increase 

 in width, needs no heavy walls to resist its out- 

 ward thrust and permits vaults of any shape. 

 In true Gothic style then- is not a wasted 

 stone. All weight is carried by a skeleton 

 of arches, piers and flying bultivxrs; ival walls 

 are almost lacking, for the spaces between out- 

 side piers an- filled by lofty windows. 



The Gothic style had its birth in France. 

 It was copied in England and Germany, Spain 

 and Italy, but nowhere in its purity. Various 

 modifications arose, mostly with elaborate orna- 

 mentation (see GARGOYLE; TRACERY; TUDOR 

 STYLE). Gothic structures described elsewhm 

 in this book are the cathedrals of Notre Dame, 

 Lincoln, Cologne, Rheims, Milan and Amiens. 

 The first of these is pictured under its own 



IN A GOTHIC CATHEDRAL, 



The graceful arches of a choir-aisle in Rheims 

 Cathedral, built in the thirteenth century. 



heading, the second appears in the illustra- 

 tion at the head of this article, and with the 

 third and fourth, under CATHEDRAL. 



The Renaissance and After. It was in Italy 

 that the reawakened interest in the works of 

 past ages which characterized the Renaissance 

 first manifested itself. Here architects were 

 able to study the fragmentary remains of clas- 

 sical Roman structures, and to adopt into their 

 own practice those elements which pleased 

 them best. After the visit of the court of 



