1840.J 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



319 



BOSSES AND ENRICHMENTS FROM THE CHANCEL. 



mouldings vrhicli form the trefoil arches round the chancel of Stone 

 Church. The points of intersection of the two equilateral triangles 

 are the centres for the hollows, and the more prominent parts of the 

 moulding ai-e set out with the same radius at the points of the trian- 

 gles; or, in other words, four circles are encircled within a circle, and 

 bv omitting each alternate one the figure is formed. From the equi- 

 lateral triangle are readily produced the hexagon and duodecagon; 

 and the rose windows of the churches and cathedrals of France, many 

 nearly fifty feet in diameter, and exhibiting a great varity of figures 

 in their designs, are among the most beantiful exam|iles which can be 

 cited of the early and later application of the eqiiilateral triangle to 

 the figures of architecture. From the trefoil, sexfoil and their multi- 

 ples, as shewn at St. Denis, proceeded the flowing tracer_v, simply 

 produced by omission of portions of the regular geometrical fignre, 

 that which remained being so combined that the manner of its setting 

 out was concealed, probably for the ])urpose of exciting wonder in the 

 spectator, and thereby adding to that air of mystery which the craft 

 delighted to spread around them. The system depending on the equi- 

 lateral triangle for its variety of form continued in use till the be- 

 ginning of 15th century in France, when it underwent a great and im- 

 portant change by the introduction of the isosceles triangle, and its 

 compound the pentagon. A pupil of Alexander de Berneval, archi- 

 tect to the church of St. Ouon at Rouen, proved that these figures 

 could furnish novelties in design, and that all beauty was not confined 

 to the long used favourite triangle. 



" To the common observer this theory may appear fanciful, but the 

 writer does not hesitate to assert that the boldest mouldings, and the 

 most delicate tracery, where gently flow ing lines seem the result of a 

 sportive fancy only, equally emanate from the same sources, and that 

 it is to the neglect of the application of the rules of geometry that we 

 may attribute the defects and failures wherever an imitation of this 

 early style has been attempted in the present day, which neglect has 

 been greatly fostered by the too prevailing opinion that all the beauty 

 we admire is produced by ait alone unaided by the science of geome- 

 try, the time devoted to line and rule being considered lost. The 

 beautiful tracery, called by some par excellence, the decorated English, 

 cannot accurately be displayed without a knowledge of these principles. 

 JNIany examples have been tested to prove this fact." 



In this building we also find an instance of the comprehensive view 

 which our ancestors took of architecture, in common with other by- 

 gone nations excelling in that art, painting — not restricted to the 

 stained glass window — entering largely into tne composition. 



The principle of combining painting with architecture appears to 

 have been upheld at all periods signalized for devotion to the latter 

 art, and that whatever be the styles which have arisen, their authors 

 seem to have participated in the feeling that a building erected for 

 some dignified purpose, however carefully designed and executed, 

 might be its architectural features, would fail to fulfil its object, if it 

 lacked the charm of color, considering the true province of architec- 

 ture to be the medium of gracefully uniting the sister arts of painting 

 and sculpture. 



"Polvchromy was introduced into our churches at a very early 

 period, and became the general decoration where magnificence was 

 aimed at, and the more costly substitute of mosaic could not be ob- 

 tained. The Greek temples in the days of Pericles even had their 

 pure white marble painted and gilt, and traces of it may still be found 

 in the frieze of the admired Parthenon. The Egyptian as well as the 

 Roman buildings at a very early as well as later period were all 

 painted ; and the practice seems only to have been lost in this country 

 after the Reformation." 



Until lately we believe there existed some doubt as to whether the 

 authors of the Gothic style indulged in the art of polycromy, that they 

 cultivated this fascinating art willingly, is however now certain — and 

 were consequently not partial to that gloomy aspect which many of 

 their buildings assume, when denuded of the brilliancy of their colours, 

 introduced no doubt for the express purpose of counteracting that 

 sombre effect incident from either the nature of the design itself or its 

 inclosed situation. Thus the cloisters of Westminster Abbey now so 

 repulsively gloomy, must have been most attractive when exhibiting, 

 as they once did, all the pomp of colour. It is impossible to take 

 leave of this subject without otfering our sincere congratulations to 

 the topographic society upon the success of their efibrts, and expressing 

 our conviction that all lovers of art will acknowledge their present 

 volume of Stone Church to be a valuable contribution to the store of 

 literature and art. The manner in which the work is executed de- 

 serves the highest commendation, the plates exhibiting great delicacy 

 as well as vigour. 



Specifications for Practical Architecture. By Alfred Bartholomew, 

 Architect. London: John Williams, 1840. 



Mr. Bartholomew has produced a very valuable work, containing a 

 vast accumulation of materials connected with the construction of 

 buildings; he has condensed in a moderate size octavo volume a larger 



