258 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



[August, 



by the columns and decorations, and 

 in appearance, by the horizontal 

 line which runs across the compo- 

 sition in the shape of bands to the 

 shafts. Yet, it seems to have es- 

 caped the attention of many de- 

 tractors from the merits of pointed 

 architecture, that it is possible, 

 under different circumstances, to 

 attain the same end by different 

 means. As in Italian design — an 

 arched doorway of two squares and 

 a half in height, Fig. 4, would 

 probably appear too lofty, if deco- 

 corated with a simple architrave, 

 but, if a cone with panels be in- 

 serted, Fig. 5, the eye is at once 

 reconciled to the proportion. Mr. 

 Hawkins, in his "History of the 

 origin and establishment of Gothic 

 architecture," says that in the year 

 1321, several persons (whose^iames 

 he gives) who were appointed to 



examine the works at Sienna Cathedral, declared that the works 

 ought not to be proceeded with, as the established proportions of the 

 old church would be destroyed, and it would not have that measure 

 in length, breadth and height, which the rules for proportioning a 

 church require. Had there been no settled rules of proportion, it is 

 clear, that the architect could not have transgressed. 



But the elucidation of a system, which might have been employed 

 by the old architects, in proportioning the parts of buildings, has been 

 attempted by Mr. Billings, and, as regards Carlisle and Worcester 

 Cathedrals, with success. The same subject has also occupied the 

 attention of the Oxford antiquaries. 1 am also disposed to give a 

 higher rank than that of superstition to the system of proportion in 

 which triangles were employed, first noticed by Cesare Cesariano, 

 Fig. G, * and illustrated by D'Agincourt, in his elaborate work, enti- 

 tled " Histoire de I' Art par les Mimvmau," in the sections of Milan 

 and Bologna Cathedrals. The objections brought against this system 

 appear to have resulted from an inaccuracy in the description and dia- 

 grams of Cesariano. In Fig. the triangles are all equilateral, and their 

 lines intersect p.irts of the building in such a manner as to lead to the 

 belief, that they actually determined the proportion; thus symbolic of 



Fig. 6.— Cathedral of Milan— Cesariano's Theory. 



Z* The translation of Vitruvius by Cesariano is a scarce work ;— the illus- 

 tration given is from Hawkins' Gothic Architecture. 



the Trinity. But it may be asked, whether any cathedral constructed 

 on sound principles might not have the same proportions, as to width 

 of nave and ailes, as the one under notice, and if so, whether the use of 

 equilateral triangles might not give the most effective arrangement. 

 But, omitting this view, the opinions as to the "superstitious" origin 

 of Gothic proportions, are founded, not on careful measurements, but 

 on the obscure text and rough diagrams of Cesariano, which vary so 

 much from the actual dimensions, as to give the total height of the 

 spire one third less, than as at present existing. The triangle is of the 

 greatest service in proportioning the parts of buildings, in accordance 

 with that pyramidal character which should pervade every building of 

 whatever style, and seems to have been so used by the Gothic archi- 

 tects. In a late work by Mr. Bartholomew it is shown that the pyramid 

 or triangle may have governed the proportions of the west front of St. 

 Paul's Cathedral; 5 and a similar method was probably practised by 

 the earlier companions of the order, to which Wren belonged. Its 

 application to the west front of York Cathedral I have endeavoured 

 to show in the diagram, Fig. 7. That peculiarity of symbolising the 



Fig. 7.— AVest Elevation of York Cathedral. 



different parts of buildings, though proved to have obtained amongst 

 the Catholic priesthood, may not have originated either the propor- 

 tioning by triangles or the disposition of the several parts. The after 

 symbolising of various parts invested them with a peculiar sanctity; 

 but that, in the jfrst instance it governed the entire disposition, or that 

 it ever tended to lessen the beautiful effect, I think yet demands further 

 proof. At least, it should be shown, that this imputed symbolism 

 stood in the way of a better arrangement, ere the Catholic architects 

 are condemned for even the smallest attention to it. Indeed, a sym- 

 bolic meaning, so to speak, might be discovered in buildings, in 

 which it is clear no such intention ever existed. In St. Paul's Ca- 

 thedral, the three large doors might be thought to symbolise the 

 Trinity, and the four arms of the cross with its eight ailes, the twelve 

 Apostles. Whether any symbolic meaning might be discovered in 

 the three porticos of the Post Office, and of the National Gallery, or in 



5 " Specifications of Prac'ical Architecture,'' vide Journal, Vol. 111., 

 p. 329. 



