174 ARCHITECTURE. 
17. Metrosr Aspry tn Scortanp. This building was founded by David I. 
of Scotland in 1136, and is one of the most imposing monastic ruins and 
one of the most beautiful specimens of German architecture in Scotland. 
Walter Scott has introduced it in his romance, “The Monastery.” Won- 
derful are the richness and the harmony of details, in which all the original 
sharpness remains. PU. 41, jig. 17, represents the interior, which is, 
however, far removed from the original noble simplicity of the German 
architecture, and in which the columns are certainly too heavy for the 
elegant detail of the arches. 
3. Tur PERtop oF THE RENAISSANCE. 
In the beginning of the 15th century many Italian architects recognised 
the beauty of the monuments of a classical antiquity, forgotten for centuries. 
For although then, much more than now, the most imposing remains lay 
under their eyes, yet they were so filled with the spirit of the new style, 
that not only did the old fail to impress, but there were enough voices to 
declare that they were the relics of a barbarous art. Nevertheless the 
sentiment of genuine beauty gradually prevailed, and the necessity was 
experienced of cultivating acquaintance by sufficient attention, with the 
ancient Roman buildings, and especially of studying the ornaments of a 
classical antiquity. Thence it came that, inspired by the genius of order 
and harmony, Giovanni da Pisa placed regular pilasters upon the Campo 
Santo; that the younger Masaccio introduced three regular orders of 
columns, one over the other, upon the belfry of Santa Chiara in Naples; 
and that Orgagna, in the Loggia Lanzi; Alberti, Michelozzi Majano, and 
Brunelleschi in Florence, Mantua, Venice, and Rome, for the facades of 
churches and palaces, chose cornices for doors and windows, which were 
conceived from the remains of old Roman buildings, and introduced colon- 
nades in the regular orders. Yet occasionally a blending of the German 
style with the antique is perceptible, and although the impression is not 
agreeable, yet it is easy to recognise in it the struggle for a timely and 
gradual progress, which, however, is here nothing but a return to the 
true beauty which the ancient architects had already seen and honored. 
Whilst in Germany and the Netherlands the domestic style, that of the 
pointed-arch, still reigned supreme, and, so far as concerns monumental 
architecture, was exclusively employed, in Italy and France the influence of 
the first-mentioned studies began to be felt ; and this beam of the beautiful era 
of art is known as “ the Renaissance” or revival of old art, which disappear- 
ed again only too soon, and left the field to a poor, overloaded, and grotesque 
style. We will now consider a few of the buildings of the Renaissance. 
Beginning with Italy, where the effects of the regeneration were first felt, 
we will glance at the principal cities in which monuments from that period 
remain. 
1. Ventce. The church of St. Zacharias, of which pl. 42, fig. 1, gives the 
view, and pl. 43, fig. 17, the ground plan, is, as a work of the Renaissance, 
174 
