Chapter XXXIV: Appendix (1)

A. +PRIMITIVE GREEK ARCHITECTURE.+--The researches of Schliemann commented by Schuchardt, of Dörpfeld, Stamakis, Tsoundas, Perrot, and others, in Troy, Mycenæ, and Tiryns, and the more recent discoveries of Evans at Gnossus, in Crete, have greatly extended our knowledge of the prehistoric art of Greece and the Mediterranean basin, and established many points of contact on the one hand with ancient Egyptian and Phœnician art, and on the other, with the art of historic Greece. They have proved the existence of an active and flourishing commerce between Egypt and the Mediterranean shores and Aegean islands more than 2000 B.C., and of a flourishing material civilization in those islands and on the mainland of Greece, borrowing much, but not everything, from Egypt. While the origin of the Doric order in the structural methods of the pre-Homeric architecture of Tiryns and Mycenæ, as set forth by Dörpfeld and by Perrot and Chipiez, can hardly be regarded as proved in all details, since much of the argument advanced for this derivation rests on more or less conjectural restorations of the existing remains, it seems to be fairly well established that the Doric order, and historic Greek architecture in general, trace their genesis in large measure back in direct line to this prehistoric art. The remarkable feature of this early architecture is the apparently complete absence of temples. Fortifications, houses, palaces, and tombs make up the ruins thus far discovered, and seem to indicate clearly the derivation of the temple-type of later Greek art from the primitive house, consisting of a hall or _megaron_ with four columns about the central hearth (whence no doubt, the atrium and peristyle of Roman houses, through their Greek intermediary prototypes) and a porch or _aithousa_, with or without columns _in antis_, opening directly into the _megaron_, or indirectly through an ante-room called the _prodomos_. Here we have the prototypes of the Greek temple _in antis_, with its _naos_ having interior columns, whether roofed over or hypæthral (see pp. 54, 55). It is probable also that the evidently liberal use of timber for many of the structural details led in time to many of the forms later developed in stone in the entablature of the Doric order. But it is hard to discover, as Dörpfeld would have it, in the slender Mycenæan columns with their inverted taper, the prototype of the massive Doric column with its upward taper. The Mycenæan column was evidently derived from wooden models; the sturdy Doric column--the earliest being the most massive--seems plainly derived from stone or rubble piers (see p. 50), and thus to have come from a different source from the Mycenæan forms.

The _gynecæum_, or women’s apartments, the men’s apartments, and the bath were in these ancient palaces grouped in varying relations about the _megaron_: their plan, purpose, and arrangement are clearly revealed in the ruins of Tiryns, where they are more complete and perfect than either at Troy or Mycenæ.

B. +CAMPANILES IN ITALY.+--Reference is made on page 264 to the towers or campaniles of the Italian Gothic style and period, and six of these are specifically mentioned; and on page 305 mention is also made of those of the Renaissance in Italy. The number and importance of the Italian campaniles and the interest attaching to their origin and design, warrant a more extended notice than has been assigned them in the pages cited.

The oldest of these bell-towers appear to be those adjoining the two churches of San Apollinare in and near Ravenna (see p. 114), and date presumably from the sixth century. They are plain circular towers with few and small openings, except in the uppermost story, where larger arched openings permit the issue of the sound of the bells. This type, which might have been developed into a very interesting form of tower, does not seem to have been imitated. It was at Rome, and not till the ninth or tenth century, that the campanile became a recognized feature of church architecture. It was invariably treated as a structure distinct from the church, and was built of brick upon a square plan, rising with little or no architectural adornment to a height usually of a hundred feet or more, and furnished with but a few small openings below the belfry stage, where a pair of coupled arched windows separated by a simple column opened from each face of the tower. Above these windows a pyramidal roof of low pitch terminated the tower. In spite of their simplicity of design these Roman bell-towers often possess a noticeable grace of proportions, and furnish the prototype of many of the more elaborate campaniles erected during the Middle Ages in other central and north Italian cities. The towers of Sta. Maria in Cosmedin, Sta. Maria in Trastevere, and S. Giorgio in Velabro are examples of this type. Most of the Roman examples date from the eleventh and twelfth centuries.

In other cities, the campanile was treated with some variety of form and decoration, as well as of material. In Lombardy and Venetia the square red-brick shaft of the tower is often adorned with long, narrow pilaster strips, as at Piacenza (p. 158, Fig. 91) and Venice, and an arcaded cornice not infrequently crowns the structure. The openings at the top may be three or four in number on each face, and even the plan is sometimes octagonal or circular. The brick octagonal campanile of +S. Gottardo+ at Milan is one of the finest Lombard church towers. At Verona the brick tower on the Piazza dell’ Erbe and that of S. Zeno are conspicuous; but every important town of northern Italy possesses one or more examples of these structures dating from the eleventh, twelfth, or thirteenth century.

Undoubtedly the three most noted bell-towers in Italy are those of Venice, Pisa, and Florence. The great +Campanile+ of +St. Mark+ at Venice, first begun in 874, carried higher in the twelfth and fourteenth centuries, and finally completed in the sixteenth century with the marble belvedere and wooden spire so familiar in pictures of Venice, was formerly the highest of all church campaniles in Italy, measuring approximately 325 feet to the summit. But this superb historic monument, weakened by causes not yet at this writing fully understood, fell in sudden ruin on the 14th of July, 1902, to the great loss not only of Venice, but of the world of art, though fortunately without injuring the neighboring buildings on the Piazza and Piazzetta of St. Mark. Since then the campanile of S. Stefano, in the same city, has been demolished to forestall another like disaster. The +Leaning Tower+ of Pisa (see p. 160, Fig. 92) dates from 1174, and is unique in its plan and its exterior treatment with superposed arcades. Begun apparently as a leaning tower, it seems to have increased this lean to a dangerous point, by the settling of its foundations during construction, as its upper stages were made to deviate slightly towards the vertical from the inclination of the lower portion. It has always served rather as a watch-tower and belvedere than as a bell-tower. The +Campanile+ adjoining the Duomo at +Florence+ is described on p. 263 and illustrated in Fig. 154, and does not require further notice here. The black-and-white banded towers of Sienna, Lucca, and Pistoia, and the octagonal lanterns crowning those of Verona and Mantua, also referred to in the text on p. 264, need here only be mentioned again as illustrating the variety of treatment of these Italian towers.

The Renaissance architects developed new types of campanile, and in such variety that they can only be briefly referred to. Some, like a brick tower at Perugia, are simple square towers with pilasters; more often engaged columns and entablatures mark the several stories, and the upper portion is treated either with an octagonal lantern or with diminishing stages, and sometimes with a spire. Of the latter class the best example is that of S. Biagio, at Montepulciano,--one of the two designed to flank the façade of Ant. da S. Gallo’s beautiful church of that name. One or two good late examples are to be found at Naples. Of the more massive square type there are examples in the towers of S. Michele, Venice; of the cathedral at Ferrara, Sta. Chiara at Naples, and Sta. Maria dell’ Anima--one of the earliest--at Rome. The most complete and perfect of these square belfries of the Renaissance is that of the +Campidoglio+ at Rome, by Martino Lunghi, dating from the end of the sixteenth century, which groups so admirably with the palaces of the Capitol.

C. +BRAMANTE’S WORKS.+--A more or less animated controversy has arisen regarding the authenticity of many of the works attributed to Bramante, and the tendency has of late been to deny him any part whatever in several of the most important of these works. The first of these to be given a changed assignment was the church of the Consolazione at Todi (p. 293), now believed to be by Cola di Caprarola; and it is now denied by many investigators that either the Cancelleria or the Giraud palace (p. 290) is his work, or any one of two or three smaller houses in Rome showing a somewhat similar architectural treatment. The evidence adduced in support of this denial is rather speculative and critical than documentary, but is not without weight. The date 1495 carved on a doorway of the Cancelleria palace is thought to forbid its attribution to Bramante, who is not known to have come to Rome till 1503; and there is a lack of positive evidence of his authorship of the Giraud palace and the other houses which seem to be by the same hand as the Cancelleria. To the advocates of this view there is not enough resemblance in style between this group of buildings and his acknowledged work either in Milan or in the Vatican to warrant their being attributed to him.

It must, however, be remarked, that this notable group of works, stamped with the marks and even the mannerisms of a strong personality, reveal in their unknown author gifts amounting to genius, and heretofore deemed not unworthy of Bramante. It is almost inconceivable that they should have been designed by a mere beginner previously utterly unknown and forgotten soon after. It is incumbent upon those who deny the attribution to Bramante to find another name, if possible, on which to fasten the credit of these works. Accordingly, they have been variously attributed to Alberti (who died in 1472) or his followers; to Bernardo di Lorenzo, and to other later fifteenth-century artists. The difficulty here is to discover any name that fits the conditions even as well as Bramante’s; for the supposed author must have been in Rome between 1495 and 1505, and his other works must be at least as much like these as were Bramante’s. No name has thus far been found satisfactory to careful critics; and the alternative theory, that there existed in Rome, before Bramante’s coming, a group of architects unknown to later fame, working in a common style and capable of such a masterpiece as the Cancelleria, does not harmonize with the generally accepted facts of Renaissance art history. Moreover, the comparison of these works with Bramante’s Milanese work on the one hand and his great Court of the Belvedere in the Vatican on the other, yields, to some critics, conclusions quite opposed to those of the advocates of another authorship than Bramante’s.

The controversy must be considered for the present as still open. There are manifest difficulties with either of the two opposed views, and these can hardly be eliminated, except by the discovery of documents not now known to exist, whose testimony will be recognized as unimpeachable.

D. +L’ART NOUVEAU.+--Since 1896, and particularly since the Paris Exposition of 1900, a movement has manifested itself in France and Belgium, and spread to Germany and Austria and even measurably to England, looking towards a more personal and original style of decorative and architectural design, in which the traditions and historic styles of the past shall be ignored. This movement has received from its adherents and the public the name of “L’Art Nouveau,” or, according to some, “L’Art Moderne”; but this name must not be held to connote either a really new style or a fundamentally new principle in art. Indeed, it may be questioned whether any clearly-defined body of principles whatever underlies the movement, or would be acknowledged equally by all its adherents. It appears to be a reaction against a too slavish adherence to traditional forms and methods of design (see pp. 370, 375), a striving to ignore or forget the past rather than a reaching out after any well-understood, positive end; as such, it possesses the negative strength of protest rather than the affirmative strength of a vital principle. Its lack of cohesion is seen in the division of its adherents into groups, some looking to nature for inspiration, while others decry this as a mistaken quest; some seeking to emphasize structural lines, and others to ignore them altogether. All, however, are united in the avoidance of commonplace forms and historic styles, and this preoccupation has developed an amazing amount of originality and individualism of style, frequently reaching the extreme of eccentricity. The results have therefore been, as might be expected, extremely varied in merit, ranging from the most refined and reserved in style to the most harshly bizarre and extravagant. As a rule, they have been most successful in small and semi-decorative objects--jewelry, silverware, vases, and small furniture; and one most desirable feature of the movement has been the stimulus it has given (especially in France and England), to the organization and activity of “arts-and-crafts” societies which occupy themselves with the encouragement of the decorative and industrial arts and the diffusion of an improved taste. In the field of the larger objects of design, in which the dominance of traditional form and of structural considerations is proportionally more imperious, the struggle to evade these restrictions becomes more difficult, and results usually in more obvious and disagreeable eccentricities, which the greater size and permanence of the object tend further to exaggerate. The least successful achievements of the movement have accordingly been in architecture. The buildings designed by its most fervent disciples (_e.g._ the Pavillon Bleu at the Exposition of 1900, the Castel Béranger, Paris, by _H. Guimard_, the houses of the artist colony at Darmstadt, and others) are for the most part characterized by extreme stiffness, eccentricity, or ugliness. The requirements of construction and of human habitation cannot easily be met without sometimes using the forms which past experience has developed for the same ends; and the negation of precedent is not the surest path to beauty or even reasonableness of design. It is interesting to notice that in the intermediate field of furniture-design some of the best French productions recall the style of Louis XV., modified by Japanese ideas and spirit. This singular but not unpleasing combination is less surprising when we reflect that the style of Louis XV. was itself a protest against the formalism of the heavy classic architecture of preceding reigns, and achieved its highest successes in the domain of furniture and interior decoration.

It may be fair to credit the new movement with one positive characteristic in its prevalent regard for line, especially for the effect of long and swaying lines, whether in the contours or ornamentation of an object. This is especially noticeable in the Belgian work, and in that of the Viennese “Secessionists,” who have, however, carried eccentricity to a further point of extravagance than any others.

Whether “L’Art Nouveau” will ever produce permanent results time alone can show. Its present vogue is probably evanescent and it cannot claim to have produced a style; but it seems likely to exert on European architecture an influence, direct and indirect, not unlike that of the Néo-Grec movement of 1830 in France (p. 364), but even more lasting and beneficial. It has already begun to break the hold of rigid classical tradition in design; and recent buildings, especially in Germany and Austria, like the works of the brilliant _Otto Wagner_ in Vienna, show a pleasing freedom of personal touch without undue striving after eccentric novelty. Doubtless in French and other European architecture the same result will in time manifest itself.

The search for novelty and the desire to dispense wholly with historic forms of design which are the chief marks of the Art Nouveau, were emphatically displayed in many of the remarkable buildings of the Paris +Exhibition of 1900+, in which a striking fertility and facility of design in the decorative details made more conspicuous the failure to improve upon the established precedents of architectural style in the matters of proportion, scale, general composition, and contour. As usual the metallic construction of these buildings was almost without exception admirable, and the decorative details, taken by themselves, extremely clever and often beautiful, but the combined result was not satisfactory.

In the United States the movement has not found a firm foothold because there has been no dominant, enslaving tradition to protest against. Not a few of the ideas, not a little of the spirit of the movement may be recognized in the work of individual architects and decorative artists in the United States, executed years before the movement took recognizable form in Europe: and American decorative design has generally been, at least since 1880 or 1885, sufficiently free, individual and personal, to render unnecessary and impossible any concerted movement of artistic revolt against slavery to precedent.

E. +RECENT AMERICAN ARCHITECTURE.+--Architectural activity in the United States continues to share in the general prosperity which has marked the years since 1898, and this activity has by no means been confined to industrial and commercial architecture. Indeed, while the erection of “sky scrapers” or excessively lofty office-buildings has continued to be a feature of this activity in the great commercial centres, the most notable architectural enterprises of recent years have been in the field of educational buildings, both in the East and West. In 1898 a great international competition resulted in the selection of the design of Mr. _E. Bénard_ of Paris for a magnificent group of buildings for the +University of California+ on a scale of unexampled grandeur, and the erection of this colossal project has been begun. An almost equally ambitious project, by a firm of Philadelphia architects, has been adopted for the Washington University at St. Louis; and many other universities and colleges have either added extensively to their existing buildings or planned an entire rebuilding on new designs. Among these the national military and naval academies at +West Point+ and +Annapolis+ take the first rank in the extent and splendor of the projected improvements. Museums and libraries have also been erected or begun in various cities, and the +New York Public Library+, now building, will rank in cost and beauty with those already erected in Boston and Washington.

In other departments mention should be made of recent Federal buildings (custom-houses, post-offices, and court-houses) erected under the provisions of the Tarsney act from designs secured by competition among the leading architects of the country; among those the +New York Custom House+ is the most important, but other buildings, at Washington, Indianapolis, and elsewhere, are also conspicuous, and many of them worthy of high praise. The tendency to award the designing of important public buildings, such as State capitols, county court houses, city halls, libraries, and hospitals, by competition instead of by personal and political favor, has resulted in a marked improvement in the quality of American public architecture.

F. +THE ERECHTHEUM: RECENT INVESTIGATIONS.+--During the past two years, extensive repairs and partial restorations of the Erechtheum at Athens, undertaken by the Greek Archæological Society, have afforded opportunities for a new and thoroughgoing study of the existing portions of the building and of the surrounding ruins. In these investigations a prominent part has been borne by Mr. Gorham P. Stevens, representing the Archæological Institute of America, to whom must be credited, among other things, the demonstration of the existence, in the east wall of the original structure, of two windows previously unknown. Other peculiarities of design and construction were also discovered, which add greatly to the interest of the building. These investigations are reported in the _American Journal of Archæology_, Second Series; _Journal of the Archæological Institute of America_, Vol. X., No. 1, _et seq._ The illustrations, Figures 35 and 36, are, by Mr. Stevens’ courtesy, based upon, though not reproductions of, his original drawings.

GLOSSARY

OF TERMS NOT DEFINED IN THE TEXT.

ALCAZAR (Span., from Arabic _Al Kasr_), a palace or castle, especially of a governing official.

ARCHIVOLT, a band or group of mouldings decorating the wall-face of an arch; or a transverse arch projecting slightly from the surface of a barrel or groined vault.

ASTYLAR, without columns.

BALNEA, a Roman bathing establishment, less extensive than the _thermæ_.

BEL ETAGE, the principal story of a building, containing the reception rooms and saloons; usually the second story (first above the ground story).

BROKEN ENTABLATURE, an entablature which projects forward over each column or pilaster, returning back to the wall and running along with diminished projection between the columns, as in the Arch of Constantine (Fig. 63).

CANTONED PIERS, piers adorned with columns or pilasters at the corners or on the outer faces.

CARTOUCHE (Fr.), an ornament shaped like a shield or oval. In Egyptian hieroglyphics, the oval encircling the name of a king.

CAVETTO, a concave, quarter-round moulding.

CHEVRON, a V-shaped ornament.

CHRYSELEPHANTINE, of ivory and gold; used of statues in which the nude portions are of ivory and the draperies of gold.

CONSOLE, a large scroll-shaped bracket or ornament, having its broadest curve at the bottom.

CORINTHIANESQUE, resembling the Corinthian; used of capitals having corner-volutes and acanthus leaves, but combined otherwise than in the classic Corinthian type.

EMPAISTIC, made of, or overlaid with, sheet-metal beaten or hammered into decorative patterns.

EXEDRÆ, curved seats of stone; niches or recesses, sometimes of considerable size, provided with seats for the public.

FENESTRATION, the whole system or arrangement of windows and openings in an architectural composition.

FOUR-PART. A four-part vault is a groined vault formed by the intersection of two barrel vaults. Its diagonal edges or _groins_ divide it into four sections, triangular in plan, each called a _compartment_.

GIGANTOMACHIA, a group or composition representing the mythical combat between the gods and the giants.

HALF-TIMBERED, constructed with a timber framework showing externally, and filled in with masonry or brickwork.

IMAUM, imâm, a Mohammedan priest.

KAABAH, the sacred shrine at Meccah, a nearly cubical structure hung with black cloth.

KARAFAH, a region in Cairo containing the so-called tombs of the Khalifs.

LACONICUM, the sweat-room in a Roman bath; usually of domical design in the larger thermæ.

MEZZANINE, a low, intermediate story.

MUEDDIN, a Mohammedan mosque-official who calls to prayer.

NARTHEX, a porch or vestibule running across the front of a basilica or church.

NEO-GOTHIC, NEO-MEDIÆVAL, in a style which seeks to revive and adapt or apply to modern uses the forms of the Middle Ages.

OCULUS, a circular opening, especially in the crown of a dome.

OGEE ARCH, one composed of two juxtaposed S-shaped or wavy curves, meeting in a point at the top.

PALÆSTRA, an establishment among the ancient Greeks for physical training.

PAVILION (Fr. _pavillon_), ordinarily a light open structure of ornate design. As applied to architectural composition, a projecting section of a façade, usually rectangular in plan, and having its own distinct mass of roof.

QUARRY ORNAMENT, any ornament covering a surface with two series of reticulated lines enclosing approximately quadrangular spaces or meshes.

QUATREFOIL, with four leaves or _foils_; composed of four arcs of circles meeting in cusps pointing inward.

QUOINS, slightly projecting blocks of stone, alternately long and short, decorating or strengthening a corner or angle of a façade.

REVETMENT, a veneering or sheathing.

RUSTICATION, treatment of the masonry with blocks having roughly broken faces, or with deeply grooved or bevelled joints.

SOFFIT, the under-side of an architrave, beam, arch, or corona.

SPANDRIL, the triangular wall-space between two contiguous arches.

SQUINCH, a bit of conical vaulting filling in the angles of a square so as to provide an octagonal or circular base for a dome or lantern.

STOA, an open colonnade for public resort.

TEPIDARIUM, the hot-water hall or chamber of a Roman bath.

TYMPANUM, the flat space comprised between the horizontal and raking cornices of a pediment, or between a lintel and the arch over it.

VOUSSOIR, any one of the radial stones composing an arch.

INDEX OF ARCHITECTS.

The _surname_ is in all cases followed by a comma.

Abadie, 373
Adams, Robert 234
Agnolo, Baccio d’ 291
Agnolo, Gabriele d’ 287
Alberti, Leo Battista 277, 280
Alessi, Galeazzo 299, 302
Ammanati, Bartolomeo 300
Anselm, Prior 219
Anthemius of Tralles, 127
Antonio, Master 259
Arnold, Master 243
Arnolfo di Cambio, 162, 265

Baccio D’ Agnolo, 291
Ballu, 371, 373
Baltard, Victor 371
Barry, Sir Charles 380
Bassevi, 356
Battista, Juan 351
Benci di Cione, 266
Benedetto da Majano, 280, 281
Bernardo di Lorenzo, 282
Bernini, Lorenzo 295, 303, 319
Berruguete, Alonzo 348, 350
Bianchi, 305
Bondone, Giotto di 258, 263, 272
Boromini, Francesco 303, 304
Borset, 334
Bramante Lazzari, 289, 290, 294, 295, 321
Brandon, Richard 378
Bregno, Antonio 284
Brongniart, 363
Brunelleschi, Filippo 275, 276, 280, 281, 289
Bullant, Jean 316, 317
Bulfinch, Charles 390
Buon, Bartolomeo 284
Buonarotti, Michael Angelo 289, 292, 294, 295, 296, 299
Burges, William 380

Callicrates, 63
Cambio, Arnolfo di 162, 265
Campbell, Colin 333
Campello, 255
Caprarola, Cola da 293
Caprino, Meo del 286
Chalgrin, 362
Chambers, Sir William 333
Chambiges, Pierre 313
Chrismas, Gerard 327
Christodoulos, 150
Churriguera, 348, 352
Cimabue, 258
Civitale, Matteo 281, 283
Columbe, Michel 310
Cortona, Domenico di 316
Cossutius, 68
Cronaca, 280, 291

Dance, George 334
De Brosse, Salomon 318, 319
De Fabris, 261
De Key, Lieven 336
De Keyser, Hendrik 336
Della Porta, Giacomo 292, 299, 300
Della Robbia, Luca 281
De l’Orme, Philibert 316, 317
Déperthes, 373
Derrand, François 319
Desiderio da Settignano, 281
De Tessin, Nicodemus 337
De Vriendt (or Floris), Cornelius 334, 335
Diego de Siloë, 348
Domenico di Cortona, 316
Donatello, 275
Dosio, Giovanni Antonio 291
Duban, Félix 364
Duc, 364, 365
Du Cerceau, Jean Batiste 318

Edington, 226
Emerson, William 382
Enrique de Egaz, 349
Erwin von Steinbach, 241

Fain, Pierre 310
Federighi, Antonio 282
Ferstel, H. von 375
Fiesole, Mino da 281
Filarete, Antonio 283
Flitcroft, 333
Floris (De Vriendt), Cornelius 334, 335
Fontaine, 362
Fontana, Domenico 295, 299, 300, 304
Fra Giocondo, 286
Fra Ristoro, 256
Fra Sisto, 256
Fuga, Ferdinando 305

Gabriel, Jacques Ange 324, 367
Gabriele d’Agnolo, 287
Gaddi, Taddeo 263
Gadyer, Pierre 315
Galilei, Alessandro 305
Garnier, Charles 372
Gerhardt von Riel, 243
Giacomo di Pietrasanta, 286
Gibbs, James 332, 333, 356, 385
Giocondo, Fra 286
Giotto di Bondone, 258, 263, 272
Giuliano da Majano, 286, 287
Giulio Romano, 289, 292
Goujon, Jean 316, 321
Gumiel, Pedro 349

Hallet, Stephen (Étienne) 389
Hansen, Theophil 360
Have, Theodore 327
Hawksmoor, 332
Hendrik de Keyser, 336
Henri de Narbonne, 249
Henry of Gmünd, 255
Herrera, Francisco 352
Herrera, Juan d’ 348, 350, 351
Hitorff, J. J. 364, 372
Hoban, Thomas 390
Holbein, Hans 327
Hübsch, Heinrich 375, 376
Hunt, Richard M. 393

Ictinus, 62, 63, 65
Isodorus of Miletus, 127
Ivara, Ferdinando 352, 365

Jacobus of Meruan, 255
Jansen, Bernard 327
Jefferson, Thomas 390
John, Master 243
John of Padua, 328
Jones, Inigo 328, 332, 333
Juan Battista, 351
Junckher of Cologne, 241

Kearsley, Dr. 386
Kent, 333
Klenze, Leo von 359, 360, 367

Labrouste, Henri 364
Lassus, J. B. A. 371
Latrobe, Benjamin H. 389
Laurana, Francesco 310
Laurana, Luciano 287
Le Breton, Gilles 313
Lefuel, Hector 372
Lemercier, Jacques 312, 319, 322
Le Nepveu, Pierre 314
Lescot, Pierre 316, 321
Le Vau (or Levau) 320
Lieven de Key, 336
Ligorio, Pirro 293
Lippi, Annibale 293
Lira, Valentino di 343
Lombardi, Antonio 284
Lombardi, Martino 284
Lombardi, Moro 284
Lombardi, Pietro 284
Lombardi, Tullio 284, 293
Longhena, Baldassare 304
Lorenzo, Bernardo di 282
Louis, Victor 362
Luca della Robbia, 281
Lunghi, Martino (the elder) 304, 305

Machuca, 351
Maderna, Carlo 295, 303
Majano, Benedetto da 280, 281
Majano, Giuliano da 286, 287
Mansart, François 322
Mansart, Jules Hardouin 320, 321, 322
Marchionne, 305
Marini, Giovanni 339
Martino, Pietro di 287
Matthew of Arras, 243
Meo del Caprino, 286
Meruan, Jacobus of 255
Métézeau, 318
Michelozzi, Michelozzo 279, 283
Mino da Fiesole, 281
Mnesicles, 65
Mullet, A. B. 392

Narbonne, Henri de 249
Nénot, Henri P. 374

Ohlmüller, 375

Palladio, Andrea 299, 301, 319, 328, 350
Percier, Charles 362
Perrault, Claude 320
Peruzzi, Baldassare 289, 291, 292, 294
Phidias, 62
Philibert de l’Orme, 316, 317
Pietrasanta, Giacomo di 286
Pintelli, Baccio 286
Pisano, Giovanni 260
Pisano, Niccolo 272
Polaert, 382
Poyet, 363
Pugin, A. Welby 378
Pythius, 71

Raphael Sanzio, 289, 290, 291, 292, 293
Renwick, James 391, 392
Revett, Nicholas 355, 358
Richardson, Henry H. 393, 394
Rickman, Thomas 378
Riel, Gerhardt von 243
Ristoro, Fra 256
Rizzio, Antonio 284
Romano, Giulio 289, 292
Rossellini, Bernardo 286
Ruiz, Fernando 352

Salvi, Niccola 305
Sammichele, Michele 293, 299, 300, 329
San Gallo, Antonio da (the Elder) 294
San Gallo, Antonio da (the Younger) 289, 291, 294
San Gallo, Giuliano da 278, 291, 292, 294
Sansovino, Giacopo Tatti 289, 293, 299, 300, 304
Satyrus, 71
Scamozzi, Vincenzo 299, 339
Schinkel, Friedrich 358, 360, 376
Schmidt, F. 378
Scott (General) 382
Scott, Sir Gilbert 380
Semper, Ottfried 376
Sens, William of 219
Servandoni, 323
Settignano, Desiderio da 281
Shaw, Norman 382
Siccardsburg, 376
Smirke, Robert 356
Smithson, Robert 328
Soane, Sir John 356
Soufflot, J. J. 362
Steinbach, Erwin von 241
Stella, Paolo della 339
Stern, Raphael 305, 365
Street, George Edmund 380
Stuart, James 355, 358
Stuhler, 359

Talenti, Francesco Di 259, 263
Talenti, Simone di 266
Taylor, Robert 334
Tessin, Nicodemus de 337
Thomson, Alexander 357
Thornton, 389
Thorpe, John 328
Titz, 376
Torregiano, 327
Trevigi, 327

Upjohn, Richard 392

Val Del Vira, 348
Valentino di Lira, 343
Van Aken, 343
Van Brugh, Sir John 332
Van Noort, William 336
Van Noye, Sebastian 336
Van Vitelli, 304
Vasari, Giorgio 162
Viart, Charles 311
Viel, 372
Vignola, Giacomo Barozzi da 289, 292, 296, 299, 300, 301
Vignon, Pierre 362
Viollet-le-Duc, Eugene Emmanuel 370, 371
Vischer, Kaspar 343
Vischer, Peter 347
Visconti, Louis T. J. 371, 372
Vitoni, Ventura 293
Vitruvius, 56, 71, 77
Von der Null, 376

Wallot, Paul 377
Wallot, Jean 333
Walter, Thomas Ustick 391
Waterhouse, Alfred 381
Webb, Aston 382
Wilkins, 357
William of Sens, 219
William of Wykeham, 222, 226
Wood, 333
Wren, Sir Christopher 329, 331, 332, 356, 385

Ziebland, 375

INDEX.

The buildings are arranged according to location. Those which appear only in the lists of monuments at the ends of chapters are omitted. _Numerals in parentheses refer to illustrations._

ABAYAGIRI.
Tope, 403
ABBEVILLE. St.
Wulfrand, 209, 213
ABU-SEIR.
Stepped pyramid, 9
ABYDOS.
Columns, 12.
Temple, 19, 21.
Tombs, 11 (+5+)
ADDEH.
Grotto-temple, 22
ÆMILIA.
Churches in, 157, 262
AGRA, 149.
Pearl Mosque, 148.
Taj Mahal, 148 (+86+)
AGRIGENTUM.
Temple of Zeus, 56, 61 (+33+)
AHMEDABAD, 148
AIX-LA-CHAPELLE.
Minster (palatine Chapel), 172.
Palace of Charlemagne, 176
AIZANOI.
Temple of Zeus, 67.
Theatre, 70
AJMIR, 148
AJUNTA.
Brahman Chaityas, 404;
viharas, 405
ALBANO.
Tomb, 89
ALBANY.
All Saints’ Cathedral, 394.
Capitol, 391
ALBY Cathedral, 185, 205, 206, 212, 249 (+123+)
ALCALA DE HEÑARES, 352.
Archepiscopal Palace, 350.
College, 349
ALCANTARA.
Bridge, 108
ALENÇON Cathedral, 209, 213
ALEXANDRIA TROAS.
Palæstra, 71.
ALLAHABAD.
Akbar’s Palace, 148
ALTENBURG Cathedral, 242.
Town hall, 344
AMADA.
Columns, 12
AMBOISE Castle, 310
AMIENS Cathedral, 189, 197, 201, 203, 205, 206, 219, 232 (+122+);
west front of, 207, 208, 212, 227
AMRAVATI.
Topes, 403
AMSTERDAM.
Bourse (Exchange) Hanse House, Town hall, 336
ANCY LE FRANC.
Château, 317
ANET.
Château, 317
ANGERS.
Cathedral S. Maurice, 200.
Hospital, 214
ANGORA (Ancyra), 118
ANGOULÊME Cathedral, 164
ANI, 134
ANNAPOLIS.
Harwood and Hammond Houses, 386
ANTIOCH, 115
ANTIPHELLUS.
Theatre, 70.
Tombs, 72
ANTWERP
Cathedral, 190, 246, 247.
Town Hall, 334, 336
AQUITANIA.
Churches of, 164, 167, 168, 179, 373
ARANJUEZ.
Palace, 352
AREZZO Cathedral, 257.
Sta. Maria della Pieve, 159
ARGOS.
Gates, 45
ARIZONA.
Spanish churches in, 388
ARLES.
St. Trophime, 165
ASCHAFFENBURG.
Church, 243
ASHEVILLE.
Biltmore House, 399
ASIA MINOR, 53, 55, 58, 62, 66, 122
ASPENDUS.
Theatre, 70
ASSISI.
Church of St. Francis (S. Francesco), 255, 256, 258
ASSOS, 55.
Public cquare, 69.
Temple, 61
ASTI.
Church, 256
ASTORGA.
Rood-screen, 352
ATHENS.
Academy, 365.
Acropolis, 65, 69.
Agora Gate, 68.
Cathedral, 134.
Choragic Monument of Lysicrates, 66 (+30+, +38+).
Erechtheum, 64 (+35+, +36+).
Museum, 365.
Odeion of Regilla (of Herodes Atticus), 68, 69, 70.
Parthenon, 56, 58, 63, 64, 131, 359 (Frontispiece, +31+ d, +34+).
Propylæa, 58, 65, 69, 358 (+37+).
Stoa of Attalus, 67.
Temple of Nike Apteros, 64, 65.
Temple of Olympian Zeus, 68 (+39+).
Theatre of Dionysus, 69, 70.
Theseum (Temple of Theseus or Heracles), 62.
Tower of Winds (Clepsydra of Cyrrhestes), 53, 67.
University, 365
ATTICA, 50, 55
AUGSBURG.
Town hall, 344
AUSTRIA, 330
AUTUN Cathedral, 166, 167
AUVERGNE.
Churches, 204
AUXERRE Cathedral, 197, 201
AVIGNON.
Notre Dame Des Doms, 165
AVILA.
S. Vincente, 180, 247;
Tombs in, 352
AZAY-LE-RIDEAU.
Château, 316

BAALBEC (Heliopolis), 83.
Circular Temple, 94.
Temple of Sun, 92
BAB-EL-MOLOUK, 14
BAGDAD.
Tombs, etc., 145, 146
BAGH.
Viharas, Great Vihara, 405
BAILLUR.
Temples, 409, 410
BAMBERG.
Church, 243
BARCELONA.
Cathedral, 189, 249.
Sta. Maria del Pi, 249
BAROLLI.
Hindu Temple, 409
BASLE.
Spahlenthor, 246
BASSÆ (Phigalæa).
Temple of Apollo Epicurius, 65
BATALHA.
Church, mausoleum, 251
BAVARIA, 342
BAYEUX Cathedral, 197, 205
BAYONNE Cathedral, 197
BEAUGENCY.
Town hall, 316
BEAUMESNIL.
Château, 319
BEAUNE.
Hospital, 214
BEAUVAIS Cathedral, 189, 197, 211, 219;
chapels, 205;
size, 206, 211, 212, 243
BEIT-EL-WALI.
Rock-cut Temple, 22
BELEM.
Church, 251, 352.
Cloister, tower, 352
BELGIUM, 334.
BENARES.
Hindu Temples, 408, 409
BENI HASSAN.
Columns, 11, 24, 50.
Speos Artemidos, 22.
Tombs, 11 (+6+, +7+)
BERGAMO.
Town Hall, 266
BERLIN.
Bauschule, 376.
Brandenburg Gate, 358.
Old Museum, 359 (+200+).
New Museum, 359.
Parliament House, 377.
Theatres, 360, 376
BETHLEHEM.
Church of the Nativity, 115
BHAJA.
Chaityas, 404
BHILSA.
Topes, 403
BHUWANESWAR.
Hindu temples, 408
BIDAR, 146
BIJAPUR.
Tomb of Mahmud, 148, 153 (+85+).
Jumma Musjid, 148.
Mogul architecture, 149
BILTMORE House, 399
BINDRABUN.
Ruined temple, 408
BIRS NIMROUD.
Stepped pyramid, 31
BLENHEIM House, 332 (+188+)
BLOIS.
Château of, 216, 310, 313 (+175+, +176+)
BOHEMIA, 338
BOLOGNA, 157.
Brick houses, 266.
Campo Santo, 382.
Frati di S. Spirito, 279.
Local style, 283.
Pal. Bevilacqua, Pal. Fava, 283.
Palazzo Communale (town Hall), 266.
Renaissance churches in, 277, 293.
S. Francesco, 256, 263.
S. Petronio, 257, 258, 259, 263.
Sta. Maria dei Servi, 263
BONN.
Minster, 174.
Baptistery, 175
BORDEAUX.
Cathedral, spires, 209.
Grand Théatre, 362
BOSTON.
Ames Building, 397.
Custom House, 390.
Faneuil Hall, 388.
Fine Arts Museum, 394.
Hancock House, 387.
Old State House, 388.
Old South Church, 386.
Public Library, 399.
State House, 390.
Trinity Church, 394 (+222+)
BOURGES Cathedral, 189, 197, 199, 202, 249;
chapels, 205;
size, 206;
portals, 208.
House of Jacques Cœur, 215 (+127+)
BOURNAZEL.
Château, 315
BOWDEN PARK, 357
BOZRAH Cathedral, 117 (+70+)
BRANDENBURG.
St. Catherine, St. Godehard, 244
BREMEN.
Town hall, 246, 344
BRESCIA.
Sta. Maria dei Miracoli, 287
BRIEG.
Piastenschloss, 343
BRISTOL Cathedral, piers, 178
BRUGES.
Ancien Greffe, 334.
Cloth hall, 247.
Ste. Anne, 334.
Town hall, 247
BRUNSWICK.
Burg Dankwargerode, 176.
Town hall, 246
BRUSA, 150
BRUSSELS.
Bourse, 382.
Cathedral (ste. Gudule), 246.
Pal. de Justice, 382.
Renaissance Houses, 335 (+190+).
Town Hall, 247
BUBASTIS.
Temple, 13
BUDA-PESTH.
Synagogue, 378
BUDDH GAYA.
Tope or stupa, 404
BUFFALO.
Guaranty Building, 397
BULACH.
Basilica, 375
BURGUNDY.
Cathedrals in, 197
BURGHLEY House, 328 (+184+)
BURY.
Château, 315
BURGOS Cathedral, 248, 249, 251 (+145+)
BYZANTIUM, 92; See Constantinople

CAEN.
Churches, 167, 178;
St. Étienne (Abbaye aux Hommes) and Ste. Trinité
(Abbaye aux Dames), 168;
St. Pierre, 312.
Hôtel D’Écoville, 316
CAHORS Cathedral, 164
CAIRO.
Karafah (Tombs of Khalîfs), 137, 138, 139.
Mohammedan monuments (list), 136, 153.
Mosque of Amrou, 136;
of Ibn Touloun, 136;
of Barkouk, 137;
of Kalaoun, 137;
of Sultan Hassan, 137, 138 (+80+);
of El Muayyad, 137;
of Kaîd Bey, 137 (+81+)
CALIFORNIA.
Spanish missions and churches, 388
CAMBODIA.
Temple of Nakhon Wat, 413
CAMBRAY Cathedral, 197
CAMBRIDGE.
Caius College, Gate of Honor, 328.
Fitzwilliam Museum, 356.
King’s College Chapel, 223, 227, 234.
Trinity College Library, 332
CAMBRIDGE (Mass.).
Craigie (Longfellow) House, 387 (+219+)
CANTERBURY Cathedral, 219;
central tower of, 228;
chapels, 231;
transepts, 232;
minor works in, 234
CAPRAROLA.
Palace of, 300
CAPUA.
Amphitheatre, 103
CARIA, 71; see Halicamassus
CARINTHIA, 338, 339
CARLTON House, 357
CARTER’S GROVE, 386
CASERTA.
Royal Palace, 304
CASTLE HOWARD, 332
CÉRISY-LA-FORÊT.
Church, 178
CEYLON.
Topes, 403
CHAISE-DIEU.
Cloister, 213
CHÂLONS (Châlons-sur-Marne) Cathedral, 205
CHALVAU.
Château, 314
CHAMBORD.
Château, 314 (+177+, +178+)
CHANTILLY. “Petit Château,” 317
CHARLESTON.
St. Michael’s, 385
CHARLOTTEVILLE.
University of Virginia, 390
CHARLTON Hall, 328
CHARLTON-ON-OXMORE. Plate tracery (+110+)
CHARTRES
Cathedral, 197, 201, 203;
chapels of, 205;
size of, 206;
W. front, 207;
transept porches, 208;
spires, 209;
capital from (+126+ C).
hospital, 214
CHEMNITZ Cathedral, 245
CHENONCEAUX.
Château, 316, 317
CHIARAVALLE.
Certosa, 255
CHICAGO.
Auditorium Theatre, 399.
Columbian Exposition, 393, 399.
Masonic Building, 396.
Fisher Building, Schiller Building, 397
CHICHESTER Cathedral, spire, 229
CHIHUAHUA.
Church, 352
CHILLAMBARAM.
Dravidian Temple, Mantapa of Parvati, 411
CHISWICK.
Villa, 328, 329
CHITTORE.
Hindu temples, 409.
Palace, 409.
Towers, 407, 408 (+227+)
CLERMONT (Clermont-Ferrand)
Cathedral, 197;
chapels of, 205, 212.
Notre-Dame-du-Port, 165, 204 (+96+, +97+)
CLUNY.
Abbey Church, 166.
Houses at, 214.
Hôtel de (at Paris), 216
COBLENTZ.
Church of St. Castor, 237
COIMBRA.
Sta. Cruz, 352
COLESHILL.
House, 329
COLOGNE.
Apostles’ Church, 174, 243 (+101+).
Cathedral, 189, 192, 205, 243, 249;
vaulting of, 239;
spires, 240, 241;
plan, 189, 205, 242 (+141+).
Church of St. Mary-in-the-Capitol, 174.
Great St. Martin’s, 174, 243.
Romanesque Houses, Etc., 176
COMO.
Town hall (broletto), 266
COMPOSTELLA.
St. Iago, 180
CONJEVERAM.
Dravidian temple, 411
CONSTANTINE.
Amphitheatre, 92
CONSTANTINOPLE, 120.
Byzantine monuments (list), 134.
Church of Hagia Sophia (Santa Sophia, Divine Wisdom),
111, 123, 124, 127-131, 132, 133, 150, 151
(+72+, +75+, +76+, +77+).
Church of the Apostles, 132.
Early Christian monuments (list), 119.
Fountains, Fountain of Ahmet III., 152, 153.
Mosque of Ahmet II. (Ahmediyeh), 151 (+88+);
of Mehmet II., 150, 151 (+87+);
of Osman III. (Nouri Osman), 151;
of Soliman (Suleimaniyeh), 151 (+89+);
of Yeni Djami, 151.
Palaces, 153.
St. Bacchus, 127.
St. John Studius (Emir Akhor mosque), 118.
St. Sergius, 117, 127 (+74+).
Tchinli Kiosque (Imperial Museum), 153;
sarcophagi in, 66.
Tombs, 152.
Turkish mosques, 150
COPENHAGEN.
Exchange, Fredericksborg, 336
CORDOVA, 141;
Great Mosque, 142, 143 (+83+)
CORINTH.
Temple of Zeus, 60
COUTANCES Cathedral, 197;
chapels of, 205;
spires, 209
CRACOW Castle, 338.
Chapel of Jagellons, 338
CREMONA.
Town hall, 266
CTESIPHON.
Tâk-kesra, 145

DAMASCUS, Mosque of El-walîd, 136
DANTZIC.
Town hall, 344
DASHOUR.
Pyramid, 9
DEIR-EL-BAHARI.
Tomb-temple of Hatasu, 15, 21
DEIR-EL-MEDINEH.
Temple of Hathor, 19
DELHI.
Jaina Temples, 407.
Jumma Musjid, 148.
Mogul Architecture of, 149.
Palace of Shah Jehan, 148.
Pathan arches, Etc., 148
DELOS.
Gates, 45;
Portico of Philip, 67
DENDERAH.
Temple of Hathor, 17.
Group of Temples, 22, 24.
Hathoric columns, 24
DETROIT.
Majestic Building, 397
DIEPPE.
Church of St. Jacques, 213
DIJON.
St. Michel, 312
DOL Cathedral, east end, 205
DRESDEN.
Castle, Georgenflügel, 342.
Church of St. Mary (Marienkirche) 346 (+194+).
Theatre, 376 (+213+).
Zwinger Palace, 346 (+193+)
DRÜGELTE.
Circular church, 175
DURHAM Cathedral, 177, 178, 220, 221 (+102+);
central tower of, 228;
Chapel of Nine Altars, 232

EARL’S BARTON.
Tower, 176
ECOUEN.
Château, 316
EDFOU.
Great Temple, 16, 17, 22 (+9+, +10+, +14+).
Peripteral Temple, 22
EDINBURGH.
High School, Royal Institution, 357
EGYPT.
Early Christian buildings in, 118
ELEPHANTINE.
Temple of Amenophis III., 22
EL KAB. Temple of Amenophis III.; 18
ELEUSIS.
Propylæa, 69
ELLORA.
Chaityas, 404.
Dravidian Kylas, 413
ELNE.
Cloister, 170, 213
ELY Cathedral, 220;
choir vault, 222;
octagon, 224, 330;
clearstory, 225;
towers, 228;
interior, 229;
size, 232;
Lady Chapel, 234
EPHESUS. Temple of Artemis (Artemisium), 66;
Ionic Order, 53.
Palæstra, 71
ERECH, 31
ESCURIAL.
Monastery, 351
ESNEH.
Hathoric columns, 25.
Temple, 23.
ESSEN.
Nun’s choir, 172
ESSLINGEN.
Church spire, 240
ETCHMIADZIN.
Byzantine monuments, 134
EVREUX Cathedral, 197
EXETER Cathedral, 221 (+129+)
EZRA.
Church of St. George, 117

FERAIG.
Rock-cut Temple, 22
FERRARA Cathedral, 261, 304.
Churches, 277, 293.
Palaces Scrofa, Roverella, 283
FIROUZABAD.
Sassanian Buildings, 144
FLORENCE.
Baptistery, 162.
Bartolini, Guadagni, Larderel, Pandolfini, Serristori palaces, 291.
Campanile, 263, 264 (+147+ a).
Cathedral (Duomo, Santa Maria del Fiore), 257, 258, 263;
façade, 261;
marble incrustation, 263;
dome, 273-275 (+147+, +148+, +159+, +160+).
Church
of San Miniato, 115, 161, 162;
of Or San Michele, 264.
Gondi Palace, 291.
Loggia dei Lanzi, 266.
Loggia di San Paolo, 281.
Minor works, 287.
Ospedale degli Innocenti, 281.
Palazzo Vecchio, 265.
Pitti Palace, 280, 300, 319.
Riccardi Palace, 279, 280, 281, 290 (+162+).
Rucellai Palace, 280, 282.
Santa Croce, 258;
Pazzi Chapel of, 276;
pulpit in, 281;
Marsupini tomb, 281.
San Lorenzo, 276.
San Spirito, 276 (+161+),
Santa Maria Novella, 256, 258;
façade, 277;
fountain in sacristy of, 281.
Strozzi Palace, 280, 290 (+163+)
FLUSHING.
Town hall (Hôtel de Ville), 335
FONTAINEBLEAU.
Palace, 313, 318
FONTEVRAULT.
Abbey, 164
FONTFROIDE.
Cloister, 213
FRANCE.
Romanesque monuments (list), 170, 171;
Gothic monuments (list), 216, 217;
Renaissance monuments (list), 324, 325
FRANKFORT.
Salt House, 346
FREIBURG Cathedral, 239, 242, 243;
Spire, 240
FREIBERG IM ERZGEBIRGE.
Golden portal, 242
FRITZLAR.
Church, 243
FULDA.
Monastery, 172, 173, 175
FURNESS.
Abbey, pointed arches, 219
FUTTEHPORE SIKHRI.
Mosque of Akbar, 148

GANDHARA.
Monasteries, 404
GAILLON.
Château, 310
GELNHAUSEN.
Abbey Church, 243. Castle ruins, 176
GENOA.
Campo Santo, 382.
Cathedral, west front, 261.
PALACES:--Balbi, Brignole, Cambiasi, Doria-tursi (municipio),
Durazzo (reale), Pallavicini, University, 302.
Sta. Maria Di Carignano, 299
GERMANY.
Mediæval, 172.
Romanesque monuments (list), 180.
Gothic monuments (list), 252.
Renaissance monuments (list), 353
GERNRODE.
Romanesque church, 173
GERONA Cathedral, 185, 249, 250
GHENT (Gand).
Cloth hall, 247
GHERF HOSSEIN.
Rock-cut temple, 22
GHERTASHI (Kardassy).
Temple, 23
GHIZEH.
Pyramids, 4;
Pyramid of Cheops, 7 (+1+, +2+);
of Chephren, 8;
of Mycerinus, 8.
Sphinx, Sphinx temple, 10 (+3+, +4+)
GIRNAR.
Jaina temples, 407.
Temple of Neminatha, 407
GLASGOW.
Churches in Greek style, 357
GLOUCESTER Cathedral, 178, 220, 222;
cloisters, 222;
east window, 227;
central tower, 228;
Lady Chapel, 234
GOSLAR.
Palace of Henry III., 176
GOURNAH.
Columns, 24.
Temple, 21
GRAN.
Cruciform Chapel, 338
GRANADA, 141.
Alhambra, 142, 143, 144, 351 (+84+).
Cathedral, 348, 350;
minor works in, 352.
Palace of Charles V., 352 (+197+)
GRANGE House, 357
GREAT BRITAIN.
Gothic monuments (list), 235, 236.
Norman monuments (list), 181.
Renaissance monuments (list), 337
GUADALAJARA.
Infantado, 350
GUJERAT, 146
GWALIOR.
Jaina Temples, 407.
Palace, 409.
Teli-ka-mandir, 409

HADDON Hall, 326
HAGUE, THE.
Town hall, 336
HÄMELSCHENBURG Castle, 343 (+191+)
HALBERSTADT Cathedral, 244.
Town hall, 245
HALICARNASSUS.
Mausoleum, 4, 53, 71, 72 (+41+)
HAMONCONDAH.
Temple, 410
HAMPTON Court, 326, 332
HARTFORD.
State Capitol, 393
HAURAN.
Roman works in, 92;
domestic buildings, 118
HARDWICKE Hall, 328
HATFIELD House, 328
HECKLINGEN.
Romanesque church, 173
HEIDELBERG Castle, 343 (+192+).
Ritter House, 346
HEILSBERG Castle, 245
HELDBURG Castle, 342
HENGREAVE Hall, 326
HERCULANUM, 86.
Amphitheatre, 92.
Houses, 107.
Theatre, (+61+)
HEREFORD Cathedral, 220
HIERAPOLIS.
Early Christian buildings in, 118
HILDESHEIM.
Kaiserhaus, 346.
Renaissance houses, 345.
St. Godehard, 173.
Town hall, 245.
Wedekindsches Haus, 346
HOLLAND House, 328
HOWARD Castle, 332
HULLABÎD.
Temples, 409;
double temple, 410 (+228+);
Kaît Iswara, 410

IFFLEY.
Church, 179 (+104+)
INDIA, 146-149.
Moslem monuments (list), 154.
Non-moslem monuments (list), 415
INNSBRÜCK, Schloss Ambras, 339
IPSAMBOUL.
(Abou Simbel). Grotto temples, 21, 22 (+13+)
IRELAND.
Celtic Towers, 176
ISPAHAN.
Meidan (Meidan-Shah), Mesjid-Shah, Bazaar, Medress, 146
ISSOIRE.
Church of St. Paul, 165, 204
ITALY.
Early Christian monuments (list), 119;
Romanesque monuments (list), 170;
Gothic monuments (list), 268-269;
Renaissance monuments (list), 306-307

JAEN Cathedral, 348, 350
JAMALGIRI.
Monastery, 405
JERUSALEM.
Church of the Ascension, 115.
Early Christian churches, 111.
Herod’s temple, 41, 83.
Mosque of Omar (Dome of the Rock, Kubbet-es-sakhrah), 116, 136.
Octagonal church on temple site, 115, 116.
Tombs of the Kings, Etc., 39.
Tomb of Absalom, of Hezekiah, Golden Gate, Solomon’s temple, 40.
Wall of Lamentations, 41.
Zerubbabel’s temple, 41
JAUNPORE, 146

KALABSHÉ.
Columns, 12.
Temple, 23
KALB LOUZEH.
Church, 117 (+69+)
KALBURGAH, 146
KANARUK.
Hindu temples, 408
KANTONNUGGUR.
Hindu temple, 408
KARDASSY (Ghertashi).
Temple, 23
KARLI.
Chaityas, 404
KARLSTEIN Castle, 245
KARNAK, 50.
Great Temple (of Amen Ra) and Hypostyle Hall,
xxiii., 17, 18, 19, 24, 36 (+11+, +12+).
Ancient temple, 13.
Temple of Khonsu, 16, 20
KASCHAU Cathedral, 245
KASR.
Mound, 31
KEDDLESTONE Hall, 334
KELAT SEMAN. Church of St. Simeon
Stylites, 117
KHAJURAHO.
Jaina temples, 407.
Kandarya Mahadeo, 408
KHORSABAD.
Palace of Sargon, 31, 32 (+18+).
City Gate, 32, 33, (+19+)
KIRKSTALL Abbey, pointed arches, 219
KÖNIGSBERG.
Church At, 244
KOYUNJIK.
Palaces of Sennacherib and Assur-bani-pal, 31
KUTTENBERG.
Church of St. Barbara, 239, 240

LAACH.
Abbey of, 174
LABYRINTH (of Moeris or Fayoum in Egypt), 26
LA MUETTE.
Château, 314
LANDSHUT.
Residenz, 342.
St. Martin’s, 240, 244
LANGRES Cathedral, 167
LAON Cathedral, 197, 205, 206, 210;
porches, 208
LA ROCHEFOUCAULD.
Château, 315
LAVAL Cathedral (La Trinité), 201
LE MANS Cathedral, 197, 200, 205, 206 (+118+);
tomb in, 310
LEON.
Cathedral, 189, 249.
Panteon of S. Isidore, 179, 180
LE PUY (Puy-en-Vélay).
Church, 204;
cloister of same, 213
LEIPZIG.
Fürstenhaus, 346
LEMGO.
Town hall, 344
LEYDEN.
Town hall, 336
LICHFIELD Cathedral, 225, 229 (+135+);
west front, 228 (+134+);
spire, 229
LIÈGE.
Archbishop’s Palace, 334.
Church of St. Jacques, 247
LIMBURG-ON-THE-HARDT.
Church, 193
LIMBURG-ON-LAHN.
Abbey Church, 174.
Cathedral of St. George, 239 (+139+)
LIMOGES Cathedral, 197, 205, 212
LINCOLN Cathedral, 219, 225, 229, 232;
west front, 227;
central tower, 228;
chapter-house, 223
LISBON, 352
LISIEUX Cathedral, 197
LIVERPOOL.
St. George’s Hall, 358 (+199+)
LOIRE VALLEY.
Churches of, 165
LOMBARDY.
Romanesque Monuments In, 157
LONDON.
Albert Memorial, 380.
Albert Memorial Hall, 382.
Bank of England, 334, 356.
British Museum, 356 (+198+);
Elgin marbles in, 57;
mausoleum fragments in, 71.
Cathedral (St. Paul’s), 329-331 (+186+, +187+).
Chapel Royal (Banqueting Hall, Whitehall), 329 (+185+).
CHURCHES:--
Bow Church, 332;
St. George’s, Bloomsbury, 333;
St. Martin’s-in-the-Fields, 333 (+189+);
St. Mary’s, Woolnoth, 332;
St. Pancras’s, 357;
St. Paul’s Cathedral, 329-331 (+186+, +187+);
St. Paul’s, Covent Garden, 329;
St. Stephen’s, Walbrook, 331;
St. Stephen’s Chapel, Westminster, 234;
Temple Church, pointed arches in, 219;
Westminster Abbey, 220 (+137+);
Henry VII.’s chapel in same, 192, 223, 227, 229, 234 (+136+).
Greenwich Hospital, 332.
Mansion House, 334.
Natural History Museum, South Kensington, 381 (+216+).
New Law Courts, 380.
Newgate Prison, 334.
Parliament Houses, 234, 380 (+215+).
Somerset House, 329, 333.
South Kensington Museum, new building, 382.
University, 357.
Westminster Abbey, see above.
Westminster Hall, 233.
Whitehall Palace, 329;
Banqueting Hall (Chapel Royal) in same, 329 (+185+)
LONGLEAT House, 328
LOUVAIN
Cathedral, 246, 247.
Cloth hall, 247.
Town hall, 248 (+144+)
LÜBECK.
City Gates, 246.
St. Mary’s, 242, 244.
St. Catharine’s, 244.
Town hall, 246
LUCCA.
Campanile, 264.
Cathedral (S. Martino), 161, 257, 258, 260 (+149+);
tempietto in same, 281;
tomb of P. di Noceto in same, 281 (+164+).
S. Frediano, S. Michele, 161.
Minor works, 282, 283.
Palazzo Pretorio, Pal. Bernardini, 283
LUPIANA Monastery, 350
LUXOR, 50.
Temple, 19, 20.
Osirid Piers, 24
LUZ.
Church at, 352
LYCIA.
Tombs, 37, 39, 52

MADRID.
First Palace, 350.
New Palace, 352
MADRID, Château de (at Boulogne), 314
MADURA.
Choultrie of Tirumalla Nayak, 411.
Great Temple, corridors, 411.
Palace, 413
MAFRA.
Palace, 353
MAGDEBURG Cathedral, 189, 242, 243
MAHRISCH TRÜBAU.
Castle portal, 338
MAISONS.
Château, 322
MALAGA.
Alcazar, 142, 143.
Cathedral, 348
MALINES (Mechlin).
Cathedral of St. Rombaut, 246, 247.
Cloth hall, 247.
Hôtel du Saumon, 324
MANCHESTER.
Assize Courts, 380 (+216+)
MANIKYALA.
Tope, 403
MANRESA.
Collegiate Church, 249
MANTINÆA.
Theatre, 69
MANTUA.
Campanile, 264.
Church of S. Andrea, 279.
Early Renaissance palaces, 283.
Palazzo del Té, 289
MARBURG.
St. Elizabeth, 240, 242 (+140+)
MARIENBURG Castle, Great Hall, 245
MARIENWERDER.
Castle, 245
MARSEILLES.
Chapel of St. Lazare, 310.
Fountain of Longchamps, 372 (+211+)
MASHITA.
Palace of Chosroes, 145
MASSACHUSETTS. Country house in (+225+)
MAULBRONN.
Monastery, 176
MAYENCE Cathedral, 174
MEAUX Cathedral, 212
MECCA.
Kaabah, 136
MEDINA DE RIO SECO.
Rood-screen, 352
MEDINET ABOU.
Osirid piers, 24 (+15+).
Pavilion of Rameses III., 26.
Peripteral temple, 22.
Tomb-temple of Rameses III., 15, 21
MEISSEN.
Albrechtsburg, 245
MEROË.
Pyramids, 9
METZ Cathedral, 244
MEYDOUM.
Stepped Pyramid, 9
MILAN, 157.
Arcade, 382.
Cathedral, 243, 255, 257, 260, 261, 262, 263, 264.
Domical churches, 278.
Ospedale Maggiore, 283.
S. Ambrogio, 158, 159 (+90+).
S. Eustorgio, Portinari Chapel in, 283.
S. Satiro, sacristy of, 289.
Sta. Maria delle Grazie, 278, 289
MILETUS.
Temple of Apollo Didymæus, 53, 66 (+28+, +29+)
MINDEN Cathedral, 244
MŒRIS.
Labyrinth of, 26
MOISSAC.
Cloister, 170, 213
MONREALE.
Churches, cathedral, 162
MONS.
Cathedral, St. Wandru, 246, 247
MONTEPULCIANO.
Church of S. Biagio, 294
MONTMAJOUR.
Cloister, 170, 213
MONT ST. MICHEL.
Abbey, 167, 168, 213, 214;
cloister of same, 213
MORET.
House of Francis I., 316
MOSCOW.
The Kremlin, 366
MOSUL, 33
MOUNT ABU.
Jaina temples, Temple of Vimalah Sah, 405, 406 (+226+)
MOUNT ATHOS.
Monastery, 134
MUGHEIR.
Temple of Sin Or Hurki, 30
MUJELIBEH.
Mound, 31
MUKTESWARA.
Hindu temples, 409
MÜLHAUSEN.
Town Hall, 344
MUNICH, 366.
Auekirche, 375.
Basilica, 375.
Cathedral, 240, 242.
Glyptothek, 359.
Ludwigskirche, 375.
Propylæa, 360 (+201+).
Ruhmeshalle, 359.
St. Michael’s, 344.
MÜNSTER.
Church at, 243.
Town hall, 245
MÜNZENBERG.
Castle ruins, 176
MYCENÆ.
Fortifications, 44 (+23+).
Lion Gate, 44 (+22+).
Tholos of Atreus, 45, 46, 148 (+24+, +25+).
Tombs, 4
MYLASSA.
Tomb, 72
MYRA.
Theatre, 69.
Tombs, 72

NAKHON WAT, Temple of, 413
NAKSH-I-ROUSTAM (persepolis), 36.
Tomb of Darius, 37
NANCY.
Ducal Palace, 216, 311
NANKIN.
Porcelain Tower, 414
NAPLES.
Arcade, 382.
Arch of Alphonso, 287.
Church
of Gesù Nuovo, 304;
of S. Francesco di Paola, 305, 365;
of S. Lorenzo, 263;
of S. Severo (+173+).
Minor works, 281, 282.
Pal. Gravina, Porta Capuana, 287.
Royal Museum, 304.
Royal Palace, 304, 305.
Theatre of S. Carlo, 305, 365
NARBONNE Cathedral, 197, 205, 211
NASSICK.
Chaityas, 404
NAUKRATIS, 44
NAUMBURG.
Church At, 243
NETHERLANDS, 146.
Gothic monuments (list), 252-253
NEUWEILER.
Church of St. Peter And St. Paul, 243
NEVERS.
St. Étienne, 165
NEW MEXICO.
Spanish churches, 388
NEWPORT.
Town hall, 388.
Trinity Church, 386
NEW YORK.
American Surety Building, Broadway Chambers, 397.
Casino, 399.
Cathedral
of St. John the Divine, 399;
of St. Patrick, 375, 391.
Century Club, 399.
City Hall, 389.
Custom House, 390 (+221+).
Grace Church, 392.
Huntington house, 399.
Madison Square Garden, Metropolitan Club, 399.
St. Paul’s, 386.
Sub-Treasury, 390.
Times Building, (+224+).
Trinity Church, 392.
Vanderbilt and Villard houses, 399
NÎMES.
Amphitheatre, 92.
Maison Carrée, 93, 94
NIMROUD.
Palaces of Assur-nazir-pal and Shalmaneser, 31, 32
NINEVEH, 31
NIPPUR (Niffer).
Ruins of, 29, 31
NORMANDY.
Romanesque churches in, 167, 177;
cathedrals in, 197, 213
NORTH GERMANY.
Brick churches in, 244
NORTH WOBURN.
Rumford House, 387
NORWICH Cathedral, 177, 178, 220
NOYON Cathedral, 197, 200, 203, 205, 246
NUBIA.
Early Christian buildings, 118
NUREMBERG, 238.
Churches of St. Sebald, St. Lorenz, 245.
Funk, Hirschvogel, and Keller houses, 346.
Renaissance houses, 345.
Town hall, 344.
Shrine of St. Sebald, 347

OLYMPIA.
Altis, Echo Hall, 69.
Heraion, 50, 62.
Temples, 55;
sculptures from, 57.
Temple of Zeus, 62
OPPENHEIM.
St. Catharine’s, 239, 242, 244
OUDEYPORE.
Hindu temples, palace, 409
ORANGE.
Theatre, 101
ORCHOMENOS.
Ceiling, 47
ORLÉANS.
Houses, 316.
Town hall (hôtel de ville), 311
ORVIETO Cathedral, 257, 259, 261;
façade of same, 260
OSNABRÜCK.
Church at, 243
OTTMARSHEIM.
Church at, 172
OUDENÄRDE.
Town hall, 247
OURSCAMP.
Hospital, 214
OXFORD.
All Souls’ College, 333.
Cathedral (Christ Church), 220, 222.
Christ Church Hall, 233, 234.
Merton College Chapel, 234.
Radcliffe Library, 333.
Sheldonian Theatre, 332