Chapter II: The Modern Situation (2)

=Cinque-foil=: See =Foil=.

=Clerestory= or =Clearstory= (Fr. clair = light): the highest story of
a nave immediately above the =Triforium= (which see), containing
windows overlooking the roof of the aisles.

=Cloison=: a partition; specifically, the metal bands dividing the
pattern in _cloisonné_ enamel.

=Cloisters= (lit. enclosed space): the covered ambulatory around the
open court of a monastery; still retained as an adjunct of many
English and Spanish cathedrals.

=Close=: the precinct of an English cathedral; survival of the
“Garth” or grassy enclosure of a monastery.

=Coffer=: one of the sunken panels of geometrical design, used in the
ornamentation of a ceiling, vault or dome.

=Colonnade=: a system or range of columns, surmounted by an
entablature. When it entirely surrounds a temple or court it is
called a Peristyle. When it is attached to the front of a building
it is known as a =Portico= (which see).

=Column=: a vertical member, consisting of a =Shaft=, surmounted by a
=Capital= and resting, usually, on a =Base=. Its function is to
support, in Classic architecture, an entablature, and in Gothic, an
arch.

=Composite=: a Roman Order in which the capital is composed of the
upper part of an Ionian Capital and the lower part of a Corinthian.

=Concave=: curving, like the segment of a circle, inward, forming a
hollow to the eye of the spectator.

=Concentric=: having a common centre.

=Console=: a supporting block, projecting from a wall, generally
decorated; specifically the supports of the cornice over a door or
window. See =Modillion=.

=Conventionalisation=: the representing of something in a formal way,
generally prescribed by custom. For example, it was neither
ignorance nor lack of skill, but a custom, prescribed by the
priesthood, that caused Egyptian artists to represent the human
figure with head and legs in profile and trunk full front. In
decorative design, based on natural objects, the best usage avoids
naturalistic representation, and translates the form into a
convention, which, however, reproduces and even emphasises the
salient features of structure and of growth or movement. Thus, the
Greek acanthus ornament actually suggests more energy of growth and
more expressiveness of form than the natural plant.

=Convex=: curving, like a segment of a circle, outward or toward the
spectator.

=Corbel=: a block of stone, often elaborately carved, which projects
from a wall to sustain a weight, especially that of roof-beams, or
vaulting shafts. See =Console=.

=Corinthian=: latest order of Hellenic architecture, commenced by the
Hellenic architects and fully developed by the Romans.

=Cornice=: specifically, in Classic architecture, the crowning or
uppermost member of an entablature; generally, the crowning feature
of any wall construction, or doors and windows.

=Coro=: the space screened off for the use of the choir in a Spanish
cathedral, situated in the nave, west of the Crossing.

=Corridor=: a wide gallery or passage within a building, usually with
rooms opening into it.

=Cortile=: Italian term for interior court, open to the sky and
surrounded by arcades.

=Course=: a continuous horizontal layer of stones or bricks. See
=Bond=.

=Cove=: specifically, the concave surface that may occur between the
top of an interior wall and the flat of the ceiling.

=Crenellated=: fortified with battlements.

=Cromlech=: a prehistoric memorial, composed of stones of huge size,
disposed in one or more circles; e.g., Stonehenge.

=Cross=: adopted by the Church in the fourth century as the symbol of
Christianity. The separation of the Eastern or Greek Church from
the Western or Latin Church, was reflected in the shape of the
Cross; the Greek having all its four members equal, while the lower
member of the Latin is lengthened.

=Crossing=: the space about the intersection of the two =Axes= (which
see) of a church or cathedral, on which the nave, transepts, and
chancel abut. Often surmounted by a dome or tower.

=Cruciform=: used of the plan of a church that is based on the form
of a cross. Where a Greek cross is followed the nave, choir, and
transepts are of about equal length; while if the Roman is the
model, the nave is lengthened. See =Cross=.

=Crypt=: vaulted chambers beneath a building, especially beneath the
chancel of a church, in which case often used for burial.

=Cupola=: See =Dome=.

=Cusps= (lit. points): one of the points forming the feathering or
foliation of Gothic =Tracery=. Frequently ornamented with a carved
termination.

=Custodia=: See =Tabernacle=.

=Cyclopean=: of colossal size; derived from Cyclops, a giant of Greek
myth.

=Cyma= (pr. Si-mah) (lit. “wave”): the rising and falling curve; a
moulding, perfected by the Hellenic sculptors, whose profile
combines a convex and a concave curve. When the curve begins in
convex and flows into concave, it is known as =Cyma Recta= (Hogarth’s
“Line of Beauty”). When the concave precedes the convex, the
profile is called =Cyma Reversa=. The latter is also called =Ogee=.

=Cymatium=: the crowning member of a Classic cornice, so called
because its profile is a =Cyma Recta= (which see).

=Dado=: the surface of an interior wall, between the base moulding
and an upper moulding, placed some distance from the ceiling.

=Decastyle=: See =Portico=.

=Decorated=: used to distinguish the second period of English Gothic
(fourteenth century), owing to increased richness of window
traceries and other ornamentation. Compare =Rayonnant=.

=Dentil=: one of a series of square, so-called tooth-like, blocks
that ornament the cornice in the Ionic and Corinthian Orders.

=Diagonal=: specifically applied to the arches or ribs of a vaulting
that are diagonal to the main axis. Compare =Longitudinal=,
=Transverse=.

=Dipteral= (lit. “double-winged”): designating a temple that has a
double range of columns on each side of the cella. Compare
=Pseudo-dipteral=.

=Dolmen=: a prehistoric megalithic monument, composed of single
stones set on end or on edge and crowned with a single slab;
forming a sepulchral chamber, often embedded in a mound. See
=Mastaba=.

=Dome=: a spherical roof, over a circular, square or polygonal space
rising like an inverted cup. Hence, when the structure is small,
called a =Cupola=.

=Doric=: the earliest and simplest =Order= (which see) of architecture
developed on the mainland of Hellas.

=Dormer= (lit. “sleeping”): a window in a roof, usually of a bedroom,
often projecting with a gable end.

=Drum=: specifically a cylindrical wall, supporting a dome; used also
of a section of the shaft of a column.

=Early English=: first period of English Gothic, evolved during the
thirteenth century.

=Eaves=: the edge of a roof projecting beyond the wall.

=Eclecticism=: the practice of combining various elements of style,
derived from various sources.

=Echinus=: the cushion-shaped member of the Doric capital, just
beneath the =Abacus= (which see). It has an ovolo or egg-shaped
profile. Also used of the =Egg and Dart= moulding (which see).

=Egg and Dart=: an ornamental device, composed of an alternate
repetition of an egg-shaped form, halved vertically, and a spear
head. Used especially on mouldings that have an ovolo or egg-shaped
profile.

=Embrasure=: the sloping or bevelling of an opening in a wall, so as
to enlarge its interior profile. See also =Battlements=.

=Enamel=: a material composed of pigment and glass, fused and applied
in melted state to surfaces of metal, porcelain or pottery, for
decorative purposes. See =Mosaics=.

=Encaustic=: a process of painting in which the pigments are
dissolved in melted bees-wax and applied hot.

=Engaged Column=: a column that does not stand clear of the wall at
the back of it.

=Entablature=: the horizontal member of a classic or columnar order.
It rests upon the =Abacus= of the column and consists of a lower,
middle, and upper member--the =Architrave=, =Frieze=, and =Cornice=.

=Entasis= (Gk. “Stretching”): a curved deviation from the straight
line; specifically, the swell in the profile of the shaft of a
Classic column.

=Epinaos=: See =Naos=.

=Exhedra=: a curved recess, usually containing a seat; hence a curved
seat of marble or stone.

=Façade=: the outside view or elevation of a building that faces the
spectator.

=Fan Vaulting=: See =Rib=.

=Fascia=: one of the flat, vertical faces into which the Architrave
of an Ionic or Corinthian Entablature is divided.

=Fenestration= (lat. _fenestra_, window): the distribution of windows
and openings in an architectural composition.

=Fillet=: a small flat band, used especially to separate one moulding
from another.

=Finial=: the finishing part or top, frequently decorated, of a
spire, pinnacle or bench-end. See =Pinnacle=.

=Fitness=: a principle of beauty; that the design of a work of art
shall conform to the necessary requirements of its purpose,
material and method of making.

=Flamboyant= (“flaming”): used to distinguish the third period of
French Gothic (fifteenth century), from the encreased elaboration
of the window traceries.

=Fleche=: specifically, a wooden spire surmounting a roof.

=Fluting=: the vertical grooving, used to enrich the shaft of a
column or pilaster.

=Flying Buttress=: See =Buttress=.

=Foil=: a leaf-like division in carved ornamentation; especially in
the tracery of a Gothic window or the panelling of walls and
bench-ends. According to the number of foils included, the design
is distinguished as trefoil, quatrefoil, cinquefoil, etc.

=Formeret=: See =Rib=.

=Fresco= (lit. fresh or damp): see =Secco= and =Tempera=; terms used in
=Mural Painting= (which see). After the wall had thoroughly dried
out, a portion, such as the artist could cover in one day was
spread with a thin layer of fine, quick-drying plaster. While the
latter was still fresh or damp, the artist, having prepared his
drawing or “cartoon,” laid it in place and went over the lines with
a blunt instrument, which left the design grooved in the plaster.
Then he applied the tempera colours, finishing as he proceeded, for
the colour sank into the plaster and rapidly dried with it, so that
subsequent touchings up or alterations could only be applied by
painting in Secco. As long as the surface of the wall remains
intact, the colours are imperishable and retain their vivacity and
transparence. They have, too, the appearance of being part of the
actual fabric of the wall, as the bloom of colour upon fruit. Thus
=Fresco= is the fittest and most beautiful process of mural painted
decoration.

=Frieze=: specifically, the middle division of an Entablature,
between the Architrave and the Cornice (which see). Also the
continuous band of painted or sculptured decoration that crowns an
exterior or interior wall.

=Gable=: the upper part of the wall of a building, above the eaves;
triangular in shape, conforming to the slope of the roof. Compare
the Classic =Pediment=. If the edge of the gable rises in tiers it is
distinguished as =Stepped=.

=Gaine= (lit. a sheath): a sculptured decoration of a half-figure,
terminating below in a sheath-like pedestal.

=Galilee=: a porch or chapel, sometimes attached to an English Gothic
cathedral, usually at the west end. For the use perhaps of
penitents. Compare =Narthex=.

=Gambrel=: applied to a roof, the slope of which is bent into an
obtuse angle.

=Gesso-work=: a decorative design in =Relief= (which see) executed in
fine, hard plaster.

=Gothic= (lit. of, or pertaining to the Goths): a term applied to
Mediæval architecture by the Italians of the Renaissance to mark
their contempt for what was non-Classic. The term without reproach
has been continued to designate the architectural style between the
Romanesque and Renaissance, during the thirteenth, fourteenth and
fifteenth centuries. The French have tried to substitute the term,
=Ogival=. See =Ogee=.

=Grille=: a wrought metal screen of openwork design.

=Grisaille=: a style of painting in greyish tones, in imitation of
bas-relief.

=Groin=: the angle or edge at which the surfaces of a cross or
groined vault meet. See =Vault=.

=Groined Vault=: See =Vault=.

=Guilloche= (=pr.= =Gil-losh=): an ornament composed of the repeated
intertwining of two or more bands; frequently used to decorate a
=Torus= (which see).

=Gutta= (lit. “drop”): one of the small truncated cones, attached to
the underside of a =Regula= (which see) and the =Mutules= (which see)
of a Doric =Entablature=.

=Half-Timbered=: when the construction has a timbered frame, the
interstices of which are filled in with masonry or concrete.

=Hammer-beam roof=: late form of timber roof construction, without
continuous =Tie Beams= (which see).

=Harmony=: a principle of Beauty, that governs the variety in unity
of a work of art, relating all the parts in an accord of feeling.

=Header=: in masonry, a brick or stone, laid across the thickness of
the wall. See =Bond=, =Stretcher=.

=Heart-leaf and Dart=: an ornament composed of a heart-or leaf-shaped
form and a dart or tongue. Used specifically on Cyma Reversa
mouldings.

=Hexastyle=: See =Portico=.

=Hip-roof=: a roof that rises from all the wall-plates and,
accordingly, has no gable.

=Honeysuckle=: ornament. See =Anthemion=.

=Hypæthral=: completely or partially open to the sky.

=Hypostyle=: having the roof beams supported on columns.

=Impluvium=: the cistern sunk in the =Atrium= (which see) of a Roman
house to receive the rain water.

=Impost=: the member above the capital of a column, on which the arch
rests, usually composed of mouldings.

=In Antis=: See =Portico=.

=Ionic=: the order of architecture, developed by the Hellenes of Asia
Minor and adjoining islands, and borrowed and modified by the
mainland Hellenes.

=Insula=: Roman term for a residential building, housing many
families.

=Intercolumniation=: specifically in Classic architecture, the space
between any two columns, or between a column and the wall of the
=Cella=.

=Interlace=: in decoration, an ornament composed of interwoven bands
or lines.

=Jambs=: the side members of the openings of doors and windows.

=Kaaba=: the cube-like shrine in the Mosque of Mecca.

=Keystone=: the central stone of an arch.

=King-Post=: in timber roof-construction; a central post, resting on
one of the =Tie-beams= (which see) to support the ridge. See
=Queen-Post=.

=Lady-Chapel=: a chapel in an English cathedral, dedicated to the
Virgin Mary, usually situated at the back of the altar.

=Lancet=: applied to an arch or window that has a sharply pointed,
lance-shaped opening.

=Lantern=: a superstructure that rises above the roof level, open
below and admitting light through its sides. Called in Spanish a
=Cimborio=.

=Lierne-rib=: See =Rib=.

=Lintel=: the horizontal beam, supported on two uprights or posts,
covering an opening and supporting weight, e.g., the top member of
the frame of a doorway or window.

=Loggia=: a covered gallery, open to the air on one or more sides.

=Longitudinal=: parallel to the direction of the main axis.
Specifically applied to the arches and ribs of the vaulting of a
nave or aisle in the direction East or West. Compare =Diagonal= and
=Transverse=.

=Louver=: a lantern-like cupola on the roof of a mediæval building,
originally the flue for smoke from the fire in the centre of the
hall.

=Lunette=: a space somewhat resembling a half-moon, with the curve
uppermost. Especially the wall-space, enclosed by the ends of a
barrel-vault; or by the wall-arch of a groined or rib vault.

=Lych-Gate= (lit. “corpse-gate”): covered gateway at entrance to a
churchyard, where the coffin rests during the first portion of the
burial service.

=Machicolation=: the opening between a wall and a parapet, when the
latter is built out on =Corbels= (which see). Through it missiles or
burning liquids could be showered upon assailants.

=Mansard= or =Mansart=: applied to roofs which have a hip or
angle--instead of a continuous slope--on all four sides. Named
after the French architect who popularised, though he did not
invent, it.

=Mastaba=: an Egyptian tomb, so-called from its construction
resembling the ordinary Egyptian bench, which is composed of a
horizontal board, supported upon boards that slope inward toward
the seat.

=Mausoleum= (mō-so-lée-um): tomb of more than ordinary size and
architectural pretensions. So called from the tomb erected at
Halicarnassus in 325 <small>B.C.</small>, in memory of Mausolus, King of Caria, by
his widow, Artemisia.

=Megalith= (lit. huge stone): =Megalithic=, composed of such. See
=Cyclopean=.

=Megaron=: Homeric word for palace or large hall.

=Member= (lit. limb): any component part of a structural design that
has a specific function to perform.

=Menhir=: a prehistoric monument, consisting of a single rough or
rudely shaped stone, usually of large size (megalithic); perhaps
originally connected with fetish worship, to ward off evil spirits;
then as a memorial of a dead chieftain or a victory. The prototype
of the =Obelisk=.

=Merlons=: See =Battlements=.

=Metope=: the space between any two of the =Triglyphs= (which see) of a
Doric =Frieze=. Originally left open, later filled and often with
sculptured relief.

=Mezzanine=: a low story situated between two higher ones.

=Mihrab=: a niche in the wall of a mosque that marks the “Kibleh,” or
direction toward the =Kaaba= (which see) at Mecca.

=Minaret=: the tall slender tower, attached to a Mosque, from a
balcony of which the muezzin summons the people to prayer.

=Modillions=: the decorated blocks ranged under the Cornice of a
Corinthian or Composite =Entablature=.

=Monolith= (lit. single stone): usually of large size. =Monolithic=,
composed of such.

=Mosaic= (lit. belonging to the muses, the goddesses of the arts):
decorative designs composed of particles, usually cube-shaped, of
marble, stone, glass or enamel, used to enrich the surfaces of
vaults, walls and floors. See =Opus=.

=Motive=: in decoration, the form on which the ornament is based;
e.g., the acanthus motive.

=Mullion=: one of the vertical stone bars dividing a Gothic window
into two or more “lights.” Also one of the bars of a =Rose-Window=
(which see). The horizontal bars are called =Transoms=.

=Mural=: of or pertaining to a wall; e.g., a mural decoration. See
=Secco=, =Fresco=.

=Mutule=: one of a series of rectangular blocks under the =Cornice= of
a Doric =Entablature=, studded on the underside with =Guttæ= (which
see).

=Naos=: the principal chamber of an Hellenic temple, containing the
statue of the deity. Entered from the front through an unwalled
vestibule, called the Pronaos and from the rear by a corresponding
vestibule, called Epinaos or Opisthodomos.

=Narthex=: the arcaded porch of a Christian basilica, where
penitents, barred from full communion, worshipped. See =Galilee=.

=Nave= (from =Naos=, which see): central division of a church or
cathedral; usually west of the choir.

=Necking=: the hollowed surface between the =Astragal= (which see) of
the shaft and the commencement of the capital; specifically of a
Roman Doric column.

=Necropolis=: city of the dead: an assemblage of graves or tombs.

=Newel Post=: the shaft around which a spiral staircase is
constructed; also the principal post supporting the handrail of a
staircase.

=Norman=: the style in England, preceding Early English:
corresponding to Romanesque on the Continent.

=Nymphæum= (consecrated to the nymphs): a building containing
ornamental water, plants and statuary.

=Octastyle=: See =Portico=.

=Ogee= (pr. O-jée): another term for the =Cyma Reversa=. See =Cyma=.

=Ogival=: term applied to the Pointed Arch, because it is composed of
two contrasted curves. Owing to this arch being characteristic of
the Gothic style, the French have proposed to call the latter
=Ogival=.

=Open Arcades=: See =Arcades=.

=Opisthodomos= (Gk. “room behind”): same as =Epinaos=. See =Naos=.

=Opus reticulatum= (lit. “net work”): a veneering composed of equal
square slabs, arranged so that their joints are diagonal and form a
net-like mesh.

=Opus Sectile= (lit. “Cut-work”): a mosaic ornament, composed of
glass or marble, cut into various shapes to form a pattern. The
richest variety of it is known as =Opus Alexandrinum=.

=Opus Spicatum=: pavement composed of bricks laid in “herring-bone”
fashion.

=Opus tesselatum=: a mosaic ornament composed of tesseræ or square
blocks of glass or marble.

=Order=: specifically, in Classic architecture, the combination of
=Column= and =Entablature=.

=Organic=: primarily used of the structures of animals and plants;
secondarily, of any organised, whole, composed of parts that
perform definite functions; always in this book with an implication
that the relation between the whole and its parts partakes of the
nature of a living, as opposed to a mechanical, structure.

=Oriel-window=: See =Bay-window=.

=Orientation=: the construction of a temple or church on a main axis,
regulated to the position of the sun or a star on some particular
day or night; or to the points of the compass, usually an east and
west axis.

=Ovolo= (lit. “egg-like”): a Classic convex moulding--a quarter-round
in Roman architecture; in Hellenic, the curve of conic section
known as hyperbolic.

=Palmette=: See =Anthemion=.

=Papier-maché=: a tough plastic substance, formed of paper-pulp,
mixed with glue, or of layers of paper, glued together; and
modelled into ornamental forms.

=Parapet=: specifically, the portion of the wall of a building above
the eaves of the roof. Generally, a retaining wall, or enclosing
wall, e.g., the walls of a bridge, above the roadway.

=Patio=: the open, inner court of a Spanish or Spanish-American
house.

=Pavilion=: specifically, a section of a building that projects from
the plane of the main façade and has a distinct roof treatment.

=Pediment=: specifically, the triangular member surmounting the
=Portico= of a Classic temple. It rests on the Entablature and
terminates on each side in a raking Cornice, paralleling the slope
of the roof. In Renaissance and later times, a triangular surface,
framed by a horizontal and two sloping cornices, e.g., the
embellishment surmounting windows and doors. The triangular space
within the horizontal and raking cornices is called a =Tympanum= and
is frequently decorated with sculptured figures or ornament.
=Tympanum= is also used for the surface between a lintel and the
_curved_ cornice over it.

=Pendentive=: one of the four triangular, concave members that
convert a square space into a circle for the support of a dome.
Their apexes rest on the four piers at the angles of the square,
and, as the triangles arch inward, their bases unite in a circle.

=Peripteral= (lit. “winged-around”): designating a temple, when the
cella is surrounded by a single range of columns. Compare
=Pseudo-peripteral=.

=Peristyle=: a system or range of Columns, specifically surrounding a
temple or court. See =Colonnade=.

=Piano nobile=: Italian term for the principal story of a building.
Compare French =Bel Étage=.

=Pier=: a vertical supporting member, other than a column or pillar.

=Pilaster=: a square column, projecting about one-sixth of its width
from the wall, and of the same proportions as the Order with which
it is used.

=Pinnacle=: a small turret-like termination; especially at the top of
buttresses to increase their weight and capacity of lateral
resistance.

=Plate Tracery=: See =Tracery=.

=Plinth=: specifically, a block, usually square, which forms the
lowest member of the base of a column. Generally, the block on
which a column, pedestal or statue rests.

=Podium=: a wall supporting a row of columns; specifically, in Roman
architecture, the temple platform that does not project beyond the
line of the columns as does a =Stylobate= (which see).

=Polygonal=: a figure composed of more than four angles, of equal
size.

=Porte-cochère= (pr. port´-co-share´): a covered entrance, under
which a carriage can be driven.

=Portico=: an open space or ambulatory covered by a roof, supported
on columns, forming a porch. In Classic temples the front of the
portico consists of =Columns=, =Entablature=, and =Pediment=, covered by
the extension of the roof of the =Cella=. According as the =Portico=
has four, six, eight or ten columns in front the temple is
distinguished as Tetrastyle, Hexastyle, Octostyle or Decastyle.
When the Portico is enclosed on the left and right by an extension
of the sides of the Cella it is distinguished as “=In Antis=.”

=Post=: an upright supporting member, as of a door. An element in the
principle of construction known as Post and Beam.

=Post= and =Beam=: generic term for the constructive principle of a
horizontal member, supported upon vertical ones.

=Posticum= (Latin for =Epinaos=): See =Naos=.

=Pot Metal=: glass fused in a crucible.

=Pozzolana=: a clean, sandy earth, of volcanic origin, used by the
Romans in combination with lime to form concrete.

=Profile=: specifically, the outer edge of the section of a moulding.

=Projection=: a general term for any member that extends beyond the
main planes of a structure, especially used of mouldings.

=Pronaos=: See =Naos=.

=Proportion=: a principle of Beauty, that regulates the quantity and
quality of the parts of a work of art according to their functional
importance in the organic unity of the whole.

=Propylæa=: the entrance gate or vestibule to a group of buildings.

=Proscenium= (lit. “before the scene” [skene]): in the Classic
theatre a structure, occupying the open end of the horse-shoe plan,
to screen from view the “skene” or actor’s dressing-place. It
formed the background to the Drama.

=Prostyle= (lit. “having columns in front”): used to describe a
temple plan that has a =Portico= at only one of its ends. Compare
=Amphi-prostyle=.

=Prototype=: the primitive, rude, original form, out of which finer
and more efficient types have been developed.

=Pseudo-dipteral= (lit. “false-double-winged”): when the temple
appears to have a double row of columns on the sides, but the inner
range is omitted and the space between the columns and wall of the
=Cella= is thereby double the usual =Intercolumniation= (which see).

=Pseudo-peripteral= (lit. “false-winged-around”); when the columns on
the sides of a temple, instead of standing free, are =Engaged= (which
see) in the wall of the =Cella=.

=Pteroma= (pr. ter-ō´-ma): pl. pteromata: term applied to the side
walls of a Cella; hence, sometimes to the space between the latter
and the columns of the Peristyle.

=Pylon=: a doorway, flanked by two Truncated Pyramids with oblong
bases. See =Pyramid=.

=Pyramid=: a structure of =masonry=, generally with a square base, with
triangular sides meeting at an apex. When the sides mount in steps
it is distinguished as a =Stepped Pyramid=. When the sides end
abruptly, before reaching the apex, it is called a =Truncated
Pyramid=.

=Quadriga=: a four horse chariot.

=Quatrefoil=: See =Foil=.

=Quatrocento=: Italian term for the period called in English the
fifteenth century.

=Queen-Post=: in timbered roof construction, one of the two posts
resting on one of the =Tie-beams=, at equal distance from the centre,
to reinforce the rafters. See =King-Post=.

=Quoin=: specifically, one of the large, square stones at the =angle=
(coign) of a building.

=Ramp=: an inclined approach to a terrace or platform, usually
parallel to the sustaining wall of the latter.

=Rayonnant=: (“radiating”): used to distinguish the second period of
French Gothic (Fourteenth Century); from the characteristic
radiating or “wheel” tracery of the rose-windows. Compare
“=Decorated=.”

=Refinements=: a term applied to the instances in Hellenic,
Byzantine, and Gothic architecture of deviations from geometrical
symmetry, to secure a more flowing, rhythmic beauty. See
=Asymmetries=.

=Regula=: one of a series of short, flat fillets placed under the
=Tenia= (which see) of a Doric =Architrave=, above each of the
=Triglyphs= (which see); usually having six =Guttæ= (which see) on the
under side.

=Reja= (pr. rā-hah): Spanish term for an elaborate grille or screen
of hammered and chiselled iron, characteristic of which were
_repoussé_ figures set into or attached to the vertical bars.

=Relief=: a design of ornament or figures _raised_ upon a surface
that forms the background; distinguished, according to the extent
of projection, as =High= or =Low=; in both cases distinguished from
modelling or carving “in the round” where the design, is detached
from the background; and from =Intaglio=, where the design is sunk
below the surface.

=Renaissance=: the period of the fifteenth and sixteenth centuries in
which the Classic culture and the Classic forms were revived in
Europe.

=Reredos= (pr. rir´-dos): a screen behind an altar, usually of
marble, decorated with sculptured ornament and figures. Called
=Retablo= in Spain, where examples reach prodigious size and great
elaboration.

=Retablo=: Spanish for =Reredos= (which see).

=Retrochoir=: the space, other than that of the Lady Chapel behind
the altar.

=Rhythm=: primarily used to describe the harmonious recurrence of
certain sound-relations in musical and poetic compositions; a
movement of sound characterised by recurrence of stress and accent.
It is based on time, but eludes the measured repetition of the bar
and metre. Hence a relation of lines and masses, characterised by
harmonious recurrence of stress or accent. Not a repetition of
measured intervals and identical parts, but of general
similarities, involving variety, uniting in closest relationship
the parts of an organic design to one another and to the whole.
Rhythm is the subtlest element of artistic harmony and yet is
nearest to the free growth and articulations of nature.

=Rib=: a projecting band or moulding on a ceiling. Specifically, the
projecting members of Gothic vaulting. These were first
constructed--probably with the support of a =Cerce= (which see) as
light arches, which then formed the support of the intervening
masonry surfaces. The Ribs which parallel the axis of the nave are
called =Longitudinal=, those which cross it from column to column at
right angles are called =Transverse=, while those crossing the axis
diagonally are called =Diagonal=. Sometimes, especially in English
Gothic, to strengthen the vault, extra ribs, known as =Tiercerons=,
were inserted between the main ribs. They spring from the =Impost=
(which see) and abut on an extra ridge, projecting along the axial
line, known as the =Ridge-Rib=. The vaulting, thus formed by the
tiercerons radiating from the Impost is called =Fan Vaulting=.
Sometimes, for additional strength and to increase the
decorativeness, short intermediate ribs were introduced, which are
known as =Liernes=, their distinction being that they do _not_
connect with the Impost. When the geometrical pattern, made by the
Liernes, resembles a star the vaulting is distinguished as =Stellar
Vaulting=. Sometimes a vertical rib, known as a =Formeret=, was
applied to the wall to separate one vault compartment from another.

=Rib Vault=: See =Vault=.

=Ridge=: the highest point or line of a roof.

=Ridge Rib=: See =Rib=.

=Rococo=: style of decoration, distinguished by rock-work, shells,
scrolls, etc., which originated in France during the period of the
Regency and Louis XV.

=Rood-loft=: a gallery over the entrance to the chancel, in which
stood a cross or rood. Used for reading portions of the service and
also in the performance of miracle plays.

=Rose-window= or =Wheel-window=: a circular window, whose =Mullions=
(which see) converge toward the centre.

=Rostral Column=: a column decorated with imitations of the prows
(rostra) of vessels; used by the Romans to commemorate a naval
victory.

=Rubble=: Rubblework: masonry composed of irregularly shaped or
broken stone, whether mixed or not with cement; also the fragments
of stone, mixed with cement, used to fill in the thickness of a
wall, between the two faces of dressed stone.

=Rustication=: treatment of masonry with deeply recessed joints,
grooved or beveled; the surface of the stone is sometimes made
rough.

=Scotia=: a concave moulding, frequently used in the base of Classic
columns.

=Screen=: a partition of wood, metal, marble, or stone, separating
the choir from the nave. Latin _cancellus_; hence by corruption the
English term, Chancel.

=Secco= (lit. “dry”): as contrasted with =Fresco= (which see), “fresh
or wet.” Terms used in connection with =Tempera= painting (which see)
according as the surface of plaster be dry or freshly spread at the
time the colour is applied.

=Section=: a drawing showing a building or part of a building, as it
would appear if it were cut through vertically, and the part
between the plane of section and the spectator’s eye were removed.

=Serdab=: the cell within an Egyptian tomb, in which images of the
deceased were placed.

=Sexpartite=: applied to vaults, divided into six compartments. In
Romanesque churches, owing to the short intercolumniation, the bays
were oblong. Hence for convenience of construction two were treated
together as a square. Sometimes from the intermediate columns a
transverse shafting was constructed, which together with the
diagonals divided the square into six divisions.

=Shaft=: the main member of a Column between the Capital and (where
there is one) the Base.

=Soffit=: the under side of an entablature, lintel, cornice, or arch.

=Solar=: a private upper chamber for the use of the family, in a
Mediæval Castle.

=Spandril= or =Spandrel=: the triangular space on each side of an arch
that is enclosed in a rectangle.

=Sphinx=: a winged monster, combining human and animal forms.

=Spire=: the pointed termination to a tower. See =Steeple=.

=Squinch=: a small arch, set diagonally across the angle of a square
space to transform the latter into an octagon.

=Stalls=: the fixed seats in a chancel for the clergy and choir.

=Stanza=: Italian for Chamber.

=Steeple=: the combination of tower and Spire. See =Spire=.

=Stele=: =Stela=: an upright tablet of stone or marble, often
sculptured and engraved; serving as a tombstone, or boundary mark
or milestone, etc.

=Stellar Vaulting=: See =Rib=.

=Stepped=: See =Gable=; =Pyramid=.

=Stilted=: applied to an arch when its curve begins some distance
above the impost and is connected to the latter by vertical
sections of moulding.

=Strap Ornament=: geometrical patterns formed of bands, that suggest
straps of leather kept in place with studs.

=Stretcher=: in masonry, a brick or stone, laid lengthwise of the
course. See =Bond=, =Header=.

=Stucco=: specifically, a plaster made of gypsum, powdered marble or
fine sand, mixed with water; used for wall surfaces and raised
ornament; generally, any plaster or cement used for external
coating.

=Stylobate= (lit. “column-stand”): in Classic Architecture, a
continuous base supporting columns; specifically, the platform on
which a Greek temple is raised. Compare =Podium=.

=Tabernacle=: a structure to contain the “Host” or consecrated Bread;
resembling a tower or spire and elaborately embellished with
windows, mouldings, pinnacles, etc., often rising to a great
height--90 feet in the Cathedral of Ulm. A feature of German
decorative art. Appears in Spanish Gothic under the name of
=Custodia=.

=Temenos=: the sacred enclosure or precinct of a Greek temple or
group of temples.

=Tempera= painting or painting in distemper: the process of painting
on a ground, usually prepared with a coat of fine plaster, with
pigments that are mixed with yolk of egg or some other glutinous
medium and are soluble in water. The method employed for all
paintings before the development of the oil medium in the fifteenth
century; and continued in use by the Italian mural decorators. See
=Fresco=, =Secco=.

=Tenia= or =Tænia=: the flat fillet or band, forming the upper member
of a Doric =Architrave= (which see).

=Terminal=: applied to posts, originally used to mark boundaries.
Made of marble, with a head and bust or half figure, surmounting
the pedestal, it is used as a garden ornament.

=Terrace=: a raised level space or platform, sustained by walls or
sloping banks, usually approached from below by a flight of steps
or =Ramp= (which see).

=Terra-cotta=: a species of hard clay, moulded and baked: especially
used in ornamentation.

=Tessera=: a cube of glass or marble used in =Mosaic= decoration (which
see).

=Tetrastyle=: See =Portico=.

=Tholos=: a building of the beehive type, circular in plan, with a
domed roof.

=Thrust=: a strain that tends to push the downward pressure toward
the sides; as in the case of an arch.

=Tie-Beam=: in timber roof construction, the transverse beam that
ties together the lower part of opposite rafters.

=Tierceron-rib=: See =Rib=.

=Tile=: a thin piece of terra-cotta, stone, or marble for the
external covering of roofs.

=Torus=: a large convex (usually semi-circular) moulding used
especially in bases of columns. See =Astragal=.

=Trabeated=: having a horizontal Beam or Entablature.

=Tracery=: the pattern of stonework that fills the upper part of a
Gothic window. Distinguished as =Plate Tracery=, where the tracery
looks as if it were pierced in a single plate or slab of stone; =Bar
Tracery=, when composed in an arrangement of geometric designs. The
German imitation of branches is known as =Branch Tracery=.

=Transepts=: the parts of a church or cathedral that project at right
angles to the nave and choir, forming the arms of the Cross in a
=Cruciform= (which see) plan.

=Transom=: See =Mullion=.

=Transverse=: at right angles to the main axis. Specifically applied
to the arches and ribs of the vaulting of a nave or aisle that are
in the directions of north and south. Compare =Longitudinal= and
=Diagonal=.

=Travertine=: a hard limestone found in Tivoli.

=Trefoil=: See =Foil=.

=Triclinium=: dining room of a Roman house.

=Triforium=: the arcaded passage above the arches of the nave of a
Gothic cathedral, opening into the space between the vaulting and
roof of the aisle.

=Truncated=: finishing abruptly instead of in a point. See =Pyramid=.

=Tufa=: a volcanic substance of which the hills of Rome are largely
composed.

=Tumulus=: a prehistoric artificial mound, serving as a sepulchral
monument.

=Tympanum=: See =Pediment=.

=Unity=: a principle of Beauty, that the work of art shall present an
organic oneness and completeness.

=Vault=: an arched covering of stone, brick or concrete over any
space. =Barrel vault=: a continuous semicircular arched covering over
an oblong space, supported on the side walls. =Groined vault=: a
vault formed by the intersection of two barrel vaults, at right
angles to each other, supported on four corner columns or piers.
=Rib vault=: a development of the groin vault, the groins being
replaced by ribs or profiled bands of masonry, which are erected
first, the vaulting spaces being filled in subsequently.

=Vestibule=: the walled space before the entrance to a Roman house;
later an enclosed or partially enclosed entrance space beneath the
roof of an early Christian church; generally, the entrance space of
any building, especially, if used for public assemblage.

=Volute=: the scroll or spiral feature occurring in a capital of the
Ionic and Corinthian Orders.

=Voussoir=: one of the wedge-shaped stones, composing the curve of an
arch.

=Wainscot=: the lining or panelling of an interior wall, skirting the
floor and carried up to only a part of the height of the wall.

=Wheel window=: See =Rose-window=.

=Ziggurat=: (a “holy mountain”): the platform usually =Stepped= or
rising in receding tiers, on which the Chaldæans erected a temple;
they were also used for astronomical observations.

INDEX

(For the Compilation of which the author is indebted to CAROLINE CAFFIN)

A

Abacus (Gloss.), 42
Corinthian, 132, 165
Doric, 125
English Gothic, 291, 294
Ionic, 129
at Mycenæ, 99
Romanesque, 245

Abelard, 331

Abury, monument at, 17

Abutment (Gloss.), 284

Abydos, tomb at, 42
Temple at, 53

Acanthus (Gloss.), in ornament, 132, 164, 165, 171

Achæan migrations, 91, 105

Acropolis (Gloss.):
of Athens, 108, 119, 141
Athene Nike, 141
Erechtheion, 141
Odeion of Herodes Atticus, 145
Odeion of Pericles, 145
the Parthenon, 119
Propylæa, the, 141
Theatre of Dionysos, 143
Mycenæ, of, 100

Acroteria (Gloss.), 127
on Parthenon, 137

Ægean, civilisation, 88 et seq.
Islands of, 89, 90, 91, 92, 95

Æolian, migrations, 91, 105

Æsthetic (Gloss.), defined, 3, 4, 5

Africa, Mediterranean race in, 95
Muhammedans in, 215, 220
Romans, in, 150

Agrippa, erects Pantheon, 171

Aix-la-Chapelle, Charlemagne’s capital, 192
Cathedral at, 258
Church at, 207

Akkadia, race, 56, 57, 58

Alberti, author of “De Re Ædificatoria,” 344, 345

Alcove (Gloss.), in English galleries, 417
in temple of Hera, 118

Alexander the Great, in Egypt, 37
in Macedonia, 109
in Persia, 25, 76

Alhambra, 218, 226-7

Almshouses, 299

Altars, of the Dorians, 117
Early Christian, 194-5
Escoriál, Church in, 404
Granada Cathedral, 401
Greek drama, 142
Minoan Palace, 101
Persia, 81, 83
Stonehenge, 16

Altun Obu, Sepulchre of, 14

Ambo (pl) ambones (Gloss.), 195

Ambulatory (Gloss.), 242
Gothic, 289, 303
S. Paul’s Cathedral, 420

Amenopheum, the, 45

American Institute of Architects, 462

Amphi-prostyle--stylar (Gloss.), 120

Amphitheatres, 173, 174, 175

Anglo-Classical, 435, 436

Anglo-Saxon architecture, 254, 255, 289

Annula (Gloss.), 125

Antæ (Gloss.) 120, 125, 165
in Parthenon, 137

Ante-fixæ (Gloss.), 127

“Antiquities in Athens” by Stuart and Revett, 436, 439

Apse (Gloss.), origin of, 177
replaced by Chancel, 237
in Cathedrals of Granada, 401
Monreale, Palermo, 249
Pisa, 247
S. Paul’s, 420
Worms, 258
Churches of
The Apostles, Cologne, 259
Early Christian Churches, 195, 198, 200, 201
Romanesque churches, 244
Santiago de Compostello, 260
S. Cunibert, Cologne, 259
S. Maria-in-Capitol, Cologne, 259
S. Martin, Cologne, 259
Turkish Mosques, 228

Apteral (Gloss.), 141

Aqueducts, 182
Agua Claudia, 183
Anio Novus, 183
Pont du Gard, Nîmes, 183

Arab alliance with Moors, 226, 227

Arcades (Gloss.), in Akbar, mosque of, 230
Alhambra, the, 226
Amiens, cathedral of, 282-3
Amru, Mosque of, 223
Antwerp City Hall, 407
Bremen City Hall, 395
Brunelleschi’s, 343
Chambord, 381
Cordova, Mosque of, 224, 225
Diocletian, Palace of, 195
Doge’s Palace, 316
English Gothic, 289
Iffley Church, 257
Ispahan, Great Mosque of, 229
Library of S. Mark’s, 365
Liège, Palais de Justice, 406
Mecca, Great Mosque, 221
Mosques, 217, 221-223
Nôtre Dame, Paris, 282-3
Palladian style, 352
Patios, 400
Pavia, S. Michele’s, 251
Romanesque, 244, 245, 253
S. Paul’s Covent Garden, 419
S. Peter’s, 194
S. Sophia’s 208
S. Sulpice, 389
Syria, Early Christian Churches, 200
Worms, Cathedral, 258
Asymmetries in, 280

Arcade, blind, 244, 247, 259

Arcades, type in windows, 360, 362

Arch (Gloss.):
Anglo-Saxon use of, 255
Assyrian use of, 69
Basis of design, 202
Bridges, use in, 182
Byzantine use of, 202
Delos, at, 15
Domes, built on, 205-6
Egypt, use in, 42
English Renaissance, 420
Etruria, use in, 156
Four-centre arches, 290, 410
Gothic, 270, 284
English, 298
Italian, 310
Horseshoe, 229
Mediæval, 252
Muhammedan, 221, 224, 230
Norman, 255-6
Palace of Diocletian, in, 195
Pointed, 272, 252
Roman use of, 156, 166, 174
Romanesque, use in, 245, 249, 250
Spanish, 260
Rudimentary arch, 14-15
Single stone, 199
Stilted, 245
Triumphal, 5
Arc de l’Étoile, 443
Arc de Triomphe, 443
Constantine, of, 159-178
Early Christian churches, 196
Janus, of, 159
Mantua, at, 368
Orange, at, 178
Septimus Severus, of, 161, 178
Temple Bar, 423
Titus, 5, 159, 178

Architects (Gloss.):
Abadie, Paul, 452
Adam, James, 428
Adam, Robert, 428, 429, 430
Alberti, Leo Battista, 344, 345, 368
Alessi, Galeazzo, 356
Anthemius of Tralles, 208
Arnolfo di Cambio, 315, 340, 355
Ascher, Benjamin, 431
Ballu, Theodore, 452
Barry, Sir Charles, 439, 450, 451
Basevi, George, 438
Bautista, Juan da, 404
Benci di Cione, 315
Benedetto da Rovezzano, 411
Bernini, Lorenzo, 371, 373, 386, 419
Berruguete, Alonzo, 402, 405
Boromini, Francesco, 351
Borset, François, 406
Brunelleschi, Filippo, 342-344, 367, 373
Bulfinch, Charles, 446, 448
Buon, Bartolommeo, 353, 360
Buon, Giovanni, 353, 360
Buonarotti, Michelangelo, 346, 349, 350, 363-365, 371-373, 397, 405
Burlington, Lord, 352, 426
Butterfield, William, 452
Chambers, Sir William, 427
Clerisseau, C. L., 428
Colombe, Michel, 376
Covarrubias, Alonso de, 400
Cram, Ralph Adam, 366, 453
Cram, Goodhue and Ferguson, 453
Cronoca, 345
De l’Orme, Philibert, 383
De Vriendt, Cornelius, (Floris), 407
Diego da Siloe, 400, 401
Duban, Felix, 444
Elmes, H. L., 438
Enrique de Egas, 399, 400
Fontana, Domenico, 371
Garnier, Charles, 444
Giacomo della Porta, 371
Giacondo, Fra, 371
Gibbs, James, 423, 430
Giotto di Bondone, 312
Giulio Romano, 347
Hansen, Theophil, 440
Hawksmoor, Nicholas, 423
Herrera, Juan de, 402, 404
Hoban, James, 446
Hunt, Richard Morris, 461, 462
Inwood, H. W., 436
Isidorus of Miletus, 208
John of Padua, 411
Jones, Inigo, 416, 418, 427
Klenze, Leo von, 440
Labrouste, Henri, 444
Latrobe, B. H., 446
Le Breton, Gilles, 382
Lefuel, Hector, 444
Lemercier, Jacques, 385, 387
L’Enfant, Pierre Charles, 445
Le Nôtre, 387
Lescot, Pierre, 382, 383, 386, 444
Levau, 387
Lombardi, Antonio, 353, 354
Lombardi, Martino, 353
Lombardi, Moro, 353
Lombardi, Pietro, 353
Lombardi, Tullio, 353
Longhena, Baldassare, 355, 366
Machuca, Pedro, 402
Maderna, Carlo, 371
Mangin, 448
Mansart, François, 385, 387
Mansart, Jules Hardouin, 387
Michelozzi, Michelozzo, 344, 358
Mills, Robert, 446
Mnesicles, 141
Nepveu, Pierre Le, 381
Palladio, Andrea, 351, 368 and 369, 418, 426, 427
Pearson, J. L., 452
Perrault, Claude, 386
Peruzzi, Baldassare, 347, 348, 371
Pisano, Andrea, 312, 319, 340
Pisano, Giovanni, 312
Porter, Arthur Kingsley, 243
Pugin, Augustus Wild, 450, 453
Raphael, 346, 347, 348, 371
Renwick, James, 452
Richardson, Henry Hobson, 461, 462
Sammichele, Michele, 355
Sangallo, Antonio da, (the Elder), 371
Sangallo, Antonio da (the Younger), 371-373, 347, 348
Sansovino, Jacopo da, 354, 363, 365
Scamozzi, Vicenzo, 352, 355
Schinkel, Friederich, 440
Scott, Sir, Gilbert, 451
Serlio, 413
Servandoni, 389
Shaw, Norman, 460
Shute, John, 413
Smirke, Sir Robert, 438
Soane, John, 438
Soufflot, J. J., 442
Street, G. E., 451
Stühler, 440
Talenti, Simone di, 315
Thornton, William, 446
Thorpe, John, 414
Town, Ithiel, 431
Vanbrugh, Sir John, 425
Vigarni di Borgoña, 401
Vignola, Giacomo Barozzi da, 348, 368, 369
Viollet-Le-Duc, E. M., 444
Visconti, Louis, 444
Waterhouse, Alfred, 452
Wilkins, William, 438
Wren, Sir Christopher, 401, 419-423

Architect and Engineer, 477

Architecture, defined, 5 (Gloss.):
Influence of Monks on, 237
Need of public appreciation, 455
Opportunity at Chicago’s World Fair, 465
Relation to life, 7, 9, 25, 456-9, 472, 478

Architrave (Gloss.), Asymmetries in, 137
Byzantine impost, 204
Corinthian entablature, in, 165
Doric entablature, in, 126, 135
Ionic entablature, in, 129 and 130
Roman use of, 164
Windows, 359-360

Archivolt (Gloss.), 203

Argolis, 88, 98

Ariosto, 329, 341

Aristotle, 439

Armada, Spanish, 336

Arris (Gloss.), 124

Artaxerxes II, III, 76
tomb of, 82

Aryan race, the, 74

Assyria, Architecture, 65-73
Astronomy and Astrology of, 64
Asurbanipal, 61
Civilisation of, 56, et seq.
Conquest of Judea, 60
Conquest by Nabopolassar, 61
Culture, 63
Growth of power, 59
Junction with Babylonia, 59
Records of, 57
Tiglath-Pileser, 59

Astragal (Gloss.), 129

Astylar (Gloss.), 361, 439

Asymmetries (Gloss.), in Egyptian architecture, 43
Gothic, 278-80
Hellenic, 136, 137, 207
Mason’s errors, not, 129
Pisa, at, 247-9

Athena Polias, 141

Atrium (Gloss.), in S. Ambrogio, Milan, 250
S. Paul-without-the-wall, 196
S. Peter’s, 194
S. Sophia, 209

Attic (Gloss.), 179
Louvre, in, 384-5
S. Peter’s, in, 372

Attica, Architectural remains in, 89

Augustine foundations including Cathedrals, 288

Avebury, _see_ Abury

Aztecs, structures of the, 19

B

Babylonia, Architecture, 65 _et. seq._
Babylon described, 61
Civilisation, 56 _et seq._
Conquered by Assyrians, 59
Empire joined to Assyrian, 61, 65
Gardens, 62
God Marduk, 59
Records of, 57
Sculpture, 63

Balconies, on Minarets, 222, 223
Muhammedan use of, 218
Netherlandish Gothic, 367
Palaces of the Capitol, 365
Vendramini Palaces, 361

Baldachino (Gloss.), in Early Christian churches, 194
S. Peter’s, Rome, 371

Ball and Cross, Dome of Escoriál, 404
S. Paul’s on, 422

Balustrade (Gloss.), 364
Burgos, Golden Staircase, of, 400
Château de Blois, in, 380
English Renaissance, 414, 427

Bank of England, 438

Baptistries, of Florence, 197, 311
Pisa, 247, 248
Ravenna, 201
S. John Lateran, 198

Baroque style (Gloss.), 338, 350-1, 355

Barrows (Gloss.), 13, 14, 16

Bar Tracery (Gloss.), 275, 354, 355

Base (Gloss.), of columns, 123
Corinthian, 131
Ionic, 128
Minarets of, 222
Parthenon, in, 442
Roman use, 164

Basilicas (Gloss.), origin of, 159, 177
Æmilia, of, 160, 177
Amiens, at, 281
Augustus’s, Palace, in, 179
Byzantine, 205
Cluny, in Benedictine Abbey of, 253
Constantine, of, (or Maxentius), 177, 371, 372
Early Christian churches, 193
Florence, in, 343
Fulvia, of, 177
Italy, in Southern, 246
Julia, of, 160, 177
Mediæval, 352
Monks develop plan to cruciform, 237-40
Nôtre Dame, Paris, 281
Porcia, of, 177
S. Peter’s, Rome, 371
Sicily, in, 249
Ulpia, of, 177-8-9

Baths, of Agrippa, 176
Brunelleschi, studied by, 342
Caracalla, of, 176
Commodus, of, 176
Constantine, of, 176
Diocletian, of, 176
Domitian, of, 176
Minoan, 93, 96-7-8, 101
Nero, of, 176
Roman, 176, 439
Titus, of, 176
Zeus, in temple of, 111

Batter (Gloss.), Assyria, in, 66, 68
Egypt, 41, 47
Giralda, in, 225
Renaissance, in, 378, 414
Sargon’s Castle, 68

Bays (Gloss.), in vaulting, 167, 178, 242, 250
Front of buildings, 303, 372
Windows, 417, 418

Bead and Spool ornament (Gloss.), 130, 132, 134

Beams, Cross, 296
English Renaissance ceilings, in, 417
German Renaissance, use in, 393
Hammer, 297
Tie, 221

Beautiful Arts, the, 3

Beauty (Gloss.), feeling for, 37, 95, 469
Campanile in Florence, in, 313
Chicago World’s Fair, 465, 466
Difference between German and Italian, 328
Domestic Architecture, in, 469
Gallic, 333
Hellenic, 112, 113
Moorish and Saracenic, 226
Renaissance, 373
Roman, 113

Beaux Arts, École de, 379, 461-3-464, 465

Bee-hive construction, Tombs, 15, 89, 99
Dwellings, 46

Bel étage (Gloss.), 383-4

Belfries (Gloss.), 254
Netherlands, in, 307

Belgium, _see_ Netherlands

Bema (Gloss.), _see_ Sanctuary

Benedictine Foundations including Cathedrals, 288

Billets, Norman, decoration, in, 255

Bingham, Professor Hiram, ruins discovered by, 19

Black Stone, the, 214, 221

Boccaccio, 325, 331, 341, 376

Books of Design, in English Renaissance, 413, 414, 417
“Antiquities of Rome,” Palladio, 427
“Cathedral Antiquities,” John Britton and Thomas Rickman, 450
“Chief Grounds of Architecture,” John Shute, 413
“De Re Ædificatoria,” Alberti, 345
“Designs for Chinese Architecture,” William Chambers, 427
“Five orders of Architecture,” Vignola, 349
“Five Orders of Architecture,” Sammichele, 355
“Four Books of Architecture,” Palladio, 351
“Gothic Quest, The,” Ralph Adams Cram, 300, 453
“History of Art,” Winckelmann, 436
“History of Art,” Stuart and Revett, 436
James Gibbs’ Designs, 423, 430
“Ruins of the Palace of Diocletian,” Adam, 428
“Treatise on Civil Architecture,” William Chambers, 427

Brackets, _see_ Modillions

Boston, Decoration in Library, 98
Trinity Church, 462

Botta, Paul Émile, discoveries of, 67

Brick, use of:
Byzantine, 202, 209
Chaldean, 65-66
Colonial, 430, 431
Domes, in, 167, 222, 343, 422
Egyptian, 39, 47, 55
English and Flemish bond, 424
English Renaissance, 412
German Gothic, 305
German Renaissance, 393
Hellenic, 117
Holland Renaissance, 409
Italian Gothic, 313, 352
Mesopotamia, in, 65
Persian, 85
Queen Anne Style, 424, 458
Roman, 172, 175
S. Sophia, in, 209
Steel Construction, in, 473
Stretchers and Binders, 424
Tiryns, in, 102

British Museum, Colossal Bulls, in, 69
Cuneiform script, in, 61
Rosetta Stone, 27
Temple of Artemis, 128
Tomb of Atreus, 99, 124

Brittany, primitive structures in, 17

Bronze Age, 19

Byzantine Architecture (Gloss.), 190, 193-5, 211
Armenia, in, 211
Basilicas, 193-6
Brick, use of, 202
Columns, 195, 202-4
Decoration, 203
Development of, 202
Domes, 167, 204-7
Domestic Architecture, 210-11
Floors, 203
Greece, in, 210
Hagia Sophia, 207-9
Influence on Mediæval architecture, 197, 200
Romanesque, 212, 245, 248-9
Mosaics, 203
Russia, in, 210
Venice, in, 252-3
S. Mark’s, 209-10

Byzantium: site of, selected by Constantine as capital, 157, 190
Link between Eastern and Western civilisation, 191

C

Cairn (Gloss ), 13

Calderon, Spanish dramatist, 330

Calvin, 332

Cambridge, 299
Caius College, 412
Emmanuel College, 412
Gate of Honour, 412
King’s College, 290
King’s College Chapel, 295

Campaniles (Gloss.), Italian Gothic, 312
Romanesque, 244, 247, 251

Canopies (Gloss.), Gothic, 247, 275, 276, 283, 307, 309
Renaissance, 380
Stained Glass, in, 309

Capilla Mayor (Gloss.), _see_ Sanctuary

Capitals (Gloss.), treatment of, 134
Byzantine, 204
Corinthian, 131, 132, 171
Doric, 118, 123-4
Egyptian, 51-2, 131, 164
Etruscan, 155, 163
Gothic, 275, 276, 279
Gothic, asymmetries in, 279
Gothic, English, 291
Gothic, Italian, 314, 316
Hellenic, 118
Ionic, 129
Muhammedan, 221, 224, 226
Name of Crœsus inscribed on, 128
Norman, 255
Persian, 83, 86, 87
Renaissance, French, 385
Renaissance, Italian, 345, 367
Renaissance, Netherlands, 406
Roccoco, 366
Roman, 164
Romanesque, 245, 249

Capitoline Hill, 158, 159, 350, 363-364

Cardinal Mendoza, 399

Cardinal Wolsey, 411

Cardinal Ximenes, 400

Carillons, (Gloss.), 408, 409

Cartouche, 36

Caryatides (Gloss.), Erechtheion, in, 141, 436
Louvre, in, 385

Castles:
Albrechtsberg, 305
Bolsover, 412
Feudal type, 377
Fifteenth Century, 299
German, 305
Gothic, 286
Heidelburg, 394
Heilsberg, 305
Howard, 425
Longford, 412, 414
Marienburg, 305

Cathedrals, Place of, in Mediæval life, 236
Aix-la-Chapelle, 192, 207, 258
Amiens, 280, 281-4, 302, 308, 314
Angoulême, 252-3
Auxerre, 284
Barcelona, 308
Beauvais, 284
Birmingham, 289
Borah, 200
Bourges, 281, 285, 309
Bristol, 257, 288
Bruges, 307, 308
Burgos, 308, 401
Canterbury, 257, 275, 288
Carlisle, 288
Chartres, 275, 284
Chester, 288
Chichester, 288
Cologne, 302-4
Del Pilar, 401
Dordrecht, 308
Durham, 256, 288, 297
Ely, 257, 288, 295, 420
Exeter, 288
Ghent, 308
Gloucester, 288, 294
Gothic, described, 277-8
Granada, 401
Haarlem, 308
Hereford, 288
Jaen, 401
Laon, 284
La Seo, 401
Leon, 308
Lichfield, 288, 298
Liverpool, 289
Llandaff, 288
Malaga, 401
Malines, 408
Manchester, 289
Mayence, 259
Milan, 302, 313, 371
Monreale, 249
Montefiascone, 355
Newcastle, 289
Norwich, 256, 288
Nôtre Dame, Paris, 281-4, 308
Orvieto, 311
Oxford, 257, 288, 295
Peterborough, 256, 288, 294
Piacenza, 251
Pisa, 247
Pistoia, 249
Ratisbon, 302
Rheims, 279, 283, 286
Rochester, 288
Rouen, 280, 284, 286
S. Albans, 289
S. Asaph, 288
S. David, 288
S. Gudule, Brussels, 307
S. Mark, Venice, 209-10, 248, 315
S. Patrick, New York, 453
S. Paul, London, 288, 371, 388, 420-2
S. Peter, Rome, 346-7, 349, 350, 370-4, 404, 421
Salamanca, 260, 401
Salisbury, 288, 294, 296, 298
Santiago de Compostello, 259
Seville, 302, 309, 371
Siena, 311
Southwark, 289
Southwell, 257, 289
Spires, 259
Strasburg, 302
Syracuse, Sicily, 193
Toledo, 308-9
Tournai, 306-7
Tours, 286
Trêves, 259
Truro, 289, 452
Utrecht, 308
Valladolid, 401
Wakefield, 289
Wells, 288, 294, 296, 298
Westminster Abbey, 294, 296, 309
Winchester, 257, 288, 295
Worcester, 257, 288
Worms, 258
York, 288, 291, 296, 298
Ypres, 308
Zamora, 260

Cavea, 174

Cavetto (Gloss.), 47, 134

Carnac, Menhirs in, 17

Ceiling:
Coffered, 178, 181, 196, 422
Gothic, English, 293, 256
Gothic, Italian, 348, 367
Muhammedan, 225
Musée Plantin-Moretus, 408
Odeion of Herodes Atticus, 145
Painted, in Escoriál, 404
Renaissance, English, 417
Renaissance, Netherlands, 408
Sheldonian Theatre, 419-20

Cella (Gloss.), 53
Hellenic Temples, in, 117, 118, 120-22
Persian Tombs, 81
Roman Temples, 169

Cellars, 426

Celtic, churches, 255
Monuments, 16, 17
Ornament, 18

Cervantes, 329

Chaldean, civilisation, 56 _et seq._ _See_ Assyrian

Chamfer (Gloss.), 126

Chancel (Gloss.), Anglo-Saxon, 255
Early Christian, 195
Mediæval, 257
Renaissance, 355-6
Romanesque, 341

Chapel, Ante, 253
Arena, Padua, 311
Capilla Mayor, Escoriál, 404
English Cathedrals, 289
Galilee, Durham, 256
Henry VII, Westminster, 295, 450
Hôtel des Invalides, 388
King’s College, Cambridge, 290, 295
Marienburg, 305
Marquand, Princeton, 462
New College, Oxford, 293
New Kings, of the, 400
Norman Cathedrals, in, 255
Palace Charles V, 403
Romanesque, 253
Sainte Chapelle, 253, 296
S. Croce, Florence, 311, 343
S. George, Windsor, 299
S. Isadore, 210
S. John, Tower of London, 255
S. Maria Maggiore, 197
S. Paul’s, 420
Sistine, 374

Chapter-Houses (Gloss.):
English Gothic, 295
Marienburg, 305
Old Foundation Cathedrals, 288
Worcester, 257

Charlemagne, 207, 238, 239, 258, 263, 266, 323

Châteaux, 377
Amboise, 382
Azay-le-Rideau, 382
Blois, de, 379, 380, 383
Bury, 382
Chambord, de, 380-1
Chenonceaux, 382
Gaillon, 379
Maisons, de, 387

Chevêt (Gloss.), 241-2, 253
Amiens, 281
Cologne, 303
Le Mans, 285
Norwich, 257
Tournai, 307

Chimneys:
Château de Chambord, 381
Gothic, 299, 307
Renaissance, 378, 415

Chimney pieces:
Colonial, 432
Gothic, 299
Musée Plantin-Moretus, 408

Chivalry, age of, 238-9

Choir (Gloss.):
Amiens, 281
Asymmetries, in, 281
Canterbury, 257
Early Christian, 195, 196
Escoriál, 404
Gothic, 289, 295, 303, 309
Renaissance, 346
Romanesque, 244, 246, 249, 256
S. Paul’s, 420-1

Choir Screens, _see_ Screens

Choir stalls, 299

Chryselephantine (Gloss.), 140

Church: form derived from basilica, 177
Age of Church building, 193
Authority questioned, 328
Influence of, 263, 320
Spanish loyalty to, 329