Chapter III: Roman Architecture

1. General Architecture

2. Particular architectural modes of configuration

(_a_) As the basic form we have the wholly shut away dwelling-house

[(_α_) Relation of this form to the ideal character of the Christian religion

(_β_) Exclusion of light and access to mundane life

(_γ_) The aspect of soaring in tower and pinnacle]

(_b_) The form of the exterior and interior

[(_α_) The figure of the square and rectangular roofing not appropriate. Parallel between the vaulting of a Gothic church and a roofing of forest trees. Distinction between piers and columns. The pointed arch. Distinction between choir, transept, nave, and aisles. The baptismal font and entrance

(_β_) In contrast to the Greek temple decoration and and general coordination of parts determined from within outwards. The form of Cross. The doors. Flying buttresses, pinnacles, and towers]

(_c_) The mode of decoration

[(_α_) Importance of ornament to Gothic architecture

(_β_) Lightness and delicacy a prevailing feature, especially on the outside

(_γ_) Display of romantic imagination therein]

3. Different types of building in romantic architecture

(_a_) The pre-Gothic architecture distinct from it. The basilica

(_b_) Genuine Gothic architecture of the thirteenth century

(_c_) Secular architecture of the Middle Ages. The art of garden-making

SUBSECTION II

SCULPTURE

INTRODUCTION

[Sculpture makes a direct use of the human form instead of accepting a symbolical mode of expression merely suggestive of spiritual import. Does not primarily express emotion or spiritual life in action or the focus of soul-life. Absence of colour]

Division of subject

CHAPTER I

THE PRINCIPLE OF GENUINE SCULPTURE

1. The essential content of sculpture

[(_a_) The twofold aspect of subjectivity. The province of subjective life as such to be excluded from sculpture. The Divine presented in its infinite repose and sublimity

(_b_) Presents a spiritual content only as explicit in bodily shape]

2. The beautiful form of sculpture

(_a_) The exclusion of the particularity of the appearance. How far relative

(_b_) The exclusion of incidental facial expression

(_c_) Substantive individuality

3. Sculpture as the art of the classical Ideal