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a small church at Packington, Warwickshire, solidly vaulted throughout; Eastwell House, Kent; the mausoleum in Blickling Park, Norfolk, to the memory of John, second Earl of Buckingham; Longford Hall, Shropshire, exhibiting perhaps the earliest adaptation of a

Fig. 225.

portico projecting sufficiently to admit carriages; additions to Lambton Hall, Durham; and, besides many other works, his chef d'œuvre, the Italian mansion at Roseneath, Dumbartonshire, for the then Duke of Argyle, between 1803-6, and said to be still remaining incomplete. As will be seen from the perspective view (fig. 227.), the entrance port co is remarkable for having a central column; the better to express. as Bonomi stated, that the portico is intended for protecting the visitors from the weather, as the carriages drive, and set down, under it. Thus no central space is required; while the column affords support for any central object which may be placed on the e.tablature. The apartments are not very large; the music room, marked a on the plan given in fig. 226, being only £6 f. long, and 22 ft. wide. The central passage, f, with barely any light except at the two ends, appears a great defect. Plans were subsequently made for a large sunk

MELBOURNE, NOW DOVER HOUSE, WHITEHALL.

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circular court at each end, from one of which a subterraneous passage led to the sea. The name of Bonomi appears in the best novels of his period as the architect consulted in matters concerning a country residence. He died in 1808.

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526. Of this period also are the works of James Gandon, a pupil of Sir W. Chambers. His name was first brought before the public, by the publication with John Wolfe of a continuation of Campbell's Vitruvius Britannicu, 2 vols fol. 1767 and 1771. The design. by him, for the county-hall and prison at Nottingham, is contained therein. He carried of the first gold medal given for architecture by the Royal Academy, at its foundation in 1768. In 1769 he obtained the third premium for a design for the R yal Exchange in Dublin; and in 1776 one of the premiums for the new Bethlehem Hospital, London; both in competition. At the instance of Lord Carlow, afterwards Lord Portarlington, he made plans for

the new docks, stores, and Custom-House, at Dublin, and proceeded there in 1781 to carry out the works. This building was not completed until 1791; it has a front of 375 ft. in length, extending along the quay of the river Liffey, and is 209 ft. in depth. Standing in a fine open place, its admirable design and good execution cause it to rank as equal to other works of a like nature, and to be esteemed as a noble pile that would do credit to any city in the world. He was well assisted in the decorative works by a young sculptor named Edward Smith The great difficulties he experienced during its erection, both from the nature of the soil, as well as from the workpeople, is well described in the memoir of him

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prepared by his son, and published by the late T. J. Mulvany, in 1846. To the Houses of Parliament in Dublin he added the side or east portico, with an entrance for the Lords. who agreed to Gandon's desire to have Corinthian columns to this portico, the additional proportion in height of which was to make up for the great fall in the ground from the front, where the Ionic is used. This portico entrance he joined with the front by a circular wall without columns, so that the two orders should not clash; the present three-quarter Ionic columns to this circular wall on the one side, and those to the archway on the other side, are the additions by a later hand when the building was adapted for the Bank of Ireland, which has possessed it since 1802. Gandon subsequently added the western portico for the Com. mons' House. A much larger work by him was the edifice for the Four (Law) Courts. The foundation stone was laid March 3, 1786, and was first used at the end of 1796, but the whole was not completed until 1802. The frontage extends along the river quay, and includes. on the east side, the Offices of Records, designed in 1776 by Thomas Coley, whom Gandon succeeded. The whole extent of ground was but 432 ft, 291 ft. of which being occupied by the offices, left but 140 ft. square for the plan of the Courts, and this had subsequently to be lessened in dep h by the portico being set back, to appease the ire of a Right Honourable gentleman whose opinion had been overlooked. This centre building consists of a moderate-sized central hall, 64 ft. in diameter, with a dome which forms exteriorly a marked feature of the design, and one of the most conspicuous objects in the city. This central hall gives access to the four courts. For the same city, he designed Carlisle Bridge and the Inns of Court, but resigned the control over the latter edifice to his pupil, H. A. Baker. He retired in 1808 to his country house near Lucan, and died there as late as 1823, in the eighty-second year of his age.

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527. James Wyatt, born about 1743 or 1746, accompanied, at an early age, Lord Bagot to Rome, and applied himself to the study of the ancient monuments in that city and at Venice. After a absence of six years, returning to London, he was employed to design the Pantheon Theatre in Oxford Street, consisting of rooms for public assemblies, &c. This was opened in January 1772, and its completion (fig. 228, which shows the interior as arranged for the Handel festival, in May 1784), spreading his fame both far and wide, he was eagerly sought after to superintend numerous public and private buildings in Great Britain and Ireland Walpole, writing to Mann, in 1771, says of it: Ranelagh in Oxford Road is almost finished It amazed me, myself. all its glory! The pillars are of artificial giallo antico. The ceilings, are of the most beautiful stuccos in the best taste of grotesque. The ceilings of the ball rooms and the panels painted like Raphael's loggias in the Vatican. A dome like the Pantheon glazed. It is to cost fifty thousand pounds." Part only of the Oxford Street front, with the side entrance in Poland Street, now exist of this work, for the interior was gutted by fire soon after its erection Fig 730 shows the framing of a dome nearly the same as that for this edifice. The drawings he brought home the knowledge he possessed of the arts in general, and his polished ma..ners, secured for him a host of patrons, and he became the

The new winter Imagine Balbec in even of the passages,

chief architect of the day. Those critics, amateur or otherwise, who do not choose to make allowances for the state of the knowledge of the arts at the period under notice, hold Wyatt up to the execration of the present generation, for his alteratio..s and restorations of our

ancient buildings Yet, for King George III., le restored parts of Windsor Castle, to the entire satisfaction of all the connoisseurs of his day, keeping to the original style of the edihce, or as nearly so as the few studies of the style permitted. Ilis Gothic palace at Kew has been pulled down; and the western front of the Houses of l'arliament was burnt down; both unregretted. But his houses, villas, and mansions, are amongst the most convenient and tasteful in the country; his own residence in PortElmes has elaborately commented upon the peculiarities of Ardbraccan House, n.ar Navan, in Ireland, designed for the Bishop of Meath, as affording the moderate accommodation for a small family, or all the requirements of an Irish ordination, where hospitality has to be afforded to all comers.

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Fig. 228.

INTERIOR OF THE PANTHEON, LONDON.

land Place, near Langham Church, is a good type.

528. James Wyatt was among the earliest architects to employ every style of architecture in his designs, yielding all individuality to the passing whims of clients. Among his other buildings usually noticed are Lee Priory, Kent; and Castle Coote, in Ireland, for Viscount Belmont, which for grandeur of effect and judicious arrangement, deserves much commen

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Fig. 229.

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PLAN OF BOWDEN PARK.

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mansion designed Fig. 230.
in the media val
castellated style. Fonthill Abbey, Wiltshire, for W. Beck-
ford, Esq., was also another of his edifices in the same style.
The exterior measuren ents are 2-0 ft. from east to west,
and 312 ft. from north to south; the centre tower being
276 ft. high from the floor to the top of the pinnacles. His
restorations of our mediaval buildings included that of

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enry VIIth's charel at Westminster Abbey, Thomas Gayfere being the intelligent master mason employed. many of his later works belong to the present century, no more will be said here of this influential architect, except that he succeeded Sir W. Chan.bers as surveyor-general to the Board of Works; that for one year he filled the presidential chair of the Royal Academy; and that, as before stated. he died in 1813, aged sixty-seven, in consequence of

the overturning of his chariot near Marlborough. 529. This architect must conclude our general view of the history of art in this country to the end of the reign of George 111

CHAP. IV.

POINTED ARCHITECTURE.

530. The history of the pointed styles on the continent of Europe is a matter which may be treated in various ways; but the limit within which this portion of our labour is restricted, in order to render it concordant with the space allotted to other subjects, cbliges the choice of the headings France, Belgium, Germany, Spain, and Italy, with as near an approach to a chronological arrangement of the buildings that will serve for examples, as the looseness of annalists and the differences in chronicles will permit. This sequence will give the reader a general view of the subject, which will enable him to understand the irregularity of the progress of pointed art in those countries in comparison with the gradual transition and uniform character which are so generally observable in England; and wil prepare him for his own particular study of the characteristics of the schools; these are as numerous as the provinces, almost as numerous as the cities, in the countries to which we refer. He may observe in the following notices several examples of difficulties as to dates; the periods assigned to our examples have been determined by authors who, being natives, may be supposed to have given as much time and lear..ing to the chronology. as English critics have dedicated to the style, of the respective countries.

France.

531. The schools of pointed architecture were confined to certain portions of the country. They arose in the Ile de France, Champagne, Picardy, Burgundy and Bourbon, Maine and Anjou, and Normandy, here named in the order in which, before the middle of the 13th century, the new style was adopted. This did not develope itself until a late period in Bretagne, where a character, which corresponds (in the opinion of M. Viollet le Duc) as much to that of England as to that of Maine and Normandy, was always preserved. The style of the royal domain hardly penetrated into Guienne before 1370; and even its cfficial appearance after 1247 at Carcassonne did not procure for it an influence in Auvergne and Provence; they can hardly be said to have ever adopted Gothic architecture. Indeed, the latter district did not belong to France until 1481, and almost passed at once from degenerated romanesque traditions to renaissance art, exhibiting scarcely any mark of the influence of northern Gothic.

532. With regard to ecclesiastical architecture in the south of France, it may be said that the buildin s having arches that are positively pointed, date principally in the 14th and two subsequent centuries, as the cathedrals at Alby and Rhodez. the bell-tower at Mende, and the front of the church of St. Maurice at Vienne. In the south, where the climate resembles that of Italy in not requiring high-pitched roofs, the pointed arch seems a foreig element; it is there in body, but not in spirit. The architecture is just as bef. re; the pillars are few and thick; the capitals are square, and have large leaves or scrolls; the ornaments are either barbarous or are imitated from classic works; the towers are few and massive; and the fronts always have a pediment of steeper rake than any antique example can show, under which is a doorway having a round arch, or else one so slightly pointed that the point is only detected by a careful eye.

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533. Until the middle of the 12th century (a few cases earlier may be exceptional), the semicircular arch appears to have been almost exclusively employed; but immediately afterwards, the style romano-ogical or style roman de transition, exhibits the pointed arch, crocket capitals, and groined vaulting with diagonal ribs, on a crowd of civil and ecclesiastical buildings. There are purely romanesque churches, where the small openings have semicircular heads; the four great arches carrying the pendentives of the ce..tral lantern or dome, as has already been noticed (par. 307.). being pointed. In the centre of France there are churches that are altogether romanesque in plan, in style of decoration, and in form of pillars, that have none but pointed openings, proving that a thoroughly defined architectural system had been slowly constituted, which the architects of the 13th century merely rendered m re homogeneous and more perfect; these buildings are romanesque, if style depends upon plan, capitals, and form of mouldings; they are pinted, if it depends upon the form of the arch

534. Amongst the structures which date in the 12th century may be named St. Pierrelez-Bitry, with three circular windows in its apse; St. Martin at Cuise, having a squareended choir like Nôtre Dame at Conchy; and St. Etienne near Pierrefonds; the cathedral at Tulle; St. Julien at Brioude; St. Nectaire, St. Symphorien, and St Genès at Thiers; St. Nazaire at Carcassonne; with the churches at Mozat, Noirlac, and St. Amand, all being situate in Auvergne; St. Martin at Laon; St. Pierre at L'Assant; St. Pierre at Soissons; and the churches at Braisne and Coucy-le-Chateau. Buildings in

which the pointed arch seems perfectly secondary to its rival, are the portal of the cathedral at Bayeux and the churches at Conchy, Civray, Senlis, and Vézelay, with those of St. Remi at Reims, and of Notre Dame at Chartres, Noyon, and Poitiers.

535. The churches which have domical coverings deserve a short notice They are the cathedral at Cahors, St. Front (figs. 159 and 160), and St. Étienne de la Cité, both at Périgueux, the cathedral at Puy, and the churches at Souillac (fig. 158.), Angoulême, Le Roulet, and Loches, with the fourteen-sided church at Rieux-Mérinville.

536. A French critic of considerable repute thinks that necessity, facility, and solidity in construction, and a gift of varying the decoration, alone prompted the use of the pointed arch in the south-east of France, where are buildings showing that arch in their lower portions, while the upper parts have semicircular work of the same age. It therefore appears that if the architects in the southern provinces were the first to make the pointed arch, they were also the last to adopt the systematic and absolute use of it; and the usual classifications of the pointed styles cannot serve as perfect indexes to the period of the employment of the subdivisions that have been made, although it might have been supposed that the spirit of methodical order which has eminently distinguished the French nation since 1790 would have shown itself in an analysis of the architecture of their country. The Comité Historique des Arts et Monuments, has issued the following table as in some sort Buthoritative:

Architecture with the round arch.

Architecture with the

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round and pointed arch. Second half of the twelfth century

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Fourteenth century

Fifteenth and early part of sixteenth
century, till 1480 (De Caumont),
pure, afterwards transition .

{ Style Latin.

{ Style Roman.

Style Romano-ogival or
Roman de transition.

Style ogiral primaire or en lancette

Style ogiral seconduire or rayonnant.

Style ogival tertiaire or flamboyant.

537. But this list is not universally used, and in reading the works of any French author on mediæval architecture, it is necessary to ascertain whether he has followed it, or the table propounded by M. De Caumont as here given (with Mr. Poynter's parallel of English periods):

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In France.

Romanesque 950 to 1050

Transition 1189 to 1199

First Epoch (lancet) 1199 to 1245
Second Epoch 1245 to 1307

A. D.

In England.
Anglo-Saxon 970 to 1066

1000

Transition 1050 to 1150

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Primary (Gothique) 1150 to 1250

1200

Early English

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Decorated English 1307 to 1377

Perpendicular English or Tudor

1377 to....

For the château, M. de Caumont also proposed the subjoined classification: -

1st class. Fifth to tenth century: Primitive

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538. Before entering into the consideration of the style ogwal. it will be desirable to explain that ogive, also written angive, designated originally a diagonal band in groined vaulting formed by the intersection either of barrel vaults or of keel vaults, to both of which the terms voûte en croisée d'ogives, or voûte d'ogives, were applicable. As equivalent

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