CHALUKYAN: Temples at Buchropully and Hamoncondah, 1163; ruins at Kalyani; grottoes of Hazar Khutri.
DRAVIDIAN: Rock-cut temples (raths) at Mahavellipore; Tiger Cave at Saluvan Kuppan; temples at Pittadkul (Purudkul), Tiruvalur, Combaconum, Vellore, Peroor, Vijayanagar; pavilions at Tanjore and Vijayanagar.
There are also many temples in the Kashmir Valley difficult of assignment to any of the above styles and religions.
[28.] See Transactions R.I.B.A., 52d year, 1886, article by R. J. Conder, pp. 185–214.
[APPENDIX.]
[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.