Lectures on the rise and development of medieval architecture; vol. 2

by Sir George Gilbert Scott

Central Hall.

Sir Geo. Gilbert Scott R.A., architect

LECTURES
ON THE
RISE AND DEVELOPMENT
OF
Mediæval Architecture

Delivered at the Royal Academy
By Sir GILBERT SCOTT, R.A.,
F.S.A., LL.D., Etc.
IN TWO VOLUMES—VOL. II.
WITH ILLUSTRATIONS
LONDON
JOHN MURRAY, ALBEMARLE STREET
1879
The right of Translation is reserved.

Printed by R. & R. Clark, Edinburgh.

CONTENTS.
VOL. II.

[LECTURE X.] Early Architecture in Great Britain.
Review of the developments in the early Architecture of our own land—Recentresearch in Central Syria—Examples in Northern Europe previous to theeleventh century—Early remains in Scotland and Ireland—Anglo-Saxon Architecture—Churchesfounded by St. Augustine—Canterbury and York—Churchesat Hexham and Ripon—Ramsey Abbey—Winchester Cathedral—Destructionof Churches by Sweyn—Restoration and building by Canute—Roman models—Characteristicsof Anglo-Saxon work—Brixworth Church, NorthamptonshireChurch on the Castlehill, Dover—Worth Church, Sussex—Bradford Church,Wilts—Chancel of Saxon Church at Jarrow-on-the-Tyne—Churches of MonkWearmouth and Stow—Crypts at Wing, Repton, and Lastingham—Towers ofSt. Benet’s, Cambridge: Trinity Church, Colchester: Earls Barton: Barnach:Barton-on-Humber—Sompting, Sussex: and Clapham, Bedfordshire—Chapelat Greensted, Essex—Classification into periods of this form of Architecture	[Page 1]
[LECTURE XI.] Early Architecture in Great Britain—continued.
Architecture of the Normans—St. Stephen’s at Caen—Canterbury Cathedralmodelled on that of St. Stephen’s—Description of the Norman church builtby the Confessor at Westminster before the Conquest—Instances of Anglo-Saxonarchitecture being used after the Conquest—Characteristics of the Normanstyle—Varieties of combination—Doors, windows, archways, arcades, and vaulting—Minordetails—Mechanical ideal of a great Norman church—Vast scaleand number of works undertaken by the early Norman builders	[Page 60]
[LECTURE XII.] Early Architecture in Great Britain—continued.
Chapel of St. John, Tower of London—St. Alban’s Abbey—St. Stephen’s atCaen—Cathedrals of Winchester, Ely, London, Rochester, and Norwich—AbbeyChurch at Bury St. Edmund’s—Gloucester Cathedral—TewkesburyAbbey—Cathedrals of Worcester and Durham—Waltham Abbey—Christchurch,Hants	[Page 92]
[LECTURE XIII.] The Practical and Artistic Principles of Early Architecture in Great Britain.
The close of the eleventh century—The “new manner of building”—Conditionsnecessary to an arcuated, as distinguished from a trabeated, style—Firstprinciples of Grecian and Roman architecture—Rationale of the arcuated style—Itsdevelopments—Cloisters of St. Paul without the Walls and St. JohnLateran, Rome—Doorways—Windows—Vaulting over spaces enclosed bywalls or ranges of piers—Simplest elements defined—Barrel-vaults—Hemisphericalvaults or domes—Groined vaults	[Page 133]
[LECTURE XIV.] The Principles of Vaulting.
Vaulting of spaces of other forms than the mere square—Apsidal aisles, St. John’sChapel, Tower, and St. Bartholomew’s Church, Smithfield—Chapter-house andcrypt, Worcester—Round-arched vaulting in its most normal form, as resultingfrom the barrel vault and its intersections—Short digression on another simpleform of vault, the dome—“Domed up” vaults—“Welsh” groining—Thesquare or polygonal dome—The Round-arched style of the twelfth centuryalmost perfect—First introduction of the Pointed arch into vaulting—Names ofthe parts of groined vaulting—Two specimens in London of the apsidal aisle,one in the Round-arched, the other in the Pointed-arched style—Vaulting apolygon with a central pillar—Ploughshare vaulting—The artistic sentiment andcharacter of early Gothic vaulting	[Page 161]
[LECTURE XV.] The Principles of Vaulting—continued.
Certain practical points concerning vaulting—Ribs of early and late vaulting—Fillingin of intermediate surfaces or cells—Methods adopted in France andEngland—Sexpartite vaulting—Crypt of Glasgow Cathedral—Choir at Lincoln—Chapter-house,Lichfield—Caudebec, Normandy—Octagonal kitchen of theMonastery, Durham—Lady Chapel, Salisbury—Segmental vaulting—TempleChurch—Lady Chapel, St. Saviour’s, Southwark—Westminster Abbey—Intermediateribs—Presbytery at Ely—Chapter-houses of Chester and Wells—ExeterCathedral—Cloisters, Westminster—“Liernes”—Ely Cathedral—Chancel,Nantwich Church—Crosby Hall and Eltham Palace—Choir at Gloucester—WinchesterCathedral—Fan-vaulting—Cloisters at Gloucester—King’s CollegeChapel, Cambridge—Divinity Schools, Oxford—Roof of Henry VII.’sChapel, Westminster—Ideal of its design	[Page 190]
[LECTURE XVI.] The Dome.
Non-existence of the Dome in our old English architecture—Highly developedforms in France, Germany, and Italy, contemporary with our great Mediævaledifices—Suggestions for its introduction into our revived and redevelopedNeo-mediæval style—So-called Tomb of Agamemnon at Mycenæ—The Pantheon—Templeof Minerva Medica—Torre dei Schiavi—Temples of Vesta atRome and Tivoli—Temple of Jupiter in Diocletian’s Palace, Spalatro—Tombof St. Constantia—Baptistery at Nocera—Baptistery at Ravenna—Importantdomical development—“Pendentive Domes”—Early specimens—Pendentivedomes the special characteristic of the Byzantine style—How this originated—Furtherdomical developments—Cathedral at Florence—Churches of SS. Sergiusand Bacchus, the Apostles, and St. Sophia, Constantinople	[Page 228]
[LECTURE XVII.] The Dome—continued.
St. Irene, Constantinople—Church of San Vitale, the type, three centuries later,of Charlemagne’s Church at Aix-la-Chapelle—Two influences at work leadingto the introduction and adoption of the dome into Italy—From thence into thesouth-west of France—Baptisteries at Florence and Parma—Cathedral atSienna—St. Mark’s, Venice—Santa Fosca near Venice—Domes having pointedarches for their support—St. Front and La Cité, Perigueux—Angoulême—Fontevrault—Auvergne—Ainaynear Lyons—Pendentives in many Frenchchurches give place to corbels—The modern type of dome—Cathedral atFlorence—St. Peter’s, Rome, and St. Paul’s, London	[Page 255]
[LECTURE XVIII.] Architectural Art in reference to the Past, the Present, and the Future.
Sculpture and Painting arise directly from artistic aspirations, Architecture frompractical necessities beautified—Architecture, as distinguished from mere building,is the decoration of construction—The History of Architecture has neverbeen viewed as an object of study previous to our own day—Phases of thestudy—Dangers to be avoided—History of Architecture is the history ofcivilisation—Western distinct from Eastern civilisation, and to be studied separately—Sourceof our branch—Its development and progressive stages—TheGothic Renaissance—Advice to the architectural student	[Page 290]