The works of the Romans, and, following them, those of almost all Western Christian nations, were designed [!-- original location of Fig. 5 --] to unite external and internal effect; but in many cases external was evidently most sought after, and, in the North of Europe, many expedients—such, for example, as towers, high-pitched roofs, and steeples—were introduced into architecture with the express intention of increasing external effect. On the other hand, the Eastern styles, both Mohammedan and Christian, especially when practised in sunny climates, show in many cases a comparative disregard of external effect, and that their architects lavished most of their resources on the interiors of their buildings.
Passing allusions have been made to the influence of climate on architecture; and the student whose attention has been once called to this subject will find many interesting traces of this influence in the designs of buildings erected in various countries. Where the power of the sun is great, flat terraced roofs, which help to keep buildings cool, and thick walls are desirable. Sufficient light is admitted by small windows far apart. Overhanging eaves, or horizontal cornices, are in such a climate the most effective mode of obtaining architectural effect, and accordingly in the styles of all Southern peoples these peculiarities appear. The architecture of Egypt, for example, exhibited them markedly. Where the sun is still powerful, but not so extreme, the terraced roof is generally replaced by a sloping roof, steep enough to throw off water, and larger openings are made for light and air; but the horizontal cornice still remains the most appropriate means of gaining effects of light and shade. This description will apply to the architecture of Italy and Greece. When, however, we pass to Northern countries, where snow has to be encountered, where light is precious, and where the sun is low in the heavens for the greater part of the day, a complete change takes place. Roofs become much steeper, so as to throw off snow. The horizontal cornice is to a large extent disused, but the buttress, the turret, and other vertical features, from which a level sun will cast shadows, begin to appear; and windows are made numerous and spacious. This description applies to Gothic architecture generally—in other words, to the styles which rose in Northern Europe.
Fig. 6.—Timber Architecture. Church at Borgund.
The influence of materials on architecture is also worth notice. Where granite, which is worked with difficulty, is the material obtainable, architecture has invariably been severe and simple; where soft stone is obtainable, exuberance of ornament makes its appearance, in consequence of the material lending itself readily to the carver’s chisel. Where, on the other hand, marble is abundant and good, refinement is to be met with, for no other building material exists in which very delicate mouldings or very slight or slender projections may be employed with the certainty that they will be effective. Where stone is scarce, brick buildings, with many arches, roughly constructed cornices and pilasters, and other peculiarities both of structure and ornamentation, make their appearance, as, for example, in Lombardy and North Germany. Where materials of many colours abound, as is the case, for example, in the volcanic districts of France, polychromy is sought as a means of ornamentation. Lastly, where timber is available, and stone and brick are both scarce, the result is an architecture of which both the forms and the ornamentation are entirely dissimilar to those proper to buildings of stone, marble, or brick, as may be seen by a glance at our illustration of an early Scandinavian church built of timber (Fig. [6]), which presents forms appropriate to a timber building as being easily constructed of wood, but which would hardly be suitable to any other material whatever.
