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diff --git a/43602-h/43602-h.htm b/43602-h/43602-h.htm index 186fbe9..2a7a9e7 100644 --- a/43602-h/43602-h.htm +++ b/43602-h/43602-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of A History of Art For Beginners and Students--Architecture, by Clara Erskine Clement. @@ -335,45 +335,7 @@ span.locked {white-space:nowrap;} </head> <body> - - -<pre> - -The Project Gutenberg EBook of A History of Art for Beginners and Students, by -Clara Erskine Clement - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: A History of Art for Beginners and Students - Painting, Sculpture, Architecture - -Author: Clara Erskine Clement - -Release Date: August 30, 2013 [EBook #43602] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF ART *** - - - - -Produced by Juliet Sutherland, Charlie Howard, and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43602 ***</div> <div class="transnote covernote"> <p>Cover created by Transcriber and placed in the Public Domain.</p> @@ -556,7 +518,7 @@ MDCCCXCI<br /> <td class="tdl">Palm Capital,</td> <td class="tdr"><a href="#illus009">12</a></td></tr> <tr> - <td class="tdl">Pillar from Sedingć,</td> + <td class="tdl">Pillar from Sedingæ,</td> <td class="tdr"><a href="#illus010">12</a></td></tr> <tr> <td class="tdl">The Great Sphinx,</td> @@ -568,7 +530,7 @@ MDCCCXCI<br /> <td class="tdl">Pavilion at Medinet Habou,</td> <td class="tdr"><a href="#illus013">17</a></td></tr> <tr> - <td class="tdl">Temple on the Island of Philć,</td> + <td class="tdl">Temple on the Island of Philæ,</td> <td class="tdr"><a href="#illus014">18</a></td></tr> <tr> <td class="tdl">Gateways in Walls of Khorsabad,</td> @@ -580,7 +542,7 @@ MDCCCXCI<br /> <td class="tdl">Pavement Slab (from Koyunjik),</td> <td class="tdr"><a href="#illus017">23</a></td></tr> <tr> - <td class="tdl">Remains of Propylćum, or Outer Gateway (Khorsabad),</td> + <td class="tdl">Remains of Propylæum, or Outer Gateway (Khorsabad),</td> <td class="tdr"><a href="#illus018">24</a></td></tr> <tr> <td class="tdl">Plan of Palace (Khorsabad),</td> @@ -622,7 +584,7 @@ MDCCCXCI<br /> <td class="tdl">Ground-plan (Restored) of Hall of Xerxes (Persepolis),</td> <td class="tdr"><a href="#illus031">41</a></td></tr> <tr> - <td class="tdl">Part of a Base of the Time of Cyrus (Pasargadć),</td> + <td class="tdl">Part of a Base of the Time of Cyrus (Pasargadæ),</td> <td class="tdr"><a href="#illus032">42</a></td></tr> <tr> <td class="tdl">The Tomb of Cyrus,</td> @@ -634,7 +596,7 @@ MDCCCXCI<br /> <td class="tdl">Temple of Diana (Eleusis),</td> <td class="tdr"><a href="#illus035">48</a></td></tr> <tr> - <td class="tdl">Gravestone from Mycenć (Schliemann),</td> + <td class="tdl">Gravestone from Mycenæ (Schliemann),</td> <td class="tdr"><a href="#illus036">49</a></td></tr> <tr> <td class="tdl">Small Temple at Rhamnus,</td> @@ -643,7 +605,7 @@ MDCCCXCI<br /> <td class="tdl">The Parthenon. <i>Athens.</i> (Restored),</td> <td class="tdr"><a href="#illus038">51</a></td></tr> <tr> - <td class="tdl">Plan of Temple of Apollo (Bassć),</td> + <td class="tdl">Plan of Temple of Apollo (Bassæ),</td> <td class="tdr"><a href="#illus039">52</a></td></tr> <tr> <td class="tdl">From the Parthenon (Athens),</td> @@ -742,7 +704,7 @@ MDCCCXCI<br /> <td class="tdl">Church of St. Nicholas (Caen),</td> <td class="tdr"><a href="#illus071">95</a></td></tr> <tr> - <td class="tdl">Façade of Cathedral of Notre Dame (Paris),</td> + <td class="tdl">Façade of Cathedral of Notre Dame (Paris),</td> <td class="tdr"><a href="#illus072">96</a></td></tr> <tr> <td class="tdl">Clustered Pillar,</td> @@ -853,10 +815,10 @@ MDCCCXCI<br /> <td class="tdl">The Escurial (near Madrid),</td> <td class="tdr"><a href="#illus108">147</a></td></tr> <tr> - <td class="tdl">Façade of the Church of St. Michael (Dijon),</td> + <td class="tdl">Façade of the Church of St. Michael (Dijon),</td> <td class="tdr"><a href="#illus109">155</a></td></tr> <tr> - <td class="tdl">Façade of the Dome of the Invalides (Paris),</td> + <td class="tdl">Façade of the Dome of the Invalides (Paris),</td> <td class="tdr"><a href="#illus110">156</a></td></tr> <tr> <td class="tdl">The Pantheon (Paris),</td> @@ -868,13 +830,13 @@ MDCCCXCI<br /> <td class="tdl">Pavilion de l'Horloge and Part of the Court of the Louvre,</td> <td class="tdr"><a href="#illus113">161</a></td></tr> <tr> - <td class="tdl">Château of Chambord,</td> + <td class="tdl">Château of Chambord,</td> <td class="tdr"><a href="#illus114">163</a></td></tr> <tr> <td class="tdl">Porte St. Denis (Paris),</td> <td class="tdr"><a href="#illus115">164</a></td></tr> <tr> - <td class="tdl">Arc de l'Étoile (Paris),</td> + <td class="tdl">Arc de l'Étoile (Paris),</td> <td class="tdr"><a href="#illus116">165</a></td></tr> <tr> <td class="tdl">East Elevation of St. Paul's (Covent Garden),</td> @@ -1503,7 +1465,7 @@ was under Greek and Roman influence, it still remained essentially Egyptian. It seems as if the country had a sort of converting effect upon the strangers who planned and built the temples of Denderah, and Edfou, and beautiful -Philć, and made them try to work and build as if they<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span> +Philæ, and made them try to work and build as if they<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span> were the sons of the pure old Egyptians instead of foreign conquerors. So true is this that before <span class="smcap smaller">A.D.</span> 1799, when scholars began to read hieroglyphics, the learned men of @@ -1513,10 +1475,10 @@ were older than those of Thebes.</p> <p>Outside of Thebes there is no building now to be seen in Egypt which gives so charming an impression of what Egypt might be as does the lovely temple on the island of -Philć (<a href="#illus014">Fig. 14</a>). Others are more sublime and imposing, +Philæ (<a href="#illus014">Fig. 14</a>). Others are more sublime and imposing, but none are so varied and beautiful.</p> -<div class="figcenter" style="width: 318px;"><img id="illus014" src="images/illus014.jpg" width="318" height="263" alt="" /><br /><div class="caption"><span class="smcap">Fig. 14.—Temple on the Island of Philć.</span></div></div> +<div class="figcenter" style="width: 318px;"><img id="illus014" src="images/illus014.jpg" width="318" height="263" alt="" /><br /><div class="caption"><span class="smcap">Fig. 14.—Temple on the Island of Philæ.</span></div></div> <p>There is no more attractive spot in Egypt than this island, and when we know that the priests who served in @@ -1528,7 +1490,7 @@ was the most ancient monastery of which we know; for that it was in simple fact, and the monks lived lives of strict devotion and suffered severe penance.</p> -<p>The buildings at Philć, as well as most of those of the +<p>The buildings at Philæ, as well as most of those of the Ptolemaic age, had the same irregularity of form of which we have spoken before; their design, as a whole, was fine, but the details were inferior, and it often happens that the @@ -1693,11 +1655,11 @@ as much as two feet square; the pavements were frequently ornamented with artistic designs (<a href="#illus017">Fig. 17</a>), and inscriptions are also found upon them.</p> -<div class="figcenter" style="width: 383px;"><img id="illus018" src="images/illus018.jpg" width="383" height="187" alt="" /><br /><div class="caption"><span class="smcap">Fig. 18.—Remains of Propylćum, or Outer Gateway, Khorsabad.</span></div></div> +<div class="figcenter" style="width: 383px;"><img id="illus018" src="images/illus018.jpg" width="383" height="187" alt="" /><br /><div class="caption"><span class="smcap">Fig. 18.—Remains of Propylæum, or Outer Gateway, Khorsabad.</span></div></div> <p>At the lower part of the platform there was a terrace on which several small buildings were usually placed, and near -by was an important gateway, or, more properly, a propylćum, +by was an important gateway, or, more properly, a propylæum, through which every one must pass who entered the palace from the city. The next cut (<a href="#illus018">Fig. 18</a>) shows one of these grand entrances decorated with the human-headed @@ -2107,7 +2069,7 @@ says that this was the work of "Xerxes, the Great King, the King of Kings, the son of King Darius, the -Achćmenian." This inscription is in the Persian tongue, +Achæmenian." This inscription is in the Persian tongue, and it is probable that it was the intention to repeat it on the slabs which are left plain in some other languages, so that it could easily be read by those of different nations; @@ -2246,7 +2208,7 @@ silver rings and pillars of marble; the beds were of gold and silver, upon a pavement of red, and blue, and white, and black marble."</p> -<div class="figleft" style="width: 141px;"><img id="illus032" src="images/illus032.jpg" width="141" height="177" alt="" /><br /><div class="caption"><span class="smcap">Fig. 32.—Part of a Base of the Time of Cyrus, Pasargadć.</span></div></div> +<div class="figleft" style="width: 141px;"><img id="illus032" src="images/illus032.jpg" width="141" height="177" alt="" /><br /><div class="caption"><span class="smcap">Fig. 32.—Part of a Base of the Time of Cyrus, Pasargadæ.</span></div></div> <p>Here the king could receive all those who sought him; the glorious view of the plains of Susa and Persepolis, the @@ -2441,7 +2403,7 @@ the general term Greek Art, originated.</p> <p>It is true that before this temples had been erected of which we have some knowledge, and the elegant and ornate articles which Dr. Schliemann has found in his excavations -at Troy and Mycenć prove that the art of that remote time +at Troy and Mycenæ prove that the art of that remote time reached a high point of excellence. The temples and other buildings of which we know anything, and which belonged to the second period, were clumsy and rude when compared @@ -2454,7 +2416,7 @@ had their origin in it are now used in speaking of architecture the world over, and from being first applied to Greek art have grown to be general in their application.</p> -<div class="figcenter" style="width: 394px;"><img id="illus035" src="images/illus035.jpg" width="394" height="561" alt="" /><br /><div class="caption"><span class="smcap">Fig. 35.—Gravestone from Mycenć (Schliemann).</span></div></div> +<div class="figcenter" style="width: 394px;"><img id="illus035" src="images/illus035.jpg" width="394" height="561" alt="" /><br /><div class="caption"><span class="smcap">Fig. 35.—Gravestone from Mycenæ (Schliemann).</span></div></div> <p>In the most ancient days of Greece the royal fortresses were the finest structures, but in later days the temple @@ -2483,10 +2445,10 @@ still called the <i>cella</i> or cell, as it had been named from the first. The simplest form of temple was like the little cut (<a href="#illus036">Fig. 36</a>), and had two pillars in the centre of the front and two square pilasters at the front end of the side walls. -These pilasters are called <i>antć</i>, and the whole style of the +These pilasters are called <i>antæ</i>, and the whole style of the building is called <i>distyle in antis</i>; the word distyle denotes the two pillars, and the expression means two pillars with -antć.</p> +antæ.</p> <div class="figcenter" style="width: 363px;"><img id="illus037" src="images/illus037.jpg" width="363" height="365" alt="" /><br /><div class="caption"><span class="smcap">Fig. 37.—Small Temple at Rhamnus.</span></div></div> @@ -2503,7 +2465,7 @@ to the original plan, in the centre of the building. The ground plan of such a temple is given in the next wood-cut (<a href="#illus038">Fig. 38</a>).</p> -<div class="figleft" style="width: 100px;"><img id="illus038" src="images/illus038.jpg" width="100" height="251" alt="" /><br /><div class="caption"><span class="smcap">Fig. 38—Plan of Temple of Apollo, Bassć.</span></div></div> +<div class="figleft" style="width: 100px;"><img id="illus038" src="images/illus038.jpg" width="100" height="251" alt="" /><br /><div class="caption"><span class="smcap">Fig. 38—Plan of Temple of Apollo, Bassæ.</span></div></div> <p>A large proportion of the Greek temples were built in this manner, and were called @@ -2841,7 +2803,7 @@ issued an edict forbidding all the ceremonies of the pagan worship.</p> <p>Many beautiful objects were taken away to adorn the -medićval churches of other religions than that of the +mediæval churches of other religions than that of the Ephesians. Some of its green jasper columns were used to support the dome of St. Sophia at Constantinople, and other parts of it are seen in the cathedrals of Italy.</p> @@ -2909,7 +2871,7 @@ her one of his splendid statues, standing erect, with helmet, spear, and shield.</p> <p>In describing the Acropolis we shall begin with the -Propylća, or the entrances, which occupy the centre of +Propylæa, or the entrances, which occupy the centre of our picture and to which the steps lead, showing the passage between the pillars, three being left on each side. This magnificent series of entrances—as the whole ascent<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span> @@ -2917,7 +2879,7 @@ from the outer gate in the wall, up the steps, and through the passage between the pillars may be called—was erected about 437 <span class="smcap smaller">B.C.</span>, and cost two thousand talents of gold, which is equal to about two millions of our dollars. The -fame of the Propylća was world-wide, and together with +fame of the Propylæa was world-wide, and together with the Parthenon it was considered the architectural glory of the Periclean age. The style in which they are built is a splendid example of the combination of the Doric and the @@ -3385,7 +3347,7 @@ well preserved for a good idea to be formed of what it must have been when in its best estate. The enormous size of these ancient Roman edifices is almost too much for us to imagine, and the most extensive of them all were the -<i>Thermć</i>, or public baths.</p> +<i>Thermæ</i>, or public baths.</p> <p>The Baths of Diocletian, built <span class="smcap smaller">A.D.</span> 303, were the largest of all; they had seats for twenty-four hundred bathers. @@ -3834,7 +3796,7 @@ pointed arch, which occurred in France during the twelfth century. Of this form the doorways of the next cut present a fine example (<a href="#illus072">Fig. 72</a>).</p> -<div class="figcenter" style="width: 291px;"><img id="illus072" src="images/illus072.jpg" width="291" height="463" alt="" /><br /><div class="caption"><span class="smcap">Fig. 72.—Façade of Cathedral of Notre Dame.</span> <i>Paris.</i></div></div> +<div class="figcenter" style="width: 291px;"><img id="illus072" src="images/illus072.jpg" width="291" height="463" alt="" /><br /><div class="caption"><span class="smcap">Fig. 72.—Façade of Cathedral of Notre Dame.</span> <i>Paris.</i></div></div> <p><span class="pagenum"><a name="Page_97" id="Page_97">97</a></span></p> @@ -3868,7 +3830,7 @@ ornament. The spouts by which the water was carried over the eaves were made bold and comparatively large, and carved into those curious shapes of animals and monsters called gargoyles, which are seen on so -many medićval edifices. Many of these details of Gothic +many mediæval edifices. Many of these details of Gothic buildings are very elegant, and serve to-day as models for modern workmen. (See Figs. <a href="#illus073">73</a>, <a href="#illus074">74</a>, <a href="#illus075">75</a>, <a href="#illus076">76</a>, <a href="#illus077">77</a>, @@ -4217,7 +4179,7 @@ Roman traditions, in some such degree as the Moors had influenced the Gothic order in Spain. But, on the -whole, the medićval buildings +whole, the mediæval buildings of Northern Italy were Gothic in style.</p> @@ -4271,7 +4233,7 @@ when it is considered separately; but as a part of the church it loses its effect, and seems to be pushed against it as a chair is placed beside the wall of a room.</p> -<p>Some of the medićval town-halls are still well preserved, +<p>Some of the mediæval town-halls are still well preserved, and a few of them are truly beautiful. Perhaps the Broletto at Como is as fine a remnant of civic architecture as exists in Northern Italy. It is not very large and is faced with @@ -4610,7 +4572,7 @@ of it given by De Amicis in his delightful book called <div class="figcenter" style="width: 255px;"><img id="illus100" src="images/illus100.jpg" width="255" height="249" alt="" /><br /><div class="caption"><span class="smcap">Fig. 100.</span>—<span class="smcap">Exterior of the Sanctuary in the Mosque of Cordova.</span></div></div> <p>This mosque was commenced by the Caliph Abd-er-Rahman -in 786, and was completed by his son Heshâm, +in 786, and was completed by his son Heshâm, who died 796. The great Caliph declared that he would build a mosque which should exceed all others in the world and be the Mecca of the West. De Amicis, after describing @@ -4649,7 +4611,7 @@ for a long time to look at the ceiling and walls of the principal chapel, the only part of the mosque that is quite intact. It is a dazzling gleam of crystals of a thousand colors, a network of arabesques, which puzzles the mind, and a -complication of bas-reliefs, gildings, ornaments, minutić of +complication of bas-reliefs, gildings, ornaments, minutiæ of design and coloring, of a delicacy, grace, and perfection sufficient to drive the most patient painter distracted.... You might turn a hundred times to look at it, and it would @@ -4809,7 +4771,7 @@ open arms, just as we might receive the early history and literature of our country if it had all been lost and was found again; for this was precisely what it meant to the<span class="pagenum"><a name="Page_134" id="Page_134">134</a></span> Romans, when, after the Dark Ages, the works of Livy, -Tacitus, and Cćsar were in their hands, and they read of +Tacitus, and Cæsar were in their hands, and they read of the history, art, and literature of their past. They were enthusiastic, and their feeling soon spread over all Italy.</p> @@ -5011,7 +4973,7 @@ being exactly alike. Above the arches of the middle story was a row of open-work spaces, of the form called quatrefoil; while the third story is faced with alternating blocks of rose-colored and white marble, and is pierced with a few -large pointed windows. The whole front, or façade, is +large pointed windows. The whole front, or façade, is crowned by an open parapet made up of blocks of stone carved into lily-like forms alternating with lance-shaped leaves. The whole effect is one of great richness and @@ -5093,7 +5055,7 @@ Charles V. in 1555; the manner of this period is called Platerisco, or the silversmith's style, on account of the vast amount of fine, filigree ornament which was used. The second period is from the above date to about 1650, and its -art is called the Grćco-Roman style because it is an attempt +art is called the Græco-Roman style because it is an attempt to revive the Classic Art of the ancient Greeks and Romans. The third period comes from 1650 to about a century later, and the Spaniards call its manner the Churrigueresque, @@ -5183,7 +5145,7 @@ to confuse the separate impressions produced by each. This palace occupies the northeast corner of the edifice. Several rooms are full of pictures, others are covered from floor to ceiling with tapestries, representing bull-fights, -public balls, games, fętes, and Spanish costumes, designed +public balls, games, fĂŞtes, and Spanish costumes, designed by Goya; others are regally furnished and adorned; the floor, the doors, and the windows are covered with marvellous inlaid work and stupendous gilding. But among all the @@ -5199,7 +5161,7 @@ The walls are white, the ceiling flat and without any ornament, and the floor of brick.... In the court-yard of the kings you can form a first idea of the immense frame-work of the edifice. The court is inclosed by walls; on the side -opposite the doors is the façade of the church. On a +opposite the doors is the façade of the church. On a spacious flight of steps there are six enormous Doric columns, each of which upholds a large pedestal, and every pedestal a statue. There are six colossal statues, by Battiste @@ -5308,7 +5270,7 @@ you will get from the descriptions we have quoted of the cheerful, gay Alhambra, and the gloomy, sad Escurial.</p> <p>The domestic architecture of Spain is unattractive. -There are no fine <i>châteaux</i>, as in France, or elegant parks, +There are no fine <i>châteaux</i>, as in France, or elegant parks, as in England. Ford compares the front of the residence of the Duke of Medina to "ten Baker-street houses put together," and this is true of many so-called palaces. This @@ -5366,7 +5328,7 @@ union of Gothic design and Italian decoration, but when it was the fashion it was thought to be very beautiful by French architects.</p> -<div class="figcenter" style="width: 398px;"><img id="illus109" src="images/illus109.jpg" width="398" height="519" alt="" /><br /><div class="caption"><span class="smcap">Fig. 109.—Façade of the Church of St. Michael.</span> <i>Dijon.</i></div></div> +<div class="figcenter" style="width: 398px;"><img id="illus109" src="images/illus109.jpg" width="398" height="519" alt="" /><br /><div class="caption"><span class="smcap">Fig. 109.—Façade of the Church of St. Michael.</span> <i>Dijon.</i></div></div> <p>Francis I., who was so anxious to introduce Italian art into France, erected edifices of a very different sort from @@ -5374,13 +5336,13 @@ those which he attempted to imitate. In Italy, the principal buildings of the Renaissance were churches or convents, or such as were in some way for religious uses. Francis I. built palaces like that of Fontainebleau, and splendid -châteaux like those of Chambord, or Chenonceaux, and +châteaux like those of Chambord, or Chenonceaux, and the Italian style of architecture could not be readily adapted to the lighter uses of the French kings. The splendid massive Pitti Palace, built after the design of the great Brunelleschi, would scarcely have harmonized with the river banks and the lovely undulating meadows around a country -villa or château. So it gradually happened that French +villa or château. So it gradually happened that French Architecture was more graceful, light, and elegant than the architecture of the churches, monasteries, and other religious edifices of Italy, and at the same time the Italian @@ -5398,7 +5360,7 @@ and other churches were restored, it was not until 1629, when Cardinal Richelieu ordered the building of the church<span class="pagenum"><a name="Page_156" id="Page_156">156</a></span> of the Sarbonne, that an example was given of the full effects upon French church architecture of the change -from the Gothic, or Medićval style, to that of the Renaissance, +from the Gothic, or Mediæval style, to that of the Renaissance, or the Classic style.</p> <p>Perhaps the church of the Invalides is the most remarkable @@ -5415,7 +5377,7 @@ admirers claim for it is true—namely, that it is one of the<span class="pa finest domical edifices in Europe, and a most satisfactory example of the architecture of its class (<a href="#illus110">Fig. 110</a>).</p> -<div class="figcenter" style="width: 402px;"><img id="illus110" src="images/illus110.jpg" width="402" height="427" alt="" /><br /><div class="caption"><span class="smcap">Fig. 110.—Façade of the Dome of the Invalides.</span> <i>Paris.</i></div></div> +<div class="figcenter" style="width: 402px;"><img id="illus110" src="images/illus110.jpg" width="402" height="427" alt="" /><br /><div class="caption"><span class="smcap">Fig. 110.—Façade of the Dome of the Invalides.</span> <i>Paris.</i></div></div> <p>Directly underneath this dome is the crypt in which is the sarcophagus which contains the remains of Napoleon @@ -5501,12 +5463,12 @@ was built, and satisfies the taste of the most critical observers <div class="figcenter" style="width: 417px;"><img id="illus113" src="images/illus113.jpg" width="417" height="331" alt="" /><br /><div class="caption"><span class="smcap">Fig. 113.—Pavilion de l'Horloge and Part of the Court of The Louvre.</span></div></div> -<p>We cannot give space to descriptions of the châteaux +<p>We cannot give space to descriptions of the châteaux built by Francis I., but this picture of that of Chambord affords a good example of what these buildings were (<a href="#illus114">Fig. 114</a>).</p> -<div class="figcenter" style="width: 564px;"><img id="illus114" src="images/illus114.jpg" width="564" height="409" alt="" /><br /><div class="caption"><span class="smcap">Fig. 114.—Château of Chambord.</span></div></div> +<div class="figcenter" style="width: 564px;"><img id="illus114" src="images/illus114.jpg" width="564" height="409" alt="" /><br /><div class="caption"><span class="smcap">Fig. 114.—Château of Chambord.</span></div></div> <p>From the time of the reign of Charles IX. (1560) to the close of the reign of Louis XIII., the style of architecture @@ -5520,7 +5482,7 @@ progress and received much patronage from the king, and all the people of the court, for whom the king was a model. Louis XIV. began a revival of Roman classical architecture, and there is no doubt that he believed that he -equalled, or perhaps excelled, Julius Cćsar and all other +equalled, or perhaps excelled, Julius Cæsar and all other Roman emperors as a patron of the Fine Arts.</p> <p>But we know that this great monarch was deceived by @@ -5531,7 +5493,7 @@ read what is written about them, and in any case it is pleasanter to speak of virtues than of faults. The works of Louis XIV. were certainly herculean, and when we think of the building of the palace of Versailles, the completion -of the Louvre, and the numberless hôtels, châteaux, +of the Louvre, and the numberless hĂ´tels, châteaux, and palaces which belong to his reign, we feel sure that if only the vastness of the architectural works of his time is considered, he well merits the title of the Great Monarch. @@ -5572,20 +5534,20 @@ are impressive, and some are really very fine in their architecture. Since the Porte St. Denis was (<a href="#illus115">Fig. 115</a>) erected, in<span class="pagenum"><a name="Page_165" id="Page_165">165</a></span> 1672, almost every possible design has been used for these monuments, in one portion of France or another, until, -finally, the Arc de l'Étoile (<a href="#illus116">Fig. 116</a>) was built at the upper -end of the Champs Elysées, at Paris. This is the noblest +finally, the Arc de l'Étoile (<a href="#illus116">Fig. 116</a>) was built at the upper +end of the Champs ElysĂ©es, at Paris. This is the noblest of all modern triumphal arches, as well as one of the most splendid ornaments in a city which is richly decorated with architectural works of various styles and periods—from that of the fine Renaissance example seen in the west front of -the Louvre, built in 1541, down to the Arc de l'Étoile, the -Fontaine St. Michel, and the Palais du Trocadéro of our +the Louvre, built in 1541, down to the Arc de l'Étoile, the +Fontaine St. Michel, and the Palais du TrocadĂ©ro of our own time.</p> -<div class="figcenter" style="width: 342px;"><img id="illus116" src="images/illus116.jpg" width="342" height="322" alt="" /><br /><div class="caption"><span class="smcap">Fig. 116.—Arc de l'Étoile.</span> <i>Paris.</i></div></div> +<div class="figcenter" style="width: 342px;"><img id="illus116" src="images/illus116.jpg" width="342" height="322" alt="" /><br /><div class="caption"><span class="smcap">Fig. 116.—Arc de l'Étoile.</span> <i>Paris.</i></div></div> <p>The French architecture of the present century is in -truth a classic revival; its style has been called the <i>néo-Grec</i>,<span class="pagenum"><a name="Page_166" id="Page_166">166</a></span> +truth a classic revival; its style has been called the <i>nĂ©o-Grec</i>,<span class="pagenum"><a name="Page_166" id="Page_166">166</a></span> or revived Greek, and the principal buildings of the reign of Napoleon III. all show that a study of Greek art had influenced those who designed these edifices.</p> @@ -5820,7 +5782,7 @@ the whole effect of them is very far from pleasing or satisfactory. In fact, the result is just such as must always follow the imitation of a beautiful object, when no proper regard is paid to the use to be made of it. If, for example, -a fine copy of a light and airy Swiss châlet should be made<span class="pagenum"><a name="Page_175" id="Page_175">175</a></span> +a fine copy of a light and airy Swiss châlet should be made<span class="pagenum"><a name="Page_175" id="Page_175">175</a></span> in the United States of America, and placed on some business street in one of our cities, and used for a bank building, we could not deny that it was an exact copy of a building @@ -5862,7 +5824,7 @@ persons. The view from the top of this statue is fine, and<span class="pagenum"> so extensive that in a favorable atmosphere the heights of the Alps can be discerned. The hill upon which the Ruhmeshalle is built is to the south of Munich, and is -called the Theresienhöhe. The grand statue is intended to +called the Theresienhöhe. The grand statue is intended to be the principal object of interest here, and the portico is made so low as to throw the figure out and show it off to advantage; altogether it is one of the most successful architectural @@ -5976,7 +5938,7 @@ in his "History of Modern Architecture."</p> <td class="tdc bl i1">87</td> <td class="tdc bl">100</td></tr> <tr> - <td class="tdl">Académie de Musique, Paris</td> + <td class="tdl">AcadĂ©mie de Musique, Paris</td> <td class="tdc bl i1">85</td> <td class="tdc bl i1">82</td></tr> <tr> @@ -6155,7 +6117,7 @@ old Morris mansion (<a href="#illus131">Fig. 131</a>).</p> <div class="figcenter" style="width: 561px;"><img id="illus131" src="images/illus131.jpg" width="561" height="385" alt="" /><br /><div class="caption"><span class="smcap">Fig. 131.—"Old Morrisania."</span> <i>Morrisania, New York.</i></div></div> -<p>It is modelled after a French château, and was erected +<p>It is modelled after a French château, and was erected by General Morris after his return from France in 1800. It<span class="pagenum"><a name="Page_186" id="Page_186">186</a></span> is one of the most striking among the mansions of its time, and both its interior and exterior are highly interesting.</p> @@ -6324,7 +6286,7 @@ delusion.</p> <p><i>Epistyle.</i>—See <i><a href="#gArchitrave">Architrave</a></i>.</p> -<p class="p2"><i>Façade.</i>—The exterior face of a building.</p> +<p class="p2"><i>Façade.</i>—The exterior face of a building.</p> <p><i>Frieze.</i>—The middle member of an entablature.</p> @@ -6435,12 +6397,12 @@ flat spaces.</p> <span class="ixsub1">adapted to climate and use, <a href="#Page_172">172</a></span></p> <p>Andrea del Sarto, <a href="#Page_153">153</a></p> <p>Angers, church at, <a href="#Page_103">103</a></p> -<p id="Antae">Antć. <i>See</i> <a href="#pilasters">pilasters</a></p> +<p id="Antae">Antæ. <i>See</i> <a href="#pilasters">pilasters</a></p> <p>Arabs, <a href="#Page_128">128</a></p> <p>Arcades;<br /> <span class="ixsub1">combined from Greek and Etruscan art, <a href="#Page_76">76</a>;</span><br /> <span class="ixsub1">of Ducal Palace, Venice, <a href="#Page_142">142</a></span></p> -<p>Arc de l'Étoile (Paris), <a href="#Page_165">165</a></p> +<p>Arc de l'Étoile (Paris), <a href="#Page_165">165</a></p> <p>Arch;<br /> <span class="ixsub1">knowledge of principle of, <a href="#Page_73">73</a>;</span><br /> <span class="ixsub1">found in Etruscan ruins, <a href="#Page_73">73</a>;</span><br /> @@ -6572,7 +6534,7 @@ flat spaces.</p> <span class="ixsub1">exterior and interior of, <a href="#Page_119">119</a></span></p> <p>Byzantine-Romanesque, <a href="#Page_115">115</a>, <a href="#Page_122">122</a></p> -<p class="p2">Cćsar, works of, <a href="#Page_134">134</a></p> +<p class="p2">Cæsar, works of, <a href="#Page_134">134</a></p> <p>Cairo;<br /> <span class="ixsub1">mosque at, <a href="#Page_123">123</a>;</span><br /> <span class="ixsub1">mosque near, <a href="#Page_125">125</a></span></p> @@ -6615,14 +6577,14 @@ flat spaces.</p> <p>Cecilia Metella, tomb of, <a href="#Page_84">84</a></p> <p>Cella, <a href="#Page_50">51</a></p> <p>Central Park, New York, obelisk in, <a href="#Page_16">16</a></p> -<p>Chambord, château of, <a href="#Page_154">154</a>, <a href="#Page_161">161</a></p> -<p>Champs Elysées, Arc de l'Étoile in (Paris), <a href="#Page_165">165</a></p> +<p>Chambord, château of, <a href="#Page_154">154</a>, <a href="#Page_161">161</a></p> +<p>Champs ElysĂ©es, Arc de l'Étoile in (Paris), <a href="#Page_165">165</a></p> <p>Charlemagne, <a href="#Page_123">123</a></p> <p>Charles I. of England and classic art, <a href="#Page_134">134</a></p> <p>Charles V. of Spain, abdication of, <a href="#Page_146">146</a></p> <p>Charles IX. of France, <a href="#Page_161">161</a></p> <p>Chehl Minar, <a href="#Page_38">38</a> (and <i>see</i> <a href="#Audience">Great Hall of Audience</a>)</p> -<p>Chenonceaux, châteaux of, <a href="#Page_154">154</a></p> +<p>Chenonceaux, châteaux of, <a href="#Page_154">154</a></p> <p id="Cheops">Cheops. <i>See</i> <a href="#Pyramids">Pyramids</a></p> <p>Chiswick House, Inigo Jones designer of, <a href="#Page_167">167</a></p> <p>Choragic Monument of Lysicrates (Athens), <a href="#Page_57">57</a></p> @@ -6741,7 +6703,7 @@ flat spaces.</p> <span class="ixsub1">characteristics of, <a href="#Page_52">52</a>–<a href="#Page_54">54</a>;</span><br /> <span class="ixsub1">traced back, <a href="#Page_54">54</a>;</span><br /> <span class="ixsub1">and Ionic order, compared, <a href="#Page_57">57</a>;</span><br /> -<span class="ixsub1">Propylća and Parthenon as examples of, <a href="#Page_64">64</a></span></p> +<span class="ixsub1">Propylæa and Parthenon as examples of, <a href="#Page_64">64</a></span></p> <p>Dresden, new theatre and picture gallery of, <a href="#Page_177">177</a></p> <p id="Ducal">Ducal Palace (Venice), and John Ruskin, <a href="#Page_142">142</a> (and <i>see</i> <a href="#Doge">Doge's Palace</a>)</p> @@ -6801,7 +6763,7 @@ flat spaces.</p> <p>Euphrates, <a href="#Page_29">29</a></p> <p>Exchange at Marseilles, <a href="#Page_162">162</a></p> -<p class="p2">Façade of Ducal Palace, <a href="#Page_142">142</a></p> +<p class="p2">Façade of Ducal Palace, <a href="#Page_142">142</a></p> <p>"Farnese Bull," <a href="#Page_81">81</a></p> <p>"Farnese Hercules," <a href="#Page_81">81</a></p> <p>Ferdinand and Isabella, reign of, <a href="#Page_145">145</a></p> @@ -6872,7 +6834,7 @@ flat spaces.</p> <p>Goths, temple of Diana burned by, <a href="#Page_61">61</a></p> <p>Goujon, Jean, and the Louvre, <a href="#Page_160">160</a></p> <p>Goya, <a href="#Page_149">149</a></p> -<p>Grćco-Roman style, <a href="#Page_146">146</a></p> +<p>Græco-Roman style, <a href="#Page_146">146</a></p> <p>Grand Duke of Saxe-Weimar, <a href="#Page_110">110</a></p> <p>"<i>Grand Monarque.</i>" <i>See</i> <a href="#Louis14">Louis XIV.</a></p> <p>"<i>Grands Hommes</i>," Pantheon dedicated to, <a href="#Page_158">158</a></p> @@ -6917,7 +6879,7 @@ flat spaces.</p> <p>Hermann, Count of Thuringia, <a href="#Page_110">110</a></p> <p>Herodotus, "Father of History," <a href="#Page_47">47</a></p> <p>Herostratus, <a href="#Page_60">60</a></p> -<p>Heshâm, <a href="#Page_126">126</a></p> +<p>Heshâm, <a href="#Page_126">126</a></p> <p>Hexastyle, <a href="#Page_52">52</a></p> <p>Homer, "Iliad" and "Odyssey" of, <a href="#Page_47">47</a></p> <p>"House of the Virgin," <a href="#Page_62">62</a> (and <i>see</i> <a href="#Parthenon">Parthenon</a>)</p> @@ -7055,7 +7017,7 @@ flat spaces.</p> <span class="ixsub1">at Oxford, <a href="#Page_170">170</a>, <a href="#Page_171">171</a></span></p> <p>Music halls, <a href="#Page_180">180</a></p> <p>Mutules, <a href="#Page_65">65</a></p> -<p>Mycenć, <a href="#Page_48">48</a></p> +<p>Mycenæ, <a href="#Page_48">48</a></p> <p>Mythology, <a href="#Page_47">47</a></p> <p class="p2">Napoleon I.;<br /> @@ -7120,7 +7082,7 @@ flat spaces.</p> <span class="ixsub1">of Assyria, <a href="#Page_23">23</a>–<a href="#Page_26">26</a>;</span><br /> <span class="ixsub1">of Nineveh, <a href="#Page_27">27</a></span></p> <p>Palace-temples, Egyptian, <a href="#Page_8">8</a></p> -<p>Palais du Trocadéro, <a href="#Page_165">165</a></p> +<p>Palais du TrocadĂ©ro, <a href="#Page_165">165</a></p> <p>Pantheon (Rome); <a href="#Page_76">76</a>–<a href="#Page_78">78</a>;<br /> <span class="ixsub1">rotunda and porch of, <a href="#Page_76">76</a>;</span><br /> <span class="ixsub1">preservation of, <a href="#Page_77">77</a>;</span><br /> @@ -7159,7 +7121,7 @@ flat spaces.</p> <span class="ixsub1">and Athena Promachos, <a href="#Page_62">62</a>;</span><br /> <span class="ixsub1">Parthenon erected under care of, <a href="#Page_64">64</a>;</span><br /> <span class="ixsub1">sculptures executed by, <a href="#Page_64">64</a></span></p> -<p>Philć;<br /> +<p>Philæ;<br /> <span class="ixsub1">temple on island of, <a href="#Page_18">18</a>;</span><br /> <span class="ixsub1">buildings at, <a href="#Page_19">19</a></span></p> <p>Philip II. of Spain;<br /> @@ -7170,7 +7132,7 @@ flat spaces.</p> <p>Piazza of St. Mark (Venice), <a href="#Page_142">142</a></p> <p>Picture Gallery, Dresden, <a href="#Page_177">177</a></p> <p>Piers, Egyptian, <a href="#Page_11">11</a></p> -<p id="pilasters">Pilasters, <a href="#Page_52">52</a>; <a href="#Page_127">127</a>; (and <i>see</i> <a href="#Antae">Antć</a>)</p> +<p id="pilasters">Pilasters, <a href="#Page_52">52</a>; <a href="#Page_127">127</a>; (and <i>see</i> <a href="#Antae">Antæ</a>)</p> <p>Pillar of the Gateway Huldah, <a href="#Page_44">44</a></p> <p id="Pillars">Pillars;<br /> <span class="ixsub1">of Great Hall of Audience, <a href="#Page_38">38</a>–<a href="#Page_41">41</a>;</span><br /> @@ -7197,7 +7159,7 @@ flat spaces.</p> <p>Primaticcio, <a href="#Page_153">153</a></p> <p>Prince Louis of Thuringia, <a href="#Page_110">110</a></p> <p>Promachos (<i>see</i> <a href="#Athena">Athena</a>), <a href="#Page_62">62</a></p> -<p>Propylća;<br /> +<p>Propylæa;<br /> <span class="ixsub1">Assyrian, <a href="#Page_24">24</a>;</span><br /> <span class="ixsub1">of Acropolis, <a href="#Page_62">62</a>, <a href="#Page_64">64</a></span><br /> <span class="pagenum"><a name="Page_204" id="Page_204">204</a></span></p> @@ -7355,7 +7317,7 @@ flat spaces.</p> <span class="ixsub1">of Karnak, <a href="#Page_13">13</a>;</span><br /> <span class="ixsub1">of Luxor, <a href="#Page_13">13</a>;</span><br /> <span class="ixsub1">of Denderah, <a href="#Page_17">17</a>;</span><br /> -<span class="ixsub1">of Philć, <a href="#Page_17">17</a>;</span><br /> +<span class="ixsub1">of Philæ, <a href="#Page_17">17</a>;</span><br /> <span class="ixsub1">influenced by Egypt, in building, <a href="#Page_17">17</a>;</span><br /> <span class="ixsub1">of Birs-i-Nimrud, <a href="#Page_32">32</a>;</span><br /> <span class="ixsub1">of Jerusalem, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>;</span><br /> @@ -7386,8 +7348,8 @@ flat spaces.</p> <p><span class="pagenum"><a name="Page_206" id="Page_206">206</a></span>Theodosius I., and temple of Diana, <a href="#Page_61">61</a><br /> <span class="ixsub1">and St. Paul's without the Walls, <a href="#Page_88">88</a></span></p> <p>Theresa, Queen of Louis I. of Bavaria, <a href="#Page_176">176</a></p> -<p>Theresienhöhe, <a href="#Page_177">177</a></p> -<p>Thermć, <a href="#Page_80">80</a></p> +<p>Theresienhöhe, <a href="#Page_177">177</a></p> +<p>Thermæ, <a href="#Page_80">80</a></p> <p>Titus, arch of, <a href="#Page_82">82</a></p> <p>Tomb;<br /> <span class="ixsub1">of Seti I., <a href="#Page_7">7</a>;</span><br /> @@ -7480,7 +7442,7 @@ on the Title page.</p> <p>Most Index entries that did not match the referenced text have been changed when the differences were hyphenation or accent marks. However, the Index entries -for "Neo-Grec" have not been changed to "Néo-Grec".</p> +for "Neo-Grec" have not been changed to "NĂ©o-Grec".</p> <p>The links for some incorrect Index entries have been remedied, but others may remain, as the Index was not checked for accuracy.</p> @@ -7488,386 +7450,6 @@ the Index was not checked for accuracy.</p> <p class="covernote">Cover created by Transcriber and placed in the Public Domain.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of A History of Art for Beginners and -Students, by Clara Erskine Clement - -*** END OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF ART *** - -***** This file should be named 43602-h.htm or 43602-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/6/0/43602/ - -Produced by Juliet Sutherland, Charlie Howard, and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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