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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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Mentor: Beautiful Buildings of the World, Serial no. 33 - -Author: Clarence Ward - -Release Date: January 22, 2016 [EBook #51001] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MENTOR: BEAUTIFUL BUILDINGS OF WORLD *** - - - - -Produced by Juliet Sutherland, Karin Spence and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<p class="pagenum"><a name="Page_1" id="Page_1">[1]</a></p> - -<h1 class="spaced2 wsp"><span class="smcap">The Mentor</span></h1> - -<p class="center">"A Wise and Faithful Guide and Friend"</p> - -<div class="centersb p2"> -<p class="right">No. 33</p> -<p class="left">Vol. I</p></div> - -<h2 class="bt">BEAUTIFUL BUILDINGS of the WORLD</h2> - -<table summary="Contents"> - -<tr> - <td class="content1"> TAJ MAHAL<br /> -<br /> -THE ALHAMBRA<br /> -<br /> -AMIENS CATHEDRAL<br /> -</td> - -<td class="ctr"> - <img src="images/illus01.jpg" alt="" width="192" height="300" /></td> - -<td class="content2"> -SALISBURY CATHEDRAL<br /> -<br /> -CHÂTEAU de CHAMBORD<br /> -<br /> -NEW YORK CITY HALL<br /> -</td> -</tr> -</table> - -<p class="center"><i>By CLARENCE WARD</i></p> - -<p class="center"><i>Professor of Architecture, Rutgers College</i></p> - -<p>Beauty in architecture is as difficult to define as beauty in nature. -No single factor renders a building beautiful. Size and proportion, -style and decoration, age and setting, all enter into account. -And moreover there is the power a building possesses to appeal to the -ideals of the beholder, to his mind as well as to his sight and touch. Even -when judged from this broad viewpoint, the number of beautiful buildings -in the world is legion. It would be impossible to point to anyone as the -finest, or even to select a dozen without leaving a dozen more that were -equally beautiful. Every age, and every nation, has left to us some crowning -achievements of the builder's art. The following are therefore merely -selections from this storehouse, illustrating to some degree the wealth of -architectural treasures that is our heritage.</p> - -<p>Few if any buildings in the world have been the subject of such praise -as that bestowed upon the Taj Mahal ("Gem of Buildings"). Travelers,<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span> -painters, authors, and poets have all sought to express in word or -color the indefinable charm of this gem of Indian art. Built at Agra, in -India, by the great mogul of Delhi, Shah Jahan, as a tomb for his favorite -wife, Mumtaz Mahal, the Taj is a veritable translation into stone of -human remembrance and affection. It was begun in 1632, and was completed -in twenty-two years. The material of which it is built is -pure white marble, and inlaid in its walls are jaspers, agates, and other -stones in marvelous designs. But it is perhaps the dome that gives -the greatest beauty to this tomb. Of typical Eastern shape, it rises a -mass of white against the deep blue of the Indian sky, or shines like -silver in the radiance of the Indian moon.</p> - -<p class="sm center bold p2">THE WORLD'S MOST BEAUTIFUL TOMB</p> - -<p>It cannot be denied that the Taj Mahal (tahzh mah-hahl´) owes much -of its beauty to its setting. Not merely has it the contrast of the brilliant -sky above, but also the deep green of the gardens at its feet, and more -than this the four tall, graceful minarets standing like sentinels at the -corners of the marble terrace on which the tomb is placed. The interior -is scarcely less impressive than this outside view. Its subdued light -serves only to show more clearly the beauty of the garlands of red and -blue and green inlaid along its walls as never-withering memorials of the -queen who sleeps beneath the lofty dome.</p> - -<div class="figcenter" style="width:637px;"> - <img - class="p1" - id="illus02" - src="images/illus02.jpg" - width="637" - height="350" - alt="" /> - <p class="p0 smcap center bold sm">THE TAJ MAHAL</p> - <p class="center p0"><i>The approach through the splendid gardens seen in the foreground is bordered by dark cypress trees, which contrast -admirably with the color of the marble domes beyond.</i></p> - </div> - -<p class="pagenum"><a name="Page_3" id="Page_3">[3]</a></p> - -<p>It is perhaps beside her tomb that the traveler sees a vision of the -proud and mighty Jahan, cruel in many ways, but steadfast in his love, -building this glorious resting place for his fair consort, whom he called -by the familiar name of Taj. One may see even farther still and picture -to himself this once proud ruler, bereft of all his power and even of his -throne, looking out from his chamber window toward this same Taj -Mahal. Perhaps its wondrous dome gleamed in the moonlight on that -last night before he came to rest beneath its shades as it gleams today to -the enraptured gaze of thousands who take the pilgrimage to Agra to see -this wonder of the Eastern world.</p> - -<p class="sm center bold p2">THE PALACE OF THE MOORISH KINGS</p> - -<p>It is not such a step as it may seem from the Taj Mahal to the -Alhambra (al-ham'-bra). Both -are oriental. Both are the products -of Mohammedan art, and -mark in a way its Eastern and -its Western expressions. As -early as the eighth century -of our era the Moors of northern -Africa crossed to Spain and -made the Iberian peninsula a -Moorish califate or kingdom. -Its capital and last stronghold -was Granada. And here on a -lofty hill, overlooking the city, -King or Calif Al Hamar began -the mighty fortress of the -Alhambra in the early years -of the thirteenth century.</p> - -<div class="figcenter" style="width:275px;"> - <img - class="p1" - id="illus03" - src="images/illus03.jpg" - width="275" - height="350" - alt="" /> - <p class="p0 smcap center bold sm">COURT OF THE MYRTLES, ALHAMBRA</p> - <p class="center p0"><i>The pool is bordered on both sides by beautiful old hedges.</i></p> - </div> - -<p>As is the case with almost -every Mohammedan building, -its exterior is extremely plain. -But once the door is passed one -seems to have stepped from Europe -to the Orient. Courtyards -and porticos, halls and passages, -open before the visitor in a truly -oriental maze of color and decoration. The first important court is -known as that of the Myrtles. In its center is a marble basin a hundred -and thirty feet long, bordered with trees of myrtle and orange, and -flanked at both ends by two-storied pavilions with slender marble shafts<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> -and graceful Moorish arches. From -one of these pavilions opens the Hall -of the Ambassadors, the throne room -of the califs, and the largest chamber -in the palace.</p> - -<p class="sm center bold p2">THE ALHAMBRA'S BEAUTY</p> - -<p>But it is not its size that makes -this room imposing. Here, as elsewhere -in the palace, it is the decoration. -Rising for three or four feet -from the floor is a band of colored -Moorish tiles. All the wall above is -of stucco, molded in lacelike patterns -and painted in blues and reds and -brilliant golden yellows. The designs -are largely geometrical or floral, frequently -interspersed with Arabic -inscriptions. Some of these when -translated read, "God is our refuge," -"Praise be to God," familiar phrases -in Mohammedan faith, or "There -is no conqueror but God." Add to -this decoration of the walls imposing -stalactite domes, and ceilings often -of cedarwood inlaid with mother of -pearl, and imagine the floors and -windows again adorned with oriental -rugs and hangings, and the beauty of -the Alhambra will be easily understood.</p> - -<div class="figcenter" style="width:274px;"> - <img - class="p1" - id="illus04a" - src="images/illus04a.jpg" - width="274" - height="350" - alt="" /> - <p class="p0 smcap center bold sm">HALL OF REPOSE OF THE BATHS, ALHAMBRA</p> - - </div> - -<div class="figcenter" style="width:271px;"> - <img - class="p1" - id="illus04b" - src="images/illus04b.jpg" - width="271" - height="350" - alt="" /> - <p class="p0 smcap center bold sm">THE GATE OF JUSTICE</p> - <p class="center p0"><i>A part of the Alhambra palace not well preserved.</i></p> - </div> - -<p>But neither the Court of the -Myrtles nor the Hall of the Ambassadors -is the crowning glory of the -palace. This honor belongs to the -Court of the Lions. One hundred -and sixteen by sixty-six feet in size, -this court compares with any apartment -in the world for pure, exquisite -beauty of design. An open portico, -its ceiling borne on a hundred and -twenty-four slender and beautiful -marble columns and delicately ornamented<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -arches, incloses the central space, in the middle of which rises -a magnificent fountain, its basin cut from a single giant block of alabaster, -and supported on the backs of twelve lions of white marble, emblems of -courage and strength.</p> - -<div class="figcenter" style="width:277px;"> - <img - class="p1" - id="illus05" - src="images/illus05.jpg" - width="277" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">INTERIOR OF THE ALHAMBRA</p> - <p class="center p0"><i>Arched window in the "Tower of the Captivity of Isabel."</i></p> - </div> - -<p>It is small wonder that the last of the Moorish kings, Boabdil (bo-ahb-deel´), -looked back with many tears at this glorious palace as he -surrendered it in 1492 to his -Christian conqueror Ferdinand. -Sadly indeed he and his -followers must have crossed -again to the dreary deserts of -Africa, since they left behind -them the whole fair land of -Spain, which they had adorned -not merely with the Alhambra, -but with the Alcázar at Seville, -the mosque at Cordova, -and other monuments of their -civil and religious greatness.</p> - -<p class="sm center bold p2">THE GREAT CATHEDRALS</p> - -<p>At the very period when -the Mohammedan conquerors -of Spain were building their -palace of the Alhambra, the -Christians of northern France -were erecting those vast cathedrals -which stand today as the -crowning achievements of the -builder's art. Paris, Chartres -(shahrtr), Bourges (boorzh), Rheims (reemz), Rouen (roo-ong´), Le Mans -(lee-mong´), Beauvais (bo-vay´) and Amiens (ah-mee-ong´) are but a few -of the long list of French Gothic cathedrals of the twelfth and thirteenth -centuries. From such a list it is most difficult to choose. Each one has its -distinctive claim to recognition, and its distinctive features which are not -surpassed in any of the others. This fact, indeed, has caused it to be said -that the ideal cathedral should have the façade of Rheims, the spires of -Chartres, the nave of Amiens, and the choir of Beauvais. But even such -an ideal cathedral would not be perfect without the addition of features -from each of the other churches in our list.</p> - -<p class="pagenum"><a name="Page_6" id="Page_6">[6]</a></p> - -<p>Since, however, it is necessary to choose, let us choose Amiens; for -perhaps this church is most widely acknowledged as the finest example -of the Gothic style. Its façade is a masterpiece of decoration. Three -deeply recessed portals in the lower story are covered with a wealth of -sculptured figures in the round and in relief. Bible lessons and the -events of human life and history, carved here in stone, taught the terrors -of sin and hell and the joys of a godly life as preached in the church -beyond these lofty doors. Nor is the decoration confined to sculpture; -for the whole façade, and in fact the entire church, is a tracery of stone.</p> - -<div class="chapter"> -<p class="sm center bold p2">THE GOTHIC GLORY OF AMIENS</p></div> - -<div class="figcenter" style="width:450px;"> - <img - class="p1" - id="illus06a" - src="images/illus06a.jpg" - width="450" - height="370" - alt="" /> - <p class="p0 smcap center sm bold">SOUTH PORTAL OF AMIENS CATHEDRAL</p> - <p class="center p0"><i>The statue of the Virgin which stands in the portal replaces that of -St. Honoré, which was moved to the north transept. The carvings -about the south portal are taken from the life of St. Honoré.</i></p> - </div> - -<div class="figcenter" style="width:234px;"> - <img - class="p2" - id="illus06b" - src="images/illus06b.jpg" - width="234" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">NAVE OF AMIENS CATHEDRAL</p> - - </div> - -<p>It is from a side view, however, that Amiens shows at its best the -true glory of Gothic architecture. Nearly five hundred feet long and over -two hundred feet to the ridge line of the roof, it rises high above the -buildings of the city in which -it stands, a symbol of the -supremacy of spiritual over -earthly things. To be sure -it has its faults. The towers -are too low and the central -spire is of awkward shape; -but the huge windows, with their tracery -in geometric patterns, occupying the -entire space between the buttresses, and -these buttresses themselves with their -soaring arches spanning the aisle roofs -below, afford an unsurpassed example of -beauty of design combined with the -utmost structural daring. Moreover, the<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -interior is even more imposing. -Lofty piers and pointed -arches separate the nave from -the aisles. Slender shafts -carry the ribs of the huge -vaults of stone forty-three -feet in span, which seem suspended -in air one hundred and forty feet -from the pavement below. In the support -of these vaults lies the keynote of -Gothic architecture. Though they seem -hung as if by magic over walls of glass, -with very little masonry for their support, -their weight and thrust are borne -by the sweeping arcs of the exterior flying -buttresses and the huge piers of masonry -from which they rise beyond the side -aisle walls. Viewed from a central point, -the majestic sweep of the nave, the soaring -height of the eastern apse, the wondrous window of the northern transept, -and the maze of piers and arches and chapels, all unite to produce -a glorious whole which cannot be surpassed in any monument of any age.</p> - -<p class="sm center bold p2">SALISBURY'S SIMPLE BEAUTY</p> - -<p>If the interior of Amiens personifies in the highest degree the majesty -and glory of Christian faith, the spire of Salisbury may be said to embody -its hope and aspiration. Rising four hundred and four feet from the -ground, this spire has few to rival it in all the world. Other cathedrals -might dispute its claim to first place among spires; but none is -set upon a church so fine. That Salisbury is the most beautiful -cathedral in England is not claimed. As was the case in France, so here,<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -there are too many churches, each with its own distinctive points of beauty, -for anyone to be the finest of them all.</p> - -<div class="figcenter" style="width:450px;"> - <img - class="p2" - id="illus07a" - src="images/illus07a.jpg" - width="450" - height="357" - alt="" /> - <p class="p0 smcap center sm bold">SALISBURY CATHEDRAL</p> - <p class="center p0"><i>A view from the northeast, showing plainly the double-cross -shape of the foundation.</i></p> - </div> - -<div class="figcenter" style="width:241px;"> - <img - class="p2" - id="illus07b" - src="images/illus07b.jpg" - width="241" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">NAVE OF SALISBURY CATHEDRAL</p> - <p class="center p0"><i>A number of interesting monuments were -placed between the columns by James Wyatt.</i></p> - </div> - -<p>But Salisbury at least must find a place among the first, and is especially -interesting because it is exactly contemporary as to date with Amiens -in France. Architecturally both are Gothic; yet the difference in design -is as great as the distance in miles between them. Low instead of lofty, -with little decoration, and set in the midst of nature's grass and trees -instead of in a crowded city, Salisbury's appeal is through the quiet -beauty of its line, and the simplicity of its construction in contrast to -the complex structure of the French cathedral. The Gothic of England -was rarely the Gothic of carefully balanced thrust and pressures, of flying -buttresses and huge window spaces. Here at Salisbury the walls are still -quite heavy and the windows only moderately large. They have no -tracery of stone; but are simple, narrow openings in the walls, with -pointed heads so like a lance in shape that they have given the name of -Lancet to this period of English Gothic architecture. Slow to throw off -their earlier traditions, the English builders clung, even in Gothic days, -to many of the characteristics of the Norman era, which had produced -such masterpieces as Durham and Peterborough, Ely and Norwich, cathedrals. -The result of this is especially evident in the interior of Salisbury;<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -for here, in spite of the shafts of Purbeck marble, one for each hour in -the year, and in spite of the rich moldings of the piers and arches, the -lack of structural unity, and the comparative smallness of the windows -and lowness of the vaulting cause Salisbury's nave to fall far short of that -of Amiens in beauty of construction. Viewed from the west, the cathedral -is also disappointing; for the façade is an -ugly screen wall, badly decorated, and -deserving of little praise. But when seen -from north or south or east, with its spire -rising from the very heart of the church, -Salisbury is truly inspiring. In its quiet -close it seems the very expression of the -church at peace.</p> - -<p class="sm center bold p2">CHÂTEAU de CHAMBORD</p> - -<p>Between the construction of Amiens -and Salisbury and the building of the -Château of Chambord (shong-bore´) lie -two centuries of history. In them the -spiritual power of the church, and the -temporal power of the pope -and clergy, which had been -supreme throughout the Middle -Ages, gave way to a large -extent to a spirit of individualism -and a rising power on -the part of the king and -nobles. This change had its -effect upon the arts. The palace took precedence over the church in -architecture as the secular took precedence over the religious in painting -and the other arts. The Château of Chambord dates from the earlier -stages of this new architectural era. Built by King Francis I in the early -years of the sixteenth century, it is but one of the hundreds of châteaux -erected by the kings and nobles of France, from Francis to the fall of the -monarchy. Its architectural style is what is known as early Renaissance.<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -The claim of Chambord to beauty is due, not so much to its decoration -as to its imposing size, to the sense of spaciousness it conveys, and to -the manner in which it reflects the spirit of its age.</p> - -<div class="figcenter" style="width:600px;"> - <img - class="p2" - id="illus08" - src="images/illus08.jpg" - width="600" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">CHÂTEAU de CHAMBORD</p> - <p class="center p0"><i>Showing the Mansard roof put on by the celebrated architect, Mansart, at the order of Louis XIV, to accommodate -a large court.</i></p> - </div> - -<div class="figcenter" style="width:238px;"> - <img - class="p2" - id="illus09a" - src="images/illus09a.jpg" - width="238" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">TOWER OF THE GRAND STAIRCASE</p> - <p class="center p0"><i>Château de Chambord.</i></p> - </div> - -<div class="figcenter" style="width:545px;"> - <img - class="p2" - id="illus09b" - src="images/illus09b.jpg" - width="545" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">HALL IN THE CHÂTEAU de CHAMBORD</p> - <p class="center p0"><i>The two stairways seen in the back wind around the same central -shaft and never join.</i></p> - </div> - -<p>Four hundred feet square along its outer walls, this vast château -was designed by Francis I merely as a hunting seat. The chief exterior -attraction of the building lies in its roof. This is a very maze of -gables, dormers, chimneys, and cupolas, dominated by the lantern that -crowns the center stair, and in which lights were hung to guide belated -hunters from the forest.</p> - -<p class="sm center bold p2">THE STAIRWAY OF CHAMBORD</p> - -<p>This stairway is the chief attraction of the interior. Sweeping round -a central newel which forms an open well, it rises the full height of -the building. Moreover, it is not a single flight of steps, but two, so -placed that one person may go up and one come down, yet never meet. -From this stairway four large halls open at every floor, and four hundred -and forty rooms and fifty other stairs fill up the wings of this great -palace. The interior, when richly furnished, must have been magnificent.</p> - -<p>In spite of its size, Chambord has little history of which to boast. -Nothing of importance or even of special interest took place there.</p> - -<p class="sm center bold p2">NEW YORK CITY HALL</p> - -<p>We are fortunate indeed -as a nation to have had in -our earlier days an architecture -that could boast of such -pleasing monuments as the -New York City Hall. Our -ancestors in both the North -and South were strongly influenced -from the point of view -of art by that English Renaissance -which reached its culmination -in the hands of Sir -Christopher Wren. Many a -New England church and -many a Southern home boasts -an architectural beauty of -rare charm and in rare accord -with the natural setting of -this new land. Nor were we -less fortunate in public works. -The old and new statehouses<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -in Boston, Independence -Hall in -Philadelphia, and -the Capitol in -Washington are -but a few of the -early buildings in -America that, like -the New York City -Hall, are worthy -to rank among the -best in beauty of -design. The latter -was the work of -John McComb, -Jr., and was built -between 1803 and -1812 in a style -based largely upon -the Italian Renaissance. -Though not of very great size, its proportions are remarkably fine, -and its architecture beautiful. For good taste and for excellence of workmanship -it is as worthy of the city of millions today as of the city of -thousands for which it was first built.</p> - -<div class="figcenter" style="width:305px;"> - <img - class="p2" - id="illus10" - src="images/illus10.jpg" - width="305" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">STAIRWAY IN THE NEW YORK CITY HALL.</p> - - </div> - -<div class="figcenter" style="width:462px;"> - <img - class="p2" - id="illus11" - src="images/illus11.jpg" - width="462" - height="350" - alt="" /> - <p class="p0 smcap center sm bold">OLD COLONIAL CHAMBER</p> - <p class="center p0"><i>The office of the Borough President of Manhattan in New York City Hall.</i></p> - </div> - -<p>That the source of beauty in architecture is indefinable, this brief -account of six of the world's finest buildings has clearly shown. No two -are alike; yet all are beautiful. And this quality lies not merely in size -and proportions, in design and decoration, but in the appeal that each one -makes to the mind as well as to the eye. Thus the Taj Mahal fairly -speaks of human remembrance, the Alhambra is the embodiment of -oriental luxury, Amiens affords a majestic picture of religious power, and -Salisbury of quiet Christian worship, Chambord conjures up visions of -gay kings and courtiers, while New York in its City Hall possesses a -worthy monument of civic interest and pride. Many another building -could be added to such a list as ours, and in the case of each it would be -found that added to its visible and tangible beauty was an invisible character -that marked it above its fellows. It is from this broad standpoint -that all architecture should be judged.</p> - -<div class="centerdb"> - -<p class="sm">SUPPLEMENTARY READING:—"History of Architecture," Hamlin; "Indian and -Eastern Architecture," Fergusson; "Medieval Architecture," Porter; "Handbook of -English Cathedrals," Van Rensselaer; "Renaissance Architecture in France," Blomfield.</p></div> - -<div class="chapter"> - -<p class="pagenum"><a name="Page_12" id="Page_12">[12]</a></p> - -<h2 class="space-above"><big>THE MENTOR</big><br /><br class="b30" /> - -<span class="sm">ISSUED SEMI-MONTHLY BY</span><br /><br class="b50" /> - -<span class="lg">The Mentor Association, Inc.</span><br /><br class="b30" /> - -<span class="sm">381 Fourth Ave., New York, N. Y.</span></h2></div> - -<div class="centerdb"> -<p class="right">No. 33</p> -<p class="left">Volume I</p></div> - -<div class="centerb"> -<p class="sm">ANNUAL SUBSCRIPTION, FOUR DOLLARS. SINGLE -COPIES TWENTY CENTS. FOREIGN POSTAGE, SEVENTY-FIVE -CENTS EXTRA. CANADIAN POSTAGE, FIFTY -CENTS EXTRA. ENTERED AT THE POST OFFICE AT -NEW YORK, N. Y., AS SECOND-CLASS MATTER. COPYRIGHT, -1913, BY THE MENTOR ASSOCIATION, INC. -PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, -WALTER P. TEN EYCK; SECRETARY, W. D. MOFFAT; -TREASURER, J. S. CAMPBELL; ASST. TREASURER AND -ASST. SECRETARY, H. A. CROWE.</p></div> - -<p class="center bold "><i>Editorial</i></p> - -<p>A man much occupied in his business -was asked how he came to know so much -on so many different subjects. His answer -was: "Not by study—I have had no -time for that—I have got my knowledge -from the men who could give it to me, and -from the reading that they have suggested -to me. When several of my friends -who know a subject have told me about -it, I have got it in a way that I could not -get in study. I have got it from different -points of view."</p> - -<p class="center">* * *</p> - -<p>These words were said in the course of -a conversation about The Mentor. Someone -had referred to the variety of subjects -offered in the schedule of The Mentor -Association, and had asked whether certain -regular courses of reading could not -be included with advantage. With the -thought of that business man and others -like him, we are aiming for something -larger and more beneficial than a fixed -set of reading courses. We have planned -to give in The Mentor the broad, liberal -knowledge that comes not from a strict -course of study closely adhered to, but -from contact with writers of authority in -varied fields. The readers of The Mentor -get the rich benefits afforded by many -minds, and the year's reading is wide in -its reach and well balanced.</p> - -<p>So much for the general plan of The -Mentor Association. But there is something -to be said for the reader who wants -to have a logical course of reading through -the seasons. So while we offer variety -from week to week, we plan to cover -the larger subjects in groups of articles -that are definitely related to each other.</p> - -<p class="center">* * *</p> - -<p>If one wants to follow out a certain subject, -whether it be travel, history, or art, -he can take up the reading of his Mentors -in groups. Look at the schedule of 1913. -In the varied program of the year's reading -you will detect numbers that naturally -belong together. You can select a set of -Mentors that will take you on a trip to -interesting places, with Mr. Dwight L. -Elmendorf as a companion. If literature is -a subject of interest to you, you can select -Mentors on literary matters prepared under -the advice of, and some of them -written by, Mr. Hamilton W. Mabie. -Suppose that history is what you are after; -Professor Albert Bushnell Hart gives you -the "Story of America" in several numbers. -It is hardly necessary to point out -what Professor John C. Van Dyke has -done for fine art in the numbers of The -Mentor prepared under his direction. And -so groups of Mentors on other subjects -may be brought together out of the -schedule.</p> - -<p class="center">* * *</p> - -<p>In preparing the schedule for 1914 we -have taken thought not only for the wide -scope of the whole year's plan, but for the -treatment of special subjects in a way that -will form natural groups. We have found -this condition has met with favor, and it -seems worth while to assure ourselves that -all the readers of The Mentor appreciate -it. We are told that some are gathering -the numbers relating to a single subject -together so as to have a small library on -each subject available for reference. Not -a bad idea. Imagine what an attractive -set of volumes could be made out of -twenty or thirty Mentors on travel by Mr. -Elmendorf! Think what a beautiful and -valuable set of books could be had by -binding up the art numbers! Keep your -back numbers. They are just as valuable -as the ones to come.</p> - -<div class="chapter space-below3"> - -<p class="pagenum"> <a name="Page_13" id="Page_13">[13]</a><br /> -<a name="Page_14" id="Page_14">[14]</a></p> - -<div class="center1db"> -<h2 class="m1"><i>BEAUTIFUL BUILDINGS OF THE WORLD</i><span class="pad5"><i>Taj Mahal</i></span></h2> -</div></div> - -<p class="center sm p2 bold">—————— ONE ——————</p> - -<div class="figcenter" style="width:461px;"> - <a href="images/plate1-large.jpg"> - <img - class="p0" - id="plate1" - src="images/plate1.jpg" - width="461" - height="650" - alt="" /></a> - <p class="p1 smcap center sans sm">THE TAJ MAHAL</p> - </div> - -<div> - <img class="drop-cap" src="images/a-block.jpg" width="51" height="50" alt="" /> -</div> - -<p class="drop-cap">AT the top of a precipice overhanging the River Jumna -in India stands the most poetic mausoleum in the -world. The Taj Mahal, "a dream in marble, designed -by Titans and finished by jewelers," is the -tomb built by Shah Jahan, the Mogul emperor, for his wife -Mumtaz Mahal, whom he called Taj-Bibi. She was the loveliest -beauty of the Indies, and Shah Jahan -loved her so passionately that he thought -of no other woman while she lived and was -lost in grief after her death. He vowed -that her tomb should be the most beautiful -building in the world.</p> - -<p>The Taj is of snow-white marble outside -and jeweled mosaic within. It was -planned by a Persian, Ustad Isa, who -designed in the Persian rather than the -Indian style of architecture. Twenty -thousand men worked twenty-two years -to finish it. In the center of a great square, -paved with white marble and having a -slender tower of the same stone at each -corner, rises the memorial of Taj-Bibi—not -merely a masterpiece of architecture, -but also a perfect interpretation of womanly -nature. The spirit of Mumtaz -Mahal seems to have been carved into the -marble.</p> - -<p>The mosaic work of the interior is the -finest to be found in any eastern country. -Precious stones are used unsparingly—jasper -and agate, carnelian and chalcedony. -Marble lacework of wonderful lightness -screens the windows and doorways. In -the center are the tombs of Mumtaz Mahal -and Shah Jahan; but their bodies, according -to the Indian custom, lie in a -vault beneath the building. Shah Jahan -had begun a tomb for himself on the opposite -side of the river, which he never -finished because Aurantzeb, his son, rebelled -against him and took away the -empire. He was therefore buried by the -side of his beloved wife.</p> - -<p>Shah Jahan was a cold and haughty -man; but he ruled India well, and his -pride was softened in later life by the -death of his wife. It is said that during -his reign he brought India peace and prosperity -by putting all his rivals to death. -Besides the Taj Mahal, two other famous -buildings, the Pearl Mosque at Agra and -the great mosque of Delhi, which were -built by Shah Jahan, have made his reign -one of the most memorable in Indian history. -The emperor's treasury must have -been practically unlimited; for the peacock -throne, made during his reign, was -estimated by Tavernier to be worth sixty -million dollars. The festival at his coronation -alone cost eight millions.</p> - -<p>There is a legend that when he had finished -the Taj Mahal, Shah Jahan ordered -the architect to be thrown over the cliff -into the River Jumna, for fear he might -plan another building as beautiful as -the Taj.</p> - -<p class="center sm">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR. VOL. I, No. 33. SERIAL No. 33<br /> -COPYRIGHT. 1913. BY THE MENTOR ASSOCIATION. INC.</p> - -<div class="chapter space-below3"> - -<p class="pagenum"> <a name="Page_15" id="Page_15">[15]</a><br /> -<a name="Page_16" id="Page_16">[16]</a></p> - -<div class="center1db"> -<h2 class="m1"><i>BEAUTIFUL BUILDINGS OF THE WORLD</i><span class="pad5"><i>The Alhambra</i></span></h2> -</div></div> - -<p class="center sm p2 bold">—————— TWO ——————</p> - -<div class="figcenter" style="width:600px;"> - <a href="images/plate2-large.jpg"> - <img - class="p2" - id="plate2" - src="images/plate2.jpg" - width="600" - height="432" - alt="" /></a> - <p class="p1 smcap center sm sans">THE ALHAMBRA—COURT OF THE LIONS</p> - </div> - -<div> - <img class="drop-cap" src="images/t-block.jpg" width="51" height="50" alt="" /> -</div> - -<p class="drop-cap">THE people about Granada have always held that the -Palace of the Alhambra was built under a magic -spell. To their minds human workmanship and the -power of wealth are too feeble for the erection of a -structure so enduring and magnificent. Indeed, great architects -can hardly conceive the skill that balanced those halls -and gardens and towers one against the -other with perfect symmetry, or the patience -that worked out each interlaced design -without error in either the art or the -chiseling.</p> - -<p>Pains and expense were not spared in -the construction, and it is no wonder that -the Spaniards should have thought the -work supernatural. Slim pillars of the -rarest white marble give grace to every -court of the palace. The carvings and -designs are everywhere gilded, and where -these are painted between the gilding, blue, -red, and yellow, the purest colors only are -used. The blue is ultramarine, made -from a precious stone, the lapis lazuli of -the Egyptians, which never fades.</p> - -<p>Besides warmth of color and grace of -form, the Moorish architects worked for -durability. The aqueducts they built -still bring an abundant supply of water -from the mountains to fill those baths, -fountains and marble-bordered ponds -for which the courts and gardens of the -Alhambra are famous. In spite of earth-quakes -the columns and arches have nearly -all held their place and their perfect form. -The palace that Charles V built there in -a vain effort to rival the Moorish masterpiece, -and for which he made room by -removing part of the Alhambra palace, -stands today an uncompleted and roofless -ruin; while the much older Alhambra is -still clothed in a glory of bright, fresh color.</p> - -<p>The Alhambra is not one building, but -a collection of buildings on a high plateau. -Long before the erection of the great palace -the hilltop was surrounded by a wall -with many towers for defense, and the Alcazaba, -the first palace built on the Alhambra -hill, was used as a residence by the -early kings of Granada. Older than all, -the "Vermilion Towers" stand on a neighboring -hill, some distance outside the now -ruined Alhambra wall.</p> - -<p>The Palace of the Alhambra is said to -have been started by Mohammed: but the -foundations were probably laid by Calif -Al Hamar, who is also distinguished for -having begun to pay a yearly tribute to -the kings of Castile. The construction -went on during several reigns, and was -completed by Yusuf with the building of -the Gate of Justice in 1348. All the later -kings of Granada lived in it until 1492, -when the Moorish power fell before Ferdinand -and Isabella, and Boabdil was banished -forever from the home of his fathers.</p> - -<div class="chapter space-below3"> - -<p class="pagenum"> <a name="Page_17" id="Page_17">[17]</a><br /> -<a name="Page_18" id="Page_18">[18]</a></p> - -<div class="center1db"> -<h2 class="m1"><i>BEAUTIFUL BUILDINGS OF THE WORLD</i><span class="pad5"><i>Amiens Cathedral</i></span></h2> -</div></div> - -<p class="center sm p2 bold">—————— THREE ——————</p> - -<div class="figcenter" style="width:427px;"> - <a href="images/plate3-large.jpg"> - <img - class="p2" - id="plate3" - src="images/plate3.jpg" - width="427" - height="600" - alt="" /></a> - <p class="p1 smcap center sm sans">AMIENS CATHEDRAL</p> - </div> - -<div> - <img class="drop-cap" src="images/i-block.jpg" width="51" height="50" alt="" /> -</div> - -<p class="drop-cap">IT was at Amiens that the renowned Saint Martin -gave half of his cloak to a beggar who stood shivering -by the roadside. Other saints in that city, -though we know less of their life histories, must -have exercised even more generosity during the Middle Ages -to build and rebuild the old cathedral in the face of repeated -misfortune. The patience and zeal with -which those men of Amiens raised up their -cathedral four times from its ashes, remain -forever in the fame of this most perfect -of French Gothic churches.</p> - -<p>When the Norsemen plundered the -coast of France in 881 they sent a great -fleet up the River Somme. Amiens, taken -by surprise, fell before the attack of those -reckless and powerful old Vikings, and the -cathedral, then a flimsy wooden structure, -was burned to the ground. A new building -which the people of Amiens put up in -the same place when they had sufficiently -recovered from the losses of the invasion, -was destroyed by lightning in 1019. The -next structure was burned in 1107, and -the one that replaced it was struck by -lightning in 1218 and completely ruined. -Then in 1220 the present cathedral was -begun. Even that has not escaped entirely -from the lightning and conflagration -that had wrecked so many structures -on the same spot. In 1258, before the work -was completed, the woodwork caught fire, -and was so badly charred that part of it -had to be taken down and rebuilt. Traces -of fire may still be seen on some of the -arches. Later the slim central spire, which -is one of the striking features of Amiens -Cathedral, was so badly damaged by lightning -that it had to be made over.</p> - -<p>The chief treasure of Amiens is part of -the head of John the Baptist, naturally a -religious relic of extraordinary interest. -It is kept in the chapel of Saint John Baptist, -and shown only at the most important -ceremonies. All that remains is the front -part of the skull, including the face, and -this is inclosed in a hood of silver-gilt. -The relic is said to have been kept for a -long time in one of the churches in Asia, -from which it was removed to Constantinople, -and later taken from that city to -Amiens, where it has rested ever since.</p> - -<div class="chapter space-below3"> - -<p class="pagenum"> <a name="Page_19" id="Page_19">[19]</a><br /> -<a name="Page_20" id="Page_20">[20]</a></p> - -<div class="center1db"> -<h2 class="m1"><i>BEAUTIFUL BUILDINGS OF THE WORLD</i><span class="pad5"><i>Salisbury Cathedral</i></span></h2> -</div></div> - -<p class="center sm p2 bold">—————— FOUR ——————</p> - -<div class="figcenter" style="width:600px;"> - <a href="images/plate4-large.jpg"> - <img - class="p2" - id="plate4" - src="images/plate4.jpg" - width="600" - height="410" - alt="" /></a> - <p class="p1 smcap center sm sans">SALISBURY CATHEDRAL</p> - </div> - -<div> - <img class="drop-cap" src="images/t-block.jpg" width="51" height="50" alt="" /> -</div> - -<p class="drop-cap">THE Cathedral of Saint Mary at Salisbury is not -filled with gilding and warm color as the churches -of southern Europe are. Its builders aimed rather at -simplicity such as their forefathers used—plain gray -walls, unornamented columns and arches, and few paintings. -The edifice seems to reflect the antique dignity of those upright -pillars of the Druids at Stonehenge, which -is not far from Salisbury. Here we have -the outcome of British race feeling in -splendidly finished architecture placed almost -side by side with that early crude -expression of it.</p> - -<p>The cathedral was begun in 1220 by -Richard Poore, the bishop at Old Sarum, -who was so much annoyed by the officers -of the king that he decided to move the -church to a site on his own land which has -since been named Salisbury. Old Sarum -Cathedral, built on a bleak hill, had suffered -for lack of water. In his choice of a -foundation Bishop Poore went to the other -extreme; for the swampy fields by the -Avon, on which this new cathedral was -erected, were so often flooded that services -sometimes had to be suspended for days.</p> - -<p>The beautiful Lady Chapel was built in -five years. The entire building, except -the spire, which was not in the original -plan, took only forty-six years to complete. -It was consecrated in 1266. But -when the spire was erected the architect -in charge failed to strengthen the foundations -sufficiently. The pillars and arches -bulged; for they had never been intended -to support such weight. In spite of arches -walled up and buttresses built, the tower -sagged nearly two feet toward the south, -and has remained in that position ever -since.</p> - -<p>Though simplicity and calmness are -characteristic of the original Salisbury -Cathedral, they have been emphasized to -the point of bareness by the restoration of -James Wyatt, who destroyed nearly all the -stained glass windows, two chapels, and a -belfry, and moved many of the tombs. -There are niches in the cathedral for over -a hundred statues, which for some reason -were nearly empty at the middle of the -last century. The statues now in place -are almost all modern: sculptured, however, -with a view to holding the original -significance of the architecture. They are -arranged to represent the Te Deum.</p> - -<div class="chapter space-below3"> - -<p class="pagenum"> <a name="Page_21" id="Page_21">[21]</a><br /> -<a name="Page_22" id="Page_22">[22]</a></p> - -<div class="center1db"> -<h2 class="m1"><i>BEAUTIFUL BUILDINGS OF THE WORLD</i><span class="pad5"><i>Château de Chambord</i></span></h2> -</div></div> - -<p class="center sm p2 bold">—————— FIVE ——————</p> - -<div class="figcenter" style="width:600px;"> - <a href="images/plate5-large.jpg"> - <img - class="p2" - id="plate5" - src="images/plate5.jpg" - width="600" - height="412" - alt="" /></a> - <p class="p1 smcap center sm sans">CHATEAU DE CHAMBORD</p> - </div> - -<div> - <img class="drop-cap" src="images/i-block.jpg" width="51" height="50" alt="" /> -</div> - -<p class="drop-cap">IN the park of the château, near the banks of the -Loire, great ragged trees reach out across the sky, -cutting off the faint light of the stars. It is midnight. -Indistinctly from the direction of the château -comes a baying of deerhounds. It passes overhead through -the middle air, with trampling and the sound of horns, then -dies away into the distance. The ghost of -Tibault de Champagne, first hereditary -Count Blois, a black hunter followed by -black dogs, is chasing the stag. Each -midnight, so the people of that country -say, the grim old baron rides by with a -full pack.</p> - -<p>Count Tibault had a castle there by the -Loire, and for centuries his descendants -used it as a hunting resort. In 1397 it -passed into the hands of Louis d'Orléans. -Francis I, a king of the house of Orléans, -who knew the abandoned structure in his -boyhood, developed in the country round -this castle his well known passion for the -chase, and that is why he chose the ruined -feudal stronghold in the heart of a great -forest for the site of his royal palace, when -he might have built on any one of a hundred -lovely spots not far away along the -Loire.</p> - -<p>The king's taste did not please his courtiers, -who were less found of hunting and -solitude. They would have preferred a -large city, or at least some fertile valley -nearby. Chambord was a palace in the -wilderness. It could not be seen from a -distance, and the view from its windows -was only a dreary wood. The building -has been described as a dream from the -Arabian Nights come true.</p> - -<p>Louis XIV made many alterations in -the château. He ordered Mansart to construct -rooms enough for the accommodation -of a large court, and the architect, -after racking his brains over the problem, -cut up the roof for projecting windows in -that style which has since become known -as the Mansard roof. The principal door -of the court is also Mansart's work.</p> - -<p>In 1793 the revolutionists sold everything -of value that could be moved from -the château, and Chambord was stripped -of its glory in a few days. It has never -been completely restored. Though by no -means a ruin today, the château suffers -for lack of the magnificent furnishings for -which it was originally designed.</p> - -<div class="chapter space-below3"> - -<p class="pagenum"> <a name="Page_23" id="Page_23">[23]</a><br /> -<a name="Page_24" id="Page_24">[24]</a></p> - -<div class="center1db"> -<h2 class="m1"><i>BEAUTIFUL BUILDINGS OF THE WORLD</i><span class="pad5"><i>City Hall, New York</i></span></h2> -</div></div> - -<p class="center sm p2 bold">—————— SIX ——————</p> - -<div class="figcenter" style="width:600px;"> - <a href="images/plate6-large.jpg"> - <img - class="p2" - id="plate6" - src="images/plate6.jpg" - width="600" - height="405" - alt="" /></a> - <p class="p1 smcap center sm sans">CITY HALL NEW YORK</p> - </div> - -<div> - <img class="drop-cap" src="images/w-block.jpg" width="51" height="50" alt="" /> -</div> - -<p class="drop-cap">WITH the highest buildings in the world rising in -rivalry nearby, attracting every eye because of -their novelty, the New York City Hall often escapes -notice, or is given shorter consideration than -its excellent architecture and historical significance deserve. -Though it is neither large nor expensive, it is better designed -and more carefully executed than any of -the older public buildings in the country.</p> - -<p>John McComb is generally accepted as -the architect; but it would be safer to -speak of him as the builder, since most of -the designing seems to have been done by -a French surveyor, Joseph Mangin. To -Mangin are probably due that shapely and -dignified architecture which gives it a -place among beautiful buildings, and the -skilful design of its decorations. McComb -carried out the work of building with great -care, receiving six dollars a day for his -time. The construction was begun in -1803. The first intention was to use -brownstone. McComb, however, saw that -no meaner material than marble could do -justice to the purpose or the workmanship -of the proposed City Hall. Accordingly -he persuaded the committee in charge to -let him use marble on three sides. The -stone was hauled over from the Berkshire -Hilts by horses and oxen; for locomotives -had not yet been invented.</p> - -<p>One room of the City Hall was set -aside for the State governor's use; and it -has lately been restored to the original -condition. Many excellent portraits hang -on the walls. The furniture of the Governor's -Room was largely taken from -Federal Hall, where Washington was inaugurated -and the city government was -located before the building of the City -Hall. Federal Hall has unfortunately -been destroyed. It stood at the corner of -Wall and Nassau Streets, and was built -with stone from the wall that gave Wall -Street its name.</p> - -<p>A number of years ago there was a proposal -to remove the City Hall from its -present position because it was no longer -large enough for the city government and -was too far from the center of Greater -New York. Then, because of its architectural -merit as well as its history, such -protest was aroused that both building -and park have been kept intact.</p> - -<p>In May, 1917, a fire burned the tower -and destroyed the clock of the City Hall.</p> - -<div class="center1db"> -<p class="transnote p6">Transcriber's Notes:<br /> - -1. 'inclose' is an older form of 'enclose', probably still in use when this book was written. </p></div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Mentor: Beautiful Buildings of the -World, Serial no. 33, by Clarence Ward - -*** END OF THIS PROJECT GUTENBERG EBOOK MENTOR: BEAUTIFUL BUILDINGS OF WORLD *** - -***** This file should be named 51001-h.htm or 51001-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/0/0/51001/ - -Produced by Juliet Sutherland, Karin Spence 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 print editions not protected by U.S. copyright -law 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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