Georgian architecture

“ They abound in the poorer sorts of buildings, of course, just as they do in the poorer sorts of people, but in their simpler courts and squares and expanses they have often dignified mansions of that Georgian architecture which seems the last word in its way, and which is known here in our older edifices as there in their newer. ”

“ Having noted the conditions that made the Georgian style of architecture particularly acceptable to people of substance in the eighteenth century it now remains to examine in detail the features constituting its distinctive local character. The examples of Georgian domestic architecture to be found in and about Philadelphia offer an unsurpassed field for examination and comparison, and a study of their peculiarities shows an interesting evolution through three distinct forms, all of which, nevertheless, belong to the same generic classification. ”

“ The carpenter-architects of the end of the Georgian period were far superior in discrimination and taste to their successors, who tried to make up for their lack of knowledge by ill-judged essays that succeeded only in being ridiculous. ”

“ From the beginning of the Georgian period onward, houses were planned and built with an air of amplitude and assured permanence that bespoke a comfortable consciousness of firmly established and easy affluence which justified the builders in planning broadly both for their own day and for future generations. ”

“ Whether English or Dutch, Welsh or Swedish, the handiwork of these seventeenth century builders, wholly without pretence as it was, expressed faithfully the aggregate of the contemporary phases of the domestic architecture in the countries whence they came{255} and also evidences both the beginnings and development of our own several vernacular manifestations, all of which, to a certain degree, were obscured and discounted by the expansion and increasing popularity of eighteenth century Georgian modes. ”

“ In the second place, a large proportion of the Georgian country houses, outside the territory now covered by the spread of New York City, have suffered so sadly at the hands of nineteenth century “improvers”, whose unintelligent alterations and additions have wrought architectural havoc, that oftentimes nearly all traces of Georgian characteristics have either been seri{115}ously marred or altogether destroyed. ”

“ By the time our third Georgian type appears, Adam influence has become paramount and put to flight all mid-Georgian ponderosity. Even in the case of manifestly “carpenter built” houses of the period, where, quite unlike the three excellent examples here chosen to represent their particular classes, no especial architectural merit is to be looked for, we find no heaviness of line, and the character of ornamentation employed is distinctly either a copy or an echo of Adam motifs and, in not a few cases, has caught much of their spirit. ”

“ Contrasting the Woodlands, the Highlands and Upsala with the houses illustrating the second Georgian type, we find still further evidences of architectural evolution. During the prevalence of the second type individual features were singled out for decorative emphasis, but in the days of the third type the entire front of the house or sometimes the whole exterior was regarded from a decorative point of view. At Cliveden the treatment of the doorway and the urns on the roof are the features relied upon for the embellishment of the façade. ”

“ That, and not the colossal monuments of the Caesars, reappears in the capitals of Europe, and stimulates the genius of a Michael Angelo or a Christopher Wren.
The flourishing period of Greek architecture was during the period from Pericles to Alexander,--one hundred and thirteen years. The Macedonian conquest introduced more magnificence and less simplicity. The Roman conquest accelerated the decline in severe taste, when different orders began to be used indiscriminately.
In this state the art passed into the hands of the masters of the world, and they inaugurated a new era in architecture. ”

“ Then in the purer air, and among the more refined energies of Greece, architecture rose into a more studied beauty, equally perfect in its school, because fostered in a district not 50 miles square, and in its dependent isles and colonies, all of which were under the same air, and partook of the same features of landscape. In Rome, it became less perfect, because more imitative than indigenous, and corrupted by the traveling, and conquering, and stealing ambition of the Roman; yet still a school of architecture, because the whole of Italy presented the same peculiarities of scene. ”

“ When we come to consider more especially the traditional repute of Grecian architecture, and the influence which it has had in shaping the opinions of what we call the taste of sixty generations throughout all the European lands, we are brought at once to the work of the Roman imperial times. All the nationalities—all the peoples—which take their recent and existing social form and opinions in art and literature from the same common source, the all-embracing empire of Rome, have taken up Greek art as they have taken up Greek literature, as their chief and original guide to thought. ”

“ The conquerors took the letter from the Greeks, but never had the slightest feeling for its Ideal. But even this letter, when they transcribed it, writhed and was choked beneath hands which knew better the iron caestus of the gladiator than the subtile and spiritual touch of the artist.
We can have no stronger and more convincing proof that Architecture is the truest record of the various phases of civilization than we find in this. There was Greek Art, living and beautiful, full of inductive power and capacities of new expressions; and there were the boundless wealth and power of Rome. ”

“ This it is which accounts for the immense superiority of Gothic to Grecian architecture—a superiority so complete as to elevate it into quite another sphere of beauty. The pleasure we experience at the sight of the highest efforts of a Greek architect is almost exclusively æsthetic, sensible, artistic. It is occasioned by sharpness of outline, grace of form, beauty of proportion. In these is the only poetry it can express; which can never, consequently, mount to sublimity. It can only be beautiful at best. It pleases the sense, but the soul—of the poet, at all events—soon wearies of them. ”

“ The Egyptians and the Greeks used most nobly the means of spanning openings with which they were best acquainted, and for which their numerous quarries of granite and marble supplied them so liberally with the materials; but such a mode of construction is manifestly costly, dependent upon natural facilities of the most exceptional kind, and extremely limited in its application. The use of the arch obviates all these difficulties, and consequently a mode of construction which admits the arch is more rational than one which does not. Roman architecture, in short, than Greek. ”

“ Both Wetzlar and Frankfort cathedrals would have been most imposing structures, had their plan been carried out as it has been at Strasburg. But we are thankful for even an unfinished specimen of Gothic architecture, while a Grecian building is nothing if it is not complete. The mind can supply what is wanting in the former case. Gothic architecture seems to grow out of the ground by degrees, like a tree, while a Greek building is, from first to last, artificial, and seems to stand where it is placed simply by its weight. ”

“ The Roman builders left two great traditions, the adornment of the building, the open square, the city with combinations of Greek-seeming colonnades; and the huge interior, arranged for interior effect, vaulted when practicable, flat roofed with massive trabeated construction when the light and open character of the building, as of a huge portico, invited a pure Greek manner of design. The first-named of these traditions was destined not to be very boldly or very generally followed until after the Middle Ages. ”

“ To the peoples who have built and{42} designed since the fourteenth century, Greek art has been of weight generally as acting through the Roman styles of design, for it was not until the beginning of the nineteenth century that the actual buildings of the Greek peoples in Greece, in Asia Minor, in Italy, and in Sicily, came to be known at all: but it was the Greek part in Roman imperial art that interested those Moderns. ”

“ Through various channels the Greeks inherited from both Egyptian and Assyrian art, the two influences being discernible even through the strongly original aspect of Greek architecture. The Romans in turn, adopting the external details of Greek architecture, transformed its substance by substituting the Etruscan arch for the Greek construction of columns and lintels. They developed a complete and original system of construction and decoration and spread it over the civilized world, which has never wholly outgrown or abandoned it. ”

“ There can be, however, little doubt that the palaces of the West Asiatic style must have at least contributed suggestions as to internal disposition of the later and more magnificent Greek mansions. The ordinary dwelling-houses of citizens, as described by ancient writers, resembled those now visible in the disinterred cities of Pompeii and Herculaneum, which will be referred to under Roman Architecture. ”

“ That there existed in the Minoan and Mycenaean ages skilful potters and metal-workers, is shown by the vases of Knossos and the gold cups found at Vaphio near Sparta; that they built habitable buildings and decorated them to the best of their ability is also proved, as, for example, the palace of Tiryns, but it has not yet been shown that their builders reached the degree of skilled design, at which building becomes architecture. Architecture had not yet found itself in Greece. ”

“ However this may be, a place paved with such great mosaics of slabs and lined with palaces of so massive a tradition, structures which, in their large dependence on pure proportion for interest and beauty, reproduce more than other modern styles the simple nobleness of Greek architecture, must ever have placed dignity first in the scale of invoked effect and laid up no great treasure of that ragged picturesqueness—the picturesqueness of large poverty—on which we feast our idle eyes at Rome and Naples. ”

“ Refinement, good taste, and great fertility of imagination characterize the details and ornaments of Gothic structures. While the Greeks in harmonizing the requirements of utility and beauty in architecture approached the problem from the æsthetic side, the Gothic architects did the same from the structural side. Their admirably reasoned structures express as perfectly the idea of vastness, mystery, and complexity as do the Greek temples that of simplicity and monumental repose. ”

“ A Romanesque or an Early English cathedral is not to be studied as though all that the architect had to do was to take stone and mortar and set up a building for a given purpose. The development of the architecture of Greece, its passage into the architecture of Rome, the growth of Christian ceremony and symbolism, are only part of the elements which went to form the state of things in which the genius of the builder had to work out the requirements of the moment. ”

“ Mark’s like Santa Sophia is square in plan, but has five principal domes, one in the centre, and one at each angle or end of the Greek cross plan. The aisles, with their series of low-level dome roofs, make the whole 300building nearly square. The surrounding countries of Bulgaria, Servia, Roumania, Armenia, and Russia, which embraced the Christian religion of the Greek Church, possess examples of Byzantine architecture. ”

“ Athens puts one in mind of Rome, from the number of fragments of architecture and sculpture everywhere scattered about. In the walls, in the court-yards, in the churches, we are continually meeting with something too trifling, or too much mutilated, to be of value in itself, but powerfully impressing the imagination with the idea of what has been.
The great treasure of Grecian architecture is in the Acropolis, where there are three buildings, of which the remains are considerable ”

“ Or let us take the Glyptothek, a composition as completely Greek as the feeling and the perception of the day enabled the architect to make it; are we to take the shafts without flutings, which seem to be called for, as so many violations of Greek verity? In all Grecian art, moreover, there are no round-headed niches, that is to say, niches covered by semi-domes, because there are no arches therein. There are no frontispieces made up of an entablature, a pediment and two pilasters, used for mere ornament and surrounding a round-topped opening. ”

“ Nothing but square-cut stone—square-cut stone—a wilderness of square-cut stone forever and forever; so that your houses look like prisons, and truly are so; for the worst feature of Greek architecture is, indeed, not its costliness, but its tyranny. These square stones are not prisons of the body, but graves of the soul; for the very men who could do sculpture like this of Lyons for you are here! still here, in your despised workmen: the race has not degenerated, it is you who have bound them down, and buried them beneath your Greek stones. ”

“ It is utter absurdity to talk of building Greek edifices now; no man ever will, or ever can, who does not believe in the Greek mythology; and, precisely by so much as he diverges from the technicality of strict copyism, he will err. But we ought to have pieces of Greek architecture, as we have reprints of the most valuable records, and it is better to build a new Parthenon than to set up the old one. Let the dust and the desolation of the Acropolis be undisturbed forever; let them be left to be the school of our moral feelings, not of our mechanical perceptions ”