Step (architecture)

“ Mark’s, Venice. (From Fergusson.)
The next step in the development of domes is the adoption of pointed arches for their support, often accompanied by an increase in the height of their own section beyond that of a semicircle. ”

“ Sometimes the stalactite roofs are lofty, sometimes we have to bend our heads in order to pass from one vaulted chamber to another; here we have a superb column supporting an arch; here a pillar in course of formation, everywhere the strangest, most fantastic architecture, an architecture moreover that is the work of ages; one petrifying drop after another doing its apportioned work, column, arch, and roof being formed by a process so slow that the life-time of a human being hardly counts in the calculation. ”

“ But in every respect, in the high roof, the huge and richly ornamented chimneys, the free treatment of the fenestration, the still more free and easy handling of the staircase, with its ramps and openings treated with an obvious eye to spirited effect, and with but little care for classical gravity of proportion, all is still mediæval. ”

“ Nor are its later portions unworthy of your study: its brick chimneys have a beauty about them which modern architects have striven in vain to emulate; the half-timber gable fronts are models of timber construction; within there are remnants of oak panelled ceilings, of wall linings, of doors perhaps with moulded oak door-cases, of simple but well-designed chimney-piers, and all sorts of little odds and ends, all worthy of being carefully and minutely noted, whatever may be their age; for our old house architecture is often most valuably suggestive, even down to very late periods. ”

“ It is not so much that the walls are thin, as that they have disappeared: there are no walls—only a series of piers dividing windows, the opening filled with glass being much greater, if measured along a horizontal line running through the windows, than is the extent of the solid masonry. You see at once wherein there is an excuse for the saying “a wall of glass with a roof of stone.” But there is more than this: the primary object of the designer has been to treat his construction as the main inspiration of his design. ”

“ Other first signs of the Transition are the diagonal or catercornered fireplace, the hipped or "pyramid" roof, the gambrel roof, and the open-well stairs, which mount up the sides of a room—an arrangement which Britons at home complained of as "wasters of space." In short, it may be said that while these features may earmark a building as of the Transition, they are only thus when combined with certain house-forms and floor plans. A diagonal fireplace by itself is no criterion of a building being Transitional. ”

“ More exquisite curves, better studies for a healthy-minded and original architect, could hardly be found. The interlacing branches are suggestive of tracery-patterns, not to be outdone even in the flamboyant windows of York and Rouen. There is no excuse for the squat, ugly, and stupid arches one sees in almost every attempt at pointed architecture, when the elm-tree springs by every riverside in the land. ”

“ It had, perhaps, a row of arches down the middle, like the great hall of the palace of Blois, said to be of the thirteenth century, or huge kingposts supporting the ties between rafters, which in that case may have been as long as those of the later roof. The present roof, work of the fourteenth century, marks the beginning of a change in the style of architecture that accompanied and caused great changes in furniture and household woodwork. ”

“ Fancy yourself, patient reader, at one end of this street, so as to command its vista. What do you see? Architecture? Very little, we imagine. Save the buildings immediately at your right and left, all the others are seen in profile, a contingency never reckoned on by their builders. The decoration is all piled on the front, as elaborate a design, often, as Palladio ever dreamt of, but at the side, every cornice and stringpiece stops as short as if it had been sawn off, and the whole side is a flat blank piece of brickwork. ”

“ A small undulation of surface, or embarrassment of road, makes large difference in the portability of masses, and of consequence, in the breadth of the possible intercolumniation, the solidity of the column, and the whole scale of the building. Again, in a hill-country, architecture can be important only by position, in a level country only by bulk. ”

“ The structure had a frontage of upwards of 150 feet, and its façade is so remarkable for its ornamentation that we reproduce at page 318 Stephens's drawing, which will give a far better idea of the design than any description. Over the doorways had been a cornice of which remnants remain, and which, as Stephens says, "tried by the severest rules of art recognised among us, would embellish the architecture of any known era." This building had been surmounted by a sort of elaborate stone combing extending the full length of the front and reaching a height of about 15 feet. ”

“ A comparison, for example, of the plans of the Hypostyle Hall at Karnak (Fig. 11, h) and of the Basilica of Constantine (Fig. 58) shows at once a radical difference in constructive principle between the two edifices, and hence a difference of style.
STRUCTURAL PRINCIPLES. All architecture is based on one or more of three fundamental structural principles; that of the lintel, of the arch or vault, and of the truss. The principle of the lintel is that of resistance to transverse strains, and appears in all construction in which a cross-piece or beam rests on two or more vertical supports. ”

“ It is sufficient to say that the interior disposition of every Gothic [Pg 150] building was as much as possible disclosed by the exterior. Thus, in a secular building, where there is a large room, there usually was a large window; when a lofty apartment occurs, its roof was generally proportionately high; where a staircase rises, we usually can detect it by a sloping row of little windows following the line of the stair, or by a turret roof. ”

“ Everything in the structure depends upon and leads up to the vaulting; everything in decorative treatment depends upon the structure. That is true except in so far as the universally felt need of ornament founded on the study of nature and of abstract form modifies design. Thus the carving in conventionalized leafage of a band, straight or seemingly bent around a pier, and the choice of colors in a decorative window or a painted panel of wall beneath a window, are indeed independent of the structure. ”

“ Thus we have church building, house building, ship building, and coach building. That one edifice stands, another floats, and another is suspended on iron springs, makes no difference in the nature of the art, if so it may be called, of building or edification. The persons who profess that art, are severally builders, ecclesiastical, naval, or of whatever other name their work may justify; but building does not become architecture merely by the stability of what it erects ”

“ The building must be either quite chaste, or excessively rich in decoration. Every inch of ornament short of a certain quantity will render the whole effect poor and ridiculous; while the pure perpendicular lines of this architecture will always look well if left entirely alone. The architect, therefore, when limited as to expense, should content himself with making his oriels project boldly, channelling their mullions richly, and, in general, rendering his vertical lines delicate and beautiful in their workmanship ”

“ The architect is not bound to exhibit structure; nor are we to complain of him for concealing it, any more than we should regret that the outer surface of the human frame conceal much of its anatomy; nevertheless, that building will generally be the noblest, which to an intelligent eye discovers the great secrets of its structure, as an animal form does, although from a careless observer they may be concealed. In the vaulting of a Gothic roof it is no deceit to throw the strength into the ribs of it, and make the intermediate vault a mere shell. ”

“ The noble western façade, with its profuse and ornate ornamentation, and the fine square towers flanking it, each pierced with effective openings and adorned with grotesque gargoyles, contrast with the slender central spire—which, by the way, is modern—tiers of graceful flying buttresses, and the numerous groups of pinnacles, whilst the long line of the great roof ridge brings into relief the comparative intricacy of the design of the rest of the building, especially of the extremities of the transepts with their fairy-like arcading, beautiful sculptures, and grand rose windows. ”

“ The forms of the tracery were seized with a childish delight in the novel source of beauty; and the intervening space was cast aside, as an element of decoration, for ever. I have confined myself, in following this change, to the window, as the feature in which it is clearest. But the transition is the same in every member of architecture; and its importance can hardly be understood, unless we take the pains to trace it in the universality, of which illustrations, irrelevant to our present purpose, will be found in the third Chapter. ”

“ The chief innovation in the design was the wide separation of the interior stone dome from the lofty exterior decorative cupola and lantern of wood, this separation being designed to meet the conflicting demands of internal and external effect. To the same architect is due the formal monotony of the Place Vendôme, all the houses surrounding it being treated with a uniform architecture of colossal pilasters, at once monumental and inappropriate. ”

“ The entrance to the close here shown is a wonderful example of picturesque beauty; as for architecture, in the modern sense of the term, it possesses none, but it simply owes its{177} pleasing appearance to the quaint combination of its parts, all of which are plain. There is nothing whatever to prevent its being adapted to an entrance for workshops or a builder’s yard, and so enlivening a dreary street. The only difficulty is in always being able to find the architect capable of designing anything so picturesque. ”

“ The exterior of the François premier part of Blois is irregular, and portions of the design are wildly picturesque; on the side which fronts towards the quadrangle, the architecture is more symmetrically designed, and beauty rather than picturesque effect has been aimed at. [Pg 195] An open staircase is the part of the quadrangle upon which most care has been lavished. Throughout the whole block of buildings the character of each individual feature and of every combination of features is graceful and piquant. ”

“ In each bay of the ground story is a deep round-arched rectangular recess in the thickness of the wall, and over each of these an open gallery with two colonnettes and two small jamb pilasters carrying an entablature over each of the lateral spaces so formed, and an arch over the central one, an early instance of a form of compound opening that was much used in the architecture of the later Renaissance. ”

“ The first remarkable point of the building is the roof. It generally consists of tiles of very deep curvature, which rib it into distinct vertical lines, giving it a far more agreeable surface than that of our flatter tiling. The form of the roof, however, is always excessively flat, so as never to let it intrude upon the eye; and the consequence is, that, while an English village, seen at a distance, appears all red roof, the Italian is all white wall ”

“ Harking back, we find that each particular type of house represents a stage in the development of architecture. They cover a period when architects were practically unknown. Many were evolved from the master builder's brain, while others have been developed little by little from [Pg 3] early designs. Monuments of departed days, they stand models to which our present-day architects turn for inspiration. ”

“ As regards the Exterior portion, Gateways, Porches, Windows, Gables, Parapets, Chimneys, Finials, &c., are all illustrated by numerous examples. Garden architecture is also touched upon. In illustration of the treatment of Interiors of Houses, many specimens of Panelling, Screens, Doorways, Chimney-pieces, Ceilings, Staircases, Window-glass, etc., are given. A chapter is devoted to John Thorpe's drawings, and to the light which they throw upon the designing of houses of the period. ”

“ The idea may be gained more accurately by supposing three steps of a giant staircase mounting from an aisle three feet wide through the middle of the room, back and upward to the parallel cornice. The level surface of each of these steps is sufficiently wide to accommodate a man stretched on his back, and the upright portion of each step is an iron grating. ”

“ There the design ought to be subordinate to the general effect of the architecture. The wall is not to be considered merely as a convenient place on which to plaster a picture, its structural purpose must be regarded, and this cannot be expressed if the design or treatment be purely pictorial—if vague perspective distances and strong foreground accents be used without symmetry or order, except that order which governs itself alone. ”

“ Street architecture in later Victorian days became a masquerade in building materials, since the design of the façade bears little or no relation to the hidden structure of steel framing by which our many-storied piles are held together, while, apparently, when there are shops on the ground floor the whole mass has the effect of playfully reposing upon the edges of great sheets of plate glass. ”

“ We will take, first, a short, general view of the connection of these members, and then examine them in detail: endeavoring always to keep the simplicity of our first arrangement in view; for protective architecture has indeed no other members than these, unless flooring and paving be considered architecture, which it is only when the flooring is also a roof ”

“ So that upward striving, stately growth, and heavenward aspiration are the ideas customarily suggested as illustrating the impressions produced. The lofty avenue, with its intersecting branches, has become the chosen similitude to which it is popularly likened, and it has been universally received as the form of architecture most expressive of the heavenward soarings of our religion. ”