History of Sculpture, Painting, and ArchitectureMemes, J. S. (John Smythe)
Philosophy
History of Sculpture, Painting, and Architecture
Memes, J. S. (John Smythe)
Art -- History
There is evidence that sacred edifices existed in Britain prior to the
Saxon invasion; and, indeed, when Constantine wrote rescripts to the
various provinces, his own birthplace would not be omitted among those
enjoined to erect and repair churches. It would appear, also, that the
Saxons were attached to wooden erections, as is expressed by the verb
_getymbrian_, to build,--a similar analogy, from the same cause, as in
Greek, where the word _wood_ is used to denote the constituent matter,
or material, of anything--as 'the wood,' meaning the matter, of 'an
argument.' It is probable, then, that the stone buildings of the Saxons
were rather copied from existing edifices among the conquered people,
consequently direct imitations of the parent corruptions of Italy.
This last fact, the only one of real importance in the present case,
is not left to conjecture; for, in the accounts of the earliest stone
structures of the seventh century, it is said they were erected, in the
original phrase, 'more Romanorum,' in the style of the Romans, that is,
the style already described. Between the Saxon, or supposed Saxon, and
Norman, there exists no difference, except in the superior magnificence
of the latter--a circumstance accounted for by the progress of society.
It has thus been established, that the style of building with circular
arches is clearly a corruption from the ancient classic forms. With
little distinctive change, or characteristic difference, this mode was
practised throughout Europe during nine centuries.
II. During the twelfth and thirteenth centuries, an innovation upon
the long monotony of the circular arch begins to appear and to be
perfected. This was the introduction of the pointed, or lancet Gothic,
to which species the term is more strictly limited. The origin and
progress of the pointed arch, has been rendered one of the most
complicated problems in the history of architecture. The subjects
of discussion here involve two questions--first, Whence and by whom
this style was introduced? secondly, From what prototype the idea was
originally derived?
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