Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The "Captain " Relief Fund.
character , kept the audience in good humour , and the characters throughout were well sustained . There is on board the " Eesistance " a Christy Minstrel Troupe , " who for this occasion laid aside their warlike occupation , and , having submitted to the blackening process , delighted the audience by their musical performance in imitation of their more professional compeersTheir singing was
, admirable , both as to time and harmony ; and , amongst the visitors , some at least must have thought that if the bravery of these gallant fellows was equal to their musical taste—of which there could be no doubt—they would be no disgrace to tbe British Navy . The entertainment , which was one of unalloyed pleeasure , was brought to a close with the performance of the burlesque "Bombastes
Furioso . " The character of King Artaxcminous being taken by Bro . Captain Shanks ; Fusbos ( Minister of State ) , by Lieut . Pickford , B . M . A . ; General Bombastes , by T . E . "Warren , Esq ., E . N . ; and Listaftina by Miss James .
On The Use Of Colour In Diagrams Illustrating The History Of Architecture.
ON THE USE OF COLOUR IN DIAGRAMS ILLUSTRATING THE HISTORY OF ARCHITECTURE .
A J ? ape ? read hy Mr . Edmund Sliarpe , II . A ., F . E . I . B . A ., leforc ilze AiX'Jule ' . ' ti ' . ral Association . ( Continued from page 519 ) . Tho" arches of construe ! ion " were always pointed , and the arches of decoration " always circular . This was the invariable rule between 1145 and 1160 , after which latter date the rule was not observedDuring this periodin
. , consequence of tin ' s simultaneous but discriminate use of circular and pointed arches , buildings presented a great contrast between their interiors and exteriors—the former looking like Transitional work , and the latter like Norman . A fantastical Frenchman , who had written upon the subject , suggest ed that this appearance was due to a contest between the lay and clerical . architects as to
which form of arch should be adopted throughout ; the building , who , failing to agree , the matter was compro mised by the inside being alloted to the clericals and tho outside to the laity . In tbe latter part of the Transitional period the pointed arch was applied to arcading and panelling , as well as to window-heads and doorways . The Transitional prriod , said Mr . Sliarpewas a most
in-, teresting one for purposes of study , because it was found in every part of Europe . It was also in reality the first English architecture that existed . The Norman influence having somewhat subsided , there arose an English school of architecture , in which the essential features of Norman
work were seized upon and treated in a totally different way , Everybody was familiar with the Early Norman decorative forms—the chevron , the billet , and others . Many of these disappeared altogether , but one or two were seized upon and treated in a peculiarly interesting manner . Hitherto many of these mod ill ed and improved forms had been unjustly called Norman . The zigzag
ornament at Selby Abbey Church , for instance , was not Norman , but Transitional work . In fact , there was no time when so much invention was shown as in the Transitional period . The abacus of tbe top moulding of the impost in tho Transitional period was square , as in Norman work . Yiv . Sliarpe next called attention ' " > what he termed the Transitional volute—tholitt . ' e enrvo which
formed the termination of lite leaf of tbe capital , which was curved upwards . That littio ornament prevailed in England for about twenty or twenty-five years . It was universally used , being found at Jedburgh in the North and the Isle of Wi ght in the South . What was most wonderful was the way in which such ideas were circulated over the country in those days . This little volute ¦ was also to he found , and had been seen by Mr . Sliarpe in Sweden , in the South of France , and in Italy . Ho had now said quite enough about the Transitional period to
draw attention to it , for after all it was for everybody to work out their own knowledge for themselves . He recommended the acquisition of a knowledge of architecture , not . only by reading , bub by sketching and measuring . With this view he enumerated a few of the buildings of the Transitional period which would well repay attentive study . He instanced Malmesbury ( where the
pointed arch was first used ) , Fountains , Ivirksfcall , Buildwas , Kelso , S . Cross , Furness , the Temple Church ( where the Transitional volute referred to m ight be found fully developed ) , Llanthony , Abbeydore , Selby , Byland , Jedburgh , Eoche , Hartlepool , Glastonbury , Wells , the galilee of Durham Cathedral , Shoreham Abbey Church , and Chichester . Id was during the Transitional period
that true foliage was first developed , for in the Norman period the carved work upon the capi tals was very rudely executed , and with very little relief . At the alose of the Transitional period builders commenced to have some idea of foliage growing out of the capital . In the Lancet or Early English period the lancet window was the prevalent feature . The circular arch had at that time
entirely disappeared , or was only used by some accident or chance in building . The term "Lancet" was not applicable , as some supposed , to those pier arches which were extremely pointed in form , but to the windows , which , were the shape of a lancet blade . In the early part of the period these lancet windows were used singly ; latterly they were used in twos and threes .
The great progress of architecture during this period was clearly visible in the manner in which the builders connected three lancets together to form a window . Finding the head was very heavy , they perforated it with quatrefoils and cinque foils ; until nearly all the stone was cut away . In all the windows of the Lancet period , however , the trne characteristic feature of tracery had
nob entered , because trne tracery only existed where the whole of the stonework was cut up , and whore there were only moulded stone mull ions left . The rage for windows of this kind which immediately seized upon the whole of the architects , nob only of ' England ' but of Europe , was best shown by tbe great number of buildings to which it rise—all the noblest cathedrals of
gave Prance _ belonging to that period . There was no more beautiful example of this in any part , of Europe than we had in the presbytery of Lincoln Cathedral , it had been objected to this work that it was not lofty enough . Oerfcainiy the immense elevation that the French architects
gave to their buildings astonished the mind , but it broke the neck of the spectator , for it was not possible to study the upper parts of one of their buildings without excessive fatigue . At Lincoln , on the other hand , every part of tho work wis completely within the reach of human observation and appreciation . In the Geometrical period Gothic art reached its highest development . Sir . Sharpe
thought there could bo no question that the beauty of the conventional foliage of the early pari ; of that period was not to be surpassed anywhere . Nor did ho believe that the art of moulding stonework was ever carried to so Jaigh a degree of perfection as at that time . They had no notion of moulding stonework abroad , and it was in this country alone that- marvellous effects of Siht and
g ahede were produced by that means . Air . Sharpe said ho could not help urging every architect to improve his knowledge of the mouldings of the period ; tiiey could be measured with facility by moans of the little instrument called the cymagraph . It ; was during the Geometrical period that the first approach to the imitation of natural foliage was found . The mapletho oakand the
, , vine leaves were attempted to be copied , and from that point of time Mr . Sliarpe said a certain decadence in the architecture of the country might be dated , lie did not think that the forms in the latter part of tho period were equal to those at its commencement . ( To le Continued . )
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The "Captain " Relief Fund.
character , kept the audience in good humour , and the characters throughout were well sustained . There is on board the " Eesistance " a Christy Minstrel Troupe , " who for this occasion laid aside their warlike occupation , and , having submitted to the blackening process , delighted the audience by their musical performance in imitation of their more professional compeersTheir singing was
, admirable , both as to time and harmony ; and , amongst the visitors , some at least must have thought that if the bravery of these gallant fellows was equal to their musical taste—of which there could be no doubt—they would be no disgrace to tbe British Navy . The entertainment , which was one of unalloyed pleeasure , was brought to a close with the performance of the burlesque "Bombastes
Furioso . " The character of King Artaxcminous being taken by Bro . Captain Shanks ; Fusbos ( Minister of State ) , by Lieut . Pickford , B . M . A . ; General Bombastes , by T . E . "Warren , Esq ., E . N . ; and Listaftina by Miss James .
On The Use Of Colour In Diagrams Illustrating The History Of Architecture.
ON THE USE OF COLOUR IN DIAGRAMS ILLUSTRATING THE HISTORY OF ARCHITECTURE .
A J ? ape ? read hy Mr . Edmund Sliarpe , II . A ., F . E . I . B . A ., leforc ilze AiX'Jule ' . ' ti ' . ral Association . ( Continued from page 519 ) . Tho" arches of construe ! ion " were always pointed , and the arches of decoration " always circular . This was the invariable rule between 1145 and 1160 , after which latter date the rule was not observedDuring this periodin
. , consequence of tin ' s simultaneous but discriminate use of circular and pointed arches , buildings presented a great contrast between their interiors and exteriors—the former looking like Transitional work , and the latter like Norman . A fantastical Frenchman , who had written upon the subject , suggest ed that this appearance was due to a contest between the lay and clerical . architects as to
which form of arch should be adopted throughout ; the building , who , failing to agree , the matter was compro mised by the inside being alloted to the clericals and tho outside to the laity . In tbe latter part of the Transitional period the pointed arch was applied to arcading and panelling , as well as to window-heads and doorways . The Transitional prriod , said Mr . Sliarpewas a most
in-, teresting one for purposes of study , because it was found in every part of Europe . It was also in reality the first English architecture that existed . The Norman influence having somewhat subsided , there arose an English school of architecture , in which the essential features of Norman
work were seized upon and treated in a totally different way , Everybody was familiar with the Early Norman decorative forms—the chevron , the billet , and others . Many of these disappeared altogether , but one or two were seized upon and treated in a peculiarly interesting manner . Hitherto many of these mod ill ed and improved forms had been unjustly called Norman . The zigzag
ornament at Selby Abbey Church , for instance , was not Norman , but Transitional work . In fact , there was no time when so much invention was shown as in the Transitional period . The abacus of tbe top moulding of the impost in tho Transitional period was square , as in Norman work . Yiv . Sliarpe next called attention ' " > what he termed the Transitional volute—tholitt . ' e enrvo which
formed the termination of lite leaf of tbe capital , which was curved upwards . That littio ornament prevailed in England for about twenty or twenty-five years . It was universally used , being found at Jedburgh in the North and the Isle of Wi ght in the South . What was most wonderful was the way in which such ideas were circulated over the country in those days . This little volute ¦ was also to he found , and had been seen by Mr . Sliarpe in Sweden , in the South of France , and in Italy . Ho had now said quite enough about the Transitional period to
draw attention to it , for after all it was for everybody to work out their own knowledge for themselves . He recommended the acquisition of a knowledge of architecture , not . only by reading , bub by sketching and measuring . With this view he enumerated a few of the buildings of the Transitional period which would well repay attentive study . He instanced Malmesbury ( where the
pointed arch was first used ) , Fountains , Ivirksfcall , Buildwas , Kelso , S . Cross , Furness , the Temple Church ( where the Transitional volute referred to m ight be found fully developed ) , Llanthony , Abbeydore , Selby , Byland , Jedburgh , Eoche , Hartlepool , Glastonbury , Wells , the galilee of Durham Cathedral , Shoreham Abbey Church , and Chichester . Id was during the Transitional period
that true foliage was first developed , for in the Norman period the carved work upon the capi tals was very rudely executed , and with very little relief . At the alose of the Transitional period builders commenced to have some idea of foliage growing out of the capital . In the Lancet or Early English period the lancet window was the prevalent feature . The circular arch had at that time
entirely disappeared , or was only used by some accident or chance in building . The term "Lancet" was not applicable , as some supposed , to those pier arches which were extremely pointed in form , but to the windows , which , were the shape of a lancet blade . In the early part of the period these lancet windows were used singly ; latterly they were used in twos and threes .
The great progress of architecture during this period was clearly visible in the manner in which the builders connected three lancets together to form a window . Finding the head was very heavy , they perforated it with quatrefoils and cinque foils ; until nearly all the stone was cut away . In all the windows of the Lancet period , however , the trne characteristic feature of tracery had
nob entered , because trne tracery only existed where the whole of the stonework was cut up , and whore there were only moulded stone mull ions left . The rage for windows of this kind which immediately seized upon the whole of the architects , nob only of ' England ' but of Europe , was best shown by tbe great number of buildings to which it rise—all the noblest cathedrals of
gave Prance _ belonging to that period . There was no more beautiful example of this in any part , of Europe than we had in the presbytery of Lincoln Cathedral , it had been objected to this work that it was not lofty enough . Oerfcainiy the immense elevation that the French architects
gave to their buildings astonished the mind , but it broke the neck of the spectator , for it was not possible to study the upper parts of one of their buildings without excessive fatigue . At Lincoln , on the other hand , every part of tho work wis completely within the reach of human observation and appreciation . In the Geometrical period Gothic art reached its highest development . Sir . Sharpe
thought there could bo no question that the beauty of the conventional foliage of the early pari ; of that period was not to be surpassed anywhere . Nor did ho believe that the art of moulding stonework was ever carried to so Jaigh a degree of perfection as at that time . They had no notion of moulding stonework abroad , and it was in this country alone that- marvellous effects of Siht and
g ahede were produced by that means . Air . Sharpe said ho could not help urging every architect to improve his knowledge of the mouldings of the period ; tiiey could be measured with facility by moans of the little instrument called the cymagraph . It ; was during the Geometrical period that the first approach to the imitation of natural foliage was found . The mapletho oakand the
, , vine leaves were attempted to be copied , and from that point of time Mr . Sliarpe said a certain decadence in the architecture of the country might be dated , lie did not think that the forms in the latter part of tho period were equal to those at its commencement . ( To le Continued . )