-
Articles/Ads
Article ARCHITECTURE AND ARCHÆOLOGY. Page 1 of 4 →
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Architecture And Archæology.
ARCHITECTURE AND ARCH ? OLOGY .
SCULPTURE AND GOTHIC AECHITECTUEE . AT the conversazione of the Birmingham Archaiological Association , held in King Edward Yl . ' s School-room , on the 7 th inst ., Mr . Chamberlain read , a paper on this subject . He said that in the old Gothic times , sculpture and iiculpturecl decoration were of many different kinds ,
sometimes simple aud cheap , sometimes elaborate and costly , now conventional and then natural , now roughly hewn and then smoothly finished , as circumstances might dictate ; but that in all good Gothic work sculp tured decoration of sonic kind was present , ancl that in the best periods it "was used most profusely aud lavishly . In tho minor works of the period as much was given as the builders could afford ;
but , iu the cathedrals and other large works , every feature , external or internal , was wrought by the agency of the chisel ancl mallet into forms of great and lasting beauty . Although many styles had used sculpture profusely , in no ether than the Gothic had . it been trusted to so wholly or relied upon so thoroughly . It had commenced with perfectlsimple forms ancf conventional methods of treatment ,
y and had worked it's way op to the expression of tho natural grace and beaut } - of leaves and flowers , of the human form in the added majesty of clothing , and the human countenance . Tho artists who produced this sculpture also knew thoroughly well whore it should be placed , and where it would show to the greatest advantage , so that by this means also this work possessed a charm , which modern
work frequently was wanting in . Their practice was not to put a public building at one end of a street and a statue at another , but they made their public buildings eloquent with tho statues of the saint , the warrior , and the
statesman , and thus secured to caca part tho dignity and tho excellence of fellowship . All Gothic sculpture commenced in the decoration of the constructional features of the building , and forms which , by superficial observers were supposed to ho merely ornamental , were full of actual use and real service . The law of Gothic life was , first , truth and use , and then beauty . All that tho
architect needed in tho way of size or of strength , cvery featurc of construction required by his building , was provided first and chief of all : but-lie did not end his labour there , but by his thoughtfuhiess and care these necessities of construction were made , each in its degree , beautiful ; and , while the usefulness of the building was unhindered and its strength undiminished , the required beauty was
obtained , to the building ' s great and lasting glory . Tho Gothic architects allowed tho workmen au amount of liberty which was never tolerated in the Classic sty les : both the Greek and the Gothic builders knew that only one man here and there was compelled to produce the best work , but that there were a host of men who could produce flic minor forms of decoration . The Gothic architect eagerly accepted their help : be asked each man to produce the best work possible to him ; and only reserved to himself
the right of deciding where it should be placed . The Greek architect , ou the other hand , brought down his own ideas to what be conceived the level of average ability . He set before tho workmen some few abstract forms , some few simple arrangements of conventional line , and compelled them to produce these low forms of beauty with mechanical perfectness , no deviation being
permitted from the decreed standard . The law of the Greek was copyism and obedience . The law of the Mcdicovulist was liberty and law . Consequently , in the best Gothic work tho grand spectacle was exhibited of many differing minds , ancl . much varying power , all working harmonious ! v together , to produce a given and worthy end . Every buiiding ; became a hoof-, stored with all kinds of Jnro
for all degrees of men ; full of all sorts of truths and lessons : written over with the records of noble and heroic deeds : and eloquent with the great truths of scripture history . Those who decried this style had found faulr , with it as being barbarous ,-. but tlicy would sec less to blame if they considered tbe matter more deeply . One part uf the gTOtesquenci-s was attributable to the state of general education ofihc people : these buildings were meant to be understood by them , and the grotesque sculpture was
exactl y fitted to awaken their inquiries and to cause them to think for themselves . One other groat part was attributable to the fact that the spirit of tiic stylo encouraged rough village masons and carpenters to attempt methods of ornamentation above tho mechanical powers of production which they had acquired , but that , however rough and rude their efforts might beit was better that
, they thought about leaves and flowers , about saints and angels , than if they had contented themselves , as in tho modern classic days , with cutting trigfyphs and sinking square channels round stones . The spirit of Gothic architecture always remained the same : tho outward characteristics of the style changed rightly with' each century . The Middle Ages were the days of Ecclesiastical
architecture . Tin ' s was tiio period of Domestic architecture . Yet in this , as in the old styles , sculpture ought to form a chief method of decoration . Tho union of architecture and sculpture was again needed : each was feeble and weak without the other ; and true architecture and good sculpture were alike impossible , until the architect and sculptor were really oneand their work recognised as
, being in all essentials the same . The revival of Gothic architecture became every day move sure in its success , but it still needed the earnest and hearty eo-opcration of all who loved art . Those who opposed it hardly seemed to know what they were doing : they were opposing a style in which progress was possible , and success sure—a stylo which could use all tho [ lowers of man—could find room for tho
most humble work , and which thankfully received the highest ; while the style which they would propose in its stead was weig hed long ago in the balance , and found wanting , —a style where success meant degradation , ancl whose prosperity entailed upon its followers that worst of all servitude . —the siavei-v of the will and the mind .
WILTSHIRE ARCHiSOLOG-ICAL AcTD NATURAL HISTORY SOCIETY . The annual mcetingof the Wiltshire Arclueologieal Society commenced on AVednesday , September 15 , at Swiudou . Tho town of Swindon occupies tho summit of a hill about a mile south of the railway station . It is rather a
picturesque place , with its old houses of red brick and stone , and has recently received a great ornament in a new church erected on the verge of the bill . The view from Swindon includes a considerable extent both of the Great A ' Vostorii and Cheltenham Railways , ancl is besides extremely interesting to the antiquary and to the geologist . It commands the great chalk ridge , with its entrenchments
and barrows , the scene , probably , of the early Celtic settlements , to tho final struggle of that people under Arthur against the Saxons , and subsequently of some of the most severe contests between the Saxons and tbe Danes . This ground forms the northern limit of the immense plain of chalk extending from Avebury to Stonehengo , and includingsome of the most stupendous Celtic works now extant . " Between Swindon ancl the chalk ridge lies the plain of tho
lower chalk , the lig ht soil of which supports a line of villages , marked by a belt of lofty trees , and forming a strong contrast to the barren eminence of tho chalk . From hence tho ground rises gradually to the north-east , showing the green saw ! and the ' gualt clay in tbe valleys , and the 'Portland beds rising from beneath the Litter to form the hill on which the town stands . From Swindon , to the north-west
the Kiunueridge clay , coral rag , and Oxford clay rise in regular succession , and finally give place to corn-brash and tli ' o oolites , which form the ridge of the Cotswold above Cheltenham , and bound tho view in that direction . 'Prior to tho opening of tbe meeting , the members of the Wilts Archaeological Society were , by the kind permission ol ' AV . I ' . Goeeb . Esq ., allowed to visit tho opening of the
works of tho Groat "Western Railway Company , at Kcw iSwiudo-u . T ! io station at tins place is the great central depot of the railway , being situated at the point of junction with the Cheltenham branch , and tbe stopping-place of all iin ; i rains for the refreshment of passengers . A new town las arisen about the railway . A number of iip . !! . Mib-auiiiai cottages have been built , which are occuliicd by lii- 'i workmen connected with tho depot and the line ..
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Architecture And Archæology.
ARCHITECTURE AND ARCH ? OLOGY .
SCULPTURE AND GOTHIC AECHITECTUEE . AT the conversazione of the Birmingham Archaiological Association , held in King Edward Yl . ' s School-room , on the 7 th inst ., Mr . Chamberlain read , a paper on this subject . He said that in the old Gothic times , sculpture and iiculpturecl decoration were of many different kinds ,
sometimes simple aud cheap , sometimes elaborate and costly , now conventional and then natural , now roughly hewn and then smoothly finished , as circumstances might dictate ; but that in all good Gothic work sculp tured decoration of sonic kind was present , ancl that in the best periods it "was used most profusely aud lavishly . In tho minor works of the period as much was given as the builders could afford ;
but , iu the cathedrals and other large works , every feature , external or internal , was wrought by the agency of the chisel ancl mallet into forms of great and lasting beauty . Although many styles had used sculpture profusely , in no ether than the Gothic had . it been trusted to so wholly or relied upon so thoroughly . It had commenced with perfectlsimple forms ancf conventional methods of treatment ,
y and had worked it's way op to the expression of tho natural grace and beaut } - of leaves and flowers , of the human form in the added majesty of clothing , and the human countenance . Tho artists who produced this sculpture also knew thoroughly well whore it should be placed , and where it would show to the greatest advantage , so that by this means also this work possessed a charm , which modern
work frequently was wanting in . Their practice was not to put a public building at one end of a street and a statue at another , but they made their public buildings eloquent with tho statues of the saint , the warrior , and the
statesman , and thus secured to caca part tho dignity and tho excellence of fellowship . All Gothic sculpture commenced in the decoration of the constructional features of the building , and forms which , by superficial observers were supposed to ho merely ornamental , were full of actual use and real service . The law of Gothic life was , first , truth and use , and then beauty . All that tho
architect needed in tho way of size or of strength , cvery featurc of construction required by his building , was provided first and chief of all : but-lie did not end his labour there , but by his thoughtfuhiess and care these necessities of construction were made , each in its degree , beautiful ; and , while the usefulness of the building was unhindered and its strength undiminished , the required beauty was
obtained , to the building ' s great and lasting glory . Tho Gothic architects allowed tho workmen au amount of liberty which was never tolerated in the Classic sty les : both the Greek and the Gothic builders knew that only one man here and there was compelled to produce the best work , but that there were a host of men who could produce flic minor forms of decoration . The Gothic architect eagerly accepted their help : be asked each man to produce the best work possible to him ; and only reserved to himself
the right of deciding where it should be placed . The Greek architect , ou the other hand , brought down his own ideas to what be conceived the level of average ability . He set before tho workmen some few abstract forms , some few simple arrangements of conventional line , and compelled them to produce these low forms of beauty with mechanical perfectness , no deviation being
permitted from the decreed standard . The law of the Greek was copyism and obedience . The law of the Mcdicovulist was liberty and law . Consequently , in the best Gothic work tho grand spectacle was exhibited of many differing minds , ancl . much varying power , all working harmonious ! v together , to produce a given and worthy end . Every buiiding ; became a hoof-, stored with all kinds of Jnro
for all degrees of men ; full of all sorts of truths and lessons : written over with the records of noble and heroic deeds : and eloquent with the great truths of scripture history . Those who decried this style had found faulr , with it as being barbarous ,-. but tlicy would sec less to blame if they considered tbe matter more deeply . One part uf the gTOtesquenci-s was attributable to the state of general education ofihc people : these buildings were meant to be understood by them , and the grotesque sculpture was
exactl y fitted to awaken their inquiries and to cause them to think for themselves . One other groat part was attributable to the fact that the spirit of tiic stylo encouraged rough village masons and carpenters to attempt methods of ornamentation above tho mechanical powers of production which they had acquired , but that , however rough and rude their efforts might beit was better that
, they thought about leaves and flowers , about saints and angels , than if they had contented themselves , as in tho modern classic days , with cutting trigfyphs and sinking square channels round stones . The spirit of Gothic architecture always remained the same : tho outward characteristics of the style changed rightly with' each century . The Middle Ages were the days of Ecclesiastical
architecture . Tin ' s was tiio period of Domestic architecture . Yet in this , as in the old styles , sculpture ought to form a chief method of decoration . Tho union of architecture and sculpture was again needed : each was feeble and weak without the other ; and true architecture and good sculpture were alike impossible , until the architect and sculptor were really oneand their work recognised as
, being in all essentials the same . The revival of Gothic architecture became every day move sure in its success , but it still needed the earnest and hearty eo-opcration of all who loved art . Those who opposed it hardly seemed to know what they were doing : they were opposing a style in which progress was possible , and success sure—a stylo which could use all tho [ lowers of man—could find room for tho
most humble work , and which thankfully received the highest ; while the style which they would propose in its stead was weig hed long ago in the balance , and found wanting , —a style where success meant degradation , ancl whose prosperity entailed upon its followers that worst of all servitude . —the siavei-v of the will and the mind .
WILTSHIRE ARCHiSOLOG-ICAL AcTD NATURAL HISTORY SOCIETY . The annual mcetingof the Wiltshire Arclueologieal Society commenced on AVednesday , September 15 , at Swiudou . Tho town of Swindon occupies tho summit of a hill about a mile south of the railway station . It is rather a
picturesque place , with its old houses of red brick and stone , and has recently received a great ornament in a new church erected on the verge of the bill . The view from Swindon includes a considerable extent both of the Great A ' Vostorii and Cheltenham Railways , ancl is besides extremely interesting to the antiquary and to the geologist . It commands the great chalk ridge , with its entrenchments
and barrows , the scene , probably , of the early Celtic settlements , to tho final struggle of that people under Arthur against the Saxons , and subsequently of some of the most severe contests between the Saxons and tbe Danes . This ground forms the northern limit of the immense plain of chalk extending from Avebury to Stonehengo , and includingsome of the most stupendous Celtic works now extant . " Between Swindon ancl the chalk ridge lies the plain of tho
lower chalk , the lig ht soil of which supports a line of villages , marked by a belt of lofty trees , and forming a strong contrast to the barren eminence of tho chalk . From hence tho ground rises gradually to the north-east , showing the green saw ! and the ' gualt clay in tbe valleys , and the 'Portland beds rising from beneath the Litter to form the hill on which the town stands . From Swindon , to the north-west
the Kiunueridge clay , coral rag , and Oxford clay rise in regular succession , and finally give place to corn-brash and tli ' o oolites , which form the ridge of the Cotswold above Cheltenham , and bound tho view in that direction . 'Prior to tho opening of tbe meeting , the members of the Wilts Archaeological Society were , by the kind permission ol ' AV . I ' . Goeeb . Esq ., allowed to visit tho opening of the
works of tho Groat "Western Railway Company , at Kcw iSwiudo-u . T ! io station at tins place is the great central depot of the railway , being situated at the point of junction with the Cheltenham branch , and tbe stopping-place of all iin ; i rains for the refreshment of passengers . A new town las arisen about the railway . A number of iip . !! . Mib-auiiiai cottages have been built , which are occuliicd by lii- 'i workmen connected with tho depot and the line ..