It would be difficult to name, with certainty, the existence of a pointed arch, in European buildings, of an earlier date than those indications of such arches exhibited by the semi-circular, intersecting, arcades already noticed. We are not entirely des titute of authority for believing that arcades of this description were used, as ornaments, by the Romans in Britain;* and it is uniformly admitted, by the most judicious writers, that they present the first resemblance of the pointed arch in the Europeanarchitecture of the Middle ages, however different may be the opinions of such authors, concerning the derivation of the pointed style, as a methodised order. The great error of several writers who have formed theories on the subject of this style, appears to consist in the direction of their notice to parts, without viewing the whole as a surprising. adaptation of architectural rules to the production of a new general effect. Thus, one seeks to ascribe the origin of the pointed arch to a foreign soil, and rests contented if he think that he has established his position; while another (and a writer of great taste and ingenuity) has satisfied himself with bringing the slender pillars, and spiral ornaments, from the east, and suggests that the pointed arch was exported from Europe, in return. It would certainly appear to be doubtful, from the evidence at present adduced, whether the first hints of this novel mode of architecture were not brought from the east, by the crusaders. But, if thence derived, the idea must have been crude, and of so little avail, as scarcely to authorize as in believing that this style, as practised in Europe, was, in its grand principles of ordination, adopted from that country. The classes of pointed architecture in England are well known to be various, and appear to grow * in the Gentleman's Magazine for 1801, p. 1161, is a description by B. Uvedale, accompanied by an engraving, of a Roman tesselated parement, which was discovered at Jouth, in Lincolnshire. " It is composed of circular compartments, one of which is ornamented with a series of columns and intersecting arches." See, also, Britton's Architectural Antiquities,” Val. I. article St. Botolph's priory church, grow out of each other, in a kind of natural succession. We here see the arcade of intersecting semi-circles, followed by an intermixture of the pointed with the semi-circular arch. The point then prevails, and becomes the characteristic of the whole structure. In this first determinate stage of our style, simpli city, almost amounting to a studied rejection of ornament, is conspicuous throughout the principal features. Progressive decoratious take place in succeeding ages, until fancy, indulged in its excursions, ranges with meretricious freedom. It is difficult to imagine which parts of a style so various, were produced by a literal imitation of a manner prevailing in the east.—In whatever part of Europe might originate this invention, or improvement on an adopted idea, it must, assuredly, be deemed probable that a gradation in art, nearly partaking of the stages conjectured by Dr. Milner, marked its procedure. It can hardly be assuined that this style of architecture, wherever it arose, was not matured into those existing forms of beauty which adorn the west, by European fancy and judgment. But even the admission of this merit in the artists of Christendom, implicates a consideration of the question in another form.→ Not only is it placed in doubt, by different writers, whether this style originated in Europe, from a simple architectural combination, but the particular European country in which it was first encouraged, and in which it attained a priority of excellence, is, likewise, made a subject of discussion. It was long allowed that England was entitled to claim this distinguished honour; but Mr. Whittington and Mr. Hawkius. dispute the justice of such a claim, and bring forward an extensive catalogue of dates to prove anterior efforts on the part of FRANCE; and of rich specimens, to shew her superiority in excellence. It may be argued that the first are probably liable to many of those errors into which topographers have frequently fallen, when endeavouring to appropriate portions of ancient buildings in England to respective architects and eras. The alleged transcendency in beauty of the French structures, is,' evidently, evidently, a matter of opinion; but the instances cited are quite sufficient to prove a diversity of national taste in ornamental particulars, while they exhibit the same geometrical ordination of method, in the buildings of both countries. Indeed it may appear probable, on one view of the subject, that there is less cause of rivalry between the two nations, than is suggested by the above writers. If we may rely on the accuracy of my previous statement (founded, chiefly, on the authority of Sir Christopher Wren) respecting the general agency throughout Europe of the Society of Free Masons, England and France could scarcely have cause for any national contest, as to precedence in art, so far as regarded the leading features of contemporary ecclesiastical structures. According to the information there conveyed, bands of masons (designers, or architects, as well as workmen) incorporated and encouraged by the Pope, visited every Christian country in which affluence allowed great churches to be erected. By them the new works were executed; and the same general principles were, therefore, in practice, at the same time, throughout the most prosperous districts of Europe. The great distinguishing CHARACTERISTICS of the Pointed, or English, style of architecture, may be stated as consisting in clustered pillars, of slender but variable proportions; pointed arches, formed by the segments of two intersecting circles; and very prominent buttresses, usually terminating in turrets, or spires. But numerous minor characteristical features are involved in an account of the various fashions to which this style was subject, in its progress from chaste simplicity to a gorgeous redundancy of embellishment, calculated to surprise rather than to gratify. And these less important distinguishing marks will meet with as much notice as my limits will allow, in future pages, appropriated to a consideration of those progressive varieties of style. The advocates of Grecian architecture have, in some instances,, taken taken illiberal pains in endeavours to degrade the English style by opprobrious epithets, rather than by arguments directed to the judgment and taste. Thus, Vasari, in the Introduction to his Lives of the Painters, describes "such cursed fabrics as infesting the face of the earth;" and Mr. Evelyn mentions them is "congestions of heavy, dark, melancholy and monkish piles, without any just proportion, use, or beauty." It appears that the former writer was not enabled by travel to form his opinion of this style from any other buildings, in the pointed mauner, than those of Italy; which, according to Sir James Hall, are very inferior to those of the rest of Europe. But Mr. Evelyn, who is followed in the same tone by Sir Christopher Wren, made his rash and indiscriminate assertion in the face of structures so august yet simple, and displaying such a consummate skill in execution, that the epithets in which he indulges revert to his own obloquy, and will brand him for centuries as a writer deficient in good taste, or warped by prejudice. The opinions of numerous architectural and scientific writers might be opposed to the above petulant declamation. The remarks of one such author may be sufficient, and these are selected because they are evidently the result of cool reflection; whilst the praise bestowed is rendered more valuable by an admission of partial defects. "When we consider," says Mr. Murphy, "the difficulty that the architects of these edifices had to contend with, from the ignorance of the times, and the debased state of every art and science, we must confess they had more merit than is generally allowed them; for, notwithstanding these powerful barriers, their works discover signs of mathematical knowledge, of philo sophical Sir William Chambers observes "that to those usually called Gothic architects, we are indebted for the first considerable improvements in con struction; there is a lightness in their works, an art and boldness of execu tion, to which the ancients never arrived, and which the moderns comprehend and imitate with difficulty." Sir W. Chambers on Civil Architecture, edit. 3d. p. 24.* sophical penetration, and of religious sentiments, which future generations may, perhaps, seek for in vain, in the productions of the architects of this enlightened age. "The earliest specimens of this manner of building in England were, I believe, finished about the beginning of the 13th century; and though, perhaps, not constructed in imitation of any ancient models, were carried to a greater pitch of excellence in less time than history records of any other species of architecture; and may be mentioned as remarkable instances of the vigorous exertions of the human mind, in the early stages of au art. It must, however, be expected that some defects are to be found in these edifices, as perfection, in any art, is a plant of slow growth. But if this mode of building had still continued to be cultivated, with that ardour which marked its progress in this country, a little before the period of its final dissolution; improved by the assemblage of various scattered perfections, and graced by emanations from the kindred arts, what excellence might we not reasonably expect to have seen it brought to, when the excrescences, and inelegancies, of ruder times, would have been lopped off by the hand of taste."* But we do not require the opinions of the scientific and professional, to convince us of the real beauty of these structures, or the appropriate religious influence of this style on the mind of the spectator. Insensible must be that man who bows not before the sacred spirit of the place, and refrains from a thrill of grateful awe, when standing amidst the long indeterminate aisles of a cathedral of this order, and contemplating the mysterious sublimity of its features, displayed in finely intermingled light and shade, or indistinct in solemn gloom. When thus situated, we own that the building is calculated to concentrate the thoughts, engross the feelings, and inspire ideas of sublime expansion and majestic power.-To enforce such impressions was Murphy's Elevations, &c. of the church at Batalha. Introductory Discourse, p. 2. |