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Title: A Text-Book of the History of Architecture
Seventh Edition, revised
Author: Alfred D. F. Hamlin
Release Date: August 15, 2008 [EBook #26319]
Language: English
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Contents
COLLEGE HISTORIES OF ART
EDITED BY
JOHN C. VAN DYKE, L.H.D.
HISTORY OF ARCHITECTURE
A. D. F. HAMLIN
COLLEGE HISTORIES OF ART
EDITED BY
JOHN C. VAN DYKE, L.H.D.
Professor of the History of Art
in Rutgers College
HISTORY OF PAINTING
By John C. Van Dyke, the Editor of the
Series. With Frontispiece and 110 Illustrations, Bibliographies, and
Index. Crown 8vo, $1.50.
HISTORY OF ARCHITECTURE
By Alfred D. F. Hamlin, A.M. Adjunct
Professor of Architecture, Columbia College, New York. With Frontispiece
and 229 Illustrations and Diagrams, Bibliographies, Glossary, Index of
Architects, and a General Index. Crown 8vo, $2.00.
HISTORY OF SCULPTURE
By Allan Marquand, Ph.D., L.H.D. and
Arthur L. Frothingham, Jr., Ph.D.,
Professors of Archæology and the History of Art in Princeton University.
With Frontispiece and 112 Illustrations. Crown 8vo, $1.50.
THE PARTHENON, ATHENS, AS RESTORED BY CH. CHIPIEZ.
(From model in Metropolitan Museum, New York.)
A TEXT-BOOK
OF THE
History of Architecture
BY
A. D. F. HAMLIN, A.M.
PROFESSOR OF THE HISTORY OF ARCHITECTURE
IN THE SCHOOL OF ARCHITECTURE,
COLUMBIA UNIVERSITY
SEVENTH EDITION
REVISED
LONGMANS, GREEN, AND CO.
91 and 93 FIFTH AVENUE, NEW YORK
LONDON, BOMBAY, AND CALCUTTA
1909
Copyright, 1895, by
LONGMANS, GREEN, AND CO.
All rights reserved.
First Edition, March, 1896
Printed and Revised, December, 1896.
December, 1898 (Revised)
October, 1900 (Revised)
October, 1902 (Revised)
September, 1904, June, 1906 (Revised).
November, 1907 (Revised)
January, 1909
Press of J. J. Little & Ives Co.
425–435 East 24th Street, New York
v
The aim of this work has been to
sketch the various periods and styles of architecture with the broadest
possible strokes, and to mention, with such brief characterization as
seemed permissible or necessary, the most important works of each period
or style. Extreme condensation in presenting the leading facts of
architectural history has been necessary, and much that would rightly
claim place in a larger work has been omitted here. The danger was felt
to be rather in the direction of too much detail than of too little.
While the book is intended primarily to meet the special requirements of
the college student, those of the general reader have not been lost
sight of. The majority of the technical terms used are defined or
explained in the context, and the small remainder in a glossary at the
end of the work. Extended criticism and minute description were out of
the question, and discussion of controverted points has been in
consequence as far as possible avoided.
The illustrations have been carefully prepared with a view to
elucidating the text, rather than for pictorial effect. With the
exception of some fifteen cuts reproduced from Lübke’s Geschichte der
Architektur (by kind permission of Messrs. Seemann, of Leipzig), the
illustrations are almost all entirely new. A large number are from
vi
original drawings made by myself, or under my direction, and the
remainder are, with a few exceptions, half-tone reproductions prepared
specially for this work from photographs in my possession.
Acknowledgments are due to Messrs. H. W. Buemming, H. D.
Bultman, and A. E. Weidinger for valued assistance in preparing
original drawings; and to Professor W. R. Ware, to Professor
W. H. Thomson, M.D., and to the Editor of the Series for much
helpful criticism and suggestion.
It is hoped that the lists of monuments appended to the history of
each period down to the present century may prove useful for reference,
both to the student and the general reader, as a supplement to the body
of the text.
A. D. F. Hamlin.
Columbia College, New York,
January 20, 1896.
The author desires to express his further acknowledgments to the friends
who have at various times since the first appearance of this book called
his attention to errors in the text or illustrations, and to recent
advances in the art or in its archæology deserving of mention in
subsequent editions. As far as possible these suggestions have been
incorporated in the various revisions and reprints which have appeared
since the first publication.
A. D. F. H.
Columbia University,
October 28, 1907.
xix
(This includes the leading architectural works treating of more than one
period or style. The reader should consult also the special references
at the head of each chapter. Valuable material is also contained in the
leading architectural periodicals and in monographs too numerous to
mention.)
Dictionaries and Encyclopedias.
Agincourt, History of Art by its Monuments; London.
Architectural Publication Society, Dictionary of Architecture;
London.
Bosc, Dictionnaire raisonné d’architecture; Paris.
Durm and others, Handbuch der Architektur; Stuttgart. (This is
an encyclopedic compendium of architectural knowledge in many volumes;
the series not yet complete. It is referred to as the Hdbuch. d.
Arch.)
Gwilt, Encyclopedia of Architecture; London.
Longfellow and Frothingham, Cyclopedia of Architecture in Italy
and the Levant; New York.
Planat, Encyclopédie d’architecture; Paris.
Sturgis, Dictionary of Architecture and Building; New
York.
General Handbooks and Histories.
Bühlmann, Die Architektur des klassischen Alterthums und der
Renaissance; Stuttgart. (Also in English, published in New
York.)
Choisy, Histoire de l’architecture; Paris.
Durand, Recueil et parallèle d’édifices de tous genres;
Paris.
Fergusson, History of Architecture in All Countries;
London.
Fletcher and Fletcher, A History of Architecture; London.
xx
Gailhabaud, L’Architecture du Vme. au XVIIIme. siècle;
Paris.—Monuments anciens et modernes; Paris.
Kugler, Geschichte der Baukunst; Stuttgart.
Longfellow, The Column and the Arch; New York.
Lübke, Geschichte der Architektur; Leipzig.—History
of Art, tr. and rev. by R. Sturgis; New York.
Perry, Chronology of Mediæval and Renaissance Architecture;
London.
Reynaud, Traité d’architecture; Paris.
Rosengarten, Handbook of Architectural Styles; London and New
York.
Simpson, A History of Architectural Development; London.
Spiers, Architecture East and West; London.
Stratham, Architecture for General Readers; London.
Sturgis, European Architecture; New York.
Transactions of the Royal Institute of British Architects;
London.
Viollet-le-Duc, Discourses on Architecture; Boston.
Theory, the Orders, etc.
Chambers, A Treatise on Civil Architecture; London.
Daviler, Cours d’architecture de Vignole; Paris.
Esquié, Traité élémentaire d’architecture; Paris.
Guadet, Théorie de l’architecture; Paris.
Robinson, Principles of Architectural Composition; New
York.
Ruskin, The Seven Lamps of Architecture; London.
Sturgis, How to Judge Architecture; New York.
Tuckerman, Vignola, the Five Orders of Architecture; New
York.
Van Brunt, Greek Lines and Other Essays; Boston.
Van Pelt, A Discussion of Composition.
Ware, The American Vignola; Scranton.
xxi
HISTORY OF ARCHITECTURE.
A history of architecture is a
record of man’s efforts to build beautifully. The erection of structures
devoid of beauty is mere building, a trade and not an art. Edifices
in which strength and stability alone are sought, and in designing which
only utilitarian considerations have been followed, are properly works
of engineering. Only when the idea of beauty is added to that of use
does a structure take its place among works of architecture. We may,
then, define architecture as the art which seeks to harmonize in a
building the requirements of utility and of beauty. It is the most
useful of the fine arts and the noblest of the useful arts. It touches
the life of man at every point. It is concerned not only in sheltering
his person and ministering to his comfort, but also in providing him
with places for worship, amusement, and business; with tombs, memorials,
embellishments for his cities, and other structures for the varied needs
of a complex civilization. It engages the services of a larger portion
of the community and involves greater outlays of money than any other
occupation except agriculture. Everyone at some point comes in contact
with the work of the architect, and from this universal contact
architecture derives its significance as an index of the civilization of
an age, a race, or a people.
xxii
It is the function of the historian of architecture to trace the
origin, growth, and decline of the architectural styles which have
prevailed in different lands and ages, and to show how they have
reflected the great movements of civilization. The migrations, the
conquests, the commercial, social, and religious changes among different
peoples have all manifested themselves in the changes of their
architecture, and it is the historian’s function to show this. It is
also his function to explain the principles of the styles, their
characteristic forms and decoration, and to describe the great
masterpieces of each style and period.
STYLE is a quality; the “historic styles” are phases of
development. Style is character expressive of definite
conceptions, as of grandeur, gaiety, or solemnity. An historic
style is the particular phase, the characteristic manner of design,
which prevails at a given time and place. It is not the result of mere
accident or caprice, but of intellectual, moral, social, religious, and
even political conditions. Gothic architecture could never have been
invented by the Greeks, nor could the Egyptian styles have grown up in
Italy. Each style is based upon some fundamental principle springing
from its surrounding civilization, which undergoes successive
developments until it either reaches perfection or its possibilities are
exhausted, after which a period of decline usually sets in. This is
followed either by a reaction and the introduction of some radically new
principle leading to the evolution of a new style, or by the final decay
and extinction of the civilization and its replacement by some younger
and more virile element. Thus the history of architecture appears as a
connected chain of causes and effects succeeding each other without
break, each style growing out of that which preceded it, or springing
out of the fecundating contact of a higher with a lower civilization. To
study architectural styles is therefore to study a branch of the history
of civilization.
xxiii
Technically, architectural styles are identified by the means they
employ to cover enclosed spaces, by the characteristic forms of the
supports and other members (piers, columns,
arches, mouldings, traceries, etc.), and by their decoration. The
plan should receive special attention, since it shows the
arrangement of the points of support, and hence the nature of the
structural design. 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. The
arch or vault makes use of several pieces to span an
opening between two supports. These pieces are in compression and exert
lateral pressures or thrusts which are transmitted to the
supports or abutments. The thrust must be resisted either by the
massiveness of the abutments or by the opposition to it of
counter-thrusts from other arches or vaults. Roman builders used the
first, Gothic builders the second of these means of resistance. The
truss is a framework so composed of several pieces of wood or
metal that each shall best resist the particular strain, whether of
tension or compression, to which it is subjected, the whole forming a
compound beam or arch. It is especially applicable to very wide spans,
and is the most characteristic feature of modern construction. How the
adoption of one or another of these principles affected the forms and
even the decoration of the various styles, will be shown in the
succeeding chapters.
HISTORIC DEVELOPMENT. Geographically and chronologically,
architecture appears to have originated in the Nile
xxiv
valley. A second centre of development is found in the valley of
the Tigris and Euphrates, not uninfluenced by the older Egyptian art.
Through various channels the Greeks inherited from both Egyptian and
Assyrian art, the two influences being discernible even through the
strongly original aspect of Greek architecture. The Romans in turn,
adopting the external details of Greek architecture, transformed its
substance by substituting the Etruscan arch for the Greek construction
of columns and lintels. They developed a complete and original system of
construction and decoration and spread it over the civilized world,
which has never wholly outgrown or abandoned it.
With the fall of Rome and the rise of Constantinople these forms
underwent in the East another transformation, called the Byzantine, in
the development of Christian domical church architecture. In the North
and West, meanwhile, under the growing institutions of the papacy and of
the monastic orders and the emergence of a feudal civilization out of
the chaos of the Dark Ages, the constant preoccupation of architecture
was to evolve from the basilica type of church a vaulted structure, and
to adorn it throughout with an appropriate dress of constructive and
symbolic ornament. Gothic architecture was the outcome of this
preoccupation, and it prevailed throughout northern and western Europe
until nearly or quite the close of the fifteenth century.
During this fifteenth century the Renaissance style matured in Italy,
where it speedily triumphed over Gothic fashions and produced a
marvellous series of civic monuments, palaces, and churches, adorned
with forms borrowed or imitated from classic Roman art. This influence
spread through Europe in the sixteenth century, and ran a course of two
centuries, after which a period of servile classicism was followed by a
rapid decline in taste. To this succeeded the eclecticism and confusion
of the nineteenth century, to
xxv
which the rapid growth of new requirements and development of new
resources have largely contributed.
In Eastern lands three great schools of architecture have grown up
contemporaneously with the above phases of Western art; one under the
influence of Mohammedan civilization, another in the Brahman and
Buddhist architecture of India, and the third in China and Japan. The
first of these is the richest and most important. Primarily inspired
from Byzantine art, always stronger on the decorative than on the
constructive side, it has given to the world the mosques and palaces of
Northern Africa, Moorish Spain, Persia, Turkey, and India. The other two
schools seem to be wholly unrelated to the first, and have no affinity
with the architecture of Western lands.
Of Mexican, Central American, and South American architecture so
little is known, and that little is so remote in history and spirit from
the styles above enumerated, that it belongs rather to archæology than
to architectural history, and will not be considered in this work.
Note.—The reader’s attention is
called to the Appendix to
this volume, in which are gathered some of the results of recent
investigations and of the architectural progress of the last few years
which could not readily be introduced into the text of this edition. The
General Bibliography and the lists of books recommended have been
revised and brought up to date.
A HISTORY OF PAINTING.
BY
JOHN C. VAN DYKE, L.H.D.
Professor of the History of Art in Rutgers College, and Author of
“Principles of Art,” “Art for Art’s Sake,” etc.
With Frontispiece and 110 Illustrations in the text, reproduced in
half-tone from the most celebrated paintings. Crown 8vo, 307 pages,
$1.50.
“... The initial volume of a promising series ... seems a model of
pith, lucidity, and practical convenience; and that it is sound and
accurate the author’s name is a sufficient guarantee. Essential
historical and biographical facts, together with brief critical
estimates and characterizations of leading schools and painters, are
given in a few well-chosen words; and for students who wish to pursue
the subject in detail, a list of selected authorities at the head
of each chapter points the way. Serviceable lists are also provided of
principal extant works, together with the places where they are to be
found. The text is liberally sprinkled with illustrations in
half-tone.”—Dial, Chicago.
“Prof. Van Dyke has performed his task with great thoroughness and
good success.... He seems to us singularly happy in his characterization
of various artists, and amazingly just in proportion. We have hardly
found an instance in which the relative importance accorded a given
artist seemed to us manifestly wrong, and hardly one in which the
special characteristics of a style were not adequately presented.”—Nation, N.Y.
“... Gives a good general view of the subject, avoiding as a rule all
elaborate theories and disputed points, and aiming to distinguish the
various historical schools from one another by their differences of
subject and technique ... we do not know of anybody who has, on the
whole, accomplished the task with as much success as has Mr. Van Dyke.
The book is modern in spirit and thoroughly up-to-date in point of
information.”—Art Amateur.
“Professor Van Dyke has made a radical departure in one respect, in
purposely omitting the biographical details with which text-books on art
are usually encumbered, and substituting short critical estimates of
artists and of their rank among the painters of their time. This feature
of the work is highly to be commended, as it affords means for
comparative study that cannot fail to be beneficial.... Altogether
Professor Van Dyke’s text-book is worthy of general adoption, and as a
volume of ready reference for the family library it will have a distinct
usefulness. It is compact, comprehensive, and admirably
arranged.”—Beacon, Boston.
LONGMANS, GREEN, & CO.,
91 & 93 Fifth Avenue, NEW YORK.
A History of Sculpture.
BY
ALLAN MARQUAND, Ph.D., L.H.D.
AND
ARTHUR L. FROTHINGHAM, Jr., Ph.D.
Professors of Archæology and the History of Art in Princeton
University.
With Frontispiece and 113 Illustrations in half-tone in the text,
Bibliographies, Addresses for Photographs and Casts, etc. Crown 8vo, 313 pages, $1.50.
Henry W. Kent, Curator of the Seater
Museum, Watkins, N.Y.
“Like the other works in this series of yours, it is simply
invaluable, filling a long-felt want. The bibliographies and lists will
be keenly appreciated by all who work with a class of students.”
Charles H. Moore, Harvard
University.
“The illustrations are especially good, avoiding the excessively
black background which produce harsh contrasts and injure the outlines
of so many half-tone prints.”
J. M. Hoppin, Yale
University.
“These names are sufficient guarantee for the excellence of the book
and its fitness for the object it was designed for. I was
especially interested in the chapter on Renaissance Sculpture in
Italy.”
Critic, New York.
“This history is a model of condensation.... Each period is treated
in full, with descriptions of its general characteristics and its
individual developments under various conditions, physical, political,
religious and the like.... A general history of sculpture has never
before been written in English—never in any language in convenient
textbook form. This publication, then, should meet with an enthusiastic
reception among students and amateurs of art, not so much, however,
because it is the only book of its kind, as for its intrinsic merit and
attractive form.”
Outlook, New York.
“A concise survey of the history of sculpture is something needed
everywhere.... A good feature of this book—and one which
should be imitated—is the list indicating where casts and
photographs may best be obtained. Of course such a volume is amply
indexed.”
Notre Dame Scholastic, Notre Dame,
Ind.
“The work is orderly, the style lucid and easy. The illustrations,
numbering over a hundred, are sharply cut and well selected. Besides a
general bibliography, there is placed at the end of each period of style
a special list to which the student may refer, should he wish to pursue
more fully any particular school.”
LONGMANS, GREEN, & CO., Publishers,
91 & 93 Fifth Avenue, NEW YORK.
Missing or invisible punctuation has been silently supplied, as have
missing umlauts and line-end hyphens. Errors of this type were assumed
to be mechanical, introduced either in printing or scanning.
Hyphenization of some words was inconsistent: zigzag and zig-zag,
semicircular and semi-circular, staircase and stair-case. The plural of
“portico” is regularly “porticos”, rarely “porticoes”. Both occurrences
of “mantelpiece” are at line-break; the hyphen was omitted based on
usage in the 8th edition.
Alphabetization in the Index is as printed.
Names
The architect Robert Adam is consistently called “Adams”; the error
was corrected in the 8th edition. The name form “Michael Angelo” is
standard for the time.
Columbia College changed its name to Columbia University in 1896,
presumably after the book’s original preface (dated January 20, 1896)
was
written.
The French palace is variously Luxembourg and Luxemburg.
Place Names
Spelling of place names was unchanged except when there was an
unambiguous error.
The form “Herculanum” (for Herculanum) was used consistently. The
English city is Peterboro’ (with apostrophe) in its first few
appearances, and then changes to Peterborough for the remainder of the
book. The Italian city was conventionally spelled “Sienna” (with
two n’s) in English.
Many names, especially non-European ones, differ significantly from
their modern form. Some of the following are conjectural.
| Ipsamboul |
Abu Simbel |
| Bozrah |
probably modern Bouseira, Jordan (not “Bosrah”, modern
Basra) |
| Tope |
the form “stupa” is more common |
| Indian desert |
Thar desert |
| Baillur |
Belur |
| Chillambaram |
probably Chidambaram; the author’s sources seem to have had
trouble with “l” in South Indian names |
| Conjeveram |
Kanchipuram |
Futtehpore Sikhri |
Fatehpur Sikri |
| Hullabid |
Halebid |
| Jaunpore |
Janpur |
| Jugganat |
the name of the deity is Jagannath; the English name-form led to
the word “juggernaut” |
| Kantonnuggur |
Kantanagar |
| Oudeypore |
the author seems not to have realized that this is the same place
as Udaipur, cited with that spelling in the same paragraph |
| Scinde |
Sind |
| Shepree or Sheepree |
could not be identified. The author’s source is probably James
Ferguson, who describes it as “near Gualior” (Gwalior) |
| Tanjore |
Thanjavur |
| Worangul |
Varangal |
Nakhon Wat |
better known as Angkor Wat |
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