Back Matter
List of Proper Names
Pronounced and Defined,
with Page Index
Acropolis. A general name for the citadel of a Greek city,
but especially used for that at Athens, where it is a
precipitous rock about 260 feet above the city and about
1000 x 400 feet in size. Pages 37 and 44.
Alberti (äl-bār'-tē) Leone Battista. A noted Italian poet,
musician, painter, sculptor, and architect. Born at Florence
1404. Died at Rome 1472. See pages 175, 178 and 179.
Alhambra (al-ham'-brä). A great citadel and palace, founded
in the 13th century above the city of Granada, Spain, by the
Moorish Kings. See pages 16, 85, 87, 89-91.
Amiens (ä-mē-an'). A leading commercial city in France. The
cathedral begun in 1220 is in purity and majesty of design
one of the finest of medieval structures. Much damaged in
the war in 1814. See pages 95, 155, 156.
Apollinare in Classe (ä-pol-lē-nä'-re in cläs'-se). A church
in Ravenna, Italy, begun in 534. It is the most important
existing early-Christian basilica in Italy. See page 75.
Arc de l'Etoile (ärk de lā-twäl'). A triumphal arch in Paris
the largest in existence. Begun in 1806 by Napoleon, but not
finished until 1836. The structure is 146 feet wide and 16o
high and 72 feet deep. See page 203.
Arch of Constantine. A triumphal arch built in Rome in 312
a. d
See description on pages 67, 68 and 69.
Arch of Titus. A triumphal arch built in Rome to commemorate
the taking of Jerusalem. See description on pages 69 and 70.
Arles (ärl). A French city, sometimes called the French Rome
because of its many antiquities. These include an
amphitheater, a palace, an obelisk and so forth.
Arno (är'-no). A river in Italy about 140 miles long, on
which are situated both Pisa and Florence.
Athene (a-thē'-nē). In Greek mythology, the goddess of
wisdom.
The same as the Roman Minerva. See pages 33 and 44.
Athens (ath'-enz). The capital and largest city of Greece.
See pages 37, 43.
Avignon (ä-vēn-yón'). A city of France.
Beauvais (bō-vā'). A city in France. 43 miles N. W. of
Paris. Its cathedral is noted for its superb glass and the
vaulting and tracery of its choir. See mention on page 123.
Benares (be-nä'-rez). A city of India. See illustration page
218.
Beni-Hassan (bā'-na-häs'-an). A village of Egypt,
famous for its rock-tombs. Page 28 and picture page 30.
Bernini (ber-nē-nē), Giovanni Lorenzo. Born at Naples 1598,
died at Rome 1680. At one time architect of St. Peters. Made
designs for the east front of the Louvre. See page 175.
Boboli (bō'-bō-lē) Gardens. These are in the rear of the
Pitti Palace in Florence. Open to the public and filled with
grottoes and fountains. See pages 171, 172.
Bologna (bō-lōn'-yä). Capital city of a province in Italy.
Population 165,000.
Bramante (brä-man'-te) Donato d'Angnolo. Born 1444, died
1514. Celebrated Italian architect and one of the designers
of St. Peters. See pages 167, us, 179, 180, 181.
Bruges (brö'-jez). A city in Belgium.
Brunelleschi (brö-nel-les'-kē) Filipo. Born in Florence
1379, died 1446. Noted Italian architect. See anecdotes
pages 159, .167, 170, 171, 172.
Buddha (bu-dä). The founder of Buddhism, a religion of
Ceylon,
China and Japan, numbering more than 350,000,000 adherents.
Byzantine (biz'-an-tin or bi-zan'-tin). A style of
architecture. See
pages 13, 14, 77-83, 87.
Caen (kän). A city in France. Seat of a fine Romanesque
cathedral.
Campo Santo (käm'-po sän'-tō). A cemetery (sacred field).
That
at Pisa begun in 1278 being notable. See pages 100, 107.
Chambord (shon-bor'). A village in France which contains a
famous chateau illustrating Renaissance architecture.
Cheops (kē-ops). See pages 23, 24, 91
Chichester (chich'-es-ter). A city in England containing a
noted cathedral, chiefly of Norman style.
Cologne (kō-lōn'). The largest city of the Rhine province of
Germany. Its cathedral begun in 1248 was only completed in
1880. See description pages 117, 123, 148, 154, 155.
Colosseum (kol-o-sē'-um), or Flavian amphitheater, in Rome.
See description pages so, 57-60.
Dijon (dē-zhôn'). A city in France. Noted for its fine, but
not large, cathedral. See page 123.
Doges Palace (dō'-jez). See description pages 81, 98,
183-187.
Domitian (dō-mish-ian). The name of a Roman
Emperor born
a. d
51.
Drachenfels (dräch'-en-felz). A steep mountain on the Rhine.
In a cave here lived the dragon slain by Siegfried. See page
114.
Edfu (ed'-fö) or Edfou. A town in upper Egypt situated on
the bank of the Nile. Its temple is the finest existing
example of an Egyptian religious edifice. See pages 16, 21,
27.
Erechtheum (ē-rek-the'-um). An Ionic temple at Athens. See
pages 16, 37, 40, 46, 47.
Etruscans (ē-trus'-kanz) or Etrurians. A people of Northern
Italy. See page 54.
Flavian. Referring to the Roman Emperors of the house of
Flavius, namely: Vespasian, Titus and Domitian.
Fontainebleau (fôn-tān-blō'). Town in France and palace of
the same name. This palace, long the residence of French
Kings displays the styles of Renaissance architecture. See
page 188.
Gamier, Charles G. T. (gēr-nyē'). A French architect who
designed the Paris Opera House, which was erected under his
supervision 1863-74. See page 192.
Ghibellines (gib'-e-linz). The imperial and aristocratic
party in Italy in the Middle Ages. See page 95.
Ghiberti (gē-ber'-tē) Lorenzo. See pages 167, 168.
Giotto (jot'-tō). Celebrated Italian painter, architect and
sculptor. See pages 97, 150, 151, 152.
Gobelin (gob-lan'). A French family who introduced the
manufacture of tapestries in the 15th century.
Gothic (goth'-ik). Language of the Goths, an ancient race of
the 3rd century. See pages, 15, 17, 18, 19, 48, 72, 78, 91,
97, 99, 116, 123-156, 157, 162, 166.
Granada (gra-nä'-dä). A kingdom or province in Spain and its
capital. See page 85.
Guelfs (or Guelphs) (gwelfs). The Papal and popular party in
Italy in the Middle Ages. See page 95.
Haddon Hall. Situated two miles S. E. of Bakewell,
Derbyshire, England. A notable example of medieval residence
of a great English landed proprietor.
Hadrian. Roman Emperor 76-138 a. d
A patron of the arts and
a great builder.
Hampton Court. A royal palace on the Thames near London.
Battlemented Tudor buildings. Built 1515-1535. The modern
part added by Wren in Renaissance style.
Hindus (hin'-döz). The native race in India.
Homer. The Greek poet to whom is assigned the authorship of
the Iliad and the Odyssey. See page 48.
Ictinus (ik-tī'-nus). A Greek architect who lived in the
middle of the 5th century B. c. and was chief designer of
the Parthenon. See pages 16, 42, 43.
Ionic. See glossary and pages 34, 37, 47, 56, 58.
Jain (jīn). Pertaining to the Jains, a Hindu sect.
Jones, Inigo. See pages 19, 193, 199.
Kali (kä'-lē). The name of a Hindu temple and divinity. See
page 218.
Karnak (kär'-nac). A village in Egypt on the eastern bank of
the Nile, on the site of Thebes, famous for ruins of
antiquity. See
pages 16, 21, 27, 28, 29.
Khufu (kö'-fö). An Egyptian King, builder of the great
pyramid.
Lido (lē-do).
Louvre (lövr). A palace in Paris. See pages 189-191.
Lucca (lök'-kä.). A province in Italy.
Luxor (luk'-sor). A village in -Upper Egypt, on part of the
site of ancient Thebes. See pages 16, 21.
Madeline (mäd-län'). A church in Paris of the
Roman-Corinthian style. See page 203.
Magna Charta (mag'-nä kär'-ta). The great charter of the
liberties of England granted by King John in 1215 used as a
date or epoch in history.
Maison Carrée (mā-zôn kä-rā'). An ancient building at
Nimes, France, with Corinthian columns. See page 59.
Mayence (mä-yons'). A city on the Rhine in Germany. Also
spelled Mainz (mīntz).
Medici (med'-ē-chē). An Italian family which formerly ruled
in Florence. See page 160.
Michelangelo (mī-kel-an'-je-lō). A famous Italian painter,
sculptor and architect. See pages to8, 159, 16o, 169, 181, 182.
Michelozzo (mē-ke-lot'-so). An eminent sculptor and architect.
See page 173.
Milan (mē-lan'). The second city in size in Italy noted for
its
great cathedral begun in 1387. See pages 156, 179, 201.
Mohammed (mī-ham'-ed) 570-632. The founder of the Moham-
medan religion. See pages 15, 16, 85, 217.
Monticello (mon-tē-sel'-lo). The mansion and estate of
Thomas Jefferson in the State of Virginia. See pages 213,
214.
Moslems (moz'-lemz). The followers of Mohammed. See
page 85.
Nimes (nēm). A city of France. See page 59.
Notre Dame (mō'-tr däm). A cathedral at Paris. See pages 17,
122, 136-143.
Palladio (päl-lä'-dē-ō) Andrea. A celebrated Italian
architect. See pages 187, 188.
Palazzo Vecchio (pä-lät'-sō vek'-kē-ō). A palace in
Florence, Italy. See page 171.
Pantheon (pan'-thē-ōn). A building at Rome. See pages 49,
54, 62-67.
Parthenon (pär'-thē-non). A temple at Athens, Greece. See
pages 16, 31, 33, 34, 38, 42-46.
Pepys (pēps or pips or peps) Samuel. An English politician
whose diary is one of the famous books of the world.
Pericles (per'-i-klēz). An Athenian statesman. See pages 16,
32, 48.
Perrault (pā-rō') Claude. A French architect. See
page 190.
Pincian (pin'-shi-an). A hill in the northern part
of Rome.
Place de la Concorde (pläs-de-lä kôn-kord'). A noted square
in
Paris.
Pompeii (pom-pa'-ye). An ancient city of Italy.
Polite Vecchio (pon'-te vek'-ke-o). Meaning "old bridge."
See page 170.
Pozzuoli (pot-sö'-ō-1ē). A seaport in Italy.
Rainaldo (rā-nä-do). See page 101.
Raphael (rä'-fä-el). A great Italian painter and architect.
See pages 66, 159, 18o, 182, 183.
Reims (or Rheims) (Rēmz). A city in France. See page 201
Renaissance (re-nā-sons'). A period in history and the name
of an architectural style. See pages 157-200.
Rouen (rö-ön'). A city in France. See pages 123, 131, 165,
201.
Rue Royal (rü rwä-yal'). A street in Paris.
Sainte Chappelle (sant-shä-pel'). A chapel in Paris. See
page 193.
Sancta Sophia (or Sofia) (sō-fē-ä.). See pages 77
and 78.
Santa Croce (krō-che). See page 153.
Seville (sev'-il or se-vil'). See page 17.
de Sully (sul'-i). See page 17, 143.
Symonds (sim'-ondz) John Addington. An English man of
letters.
Taj Mahal (täzh-ma-häl'). A building in India. See pages
91, 92.
Tangier (tän-jēr'). A seaport of Morocco. See page
87.
Tanjore (tan-jōr'). A state in India. See page 219.
Thebes (thēbz). A city of ancient Egypt situated on the
Nile. See page 29.
Vasari (vä-sä'-rē) Giorgio. An Italian painter and writer
on art whose "Lives" is one of the world's famous books. See
pages 167, 169, 170. 173, 182.
Versailles (ver-sālz). A city about ten miles from Paris
noted for its famous palace and gardens.
Vezelay (vāz-lā'). A town in France. See pages 107, 109.
Vicenza (vē-chent'-zä). A town in Italy.
Viollet-le-Duc (vyō-lā'-le dük'). A French architect and writer,
famous for his dictionary of architecture. Sec page 192.
Vischer (fish'-er). See page 19 (table).
Glossary of Terms Used in Architecture
With Many Page References
Abacus. The slab forming the topmost feature of a Greek or
Roman capital.
Abbey. The buildings of a monastery, or convent.
Acanthus. In botany, a tall plant which grows in southern
Europe. In architecture a characteristic ornament derived
from, and resembling the leaves of the acanthus. See pages
48, 134.
Adobe (a-dō'-bi). Clay or soil from which sun-dried bricks
are made in countries of little rain. Also the name given to
the small huts or houses made of these bricks, as "adobe
houses." See page 3.
Aisle (īl). Usually merely a passageway giving access to
seats; but in architecture a lateral sub-division of a
church parallel to the nave, choir, or transept, from which
it is divided by piers or columns. See pages 72, 101, 102,
172.
Ambo. A rostrum or pulpit.
Amphitheater. An oval or circular building with seats rising
above and behind each other around a central or open space.
In architecture applied to ancient edifices of this
description devoted to contests. See page 61.
Antæ. Columns or pilasters built in masonry.
Apse (äps). A recess, semicircular in form, covered with
semicircular arched roof;—or in general, any semicircular
termination in a church usually behind the choir. See pages
72, 141.
Aqueduct. A channel for conducting water from one place to
another, more particularly structures of masonry for
conducting water to large cities as shown in the picture on
page 52.
Arabesque. A decorative design of an intricate interlaced
character; characteristic of Saracenic or eastern
architecture. See description and illustrations, pages 16,
86.
Arcade. A series of arches, or a long arched passageway. See
illustration on page 100 showing arcade around a cloister.
Arch. A structure made tip of wedge-shaped solids to support
weight above an opening. See illustrations and descriptions,
pages 52 and 53.
Architrave. The stone laid on the top of the columns in a
classic building to support the roof-front. Also the molding
around a door or window opening, or arch. See pages 35, 36.
Arena. The inclosed space in the central part of a Roman
amphitheater. See pages 58, 80.
Atrium. Usually an entrance hall. In early Christian
buildings, a
hall or court at the entrance to the building. See page 72.
Auditorium. The space or room allotted to the hearers or
audience.
Balance. Harmonious arrangement or adjustment: just
proportion, especially in the arts of design. See pages 24,
129.
Balcony. A platform projecting from the wall of a building
and surrounded by a railing.
Balustrade. An ornamental railing.
Baptistery. A building, or portion of building, in which is
administered the rite of baptism. See pages 100, 103, 108, 110,
166.
Baroque. The name applied to a style of architecture
which flourished in the 18th century. Distinguished for its ornate
forms
and meaningless scroll work.
Barrel vault. A stone or brick roof, built as a continuous
arch, either semicircular or pointed.
Base. The block used for the support of a column. Its object
is to distribute the weight of the column.
Basilica Church. The name given to the type of early
Christian church having three or five aisles and an apse at
one end. See pages 71-75, 77, 99, 101.
Battlement. An indented wall of a fort or city. The
indentations are called embrasures. See page 113.
Bay. A compartment in a structure separated from the
remainder by an arch, buttress or vaulting. In a church, the
space between one column and the next in a nave, is a bay.
Beam. A horizontal piece bridging over a space underneath.
See pages 14, 21, 71.
Belfry. That part of a steeple or other structure from which
a bell is hung. See about bell-towers, pages 97, 98, 104.
Bell-tower. A tower built to contain bells.
Boss. A small projecting block of stone, commonly carved
into a foliage design: Gothic.
Bourse. A stock exchange, especially the one at Paris,
France. See page 203.
Buttress. A large projection from the face of a wall built
to resist outward pressure: Gothic. See pages 17, 126, 128,
129, 130, 138, 145.
Campanile. A bell-tower. Especially in Italy, a detached
tower built to contain church bells. These bell-towers did
not diminish towards the top, and the openings in the sides
usually increased towards the top.
Capital. The head or crown of a column. See pages 35, 37,
38, 78, 96, 145.
Caryatids. Female figures used as supports, instead of
columns. See illustration, page 46.
Casement. A frame for glass forming a window, or part of a
window.
Casing. The framework around a door or window.
Castellated. Furnished with turrets and battlements like a
castle.
Cella. The inner portion of a Greek temple, inclosed in
solid walls. See pages 33, 43.
Channels. Shallow curved furrows running vertically along a
column separated from each other only by a sharp edge.
Château (sha-tō'). A large stately residence usually in the
country. Chiefly with reference to France.
Chevron. A variety of ornament common in Romanesque
architecture. Zig-zag molding. See page 147.
Choir. The part of a church occupied by the singers.
Citadel. A fortress or castle near a city, usually for
defense. Any strongly fortified place.
Classic. Having the characteristics of ancient Greece or
Rome, especially their literature and art. See pages 35,
125.
Clerestory (klēr'-stō-ri). Upper portion of a church with
windows on both sides, immediately over the nave and rising
above the aisles. (Clear-story.) See pages 16, 73, 102, 132.
Cloister. An arched way or covered walk. See description on
pages 99, 100.
Colonnade. A series of columns placed at certain intervals.
See pages 105, 176, 190.
Column. A cylindrical body or shaft standing vertically. See
descriptions and illustrations, pages 21, 26, 35, 53, 59,
64, 73, 75,
79, 96, 102, 103, 110, 172.
Composite. A Roman order. See page 56.
Concrete. An artificial stone. See page 47.
Corinthian. A Roman order. See pages 34, 38, 47, 56, 58, 69.
Cornice. Horizontal moldings at the top of a building or
room.
Also, in classic architecture the upper portion of the
entablature.
See pages 35, 36, 164, 172.
Corbel. A stone fixed into a wall but projecting from it in
order to support a weight above. Common in Gothic and
usually carved.
Corona. A molding forming part of a cornice, the under side
of which is grooved so as to throw off rain.
Court-yard. A court, or open space surrounded by, or
attached to, a house. See pages 84, 89, 90, 115, 117, 189.
Crossing. Name given to the central space at the
intersection of the nave and transept.
Crypt. Originally a cloister; now used to denote a
subterranean chamber, usually vaulted, beneath a church.
Cupola. A small dome-covered structure rising above the main
part of a building.
Dais (dā'-is). A platforir or raised floor at one end or
one side of a reception room or hall upon which seats are
placed for distinguished persons, especially such a platform
covered with a canopy.
Dome. A great arched roof surmounting a building. See
descriptions and illustrations, pages 16, 65, 77, 78, 82, 92, 102,
166, 168. Doric. A Roman order. See pages 28, 30, 34, 36,
37, 41, 42, 43,
45, 56, 58.
Drawbridge. A bridge which may be drawn up or let down as
before the gate of a town or castle or over a river. See
page
115.
Drum. The circular wall on which a dome is raised.
Dungeon. The principal tower of a medieval castle. The
underground part used as a prison.
Duomo. A cathedral; properly an Italian domed cathedral.
Echinus. A carved ornamentation of the ovolo, or rounded
molding beneath the abacus.
Elevation. A drawing showing one face of an object, usually
a building, only.
Embrasure. The enlargement of the aperture of a door or
window on the inside of the wall. Also in a fort the opening
in a wall or parapet through which guns are pointed. Also
the indent at the top of a battlement.
Engaged column. A column built into a wall so as to appear
as though a part of it were concealed. See descriptions and
pictures, pages 18, 59, 161.
Entablature. In classic architecture the whole
super-structure resting on the columns. See pages 35, 36,
58, 67.
Entasis. The outward curvature of a column. See pages 38,
39.
Façade. The principal front of a building, especially an
important one.
Fillet. A small round or angular molding separating two
other larger and more prominent ones, used to denote the
upright bands between the flutings of a column.
Flamboyant. A style of architectural ornament peculiar to
France in the 15th century—derived from the curved
flamelike moldings.
Fluting. The vertical channeling of a classic column.
Flying buttress. An arched buttress reaching from the wall
to another buttress outside the building. See page 129.
Frieze. A long band, usually decorated, immediately above
the architrave and cornice. See pages 35, 36, 43, 44.
Gable. The triangular space of wall inclosed at the ends of
a building by the pitched roof.
Gargoyle. A spout projecting from the gutter of a building,
or connected with it by an opening, for carrying off water.
See page 133.
Groin. The edge formed by the junction of two surfaces of a
vault.
Guild, or Gild. An association for the promotion of
common interests, especially those in the Middle Ages. See
page 124.
Hypostyle. Applied to an arrangement of pillars, of which
the two central rows are higher than those at the sides: the
object being, as in the case of a Gothic clerestory, to
throw a better light into the interior.
Igloo (ig'-lö). The dome-shaped but of the Eskimo usually
built of hard blocks of snow. See page 3.
Ionic. A Greek order. See pages 34, 37, 47, 56, 58.
Jamb. The sides of a door or window opening.
Joists. Horizontal pieces deeper than their thickness,
placed in parallel lines from wall to wall, or from beam to
beam, to carry a floor.
Keep. The stronghold or citadel of a medieval castle. It was
the strongest tower and final defense. Also called dungeon.
See chapter on the castle.
Keystone. The central stone at the top of an arch.
Lattice. Anything made or covered with interwoven strips;
specifically a window blind made of crossed strips.
Lancet window. A narrow pointed window named from its shape.
Lantern. The small structure topping a dome or tower—not a
cupola. See page 168.
Lintel. A beam of any substance forming the top of a door or
window, to carry the wall above. See pages 9, 14, 15, 21, 39.
Lunette. A small aperture or window especially if curved or
circular in a roof. Also a work of art of such a shape as to
fill a lunette.
Loggia. An open gallery with colonnade. Usually, but not
necessarily, in the upper story of a building.
Masonry. The work produced by a mason; a construction of
stones fitted together with mortar.
Mass. Bulk in general. See pages 10, 21, 25, 163, 195, 202.
Medallion. A medal. In architecture a tablet bearing objects
in relief applied to the exterior of a building.
Medieval (mē-di-ē-val). Pertaining to, or characteristic of
the Middle Ages.
Metope. A panel or tablet of stone, usually square,
sometimes oblong, placed at regular intervals along the
frieze and divided by triglyphs, generally decorated with
designs or groups of figures. Greek, see page 44.
Molding. A molded surface running along continuously in
buildings so as to make lines and contours in lights and
shadows, as on cornices, string-courses, window jambs, etc.
Common forms are the ball-flower, dog-tooth, canetto, ovolo,
etc. See pages 39, 4o, 97, 131, 145, 149, 164.
Monolith. In one piece of stone—usually a column. See page
44.
Mosque. A Mohammedan place of worship. It contains a
fountain
for bathing, and besides its dome or domes, has a minaret to
call
the faithful to prayers. See pages 87, 92.
Mosaic. A picture made of small pieces of colored glass or
stone or marble. These are set in cement against a all or
dome or other surface to be decorated. Very durable and at a
distance cannot be distinguished from a painting. See pages
73, 74, 80, 82, 83, 97.
Mullion. The vertical bars dividing a window into separate
parts.
Mutule. Primarily any projection from the surface of a wall:
used
especially to describe the square block, like the end of a
beam,
appearing at regular distances above the frieze of a Doric '
building.
Nave. The central portion of a church. See pages 12, 16,
101, 102,
131, 146, 147.
Octagonal. Having eight equal angles and eight equal sides.
Order. The whole design of a column and entablature. See
illustrations and descriptions, pages 35 to 38.
Ovolo. Any egg-shaped molding.
Pagoda. A Chinese or Japanese temple consisting of many
stories, each having its own up-curved roof. See page 269.
Parapet. A low wall, breast high only, on the edge of a
tower or gallery. See pages 113, 115, 116.
Pavilion. A building, isolated, but properly in relation to
a larger or principal structure, as the pavilions of the
Louvre. Sec page 190.
Pedestal. The base of a pillar. That which serves as a
support. Pediment. The low triangular end or finish of a
portico resembling a gable, in Greek temples. See pages 43,
103.
Pentelic. Pertaining to Mount Pentelicus, a mountain near
Athens: particular as to its fine marble, of which it
contained almost inexhaustible quantities.
Peristylium. The interior of a building surrounded by
columns, as in the Greek temples.
Perspective. In perspective, that is, seen according to the
laws of perspective. Perspective is discussed in "Famous
Pictures," pages 180, 182.
Piazza. Italian pronunciation (piat'-sa). An open square in
a town, surrounded by buildings.
Pier. The vertical erection from which an arch springs. See
page 53.
Pilaster. A vertical projection from a wall built out in
imitation of
a column, but flat and rectangular; it is part of the wall.
Pillar. A column or columnar mass, often clustered. See
Column.
Pinnacle. Any relatively small structure that rises
above a roof
or caps a buttress. See pages 130, 138.
Plate. A beam or piece of timber laid horizontally in a wall
to receive the ends of other timbers.
Plinth. Masonry at the base of a column which connects it
with the ground.
Porch. An exterior addition to a building forming a covered
approach to a doorway.
Portico. The colonnaded space in front of the entrance door
of a
classic temple, or other building. More important than
porch.
Portal. An entrance, particularly of a great or splendid
building.
See picture of Notre Dame, page 122.
Portcullis. A strong grating made to slide in grooves to
protect the entrance of a fortified castle.
Posticum. Space behind the cella in a Greek temple.
Propylon. A monumental gateway, especially Egyptian. See
page 27.
Pronaos. The vestibule of a Greek temple.
Proportion. The relation of one part to another, or to the
whole, with respect to magnitude. Symmetrical arrangement or
distribution. See pages 25, 39, 41, 72.
Prostyle. Porch supported by a row of columns, open on three
sides and surmounted by pediment.
Pylon. A monumental gateway to an Egyptian temple.
Rafters. Sloping beams supporting the upper part of a roof.
Recess. receding space, a niche, or alcove, as a recess in a
wall.
Reticulated. Latticed, like the meshes of a net.
Ribs. In vaulting, a sculptured arch supporting a vault. See
pages 17, 168.
Rococo. See baroque, and pages 18, 19, 165, 202.
Rotunda. A circular hall in a large building, generally
surmounted by a dome.
Rood-screen. Properly an open gallery placed immediately
above the chancel screen of a church, in which the Holy Rood
or Cross was displayed: but also used of a chancel screen
when surmounted by a cross.
Scroll. Any ornament of a spiral form.
Shaft. The body of a column between the base and the
capital.
Sill. A stone or piece of timber upon which a
structure rests, as the sills of a house, or the sill of a
door.
Soffit. The flat surface on the lower or under side of an
arch or cornice.
Spandrel. The triangular surface-space between the spring of
an arch and its square frame. Sec page 69.
Spire. The high pointed termination of a tower. See pages
82, 131, 146, 155.
Stall. One of a range of fixed seats inclosed either wholly
or in part at the back and sides in the choir or chancel of
a church, often richly sculptured.
Steeple. A lofty structure attached to a church or public
edifice. Usually contains bells and surmounted by a spire.
String-course. A molding run horizontally along a wall to
mark a division of stories or design in a building.
Structure. A building of any kind. Also the mode of
building, arrangement of parts and elements. See pages 21,
22, 53, 71, 138, 161, 162, 212.
Stucco. Cement or plaster used as a coating for walls. Also
work made of stucco. The ornamenting with garlands and
festoons of stucco for exteriors was very elaborate in the
times of the Romans and with the Italians in the fifteenth
century.
Super-structure. Any structure built on something else,
particularly an edifice with reference to its foundation.
Symmetry. The exact repetition of one-half of any structure
by the other half with the parts arranged in reverse order.
See
pages 25, 139.
Texture. The surface quality of objects. See pages 87, 88,
89, 163.
Thrust. The stress which acts between two contiguous bodies
when
each pushes the other from itself. See Pages 65, 128, 129.
Tile. A thin slab of baked clay used for covering roofs, or
a slab
of pottery or porcelain usually glazed and ornamented and
used for pavements, walls or decorations.
Tracery. The stone which frames into the top part of a
Gothic or other window. Any permanent open work built into
the head of a window. See pages 530, 131, 147.
Transept. A transverse nave crossing the central nave from
north to south. See pages 96, 139.
Triforium. An open arcaded gallery of arches running
immediately beneath the clerestory, and above the pillars of
the nave. Gothic.
Triglyphs. Triple upright grooves channeled in the spaces
between the metopes, and together with these, forming the
frieze.
Truss. A method of framing timber or iron. A combination of
timber, iron or steel so arranged as to constitute an
unyielding frame.
Turret. A small tower rising from or otherwise connected
with a larger building.
Tympanum. The triangular space in a gable end, or at the
head of an arch.
Vault. Any masonry built arched roof, the materials of which
mutually support and sustain themselves upon their
abutments. See pages 58, 65, 95, 96, 99, 109, 130, 138.
Vaulting. Vaulted work. See perspective of vaulting on page
141.
Veneer. A thin coating covering a wall or other body.
See pages 79, 80, 83.
Vermicular. Marked with worm-like lines. See page 191.
Villa. A country seat; properly one of some size.
Void. An unoccupied space.
Volute. A spiral scroll; especially the characteristic
ornament of an Ionic capital. See page 37.
Wagon-vault. A semicyclindrical vault, or barrel vault.
Wheel-window. A large circular window with tracery radiating
from the center. Practically the same as rose-window
although
a wheel window usually has the spokes more or less suggested
See pages 135, 139.
Table of Buildings
The following table is compiled chiefly from information
furnished by Superintendents of Schools or City Architects.
After reading about some of the world's great buildings and
about the different styles of Architecture, we ought to
visit the best examples in our own vicinity. In general
these buildings do not represent a style in its purity, but
combine features of one or more. To analyze the buildings of
our own city in the light of what we have learned is a
pleasant lesson and will prepare us the better to enjoy the
world's finest architecture
when we come to see it. If you will take out your camera and
go on a hunt for bits of architecture, you will be surprised
and pleased at the results. Choice bits of carving, columns,
capitals and detail are to be found in all our cities, and
the pictures will be something to keep, and often well worth
enlarging and framing.
Baltimore
Egyptian: The Battle Monument (Egyptian detail, marble),
Gateway to Westminster Presbyterian Church which opens into
cemetery where Edgar Allan Poe is buried. Greek: The
Savings Bank of Baltimore (white marble), McKim School.
Romanesque: St. Mark's Lutheran Church, First Methodist
Episcopal Church. Gothic: First Presbyterian Church.
Saracenic: Maryland Casualty Building (mixture). Colonial:
Homewood (Charles Street extended and University
Parkway—brick and stone).
Boston
Egyptian: Gateway Mt. Auburn, Cambridge; Granary Burying
Ground, Boston. Greek: Suffolk Bank Scollay Square Base;
Custom House, State Street (both Doric). Roman: Fenway
facade of Evans Galleries, Museum of Fine Arts. Byzantine:
Synagogue. Romanesque: Old Law School, Cambridge; Sever
Hall; Trinity Church, Boston (Richardson Architect). Gothic:
Central Church, Berkely and Newbury Streets; All Saints'
Church, Brookline. Renaissance: Public Library, (McKim),
(French), Church, Audubon Circle (English), Tremont Temple
(Venetian). Colonial: Old State House, Interior King's
Chapel, Present State House, Park Street Church, Wilbur
Theater (Georgian). Saracenic: Interior Tremont Temple, many
doorways on Chestnut Street.
Chicago
Roman: Art Institute (Bedford stone). Greek: Art Palace,
Jackson Park (stucco on brick); Present Field Museum.
Romanesque: Newberry Library (light granite). Gothic: Harper
Memorial, University of Chicago. Renaissance: Harold
McCormick residence at Lake Forest (Italian, stucco on
brick). Saracenic: Medina Temple at Jackson and Fifth
Streets (office building, Moorish detail in terra cotta).
Colonial: Kenwood Club (brick).
Cincinnati
Roman: Israel Temple (Avondale), Soldiers and Sailors
Memorial Building, Elm Street (Rock castle stone). Greek:
Schmidlapp Memorial; Sculpture Hall in connection with the
Art Museum, Eden Park (Bedford stone); Old
Lafayette-Franklin Bank. Romanesque: Building at entrance to
Spring Grove Cemetery (limestone with sandstone trimmings),
City Hall, Y. M. C. A. Building. Gothic: St. Francis de
Sales' Church; Walnut Hills Scottish Rite Temple; St.
Xavier's Church; St. Mary's Church, Covington; Dexter
Chapel. Renaissance: Guilford Public School (Italian),
Business M en's Club (Venetian), Union Central Life
Insurance Building (skyscraper adaptation). Saracenic:
Jewish Temple at Eighth and Plum Streets (brick and stone).
Colonial: Charles P. Taft residence (wood), Women's Club
(brick and stone). Avondale Athletic Club. Byzantine:
Herbivora Building at the Zoological Gardens (concrete).
Cleveland
Egyptian: The County Morgue. Roman: Post Office and City
Hall. Neo-Roman: County Court House, First National Bank,
Cleveland Trust Co. Building. Greek: Andrew's Mausoleum,
Brook's Mausoleum, Wade Memorial Chapel, Hanna Memorial.
Gothic: Trinity Cathedral, Euclid Avenue Presbyterian
Church. Renaissance: Union Club, Leader Building. Saracenic:
Euclid Avenue Temple.
Columbus
Greek: State Capitol Building (Doric). Renaissance: Carnegie
Library (marble).
Denver
Roman: The Public Library (sandstone, Corinthian). Greek:
The new Post Office and United States Court Building
(modified Ionicmarble). Romanesque: East Side High School.
Gothic: Roman Catholic Cathedral. Saracenic: El Jebel
Temple. Colonial: The Denver Country Club.
Detroit
Roman: Detroit Fire and Marine Insurance Co. Building
(modern adaptation of Roman motives and detail). Greek:
Mausoleum in Woodlawn Cemetery for F. J. Hecker (Grecian
Ionic, white marble). Romanesque: Bits of Masonic Temple,
Lafayette Avenue (Italian). Gothic: St. Paul's Cathedral;
Fort Street Presbyterian Church (English perpendicular);
Mortuary Chapel, Woodlawn. Renaissance: People's State Bank
(Malian, white marble). Colonial: R. A. Alger's house,
Grosse Pointe Farms (English-Georgian), University Club.
Hartford
Greek: State Library and Supreme Court Building. Gothic: St.
Joseph's Cathedral; Christ Church; Wadsworth Atheneum
(Tudor). Renaissance: State Capitol; Morgan Memorial Art
Gallery. Colonial: New Municipal Building.
Indianapolis
Roman: The Federal Building (stone). Greek: Portico of
Asylum for the Blind, The Masonic Temple (Greco-Roman,
stone). Gothic: Christ Episcopal Church (English-Gothic,
stone), St. Mary's Church (compare with Cologne Cathedral).
Renaissance: Old Fletcher American Bank Building, The
Deutsche Haus (east half is good German renaissance).
Colonial: House of Meredith Nicholson.
Kansas City
Egyptian: Stine Undertaking Co.'s Building (exterior of
terra cotta, good example). Roman: New Union Station (stone,
style somewhat modified). Greek: Temple B'nai Jehudah
(stone, good example). Romanesque: Trinity Episcopal Church
(stone, style mixed with Byzantine). Gothic: First
Congregational Church (stone, English Gothic). Renaissance:
Public Library (stone, good example of Italian renaissance).
Colonial: Residence 3538 Gillham Road (red brick, good
example).
Louisville
Roman: Jewish Synagogue. Greek: Southern National Bank
Building (while this is a small building, it is of more than
ordinary merit). Romanesque: Library of the Baptist Seminary
(poor example). Gothic: St. Paul's Cathedral (mixed).
Renaissance: Presbyterian Theological Seminary (beautiful
example of English). Colonial: Residence of Mr. Wilson
Cochran, Douglas Boulevard.
Los Angeles
Roman: Lincoln High School is Roman Doric in general design,
Aragon Avenue School is of the Tuscan order. Greek:
Santa Barbara Avenue School. Renaissance: Malabar Street
School is taken somewhat from the brick architecture of the
Italian Renaissance; Boyle Heights Intermediate School is
Lombard-Italian style; the H. W. Hellman Building, Fourth
and Spring Streets, is of the architecture of the
Renaissance period. (Due to 150-ft. sky line restrictions,
the architecture of the largest office buildings has become
an almost distinctive style, which could be called a modern
adaptation of the old Classical architecture, with an
occasional attempt at Renaissance; there are no very pure
examples of the architecture of either of these periods.)
Saracenic: Temple of B'nai B'rith, Ninth and Hope Streets;
Ocean Park Bath House, Ocean Park, Cal. Gothic: First
Congregational Church, Hall of Records (not pure). Notes:
Manual Arts High School is copied somewhat from the Old
Mexican style of architecture, or, it could be called
"Southern California" style,—no pure style. The Virgil
Avenue School is taken from the old Spanish brick and
plaster architecture (no pure style). Western Avenue School
is rather of the Art Nouveau. Wadsworth Avenue School is
Spanish Mission style.
Milwaukee
Greek: Marshall and Ilsley Bank Building (stone and marble);
Layton Art Gallery (stone and marble). Gothic: Unitarian
Church (brick); St. James' Episcopal Church (brick).
Renaissance: Milwaukee Public Library and Museum (stone and
marble).
Minneapolis
Gothic: St. Mark's Church. Renaissance: Alice Shevlin Hall,
University of Minnesota; New Art Gallery. Colonial: L. H.
Farrington Residence; E. L. Carpenter Residence.
Newark
Roman: Mutual Benefit Life Insurance Co. (home office
building, white marble). Romanesque: Prudential Life
Insurance Company (home office buildings, limestone).
Collegiate Gothic: Newark Normal School (variegated red
brick and light gray terra cotta). Gothic: High Street
Presbyterian Church (brown stone). Italian Renaissance:
National State Bank Building (cream colored, semi-glazed,
terra cotta). Colonial: No public buildings, but several
good examples among private houses. The First Presbyterian
Church, Trinity Church, (both brown stone). Georgian:
Cleveland Grammar school (red brick and gray terra cotta).
New Orleans
Egyptian: U. S. Custom House (not decidedly Egyptian).
Roman: Main Library (good example of Roman Corinthian).
Greek: City Hall (Grecian Ionic). Romanesque: Howard
Library (H. H. Richardson, Architect). Gothic: Loyola College
(Collegiate Gothic). Renaissance: U. S. Post Office
(Italian). Saracenic: Jesuit Church (Moorish Architecture).
Colonial: Cabildo (Spanish Colonial).
New York City
Roman: Knickerbocker Trust Company's Building; Madison
Square Presbyterian Church (Corinthian); Pennsylvania R. R.
Station (Neo-Roman). Byzantine: Unitarian Church at Fourth
Avenue and Twentieth Street. Saracenic: Temple Emanuel,
Fifth Avenue; Interior Casino Theater. Romanesque: St.
Bartholomew's Church (carved frieze and bronze doors);
Paulist Fathers' Church. Gothic: St. Patrick's Cathedral;
St. Thomas's Church, Fifth Avenue (French); Residence of W.
K. Vanderbilt (sixteenth century Gothic). Renaissance: N. Y.
Herald Building (Italian); Tiffany's Building on Fifth
Avenue (Palladian); University Club, Fifth. Avenue and
Fifty-fourth Street (Florentine); Public Library (Louis XVI
style); Branch Library, No. 29 (Florentine); Schwab
Residence on Riverside Drive (French Chateau). Colonial:
Jumel Mansion.
Pittsburgh
Roman: Bank of Pittsburgh (Fourth Avenue). Romanesque:
Masonic Hall (except first story). Byzantine: Epiphany
Church. Romanesque: Court House (very good). Gothic: Calvary
Church, St. Peter's Church, Trinity Church.
Providence
Greek: Manning Hall, Brown University. Romanesque: Central
Baptist Church (Italian type); Gymnasium Brown University
(French type). Gothic: Grace Church; St. Stephen's Church.
Renaissance: Rhode Island State House. Colonial: Spire of
First Baptist Church, designed by James Gibbs, one of the
best Georgian spires in America.
Richmond, Va
Egyptian: "Medical College of Virginia, corner Thirteenth
and Marshall Streets. Roman: Cathedral, Laurel and Park
Avenue. Greek: First Baptist Church, Twelfth and Broad
Streets. Romanesque: Included this with the Roman. Gothic:
Second Baptist Church, Adams and Franklin Streets.
Renaissance: Scott Residence, goo West Franklin; Baskerville
Residence, Boulevard and Beverly Street. Colonial: St.
John's Church, Twenty-fourth and Broad Streets.
Salt Lake City
Gothic: First Presbyterian Church and St. Mary's (Catholic)
Cathedral. (Neither is pure Gothic.) Renaissance: Federal
(Post Office) Building (good example stone). Colonial:
Beehive House.
San Francisco
Egyptian: Museum in the Golden Gate Park (in its
massiveness, sloping walls, columns and decorative features,
but not in material). Roman: Central portion of the United
States Mint is a good reproduction of the exterior of a
Roman Doric Ternple. Romanesque: The Catholic St. Mary's
Cathedral. Also the portal and many decorative features of
the Mills Building. Gothic: The Episcopal Cathedral (just
begun); First Unitarian and St. Paul's ChurcheS.
Renaissance: The Claus Sprechel's Residence (French);
Scottish Rite Temple (Italian); The German House. Chinese:
Chinese Telephone Offices, a small reproduction of a Chinese
temple. Colonial: The two Lilienthal Residences, corner of
Gough and California Streets. Japanese: Entrance, private
house, and Tea House of the Golden Gate Park Japanese Tea
Garden.
Seattle
Greek: American Savings Bank Building. Romanesque: Mutual
Life Building; New York Block. Gothic: Trinity Church; First
Baptist Church; Henry Memorial Church. Renaissance: Seattle
Public Library; United States Post Office Building; Roman
Catholic Cathedral; Franklin High School. Colonial: Robinson
Apartments; Plymouth Church; L. D. Lewis Residence; Brownell
Residence.
Syracuse
Roman: Central High School; County Court House; Syracuse
University Gymnasium (Pseudo-Classic). Romanesque: Crouse
College, Syracuse University (Richardson). Gothic: St. John
the Evangelist Church; First Presbyterian Church (Tudor
Gothic). Colonial: Leavenworth Homestead.
Philadelphia
Egyptian: Moyamensing Prison. Roman: Girard Trust
Building (Greco-Roman). Greek: Girard College, Custom House.
Romanesque: University Museum. Gothic: St. Mark's (English);
Church of the Advocate (French). Renaissance: Horticultural
Hall, Broad above Spruce. Saracenic: Lulu Temple. Colonial:
Carpenters' Hall, Independence Hall.
Washington
Greek: U. S. Patent Office (Doric); Treasury (Ionic).
Romanesque: Church of the Covenant (by Richardson). Gothic:
Church of the Ascension, 12th and Mass. Ave. Renaissance:
Public Library (Italian). Colonial: D. A. R. Hall, uth St.,
Mt. Vernon.
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