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The Lady chapel at Caudebec, near Rorien, Normandy, exhibits the manner of suspending a keystone by locking it between the voussoirs of a strong semicircular arch. The length of this

pendent stone is 17 feet 6 inches, and its thickness at the top, where locked, is 30 inches: the voussoirs are 3 feet in depth; the small pointed arches or ribs that form the groining of the hexagonal vault spring from the side walls and the ornamental knob of the pendentive, and are perfectly independent. The abutments of the semicircular arch, which has a radius of 12 feet, are formed by solid walls continued for some length in the direction of its diameter. This sacristy is hexagonal; each side internally measures 12 feet, and the height from the pavement to the springing of the ribs is 18 feet.

Henry the Seventh's Chapel, Westminster. The first appearance of the pointed arch probably a little before

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twelfth century; the pil

Fig. 1325.

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lars and mouldings which then accompanied it were of Saxon origin: to its acute form was

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FIER OF HENRY VII.'S CHAPEL.

Fig. 1324. afterwards added the slender Purbeck columns and simple groining, producing that unadorned majesty which reigns throughout the cathedral of Salisbury. This style underwent several changes, and was succeeded at the latter end of the thirteenth century by another, in

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which the arch was struck from more than two centres: the naves of York, Canterbury, and Winchester Cathedrals have been cited as Among the best examples. But we have now to describe the principles of a style founded upon the others, and applied to all buildings in England from the middle of the fifteenth to the middle of the sixteenth century; it is not met with on the continent, the Italian or revived classic architecture having there been generally introduced and preferred.

The variety exhibited in groined vaults, progressing from simple ribs to those of an intricate and net-like arrangement, no doubt led the masons of the time to the construction of the cloisters at Gloucester, King's College, and Henry the Seventh's Chapel at Westminster, which works are the best evidences that can be adduced of the improvements made in professional science, and which could only result from a continued perseverance in the study of the subject: an examination of the several styles will prove that they must have been produced by the same school or fraternity, and that neither Sir Reginald Bray nor William of Wykeham could have become acquainted with the mysteries of the craft, unless they had been instructed by the freemasons; and that to them, and not to any individual, nor to the clergy as a body, ought we to attribute the construction of these scientific and highly decorated works.

The Division of Henry the Seventh's Chapel bears a strong resemblance in its general proportions to that of St. George's at Windsor, although it is rendered more ornamental by the multitude of figures enshrined in delicate tabernacle-work, which covers almost the entire walls. The mouldings of the main piers (fig. 1324.) that separate the middle from the side aisles are enclosed within a circle divided into a pentagon-a form the best adapted to receive the weight of the ribs, and the flying buttresses that were to resist their force.

The Rev. James Dallaway, whose dis. courses upon the architecture of England, created so many admirers of this interesting subject, observes, that "here the expiring Gothic seems to have been exhausted by every effort. The pendentive roofs, never before attempted on so large a scale, are prodigies of art." But it is not to the profusion of sculptured angels, statues, royal heraldic devices, &c., that we are desirous of drawing the attention, so much as to the extraordinary ronstruction that prevails throughout this master-piece, in which we have the strongest evidence that theory and practice went hand in hand; that the knowledge of geometry had advanced to its highest pitch in the constructive arts, and that not only were the principles of the arch thoroughly understood, but considerable advance made in the application of the properties belonging to the cone. The section of this beautiful chapel is 78 feet in width; the buttresses and outer walls together are 6 feet 9 inches, the side aisles 11 feet 3 inches; the piers from north to south 4 feet

Fig. 1325,

HENRY VII.'S CHAPEL.

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6 inches, and the clear width of the nave 33 feet. The entire width, at the basement or level of the pavement of the crypt, is 79 feet: 26 feet, or, is devoted to points of support, and 523 feet, or, to the side aisles and nave; the area of a severy shows applied to walls and piers, and to the void, which proportions accord with the early rather than with the late examples; the great weight of the vaulting, which is 62 feet high from the pavement of the chapel, requiring additional strength, the proportions of St. George's Chapel at Windsor would not have been equal to the necessary resistance. (See par. 2002w.)

Our limits will not permit a more extended inquiry into the principles of proportion, the study of which is calculated to produce an important improvement in the noble art, for the practice of which the young architect must prepare himself by careful measurement, not only of the ruins of the Acropolis and of the Capitol, but of all that remains of mediæval architecture: he must be a pilgrim seeking after truth, not bowing before any favourite shrine, but returning with a devotion as enlarged as his subject. The stupendous works which antiquity has transmitted to us, it is hoped, may excite the attention of the general reader, nor will his interest be diminished by the contemplation of the astonishing development of modern industry. The writer cannot but feel the importance and variety of his subject, and, while he is conscious of his own imperfections, he must often accuse the deficiency of his materials: but the results of his labour, however inadequate to his own wishes, he finally delivers to the candour of the public.

THE FIGURE OF THE CUBE has from time immemorial been selected by the architect and engineer as best suited for every variety of edifice; and it is remarkable that the multiplying of the cube constitutes the design of the Greek temple, the Gothic cathedral, and the modern iron structure at Sydenham, the variety of effect depending upon the mode of its application. Reviewing the temples of the ancients, we find that those composed of a portico of four columns, and six intercolumniations on the flank, or seven columns; that the whole constituted a double cube, or two cubes side by side. cube of 32 feet 4 inches in height, breadth, and length, placed behind another of the same dimensions, would represent the entire mass of the temple of Fortuna Virilis at Rome.

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The temple of six columns, or the Hexastyle, is composed of nine half cubes, or three entire, placed one behind the other, with the addition of three half cubes against the sides of the first, making altogether four cubes and a half.

The Octastyle temple is composed of nine whole cubes, or four cubes and a half in depth, repeated twice, placed side by side. The Parthenon is thus formed of cubes, whose sides each measure 50 feet 6 inches; two occupy the front, of 101 feet; the depth of the four and a half cubes are a trifle more than 227 feet, the true extent being 227 feet 7 inches. Six cubes, placed one above the other, form the design of the Campanile, at Florence, commenced by the celebrated Giotto in the year 1334; and on the breaking up of these cubes into ornament, the perpendicular lines are lengthened out, whilst in the Greek temple the horizontal are made to preponderate; repose in the latter, and lofty aspiration in the former, marks the distinction between them.

The Tower of Rochester Castle, usually supposed to be of Norman construction, perfectly resembles the far-famed Coliseum at Rome, in the manner in which the spiral vaults are executed, and in the general method adopted in carrying up the massive walls. The cement employed was evidently manufactured on the spot, as it is entirely composed of the materials found close at hand, and the stone such as could be brought down the Medway, and quarried on its shores. If this enduring structure was the work of Gundulph in the 12th century, we have the strongest evidence that the Roman arts of construction were continued without any change either in the art or mystery of building up to that period at least.

The building is a cube and a half nearly, being about 74 feet square without the entrance porch, and its height to the top of the angular turrets is 112 feet. A square divided into twenty-five equal squares exhibits its plan; the sixteen outer squares represent the thickness of the walls, in which are galleries, recesses, and contrivances necessary for its protection against an enemy; the nine inner squares of the plan are divided into two spacious rooms, one being 45 feet by 19 feet, the other 45 feet by 21 feet; the wall that divides them is 5 feet 6 inches in thickness. The height comprises a basement story and three others beneath its roof, which has been vaulted, and which is 90 feet to the top of the battlement, and 112 feet to the top of the turrets.

Rules adopted by the Freemasons in setting out their Buildings, from the Tenth to the Fifteenth Century :

In the foregoing remarks on Proportion some general rules have been suggested as to mass and void, and more particularly the principles of setting out the windows and tracery of the English and French cathedrals. On referring again to this interesting subject, the writer was led to inquire why the structures of the latter country should be so uniformly larger than those of the former, from which they differed but little in style, preserving the same relative proportions, though differing in dimensions. Guided by the supposition that the buildings of the above period were the works of fraternities of freemasons, it seemed conclusive that they should have some standard of measurement, either of their own or peculiar to each country; and, on testing the measurements with that view, it resulted that those of England were set out with the English perch of 16 feet 6 inches, and no doubt by an English lodge; while in those of France the French perch royal, of 22 pieds du roi, equal to 23-452 English feet, was employed; the few exceptions at Bayeux, Caen, St. George Bocherville, and some others with round arches, and the elegant church of St. Ouen at Rouen, in the flamboyant style, are set out with the English perch of 16 feet 6 inches, and are universally attributed to English constructors; they certainly most curiously agree in proportion and dimension with the English cathedrals, which have two cubes given to the nave, producing on the plan a Latin cross, instead of the Greek so usually found in France. It would seem that the standard measures referred to were well and wisely chosen, as if intended to apply to all times and all varieties of structure; for it is singular how nearly the dimensions of the cubes of the fairy palace at Sydenham, 24 feet, correspond to 23 feet 6 inches of the royal French perch.

To illustrate this subject fully is not within our present narrow limits; a very few examples must suffice, out of the numbers which might be adduced in support of the proposition; and it is earnestly hoped that the young architect may be sufficiently inte

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