Page images
PDF
EPUB

rested to test the theory practically, that while he admires their picturesque beauties, he will examine by measurement their plans and sections.

Of the French Cathedrals, we must be content to refer to Chartres, Reims, and Amiens as those most admired, and which serve as examples of the application of the French perch in setting out their various parts as well as the whole.

Chartres Cathedral, in which the pointed arch first appears, is a structure of the 11th century, and one of the most remarkable, as well as beautiful, erected after the first introduction of the pointed style by those who had journeyed with the Crusaders, and had an opportunity of studying their craft in the East.

The proportions are simple in the extreme. A cube is devoted to the nave, two to the transept, one to the choir; in addition to which, at the eastern extremity, is a semicircular termination with six polygonal chapels attached, forming on the plan a Greek cross of admirable design.

The nave, comprising six divisions of pointed arches on each side, is in its length and width six royal perches, the distribution of which will enable the reader to comprehend the setting out of the entire plan, which he can refer to in several publications.

The clear width of the nave is two royal perches between the clerestory walls; each side aisle is one royal perch, and the distance from the middle of one pier to that of the other, from west to east, is also a royal perch.

The entire width of the nave from out to out, that is to say, from the face of the exterior buttresses, is six royal perches, four perches being given to the two side aisles and nave for their clear widths, and the other two to the projection of the buttresses, thickness of the two outer walls, and those of the clerestory of the nave.

If the royal perch be divided into three, one part constitutes the diameter given to the pillars, and another the thickness of each of the walls of the side aisles.

The internal height of the nave is the same as its clear internal width with side aisles; so justly is all proportioned that the perch royal, and its division into three, enables us to comprehend the dimensions of the parts, as well as that of the entire mass of construction.

Reims Cathedral was similarly set out.

The clear width of the nave is two royal perches, and each of the side aisles is one perch. The extreme width of the nave, comprising the projection of the buttresses, is six royal perches; the diameter of the piers, one-third of a royal perch, as in the example of Chartres.

It must be observed that the dimensions do not apply to the clear distances between the pillars, but to the space between the walls, which in the clerestory are peculiar for the contrivances of a gallery, which usually continues around the entire cathedral, and which will be better understood when we treat upon Amiens Cathedral, reserved for a fuller description. That the perch was the standard of measurement there can be no doubt; for in the smaller churches of Great Britain, as that of Roslyn, for example, the nave is a single perch in width, and the side aisles half a perch; the proportions of the parts being also those of the third of an English perch.

Salisbury Cathedral, a contemporary structure with Amiens, is set out with the English perch, and affords the best commentary upon the two standard measures made use of in the same century by the French and English freemasons.

The Nave of Amiens Cathedral is usually admired for its elegant proportions, and by several eminent critics has been cited as the beau ideal of that style of architecture so universally practised during the middle ages, or after the Romanesque had been discontinued. It is one of the most simple in its arrangement, though at first sight, removing all idea of simplicity, and appearing so complicated from its variety of parts, as to defy the application of any ordinary rules; the numerous arcades, the narrow and lofty compartments, the vaulted divisions, the diagonal and curved lines, blending one into the other, and apparently without limit, it is some time before the eye can acquiesce in the idea that such an edifice can be brought under the same laws as a Greek temple, or that the cube could be the measure of its parts or its whole. In taking the measurements, however, of this rare example, the dimension of 23 feet 6 inches so frequently occurred that it seemed to denote a standard by which to arrive at the length, breadth, and height of the whole, and that. if considered after the manner of Sebastian Serlio. where he describes Bramante's plan of St. Peter's, we might arrive at something like a clue to the whole design.

It is curious to note, in the work of the above mentioned architect, several allusions to the cube, in the defining the parts as well as the whole of a design, and there can be little doubt that this simple figure served as the means of measuring the quantities, of either solid or void, in every period of the constructive arts; certainly none presents to the architect a better means of comprehending or of measuring quantity, and none is more readily subdivided, or rendered subservient to the taste of the designer, whatever may be the architecture he is anxious to imitate.

Within an isometrical cube may be placed the entire nave of Amiens Cathedral; and the etter to understand its proportions, we must suppose each square or cube into which it is

divided to measure 23 feet 6 inches each side, or the isometrical figure to contain 216 such cubes; the total height, width, and length being 141 feet, or six times the 23 feet 6 inches. (See fig. 1327.)

On the plan are six divisions in length and width, or altogether 36 squares; each measure 23 feet 6 inches on each of their sides. The six outer divisions of the principal figure are devoted to walls and buttresses; the adjoining six on each side show the situation

[graphic][merged small][merged small]

of the side aisles; and the two middle divisions that of the nave. The two side aisles occupy together 12 squares, as does the nave; the remaining 12 being devoted to outer walls and their buttresses.

The entire area, therefore, has 24 squares to represent its interior distribution, and half that number its external walls; or one-third walls, two-thirds void. Such are the general arrangements of its plan, and its extreme simplicity has enabled the constructors to execute the vaulting of the side aisles and that of the centre nave by diagonal ribs, which in the former extend over one square, and in the latter two, thus giving to the nave its due proportion of height, without changing the principle of its construction.

The freemasons of the middle ages were so perfectly acquainted with geometry that there is seldom any defect in their vaulting; it is evident that they laid down their plans for its execution before they decided upon the form of their main piers; in their setting out, every part had its due function; and the column, which was intended to be connected with the vaulting, either of nave or side aisle, was peculiarly adapted by its position for its use.

The master mason Robert de Luzarche commenced the building of this nave about the year 1220, the founder being Bishop Evrard. The pillars of the nave were raised to the height of their capitals in 1236, but it was not till 1236 that the vaulting was completed; and about eight or nine years afterwards the lateral chapels were added.

To the top of the battlement of the nave there is not quite so much height as the outer wall of the Coliseum at Rome, which is 157 feet; but it is curious to observe that one division of this renowned building does not differ very materially in its proportions from that at Amiens; the division of the ampitheatre being seven cubes in height; the piers occupy one third of the width of a compartment, as is usual in Roman structures of the same period. The masonry of Amiens Cathedral is executed after the Roman models, consequently the pointed arch makes the chief difference between the two styles.

To render the application of the theory of the cube to the nave of Amiens Cathedral more evident, or how the 216 cubes which the isometrical figure contains are placed, somewhat more of detail must be entered into.

The six main divisions shown in the figure, with the side aisle behind them, have their points of support at the four angles of each of the six squares; then each square, with its 23 feet 6 inches sides, shows the position of the lowest cube of the six placed one above the other, forming the entire height of each division or severy.

At the top of the second cube is the level upon which the main arches spring, and that upon which the ribs of the vaulting of the side aisles rest.

The top of the third cube indicates the level upon which the triforium is based, and consequently contains the vaulting of the side aisle.

The fourth cube is the triforium, and the fifth and the sixth the clerestory.

On examining the section, the side aisles are three cubes in height, including the vaulting, and the nave six; the entire open space of the interior has 18 cubes for each aisle, or 36 for the two side aisles, and 72 for the nave; in all 108 cubes, or exactly one half the entire number contained in the isometrical cube.

It must be remarked that considerable alterations have been made since the building was constructed; between the buttresses, chapels have been formed, and the original windows, which lighted the side aisles, removed to the extent, or somewhat beyond the outer face of buttresses, as represented. The interior is therefore increased materially in width, and its effect greatly improved, making the entire internal width and height more in conformity with each other, or each 141 feet.

In the elevation of the divisions the boundary of each of the six cubes is more clearly marked. The width from centre to centre of each pillar, indicated by the seven circles (fig. 1328.) is 23 feet 6 inches; to the top of the capitals from the pavement A B, the height is twice that dimension; to the bottom of the bases of the column of the triforium B C, the same; thence to the bottom of the glass of the clerestory windows C D, the same; to the tops of the capitals or spring of the arches D E, the same; and above that line to the underside the vaulting E F, the same; thus, six times 23 feet 6 inches, or 141 feet, is the total height from the pavement, of the division represented in fig. 1328.

As the groined vaults of the side aisles are set Fig. 1528. ELEVATION OF NAVE; AMIENS.

out upon a snare, and the width from the centres of piers is the same as those towards the

[graphic]

B

nave, we have three perfect cubes of 24 feet in each severy up to the bottom of the trifo rium story, and the same number from thence to the top of the vaulting of the nave.

The main pillars are 7 feet, and 7 feet

2 inches in diameter, composed of a large cylindrical column, with others attached for the support of the vaulting. Towards the nave there are three columns which are carried up to the height of about the middle of that of the clerestory windows; on the capitals which terminate them rest the cross springers and diagonal ribs of the vaulting. The arches of each division are 4 feet 9 inches in thickness, and rest on the side columns, of 18 inches diameter. The faint line on the plan fig. 1329. represents the pier and mullions of the division of the clerestory window.

The seven circles shown in fig. 1328. exhibit the proportion each pier bears to the opening, namely, that of twosevenths for piers, and five-sevenths for the space between them. The dimensions vary a little as taken throughout the six severies, as in some instances the diameter of the piers varies as above stated.

[graphic][subsumed][merged small]
[blocks in formation]

The base and capital of the main pillars, as here shown with their dimensions, is the same as the front view towards the nave, with the exception that the two 7-inch columns at the side of that in the middle are omitted.

The piers that divide the side chapels, and the original outer buttresses, have been changed probably from their original design; they are now 8 feet wide.

The clerestory window with its piers and mullions being already given (fig. 1329.) it remains to show the plan of the piers and mullions of the triforium, and its gallery or passage, which has a clear width of 20 inches between the main pier and the outer wall, which is about 10 inches in thickness (fig. 1334.) The middle mullion, or that which divides the triforium into two principal arches, is 2 feet 6 inches in width, and composed of seven small columns, as shown attached to the main pillar, which has a depth of 6 feet 8 inches.

J

Fig. 1334.

[ocr errors]

PLAN OF TRIFORIUM.

The ordinary decoration in this cathedral is very simple, consisting of a circle, comprising either three, four, five, six, or eight others; the centres of which and their portions may be understood by reference to the five diagrams figs. 1335. to 1339. Sculptured foliage occurs in the capitals and along the string inouldings; figures, however, of the most elaborate execution and design decorate the exterior, and particularly around the chief entrances; perhaps few buildings excel the Cathedral of Amiens in the richness of these portions, or the magnificence of its porches. In describing the figs. 1292. and 1294., an attempt was made to convey an idea of the geometrical style of the tracery in the rose windows, as well as those of the side chapels. We cannot quit this part of our subject without regretting the want of further space for the treatment of this very interesting reference to the arts as displayed by the builders of this period, particularly as the principles upon which they practised are so little known. Simple as they were, their system seems to have been forgotten after the lodges of the freemasons were broken up, and the new era appeared. The renaissance, or the return to the Greek models, at once set aside all knowledge of that architecture which had attained such perfection in Europe for four centuries.

Fig. 1335.

Fig. 1336.

Fig. 1357.

Fig. 1338.

Fig. 1339.

THE BUILDING FOR THE EXHIBITION OF THE INDUSTRY OF ALL NATIONS, 1851. This building was stated to have been suggested to the Society of Arts in June 1845 by his Royal Highness Prince Albert, and it was not long ere the plan for its adoption was developed. The public quickly responded to an appeal by subscribing 75,000l. to enable the commissioners to erect a suitable building, to be completed by the 1st of May 1851; the site being granted by Her Majesty, on the south side of Hyde Park; and all that was required of the exhibitors was, to deliver their various specimens of art and

« PreviousContinue »