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side from the tower, the piers of the loggia, which on the basement extends along the front, consist, at least three of them, of columns whose date is evidently a century earlier, and which it is probable were left when the main front of the building was carried up. Indeed, it seems highly probable that when the architect Jean van Ruysbroeck undertook the tower, his part of the work, the hotel was in existence as high as the one-pair floor. The whole of the tower seems rather later than the date above given, which accords well enough with the northern wing. The authorities we have looked into scarcely, however, admit us to doubt its correctness. As the building stands executed, taking one of the bays on the northern side as a measuring unit, there are three measuring the central space for the tower, ten for the north wing, and eleven for the south wing; the height, to the top of the parapet, nine; to the ridge of the roof, thirteen; to the top of the spire, thirtythree. The tracery on the spire is very elegant, and is pierced throughout. It is 364 feet high, and crowned with a copper gilt colossal statue of St. Michael, the patron of the city, 18 feet high, which is so well balanced upon the pivot on which it stands that it is susceptible of motion with a very gentle wind. The interior of the edifice has a quadrangular court, with two modern fountains, statues of river gods with reeds and vases, as usual in

such cases. Besides the Grande Sulle, there are mary interesting apartments, some whereof possess ceilings of great beauty. This fine monument is perhaps the most admirable example of the adaptation of the style to secular architecture that can be quoted.

Smaller in plan, but more beautiful and symmetrical, is the hôtel de ville of Louvain. It is the most perfect, in every respect, of this class of buildings in Europe. 1 Nothing can surpass

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the richness and delicacy of the tracery upon it. Like that at Brussels, it consists of three stories, but has no tower. Commenced in 1448, it was not completed till 1463 by De Layens. It stands on a site of about 85 feet by 42 feet; so that it derives little advantage from its absolute magnitude, and perhaps appears less than it really is, from the great height of the roof, which is pierced by four tiers of dormers or lucarnes. The angles are flanked by turrets, of which some notion may be formed by reference to fig. 1460b. and the ridge of the roof is received at each end by another turret corbelled over from the gables. The façade towards the Place extends rather more than the height, and is pierced with twenty-eight windows and two doorways, being ten openings in each story, the spaces between the windows being decorated with canopies, and groups of small figures from the Old Testament. some whereof are rather licentious. This charming edifice, which in its delicate rich tracery had suffered much from time and the elements, has, at the joint expense of the

town and government,

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undergone a complete renovation. This has, stone by stone, been effected with great care and artistic skill by M. Goyers. The new work being executed in very soft stone, which, however, hardens with exposure to the air, it has been saturated with oil.

In form, though not in features, totally different from the hôtels de ville we have just left, is that at Ghent, never completed, but exhibiting, in what was executed of the design, a choice example of the last days of the flamboyant period. It was begun in 1481; in it are all those indications of change in the sofites and curves, as well as in the lines of the foliage and tracery, that eventually proved its downfall; and the style is now out of character with the habits of the age, from which alone a real style of architecture can ever spring. The subdivision of the building as to height is into two stories as to effect, though in

reality there are more; and the transoms, which abound in the apertures, seem to reign in accordance with the horizontal arrangement of lines which was so soon to supersede the flaming curves that had prevailed for nearly half a century. The elegant turret or tribune at the corner, with the part adjoining, in the richest flamboyant Gothic, is by Eustace Polleyt, 1527-60; the other façade, 1600-20, has columns of three different orders superposed.

The most celebrated of town halls in Europe was that of Amsterdam, erected during the first half of the 17th century by Van Campen. The design is given in Durand's Parallèle, and it also forms the subject of a volume, in folio, published in Holland, in 1661-64. The town halls at Antwerp and at Maestricht may be also referred to, but these have now been surpassed by modern structures; amongst them may be mentioned the town hall at Berlin, 1881. The Hôtel de Ville at Paris was commenced 1533, and continued from 1549 or 1559 on the designs of Domenico Boccadoro, called by the French Dominique de Cortone, in what is now termed the style of the Renaissance. The additions which became necessary in consequence of the extended business of the city were executed in the same style, and the building presented one of the finest and most picturesque features of the city, until 1870-71, when it was destroyed by fire; its reconstruction was carried out by Théodore Ballu.

St. George's Hall, at Liverpool, with the town halls at Leeds, Halifax, Manchester, and other towns, large and small, are modern examples. Such a building, for a moderate-sized market town (as referred to previously), might require, on the ground floor, a wide entrance vestibule, out of which would be a room for the police, with four or five cells for prisoners; an office for the board of health, witnesses' room, magistrates' room, with a staircase to the first floor, to consist of a common hall, at one end of which, or in the middle of one side, would be arranged the courts for any local purposes, as a county court perhaps, with a retiring room for its chief. This hall would require a staircase for the public, entering at once from the main thoroughfare. Apartments for the resident policeman, and the usual conveniences, will also be necessary.

TRABEATION. Another term for ENTABLATURE.

TRABS. The Latin term for a wall-plate.

TRACERY. In Gothic architecture, the intersection, in various ways, of the mullions in the head of a window, the subdivisions of groined vaults, &c. See WINDOW TRACERY

TRACHELIUM. (Lat.) The neck or space immediately below the capital in the Roman orders.

TRACING CLOTH. A fine white cloth, prepared in a similar way to paper for rendering it transparent. Having a very greasy surface it is not so easy to work upon it; and as it shrinks much if wetted, no large washes of colour can be put on it; even many small tints are detrimental to accuracy. Lines made in error can be erased by gently using a brush damped with some soapy water. The cloth renders this paper much stronger than tracing paper, and it is now constantly used for working drawings.

TRACING PAPER. A tissue paper made transparent by a preparation of turpentine and wax, slightly washed over it and then allowed to dry. Formerly resin and oil were used, as may be seen in the old sketch books, where the paper has turned a dark brown colour, and sometimes sticks to the leaves. In England it is made in sizes of 60 in. by 40in.; 40 in. by 30 in.; and 30 in. by 20 in. The last-named size is also made of a thicker paper. The following are the sizes of modern French-made tracing paper. It is also made 40 in. wide, and 21 yds. in length:

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Besides this, J. Poore and Co. make a ferro-prussiate paper, which gives white lines on a blue ground, and supplied in rolls thirty and forty inches wide, of thin, thick, and extra thick paper. This not having been considered a very satisfactory process, a "black-line process," by Bemrose and Sons, of Derby, has lately been brought out (1888), by which copies of the original drawings can be produced; they can also be coloured and treated as ordinary drawings. It is called "Perfection Brand Sensitized Paper" (black-line process).

TRACINGS. An aniline process of photographic printing was patented a few years since by Mr. Willis, whereby fac-simile copies of tracings are obtained, of the same

size as the originals, however large their dimensions, and copies can be supplied in a few hours. Delicate tinting as well as the black outlines are faithfully reproduced. By this process no cost is incurred for drawing, engraving, or lithographing. Drawings on thin drawing paper and on parchment can also be copied by this process. TRAMMEL. An instrument for describing an ellipsis by continued motion. TRANSEPT (quasi Transseptum). The transverse portion of a cruciform church; that part which is placed between and extends beyond those divisions of the building containing the nave and choir. It is one of the arms projecting each way on the side of the stem of the cross.

TRANSITION. A term used to denote the passing from one period of a style to another, exhibiting features peculiar to both, some of which have not quite been given up, and some of which were beginning to be introduced.

TRANSOM. A beam or beams across a window to divide it into two or more lights in height. A window having no transom was formerly called a clear-story window. TRANSTRA. (Lat.) The horizontal timbers in the roofs of ancient Roman buildings. TRANSVERSE. Lying in a cross direction. The transverse strain of a piece of timber is that sidewise, by which it is more easily bent or broken than when compressed or drawn as a tie in the direction of its length.

TRAP. In drainage and water escape, an article formed in any material to prevent the escape of foul air; such as a bell trap, syphon trap, D trap, &c.

TRAPEZIUM. (Gr.) In geometry, a quadrilateral figure, whose opposite sides are not parallel. TRAPEZOID. (Gr.) A quadrilateral figure having one pair of opposite sides parallel. TRAVERSE. A gallery or loft of communication in a church or other large building TREAD. The horizontal part of the step of a stair. It can be greatly protected where there is much traffic, by squares of hard wood inserted grain upwards into a light castiron frame, which is then secured to the original tread.

TREFOIL. In Gothic architecture, an ornament consisting of three cusps in a circle. TRELLICE. A reticulated framing made of thin bars of wood; it is used as a screen to windows where air is required for the apartment, &c.

TRENAIL. A large cylindrical wooden pin, used in roof work and framing.

TRESSEL or TRUSSEL. Props for the support of anything the under surface of which is horizontal. Each tressel consists of three or four legs attached to a horizontal part. When the tressels are high the legs are sometimes braced. Tressels are much used in building for the support of scaffolding; and by carpenters and joiners while ripping and cross-cutting timber, and for many other purposes.

TRIANGLE. (Lat.) A plane rectilineal figure of three sides, and consequently of three angles. In measuring, all rectilineal figures must be reduced to triangles, and in constructions for carpentry all frames of more than three sides must be reduced to triangles to prevent a revolution round the angles.

TRIANGULAR COMPASSES. Such as have three legs or feet by which any triangle or any three points may be taken off at once.

TRIBUNE. See APSIS.

TRICLINIUM. (Lat.) The room in the Roman house wherein the company was received, and seats placed for their accommodation. It was raised two steps from the peristyle, and had therein a large window, which looked upon the garden. The aspect of winter triclinia was to the west, and of summer triclinia to the east.

TRIFORIUM. (Lat.) The gallery or open space between the vaulting and the roof of the aisles of a church, generally lighted by windows in the external wall of the building, and opening to the nave, choir, or transept over the main arches. It occurs only in large churches, and is varied in the arrangement and decoration of its openings in each succeeding period of architecture. See figs. 1417 to 1422. There is no triforium in Bath abbey church, nor to the choir at Bristol cathedral.

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TRIGLYPH. (Gr. Tpeis, and гAvon, a channel.) The vertical tablets in the Doric frieze chamfered on the two vertical edges, and having two channels in the middle, which are double channels to those at the angles. In the Grecian Doric, the triglyph is placed upon the angle; but in the Roman, the triglyph nearest the angle is placed centrally over the column. The space between the channels was called a femur and meros. Fig. 1461 is an example of a triglyph with the metope decorated with a bull's skull and garlands, as used in Italian architecture, by Sir William Chambers and others. See SHANK.

Fig. 1461.

Ditriglyph is the arrangement by which two triglyphs are obtained in the frieze between those which stand over the columns.

Tritriglyphs is where there are three so placed.

TRIGONOMETRY. (Gr. Tpeis, three, ravia, an angle, and Merpw, I measure.) The science of determining the unknown parts of a triangle from certain parts that are given. It is either plane or spherical; the first relates to triangles composed of three right lines, and the second to triangles formed upon the surface of a sphere by three circular ares. This latter is of less importance to the architect than the former. TRILATERAL. (Lat.) Having three sides.

TRILITHON. Two upright stones linked together by a third on the top like a lintel; many such are seen at Stonehenge.

TRIM. (Verb.) To fit to anything; thus, to trim up, is to fit up.

TRIMMED. A piece of workmanship fitted between others previously executed, which is then said to be trimmed in between them. Thus, a partition wall is said to be trimmed up between the floor and the ceiling; a post between two beams; a trimmer between two joists.

TRIMMED OUT. A term applied to the trimmers of stairs when brought forward to receive the rough strings.

TRIMMER. A small beam, into which are framed the ends of several joists. The two joists, into which each end of the trimmer is framed, are called trimming joists. This arrangement takes place where a well-hole is to be left for stairs, or to avoid bringing joists near chimneys, etc.

TRINE DIMENSIONS. Those of a solid, including length, breadth, and thickness; the same as threefold dimensions.

TRIPOD. (Gr. Tpeis, and Пous, a foot.) A table or seat with three legs. In architectural ornament its forms are extremely varied, many of those of the ancients are remarkable for their elegance and beauty of form.

TRIPTYCH. A picture with folding doors, the inside of which is either also painted, or else decorated with diapers, etc. When the picture has only one door, it is called a diptych.

TRISECTION. The division of anything into three equal parts.

TRIUMPHAL ARCH. A building of one arch erected first by the Roman people in memory of the victor, his trophies being placed on the top. Subsequently they became enriched and loaded with ornaments, and later were penetrated by three apertures, a central and two smaller ones. The arch of Trajan at Ancona, and that of Titus at Rome, have one arch; an arch at Verona has two openings; while those of Constantine, Septimius Severus (fig. 1462 as restored) and others, have three. There are numerous modern examples, such as the arc de l'etoile at Paris; the arco dalle pace at Milan; the marble arch at London, etc. TROCHILUS. (Gr. Tpox Aos, a pulley.) An annular moulding whose section is concare, like the edge of a pulley. It is more commonly called a scotia, and its place is between the two tori of the base of a column. TROCHOID. (Gr. Tpoxos, a wheel, and Eidos, shape.) A figure described by rolling a circle upon a straight line, such circle having a pin or fixed point in its circumference upon a fixed plane, in or parallel to the plane of the moving circle. It is also called a cycloid. TROPHY. (Gr. Tрoralov.) An ornament representing the trunk of a tree charged with various spoils of war.

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Fig. 1462. Septimius Severus, as restored.

TROUGH. (Sax. Thoh.) A vessel in the form of a rectangular prism, open on the top for holding water.

TROUGH GUTTER. A gutter in the form of a trough, placed below the dripping eaves of a house, in order to convey the water from the roof to the vertical trunk or pipe by which it is to be discharged. It is only used in common buildings and outhouses. TRUNCATED. (Lat. Trunco, I cut short.) A term employed to signify that the upper portion of some solid, as a cone, pyramid, sphere, etc. has been cut off. The part which remains is called a frustum.

TRUNK. That part of a pilaster which is contained between the base and the capital. Also a vessel open at each end for the discharge of water, rain, etc.

TRUSS. (Fr. Trousse.) A combination of timber framing, so arranged that if suspended at two given points, and charged with one or more weights in certain others, no timber would press transversely upon another except by strains exerting equal and opposite forces.

TRUSS PARTITION. One containing a truss within it, generally consisting of a quadrangular frame, two braces, and two queen posts, with a straining post between them, opposite to the top of the braces.

TRUSS ROOF. A roof formed of a tiebeam, principal rafters, king post or queen post, and other necessary timbers to carry the purlins and common rafters, etc.

TRUSSED BEAM. One in which the combination of a truss is inserted between and let into the two pieces whereof it is composed.

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