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 1.57 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. 1328. ELEVATION OF NAVE; AMIENS. out upon a square, and the width from the centres of piers is the same as those towards the

A

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 capi-
tals which terminate them rest the
cross springers and diagonal ribs of
the vaulting. The arches of each
division are 4 feet 9 inches in thick-
ness, 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 two-
sevenths 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.

It may be remarked that the contour
of the torus and scotia in the base,
are not sections of cylinders or their
portions, but partakes of the elliptical.
The mouldings below, are contoured
differently to those above, the eye, and
consideration is given to their position, Fig. 1330.
to produce proper effect.

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.

Fig. 1334.

2.6

PLAN OF TRIFORUM.

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 mouldings; 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.

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

manufacture at the building which would be provided for them. Mr. Paxton, after some other designs had been set aside, submitted a design composed chiefly of glass and iron, which Messrs. Fox, Henderson, & Co. tendered to construct for 79,800l. This was immediately carried into effect.