DOI Page / Citation link:
https://doi.org/10.11588/diglit.68796#0238
2i8 Architectural Beauty tart hi
the highest effect at which architecture or any other art
can aim.’1
Again there is a natural symbolism about stone that
resides in its earth-born and primeval character. The
ancient walls called ‘ Cyclopean ’ or ‘ Pelasgic,’ of which
the walls of Tiryns and Mycenae are the most outstanding
examples, are often built of huge polygonal blocks, un-
touched by the tool but fitted according to their accidents
of shape. Such structures are imposing through their rock-
like aspect and seem to be the children of mother earth.
Very different is the effect of squared-stonework. This has
a natural symbolism of a higher kind. It is the production
of intelligence and gives at once a human interest to the
structure, which appeals to us on the grounds drawn out
in § 103. Further, the horizontal beds and vertical joints
convey at once the essential relation of the structure to the
ground, and the upward tendency of its elevation. It is
earth-based, but rises to a place in the world of men.
There is a simple and natural treatment of stonework,
by which it is made to combine the two effects just indicated,
and to remain rocky and primeval but at the same time an
ordered product of reason. This is through a bossy or
‘rustic’ treatment much favoured by the great stone builders
of the world, more especially the Phoenicians. Originally
no doubt merely to save labour, the stone blocks were
only fully squared-up upon and near the surfaces of contact,
the middle part of the outer face of the mass being left
rough and projecting. Such treatment appeared so effective
that it has been used deliberately through a great part of
architectural history as an element of artistic effect, and the
example is a very good one of an exigency of construction
turned to aesthetic ends. Not only does this rustication
carry with it an air of primeval stability and strength which
1 History of Architecture, i. p. 20.
the highest effect at which architecture or any other art
can aim.’1
Again there is a natural symbolism about stone that
resides in its earth-born and primeval character. The
ancient walls called ‘ Cyclopean ’ or ‘ Pelasgic,’ of which
the walls of Tiryns and Mycenae are the most outstanding
examples, are often built of huge polygonal blocks, un-
touched by the tool but fitted according to their accidents
of shape. Such structures are imposing through their rock-
like aspect and seem to be the children of mother earth.
Very different is the effect of squared-stonework. This has
a natural symbolism of a higher kind. It is the production
of intelligence and gives at once a human interest to the
structure, which appeals to us on the grounds drawn out
in § 103. Further, the horizontal beds and vertical joints
convey at once the essential relation of the structure to the
ground, and the upward tendency of its elevation. It is
earth-based, but rises to a place in the world of men.
There is a simple and natural treatment of stonework,
by which it is made to combine the two effects just indicated,
and to remain rocky and primeval but at the same time an
ordered product of reason. This is through a bossy or
‘rustic’ treatment much favoured by the great stone builders
of the world, more especially the Phoenicians. Originally
no doubt merely to save labour, the stone blocks were
only fully squared-up upon and near the surfaces of contact,
the middle part of the outer face of the mass being left
rough and projecting. Such treatment appeared so effective
that it has been used deliberately through a great part of
architectural history as an element of artistic effect, and the
example is a very good one of an exigency of construction
turned to aesthetic ends. Not only does this rustication
carry with it an air of primeval stability and strength which
1 History of Architecture, i. p. 20.