DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26747#0014
X
PREFACE.
different conclnsions regarding tlie superficial dimensions of a 'build-
ing, even witfiout the errors inlierent in imperfect materials.
Wlien either the drawing from which the woodcut is taken was
without a scale, or the scale given could not he depended upon, “ No
scale ” has heen put under the cut to warn the reader of the fact.
When the woodcut was either too large for the page, or too small to he
distinct if reduced to the usual scale, a scale of feet has heen added
under it, to show that it is an exception to the rule.
Capitals, windows, and details which are meant to illustrate forms
or construction, and not particular huildings, are drawn to any scale
that seemed hest to express the purpose for which they are inserted;
when they are remarkahle for size, or as individual examples, a scale
has heen added; but this is the exception, not the rule.
One ohject that has heen steadily kept in view in this work has heen
to show that architecture may he efficiently illustrated hy plates on a
small scale, yet sufficiently clear to convey instruction to professional
architects. Every pains has heen taken to secure the greatest possihle
amount of accuracy, and in all instances the sources from which the
woodcuts have heen taken are indicated. Many of the illustrations are
from original drawings, and of huildings never hefore puhlished.
The ahove remarks with regard to the want of information or the
incompleteness of illustration hardly apply to the Pagan styles. There
are very few of those which might he classed under the head of “ Is on-
Christian styles ” which have not heen as fully and as correctly illus-
trated as their importance deserves, though more information regarding
some points would he hoth desirahle and convenient. But very few of
the Christian styles were illustrated at all at the heginning of this
century, and even at this time such a country as Spain is almost a
terra incognita to architects. Now, however, that people are getting
satiated with the plaster prettinesses of the Alhamhra, we may hope
that attention will he turned to the grander and simpler works of the
Christians in that country, and that this chapter will not remain the
hlank it has hitherto heen.
The English Gothic is, of all the Christian styles, the one wliich has
heen most fully examined and illustrated ; numherless hooks liave heen
puhlished on the suhject in this country; and, as information is ohtain-
ahle in almost any form regarding it, all that is attempted here is to
compare it with other similar styles, and to place its merits in their
true light relatively to the other forms of art hrought under view in
the various chapters of this work.
A most lamentable deficiency of information exist-s regarding the
styles prevailing in all the countries occupied hy the Turks, hoth in
Europe and in Asia. Neither the Government nor the people of those
countries will of course do anything to elucidate this suhject, and
hitherto religious jealousy has prevented access to mosques or churclies
PREFACE.
different conclnsions regarding tlie superficial dimensions of a 'build-
ing, even witfiout the errors inlierent in imperfect materials.
Wlien either the drawing from which the woodcut is taken was
without a scale, or the scale given could not he depended upon, “ No
scale ” has heen put under the cut to warn the reader of the fact.
When the woodcut was either too large for the page, or too small to he
distinct if reduced to the usual scale, a scale of feet has heen added
under it, to show that it is an exception to the rule.
Capitals, windows, and details which are meant to illustrate forms
or construction, and not particular huildings, are drawn to any scale
that seemed hest to express the purpose for which they are inserted;
when they are remarkahle for size, or as individual examples, a scale
has heen added; but this is the exception, not the rule.
One ohject that has heen steadily kept in view in this work has heen
to show that architecture may he efficiently illustrated hy plates on a
small scale, yet sufficiently clear to convey instruction to professional
architects. Every pains has heen taken to secure the greatest possihle
amount of accuracy, and in all instances the sources from which the
woodcuts have heen taken are indicated. Many of the illustrations are
from original drawings, and of huildings never hefore puhlished.
The ahove remarks with regard to the want of information or the
incompleteness of illustration hardly apply to the Pagan styles. There
are very few of those which might he classed under the head of “ Is on-
Christian styles ” which have not heen as fully and as correctly illus-
trated as their importance deserves, though more information regarding
some points would he hoth desirahle and convenient. But very few of
the Christian styles were illustrated at all at the heginning of this
century, and even at this time such a country as Spain is almost a
terra incognita to architects. Now, however, that people are getting
satiated with the plaster prettinesses of the Alhamhra, we may hope
that attention will he turned to the grander and simpler works of the
Christians in that country, and that this chapter will not remain the
hlank it has hitherto heen.
The English Gothic is, of all the Christian styles, the one wliich has
heen most fully examined and illustrated ; numherless hooks liave heen
puhlished on the suhject in this country; and, as information is ohtain-
ahle in almost any form regarding it, all that is attempted here is to
compare it with other similar styles, and to place its merits in their
true light relatively to the other forms of art hrought under view in
the various chapters of this work.
A most lamentable deficiency of information exist-s regarding the
styles prevailing in all the countries occupied hy the Turks, hoth in
Europe and in Asia. Neither the Government nor the people of those
countries will of course do anything to elucidate this suhject, and
hitherto religious jealousy has prevented access to mosques or churclies