DOI Page / Citation link:
https://doi.org/10.11588/diglit.26747#0540
476
ROMANESQUE ARCHITECTURE.
Book I.
trian,1 Tudor, and Elizabethan. Jacobean has been applied to the next
variety, while that which follows, including the works of Inigo Jones
and Wren, might be appropriately distinguished bj the name of Stuart.
Denominations of this sort admit of subdivisions to anjr extent. Thus
the styles of the 1st, 2nd, or 3rd Edwards are sufficiently distinct
to require separate names, though no technical term coukl point
out exactly in what the difference consists. Even the styles of the
beginning and end of the long reign of Edward III. require to be dis-
tinguished, and can easily be by this form of nomenclature, but can
by no other yet proposed. So with the four Georges or the Stuarts,
Lancastrian, Plantagenet, &c. The three Eichards by a singular
coincidence mark t-hree ages of transition. Even without these adven-
titious advantages, a name so given marks the country and the age
without fail, ancl describes the style witli perfect correctness, without
even suggesting the necessity of a system.
Another mode of attaining the same end has been partially adopted
by the French, by giving the date instead of the dynasty: thus they
speak of their styles of the 12th, 13th, or 14th centuries, and subdivide
them into styles of the “ first half,” “ second half,” or commencement
or midclle of each of the centuries; a process as unobjectionable as
the one above described, except in the circrunlocution it requires, and
the desirability of finding a single word if possible to express our
meaning.
Whichever of these two last systems it- may be thought most expe-
dient to adopt, the great desideratum is obtained of a title which shall
in the first place express the country where the styie was practised
and is found, and secondly the age to wliich it belongs. A third or
technical title may be added to characterise it, but this is always un-
necessary to any one at all acquainted with the subject; for when the
country and age are known, the style is far more clearly suggested than
it could be by any technical term drawn from one of its peculiarities.
In the following pages, therefore, the words Eomanesque, Lombard,
Ehenish, Norman, will be used like Spanish, Sicilian, or any other
local name, only in tlie sense in wliich they are usually applied. The
subdivisions as to time will be marked either by the date of the epoch
or some king’s or dynastic name which clearly marks it, and technical
terms will be used as sparingly as possible, though such words as
round-arched, or pointed Gothic, flamboyant, &e., seem unobjection-
able and necessary to distinguish classes.
It is not perhaps necessary to say more on this subject here, as the
development of tliese principles will naturally appear in the conrse of
the work, and will be easily understood, as they involve no system.
It is only therefore requisite to explain further in what order it is
1 In writing tlie second volume of mj has printed and published one in which the
‘ Frue Principles of Beauty ’ in 1847 I principles and raost of the names given above
adopted this mode of nomenclature exclu- are announced. The merit of the suggestion,
sivcly. I hat book, however, never was pub- if any, therefore belongs to him.
lished, and, iu the meanwhile, Mr. Garbett
ROMANESQUE ARCHITECTURE.
Book I.
trian,1 Tudor, and Elizabethan. Jacobean has been applied to the next
variety, while that which follows, including the works of Inigo Jones
and Wren, might be appropriately distinguished bj the name of Stuart.
Denominations of this sort admit of subdivisions to anjr extent. Thus
the styles of the 1st, 2nd, or 3rd Edwards are sufficiently distinct
to require separate names, though no technical term coukl point
out exactly in what the difference consists. Even the styles of the
beginning and end of the long reign of Edward III. require to be dis-
tinguished, and can easily be by this form of nomenclature, but can
by no other yet proposed. So with the four Georges or the Stuarts,
Lancastrian, Plantagenet, &c. The three Eichards by a singular
coincidence mark t-hree ages of transition. Even without these adven-
titious advantages, a name so given marks the country and the age
without fail, ancl describes the style witli perfect correctness, without
even suggesting the necessity of a system.
Another mode of attaining the same end has been partially adopted
by the French, by giving the date instead of the dynasty: thus they
speak of their styles of the 12th, 13th, or 14th centuries, and subdivide
them into styles of the “ first half,” “ second half,” or commencement
or midclle of each of the centuries; a process as unobjectionable as
the one above described, except in the circrunlocution it requires, and
the desirability of finding a single word if possible to express our
meaning.
Whichever of these two last systems it- may be thought most expe-
dient to adopt, the great desideratum is obtained of a title which shall
in the first place express the country where the styie was practised
and is found, and secondly the age to wliich it belongs. A third or
technical title may be added to characterise it, but this is always un-
necessary to any one at all acquainted with the subject; for when the
country and age are known, the style is far more clearly suggested than
it could be by any technical term drawn from one of its peculiarities.
In the following pages, therefore, the words Eomanesque, Lombard,
Ehenish, Norman, will be used like Spanish, Sicilian, or any other
local name, only in tlie sense in wliich they are usually applied. The
subdivisions as to time will be marked either by the date of the epoch
or some king’s or dynastic name which clearly marks it, and technical
terms will be used as sparingly as possible, though such words as
round-arched, or pointed Gothic, flamboyant, &e., seem unobjection-
able and necessary to distinguish classes.
It is not perhaps necessary to say more on this subject here, as the
development of tliese principles will naturally appear in the conrse of
the work, and will be easily understood, as they involve no system.
It is only therefore requisite to explain further in what order it is
1 In writing tlie second volume of mj has printed and published one in which the
‘ Frue Principles of Beauty ’ in 1847 I principles and raost of the names given above
adopted this mode of nomenclature exclu- are announced. The merit of the suggestion,
sivcly. I hat book, however, never was pub- if any, therefore belongs to him.
lished, and, iu the meanwhile, Mr. Garbett