474

ROMANESQUE ARCHITECTURE.

Book I.

Yiewecl in tliis light, it is impossible to separate the early history of
Christian art from that of Imperial Eome. The sequence is so imme-
diate, and the change so gradual, that a knowledge of the first is ahso-
lutely indispensahle to a right understanding of the second.

Although, therefore, to prevent needless repetition, and breaking
again the thread of the subsequent narrative, it has heen deemed ex-
pedient to interpolate the Saracenic styles hefore taking up the
Christian, it will he understood that, pliilosophically at least, these
chapters follow immediately on those which treat of the architecture
of Imperial Eome; and having now discussed all the styles of the
world except the Christian, it only remains to follow that style in its
two great branches, the Gfothic and Byzantine, till both perished
before the rising influence of the Eenaissance.

The first chapter in this history must necessarily be devoted to
tlie Eomanesque or debased Eoman—the first form which Christian
arcliitecture took on emancipating itself entirely from Pagan in-
fluence.

This style prevailed not only in the West, but in the East, over the
whole of the great Eoman empire, froin the time of Constantine to that
of Justinian. It can only, however, be considered as a second stage
of transition, which after two centuries’ duration branched off into the
two great divisions of Christian architecture—tlie Byzantine and the
Gothic. The origin of these two styles being identical, and their
duration about the same, it is almost immaterial which is first taken
up and followed to the close.

It will be more convenient to take up the Western styles first, not
only on account of their greater importance, but because they flow
more consecutively out of the Eomanesque, and throughout their
whole lristory remained more directly under its influence than the
more Eastern styles.

After tlie age of Justinian the Byzantine separated itself wholly
from the Eoman types; but this was not the case in the West. The
Eomanesque prevailed in Eome itself during the whole period of ihe
middle ages, and in the 16th century faded by almost imperceptible
degrees into the Eenaissance. It prevailed also down to the lltli and
12th centuries on both shores of Italy, and in tlie south of France
wherever the barbarians did not penetrate. It consequently would
cause a break in the thread of the narrative, if, after carrying the Eo-
manesque style down to the time of Justinian, we should turn aside to
the subject of Byzantine arcliitecture, and then resume the liistory of
the Western style, till we find it mingling with and influencing the
art practised by the barbarians who overthrew the Western empire.

Nomenclatuee.

Before proceeding to describe any of tliese styles, it is necessary to
say a few words on tlio nomenclature to be adopted: not that tliei'o is
really any difficulty in the subject, but that, as always huppens in
young scicuces, considerablc confusion has been introduced by hasty