Fletcher, Banister; Fletcher, Banister: A history of architecture for the student, craftsman, and amateur: being a comparative view of the historical styles from the earliest period (London, 1896)

78

COMPARATIVE ARCHITECTURE.

GREEK.

whether in isolated groups
or in works within the boun-
daries of an architectural
framing, as at the Parthenon.
In painting we know of
Polygnotus and other great
artists being employed upon
the temples and other build-
ings. Part of the Propylaea
was known as the Painted
Loggia. The early frescoes
were probably in the style
of the vase painters of that
period, while the later, if
we may judge from the pro-
vincial imitationsof Pompeii,
must have been grand in
style and decorative in effect.

ROMAN.

ing. Greek artists were em-
ployed, and Greek examples
were prized and copied. In
later times both vaults and
floors worthy of note were
produced in mosaic, but
many examples show great
vulgarity of sentiment. In
the case of marble, for wall
facings and floors, it is pro-
bable that rich and good
effects were produced, as the
Romans were connoisseurs
in marbles, which they sought
out and imported from all
countries. The origin of the
ox-heads connected with gar-
lands, so frequently carved
on Roman friezes, is sup-
posed to be copied from the
actual skulls and garlands
which were hung for decora-
tion on altars at which the
beasts to which they be-
longed had been slain.

5. REFERENCE BOOKS.

Taylor and Cresy’s “ Antiquities of Rome.”

Adam’s “ Spalatro.”

Isabelle’s “Edifices circulaires.”

Wood and Dawkins, “Palmyra and Baalbec.”

Piranesi’s “ Architectura di Romani.”

Viollet-le-Duc, “ Habitations of Man in all Ages.”
Tatham, “Classic Ornament.”

Spiers, Mauch, and Chambers for the Classic “ Orders.”
Vulliamy’s “ Classic Ornament.”

“Roman Life in the Days of Cicero,” by A. J. Church.
(Historical Novel.)

A visit should be made to the Roman and Pompeian
Courts at the Crystal Palace; also to the British Museum.