DOI Page / Citation link:
https://doi.org/10.11588/diglit.7595#0104
92
ESSAY ON
chap. iv. so much of it," says Mr. Bentham in the passage just
alluded to, " as lies between the legs of the two neigh-
bouring arches, where they cross each other, is pierced
through the fabric, and forms a little range of sharp-
pointed windows." In this manner a pointed arch is
formed; and has thus, it is conceived, been introduced
into architecture.
The explanation, here attempted, applies to no part
of Gothic architecture but the pointed arch. And
even were this theory established as firmly as its most
sanguine friends could desire, it could not be consi-
dered as affording a solution of the question, since
these interlacing arches would themselves still remain
to be accounted for. This subject, however, is well
deserving of attention in this place, since the form
under consideration is intimately connected in various
ways with the Gothic style, and affords a very power-
ful confirmation of the opinions advanced in this
Essay. It will appear, when we examine these
arcades, that they may be traced to a wicker origin
along with all the Gothic forms, and, in general, with
the same modified imitation. But some specimens of
this set occur, in which that modification has been
dispensed with, and in which circumstances are
ESSAY ON
chap. iv. so much of it," says Mr. Bentham in the passage just
alluded to, " as lies between the legs of the two neigh-
bouring arches, where they cross each other, is pierced
through the fabric, and forms a little range of sharp-
pointed windows." In this manner a pointed arch is
formed; and has thus, it is conceived, been introduced
into architecture.
The explanation, here attempted, applies to no part
of Gothic architecture but the pointed arch. And
even were this theory established as firmly as its most
sanguine friends could desire, it could not be consi-
dered as affording a solution of the question, since
these interlacing arches would themselves still remain
to be accounted for. This subject, however, is well
deserving of attention in this place, since the form
under consideration is intimately connected in various
ways with the Gothic style, and affords a very power-
ful confirmation of the opinions advanced in this
Essay. It will appear, when we examine these
arcades, that they may be traced to a wicker origin
along with all the Gothic forms, and, in general, with
the same modified imitation. But some specimens of
this set occur, in which that modification has been
dispensed with, and in which circumstances are