LOM

109

LOM

i a a good lock from a bad one. If these wards, however,i Qsti _ n effectual manner, preclude the access of all other1>ech Um - entS besides ^ le proper key, it is still possible for ao ut t? n \ c °®' equal skill with the lockmaker, to open it with-e Xcc n e :e y< and thus to elude the labour of the other. Theas etlCe locks consists in the security they afford ; andj^mberless schemes are continually brought forwardi n „ f'gntng men, to elude every contrivance of the mostc on st ,! 0 " S mechanics, the invention of a durable lock, so

’5!* cte d as to render it impossible for any person to open8i,n ,“ out its proper key, has ever been an object of con-jee importance.

t V0Q d^. or Weir, in inland navigation, all those works offinino° r stone ’ or both combined, for the purpose of con-^,0 and raising the water of a river.

Co ntl ,. e teiIn l° c k, or pound-lock, more particularly denotes acap e( j lVance > consisting of two gates, or two pairs of gates,tile a r l°ck-gates, and a chamber between them, in whichof t j le tace of the water may be made to coincide with thatSates U i > P er or lower canal, according as the upper or lowerloty. are opened ; by which means boats are raised orLr> ^ rora one level to another.tvin„ C i K Addles, the small sluices used in filling and emp-■' £S locks.

the 1 ,°? ® ILLS > the angular pieces of timber at the bottom ofnet, against which the gates shut.

or Paddle Weirs, the over-falls behindis l et V er gates, by which the waste water of the upper pondloch ° Wn trough the paddle-holes into the chamber of the

. Loott« a - sma11 cu P board -

itito» (Latin ), in geometry, the line described by the

LOFT “ ° f . tW ° HneS * n m0ti0n -

fr.p a raised gallery, or room in roof.

of ti, HOUSES, the huts constructed by the AmericansLOOA nks ° f trees ‘

Ori- atltr AWTHMS. are series of artificial numbers, so' v 't]' reference to a set of natural numbers, that thehlicat'° n ^ le logarithms shall correspond with the multi-s ULtra "• t ' le natural numbers belonging to them ; andlutio n 10n logarithms answers for division ; while invo-pli Cati ’ or Ibe raising of powers, is performed by the multi-tootg, logarithms ; and evolution, or the extraction ofL6oi t r he ( l* v ‘ s i°n of logarithms.

r,- HM, that part of the theatre where were placed the

ch,

° r us,

ru„./, an< ^ others who were not to take an active part in

lOQG? A anCe -

Cade a gallery or avenue, with open colonnade or

L0aTQr£ ne or both sides.

Hu Se ^ SPIRAL, or Proportional Spiral, oneare in continued proportion where the radii are

the

I

ar W e ,

fcv.

<ii-yw h an S^ es > or it may be defined, a spiral whose radiiequal angles with the tangents,fe „,. AIiI JIC ARCHITECTURE, a style of architec-

ts pj -"-v ^j.iyv/xxa AJC/Vy a ujvoi, a siyie in aicuucu-

l ° tl le yp a ent In Italy from the commencement of the seventh? n d fo rtn ' rt< : ent b century ; it succeeded the debased Roman,} 'Lrivcg • * n termediate link between it and the Gothic,ting t j lts 11 a me from the circumstance of its prevalenceatl y notio^ 8u Premacy of the Lombards in Italy , and not from

, 0r j its invention or introduction by that people,la d no architecture of their own, as is evident

for ,,

fr * h «y

i f «-* Villi ICLLUlC Ul LUCIJ. uwn, CIO AO CVAVAClil/

a th e act °I their being compelled to employ native artists

^instruction ~ ’ - .

Jaiau a" 01 '? tl >an

te ady heL * tectui e; and the principles involved in it had

«tti

Pir e .

v 0 t ,

of their works. The style is indeednatural and gradual development ofk —-wiure; and the principles^gau to manifest themselves ere the fall of thebis mode of building, as well as those which2 P

preceded and followed it, owe their existence to the invention i !and adaptation of the arch to constructive purposes; and asthe latest exhibits this new principle perfected and fullydeveloped, so does the second manifest an improvement to iand more perfect development than the earliest. i

The Lombards , during whose dynasty this style prevailed, !established themselves in Italy at the close of the sixth j ,century, and remained in undisturbed possession of the countryfor two hundred years, when it was wrested from them by ;Charlemagne , who in 774 put an end to that dynasty, and [united Italy to the new western empire. Italy does notseem to have suffered much, but rather the reverse, from their ,government, and during their possession, the arts flourishedand were cultivated with greater success than during theperiods either immediately preceding or following. It iscertain that they gave a great impetus to building, for duringthe two hundred years of their sway, the northern and centralportions of Italy had become studded with churches andbaptisteries, amongst which we may give as examples, SanMichele, Pavia; San Thomaso in limine, near Bergamo , andthe baptistery at Florence . The influence of the style doesnot seem, however, to have been much felt at Rome , for jduring all this period, we know of only one Lombardic |building in that city, the church of San Giovanni e Paolo.

The change of dynasty in a.d. 774, does not appear tohave had any very great effect upon the arts, during theexistence of the Carlovingian line, but when that line becameextinct, a.d. 875, the troubles caused by the disputed claimsof rival princes in the north, and by the incursions of theSaracens in the south, greatly impeded the progress of archi-tecture. Matters were not greatly improved by the govern- jment of the German emperors, for at this time Italy wasdistracted with discord and civil commotions. The Carlo-vingian dynasty ceased, a.d. 875, and the German emperorsacquired sovereignty in Italy about the middle of the tenthcentury, during all which time, and for half a century longer,architecture made but little or no progress. When the artsagain flourished in the eleventh century, some little altera- ;tions had been introduced into the style of architecture, whichwere again increased and multiplied in the twelfth. Many jchurches were built in the Lombardic style during these twocenturies, but in the next the Pointed style began to makeappearance, and partially superseded its predecessor; we saypartially, for the Pointed style never took very deep root inItaly , nor were the features of the Round style ever entirelyeffaced.

The Lombardic style may be classed under the generaltitle of Romanesque, which comprises the debased Romanand all those styles which emanated from it, until we cometo the Pointed or Gothic, including the Byzantine and Lom-bardic , as also the Norman and Saxon, which are essentiallyLombardic in character, and may be considered as forminga subdivision of that style The last two, however, will notbe considered in the present article, but will be treated of iseparately. <

The style under consideration, was employed almost 1exclusively in ecclesiastical structures; to them therefore jwe must look for its characteristic peculiarities. It was the , ,adaptation of the arch to purposes of construction, as we have !before stated, which gave rise to the grand revolution in jclassical architecture; it was the various modifications of ]the same feature which gave origin to the subdivisions ofthe new system. Of these, the Lombardic is characterizedby, the constant use of the semicircular arch for the purposesof construction and decoration, and more especially by theexcessive employment for the latter purpose in the exteriors jof buildings. The external walls were frequently almost.