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316
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semicircular arch, and which began to be employed in theearly part of the twelfth century. The pointed arch isformed by the intersection of two segments, which in theearlier examples are very flat, and form very acute arches ;but in the later periods are of quicker curvature, and thearches in consequence proportionately depressed. Thepointed arch, however, although the main feature in the style,does not form its only peculiarity ; but in principle, as wellas in matters of detail, the style is peculiar and distinct fromevery other. This subject has been fully discussed underthe article Gothic Architecture, a name which the stylehas assumed in common with the above and many others. Itis our intention in this place to consider only the origin ofthe style and the manner of its development. On this sub-ject we are left almost entirely to our own resources, nomanuscripts being known to exist which give us any infor-mation respecting it, nor are we acquainted with even thenames which the Gothic architects employed to designatethe different divisions of their style. As regards the archi-tects themselves, too, and the precise date of the buildingserected by them, we are left much in the dark ; and what-ever conclusions may have been arrived at, have beenfounded on little better than conjecture. Many archoeolo-gists, architects, and others interested in the question, havetreated upon the subject, and have eliminated a great deal ofuseful information by their researches, although not one ofthem can be said to have come to a conclusive or satisfactoryresult regarding the question immediately before them.Many theories have been broached by different writers, someof which are plausible, and others little better than ridiculous ;none are so perfect as to obtain universal assent, nor is it tobe expected under the circumstances that they should be so.It is perhaps owing to the uncertainty necessarily attendingthe research, that the subject has been so fashionable amongstantiquaries ; but however unsatisfactory their inquiries mayhave been as regards the matter in dispute, we must notforget that it is in all probability to such inquiries we oweour present knowledge on the subject, and the present appre-ciation of the style. Our very want of information as to itsorigin has probably been rather an advantage than otherwise,for we have been compelled thereby to search into the matter,and seek knowledge from every quarter ; whereas, had thequestion been easy of decision, all the information which wehave obtained in this manner might have been lost to us,
Of the many theories which have been started, we shallhere take notice of some of the more prominent, commencingwith such as require but little comment, and proceeding tothose which seem entitled to some further consideration.Bishop Warburton, one of the writers on the subject, dis-covers the prototype of a Gothic cathedral in a grove of trees,such an imitation having been employed, as he supposes,from the circumstance of the Celts being accustomed to wor-ship in such places, and from their early associations havingintroduced the same forms in their constructed temples. Thetrunks of the trees are supposed to be represented by thepillars, and the overhanging branches by the ribs of the vault-ing. The same opinion is said to have been entertained byRaphael d’Urbino ; but we venture to say that the resemblancebetween a Gothic aisle and an avenue of trees is not at firstsight very striking, and that the idea is rather in accordancewith the imagination of the poet than the researches of theantiquary. It makes somewhat against this theory, that allevidence goes against the introduction of the Pointed styleby the Goths , and also that the closest resemblance is to befound in the later, and not in the earlier examples. It is notimprobable that Warhurton himself felt dissatisfied with thisnotion, for it is not known to exist in more than one edition
of his commentary on Pope ’s works, though laterwere published during his lifetime. . <j b/
Similar to the preceding is the opinion enterttn t j 0 ji,Sir James Hall , who, with equal felicity of i ma ° or oto'refers us to interlaced wicker-work as the undoubte r. o0 fotype of the Pointed style in all its parts—its groin e ^ ot ]jiCclustered pillars, and traceried windows; and t *‘ uS , c i lt j 3 ’ |lchurches become representations of the primitive ® 1, “‘ iiiO?' ■this island. Sir James has taken upon himself n lid 'siderable amount of labour in his endeavour to J* pot^theory the correct one, and has profusely illustrated 9j id ;to show how precise is the imitation ; but bis illust*^ p,-op°'well as his argument, go to prove the converse of i'l 0 ' 1 ' ;sition, not that Gothic architecture took its °!'Igj-i'' 01 *interlaced twigs and branches, but only that vvic , t gt)'^'
1,1a + A nauitllia + lVil..vin 1*..,! r* i I All r. Ill f ^
may be made to assume the forms frequent WThe same argument respecting the similarityconspicuous in the later examples, exists alsoinstance. ^ a 1 '
as
Mr. Murphy, well known by his publications
■ „ H> 0iben 1 ® Mi
in
■cb*'
on
other accidental or fortuitous circumstances.
ff2est eti Jputr 1 *
w "5
the pointed arch seems clearly to have been sugn^ a ttrpyramid, and its origin must consequently notto accident, but to ordination.” That there c r
truth in this theory as regards the pyramid*, » u( . ne' 1 * jthese buildings, we are not prepared to deny > ^ po" 1 ^are we prepared to assert that the princip eS nyi'ann^^tarchitecture were therefore derived from sOi» e '' l,t
Egypt . A cotemporary has given the folio' pro
amusing critique or illustration of the argon 1 Egfr Ljr
forward by Mr. Murphy. “ The pyramids o 0 n t ,
are tombs ; the dead are buried in churches,^ tiy t,ie .„ tl" 3towers pyramidal forms are placed ; . conseq “ m-a'^'Vmids of the towers indicate that there a‘ t j )tJ es ^churches; and as the pyramidal form constitu the is
of the Pointed-arch style, and the pyramids 0 ; n ted alimitations of the Egyptian pyramids, the P a
derived from the latter.” protot/P^s ^
Some authors are anxious to discover t 10 j^pce e3t a tti'i'framed timber building, but in what the ■ 5eV-^ r V? f
is somewhat difficult to determine,butes the Gothic style to the corruption
tecture of Spain , refers us to the pyramids of EgyP 0 „ tl ,egrand type of the style ; and in his splendid w0l Jfchurch of Batalha , after having stated the tendency ^pei 1 ' 3ornament to the general pyramidal form, says—■ . lC t u!i ^
evident from these instances, that the pyramidal f° rI ^ d' eexists throughout the several component P arts ’ r to Pgeneral disposition of the edifice approaches as is 91 * 1 *
least as the ordonnance of an historical painting vV r(; | ie nd f jjto be pyramidally grouped. Hence we may con, *f 0 ri« s C ®1 # 1■ reason why the arch was made pointed, as no other ra nii u ‘have been introduced with equal propriety in a flti> efigure, to answer the different purposes of uiiifor® <’ s ot'S^,and strength ; it is in vain, therefore, that we see^ g, l!C oi'in the branches of trees, or in the intersection o ^ j a a' Jj,Grecian circles, or in the perspective of alClie ,p) )e id^g
art ; Mr. Dallaway, to the desire
of novelty
■ototype
in
oi>
for reliques, and observes, “ it was a most oJ1 efor piety to render a whole church as if w fln a rnp'he adds, “ the Gothic style seems to bespea . „ Qt
for*
rreat-
lif ,c!ltltl> e ,':.,k
. fir
bminution ot & ; n eline° -p u io v i
Ir. Dallaway, we are tl)ll t ^ , e o
of the minute, not a diminution of the g>two, Mr. Barry and Mthat both are, to a certain
architecture was a gradual development - ^the arch, and that taking it as a whole it
th' 1 ,to „.ilin® <
extent, cor ^ Ct tll e P n .
e