Architecture: Gothic and Renaissance - T. Roger Smith

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walls of a building; (2) the architectural treatment of the exterior or interior walls of a building.

      Elizabethan.—The architecture of England in, and for some time after, the reign of Elizabeth.

      Embattled.—Finished with battlements, or in imitation of battlements.

      Enrichments.—The carved (or coloured) decorations applied to the mouldings or other features of an architectural design. (See Mouldings.)

      Entablature (in Classic and Renaissance architecture).—The superstructure above the columns where an order is employed. It is divided into the architrave, which rests on the columns, the frieze and the cornice.

      Façade.—The front of a building or of a principal part of a building.

      Fan Vault.—The vaulting in use in England in the fifteenth century, in which a series of conoids bearing some resemblance to an open fan are employed.

      Fillet.—A small moulding of square flat section.

      Fig. t.—Perpendicular Finial.

      Finial.—A formally arranged bunch of foliage or other similar ornament forming the top of a pinnacle, gablet, or other ornamented feature of Gothic architecture.

       Flamboyant Style.—The late Gothic architecture of France at the end of the fifteenth century, so called from the occurrence of flame-shaped forms in the tracery.

      Flèche.—A name adapted from the French. A slender spire, mostly placed on a roof; not often so called if on a tower.

      Flying Buttress.—A buttress used to steady the upper and inner walls of a vaulted building, placed at some distance from the wall which it supports, and connected with it by an arch.

      Fig. u.—Flying Buttress.

      Foil.—A leaf-shaped form produced by adding cusps to the curved outline of a window head or piece of tracery.

      Foliation.—The decoration of an opening, or of tracery by means of foils and cusps.

      Fosse.—The ditch of a fortress.

      François I. Style.—The early Renaissance architecture of France during part of the sixteenth century.

       Frieze.—(1) The middle member of a Classic or Renaissance entablature; this was often sculptured and carved; (2) any band of sculptured ornament.

      Gable.—The triangular-shaped wall carrying the end of a roof.

      Gablet.—A small gable (usually ornamental only).

      Gallery.—(1) An apartment of great length in proportion to its width; (2) a raised floor or stage in a building.

      Gargoyle.—A projecting waterspout, usually carved in stone, more rarely formed of metal.

      Geometrical.—The architecture of the earlier part of the decorated period in England.

      Grille.—A grating or ornamental railing of metal.

      Groin.—The curved line which is made by the meeting of the surfaces of two vaults or portions of vaults which intersect.

      Group.—An assemblage of shafts or mouldings or other small features intended to produce a combined effect.

      Grouping.—Combining architectural features as above.

      Hall.—(1) The largest room in an ancient English mansion, or a college, &c.; (2) any large and stately apartment.

      Half Timbered Construction.—A mode of building in which a framework of timbers is displayed and the spaces between them are filled in with plaster or tiles.

      Hammer Beam Roof.—A roof peculiar to English architecture of the fifteenth century, deriving its name from the use of a hammer beam (a large bracket projecting from the walls) to partly support the rafters.

      Head (of an arch or other opening).—The portion within the curve; whether filled in by masonry or left open, sometimes called a tympanum.

      Hip.—The external angle formed by the meeting of two sloping sides of a roof where there is no gable.

      Hôtel (French).—A town mansion.

      Impost.—A moulding or other line marking the top of the jambs of an arched opening, and the starting point, or apparent starting point, of the arch.

       Inlay.—A mode of decoration in which coloured materials are laid into sinkings of ornamental shape, cut into the surface to be decorated.

      Intersection (or Crossing).—The point in a church where the transepts cross the nave.

      Intersecting Vaults.—Vaults of which the surfaces cut one another.

      Interpenetration.—A German mode of treating mouldings, as though two or more sets of them existed in the same stone and they could pass through (interpenetrate) each other.

      Jamb.—The side of a door or window or arch, or other opening.

      Fig. v.—Plan of a Jamb and Central Pier of a Gothic Doorway.

      Keep.—The tower which formed the stronghold of a mediæval castle.

      King Post.—The middle post in the framing of a timber roof.

      Lancet Arch.—The sharply-pointed window-head and arch, characteristic of English Gothic in the thirteenth century.

      Lantern.—A conspicuous feature rising above a roof or crowning a dome, and intended usually to light a Hall, but often introduced simply as an architectural finish to the whole building.

      Lierne (rib).—A rib intermediate between the main ribs in Gothic vaulting.

      Light.—One of the divisions of a window of which the entire width is divided by one or more mullions.

      Lintel.—The stone or beam covering a doorway or other opening not spanned by an arch. Sometimes applied to the architrave of an order.

      [Pg xxviii] Loggia (Italian).—An open arcade with a gallery behind.

      Loop.—Short for loophole. A very narrow slit in the wall of a fortress, serving as a window, or to shoot through.

      Lucarne.—A spire-light. A small window like a slender dormer window.

      Moat (or Fosse).—The ditch round a fortress or semi-fortified house.

      Mosaic.—An ornament for pavements, walls, and the surfaces of vaults, formed by cementing together small pieces of coloured material (stone, marble, tile, &c.) so as to produce a pattern or picture.

      Moulding.—A term applied to all varieties of contour or outline given to the angles, projections, or recesses of the various parts of a building. The object being either to produce an outline satisfactory to the eye; or, more frequently, to obtain a play of light and shade, and to produce the appearance of a line or a series of lines, broad or narrow, and of varying intensity of lightness or shade in the building or some of its features.

      The contour which a moulding would present when cut across in a direction at right angles to its length is called its profile.

      The profile of mouldings varied with each style of architecture and at each period (Figs. w to z). When ornaments are carved out of some of the moulded surfaces the latter are technically termed enriched mouldings. The enrichments in use varied with each style and each period, as the mouldings themselves did.

      Mullion.—The upright bars of stone frequently employed (especially in Gothic architecture) to subdivide one window into two or more lights.

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