. A short history of art . cypress, which line the marble pathsthat intersect the garden at right angles, are all of venerable-age, and, backed up by masses of evergreen foliage, lend acharm to the whole which the founder and his children couldhardly have realised. Each of the main avenues among thes«trees has a canal along its centre studded with marble foun-tains, and each vista leads to some beautiful architecturalobject. With the Jumna in front, and this garden with itsfountains and gateways behind, with its own purity ofmaterial and grace of form, the Taj may challenge compari-son with an
. A short history of art . cypress, which line the marble pathsthat intersect the garden at right angles, are all of venerable-age, and, backed up by masses of evergreen foliage, lend acharm to the whole which the founder and his children couldhardly have realised. Each of the main avenues among thes«trees has a canal along its centre studded with marble foun-tains, and each vista leads to some beautiful architecturalobject. With the Jumna in front, and this garden with itsfountains and gateways behind, with its own purity ofmaterial and grace of form, the Taj may challenge compari-son with any creation of the same sort in the whole beauty may not be of the highest class, but in its class itis unsurpassed.—Feegussons Indian and Eastern Archi-tecture. ROMANESQUE ART We now return to the chronological sequence which marksthe development of Romanesque art out of the Byzantineand Christian Roman. Contemporaneously (writes A. D. F. Hamlin) with thelater phases of Byzantine art in the East, the spread of. WAVY, WINDING ZIGZAGS AND BROKEN LINES ABOVETHE FRAMES OF DOORS Christianity through Western and Northern Europe wascalling into existence a new architecture. It varied indetail according to locality, but was marked everywhere bycertain common characteristics which have given it the nameof Romanesque. While in Italy the early middle ages show a strange con-fusion of styles, with the Lombard in the northwest, theByzantine in the northeast, the Basilican in Rome, andNorman, Arab, and Byzantine mingled picturesquely in Sicilyand the south, all Western Europe was endeavouring to solveone and the same problem; namely, the conversion of the 168 ROMANESQUE ART 169 three-aisled Roman basilica into a vaulted structure. Thisproblem is the key to the whole of Medimval architecture inWestern Europe; of which the Romanesque styles are simplythe first stages and the magnificent cathedrals of the thir-teenth and fourteenth centuries the consummate achieve-ment. The Romanes
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Keywords: ., boo, bookcentury1900, bookdecade1910, booksubjectart, bookyear1913
