Description of Melrose Abbey.

or ever entered one of the larger or more elegant edifices of the kind, but it presented to his imagination an avenue of trees; and this alone is what can truly be called the Gothic style of building. Under this idea of so extraordinary a species of architecture, all the irregular transgressions against the art, all the monstrous offences against nature, disappear; every thing has its reason; every thing is in order; and an harmonious whole arises from the studious application of the means and proportions to the end. Nor could the arches be otherwise than pointed, when the workmen were to imitate the curve which branches of two opposite trees make by their intersection with one another; nor could the columns be otherwise than split into distinct shafts, when they were to represent the stems of clumps of trees growing together. On the same principles they formed the spreading ramifications of the stone-work of the windows, and the stained glass in the interstices, the one to represent the branches, the other the leaves of the opening grove; and both concurred to preserve that gloomy light which inspires religious reverence and dread."

The following quaint and graphic description of the ruins of Melrose Abbey will give a better idea of the early peculiarities of this style than any abstract explanation:

its roof is

"This Abbey was built in 1136 by King David of Scotland. The church is built in the form of a St. John's cross. The chancel, which is a very stately fabric, is still standing; very curious, and has much of the Scripture upon it. Although much of the west part is so entirely demolished, that we cannot know how far it extended in that direction. Its length is 258 feet; breadth, 137; circumference, about 943; height of the south window, 24; breadth, 15; height of the steeple, 75; the spire is gone. The east window, at which was the great altar,

Ornaments and sculpture.-The steeple.-The roof.

is a beautiful structure, consisting of four pillars or bars, with much curious work between them; and on each side many niches for statues. On the top an old man with a globe in his left hand resting on his knee, and a young man on his right; both in a sitting posture, with an open crown over their heads. On the north and south of this window are two others of smaller dimensions. The niches are curiously carved, bearing the figures of men and animals. On the southeast of this church are many musicians admirably carved, with much pleasantness and gayety in their countenances. Also nuns with their veils, some of whom are richly dressed. The south window is much admired

for its height and curious workmanship. Niches are on each side and above it, in which have been statues of our Saviour and apostles. Besides these, there are many other figures on the east and west sides of this window: monks with their beards, cowls, and beads; a cripple on the back of a blind man; several animals carved very well, as boars, greyhounds, lions, and others. There are about 68 niches, in the whole, standing: the statues were only demolished about the year 1649.

"So much with respect to the outside of the church. Within, on the north side of the cross, are beautiful pillars, and the sculpture as fresh as if it had been newly cut. On the west side is a statue of St. Peter with a book open, his right hand on it, and two keys hanging on the left. On the south side of this statue is that of St. Paul with a sword. In the middle of

the cross stood the steeple-a noble piece of architecture-a quarter of it is still standing. The roof of the south side of the cross is still standing, where is a beautiful staircase much admired, the roof of it winding like a snail cap. within the church a vast number of fonts curiously carved, and there were altars dedicated to various saints.

There were

The work

The workmanship.-Masterpieces of Gothic architecture.

manship of some of the pillars resembles, in fineness, Flanders lace.

"In regard to what was in part or altogether separated from the body of the church, there was a cloister on the north side, a part of the walls of which are still standing, and where may be observed pleasant walks and seats, with many flowers finely carved, as lilies, &c.; also ferns, grapes, houseleeks, escalops, fir-cones, &c. The door of the north entry of the church is curiously embossed, and the foliage, here and there, in other places, is very beautiful. There were also a vast number of fine buildings within the convent, for the residence and service of the abbot and monks, with gardens and other conveniences-all this enclosed within a high wall, about a mile in circuit. Besides the church, there has been a fine chapel, where the manse now is, and another house adjoining to it, where the foundations of the pillars are still to be seen. On the north side of this house, there has been a curious oratory or private chapel, the foundations of which have lately been discovered, and a large cistern of a single stone, with a leaden pipe conveying the water to it."

Gothic architecture has undergone many changes since the age in which this pile was erected; indeed, its peculiar genius admits of almost inexhaustible variety.

The minster of Strasburg, the cathedral of Cologne, York minster, Westminster, and Salisbury cathedral, are among the masterpieces of this style.

Moresque architecture-Mosque of Cordova.—The Alhambra.

Arabian or Moresque Architecture.

BEFORE the appearance of Mohammed, the ancient Arabian architecture, of which very few examples now remain, was rude, compared with the neighbouring Egyptian, Chaldean, Syrian, and Persian. The Caaba of Mecca, the only temple extant of their idol worship, is a quadrangular building, lighted by one window and a door, having three octagonal pillars supporting the roof.

From the latter part of the eighth to the middle of the ninth century, the Arabians made wonderful progress in the sciences.

The finest example of the first period of Moresque architecture, is the mosque of Cordova, in Spain, commenced in 770, by Abderahman, and finished by his son Hisham. It bears, in its arrangements, a striking resemblance to the basilica of Rome, particularly to those of St. Agnese and St. Paola. After the conquest of Cordova, it was converted into a cathedral; and though disfigured by modern additions, it preserves much of its ancient splendor. During the second period, which includes the close of the thirteenth century, the style was greatly improved in elegance, of which the royal palace and fortress of the Alhambra of Granada is a splendid example-the most perfect specimen of pure Arabian architecture that was ever produced. In this period, no traces of the Byzantine or Romanesque are to be found. The whole of the Alhambra is one plain, so arranged as to suit the plateau of the rock. After passing the principal entrance, there are two oblong courts, one of which, celebrated in history, is called the Court of the Lions-the buildings are one hundred feet high, and fifty broad, having one hundred and

Mixture of Saracen architecture with other styles.

twenty-eight columns of white marble. Round these courts, on the ground-floor, are the apartments of the palace—those for state looking towards the country; the others, for coolness and retirement, opening into the interior porticoes. The length of the enclosure is two thousand three hundred feet, its breadth six hundred. The walls are covered with arabesque, and ornaments of fanciful and diversified forms, and of various colours-gold, pink, blue, purple, and white-produced by painting, encrustation, mosaic, and gilding, imparting an air of refined luxury and fairy enchantment.

The third period, which extends from the close of the thirteenth century to the decline of the Saracen power, is marked by an amalgamation of the Saracen architecture with the Gothic, of which the beautiful cathedrals of Seville and Burgos are examples. Towards the latter portion of this period, the Italian orders began to be combined with the other, in detailed parts.

The Arabian and Gothic may be said to have taken their rise from the same origin-the debased Roman; the Arabian from the Byzantine, the Gothic from the Lombard; though in their progress and development they were unconnected and original.

The preceding remarks refer more especially to the architecture of the western Arabians, found in Spain; yet there is a close resemblance between it and that of the Moors of Asia and Africa.