banished from the temple of the Christian æra. The dances, the groups of Graces, Cupids, Satyrs, Fauns, were here in their right place; and thus the very religion of the ancients afforded the essential motive for the more pleasing He also displayed his talents in the reparation of many ancient edifices under the direction of Cassiodorus. ST. GERMAIN, of Paris, 500. The plan of the church of St. Germain, previously dedicated to St. Vincent, at Paris. A convent at Mans. He was bishop of Paris. productions of the plastic art, ST. AVITUS, of Clermont, 500. The which the religion of the Christian æra must decidedly condemn. For this reason, nothing but the correctness of forms, together with their beauty and the external charm of colours, could be transferred to the painting of Christian art, which sought to express more profound feelings; and, by the manner in which it represented these feelings, it has exhibited a view of the inward which most strongly distinguishes the Christian æra from the periods that preceded it in the great history of mankind and of nations. man, ARCHITECTS; PERIODS IN WHICH THEY FLOURISHED; PRINCIPAL WORKS AND MERITS. METRODORUS, of Persia, A. D. 320. Many buildings in India, whither he travelled: some at Constantinople. He is the first known Christian architect. ALIPIUS, of Antioch, 350. By command of Julian the Apostate, he laid the foundation of a new temple at Jerusalem, but the work was interrupted by flames of fire which issued from the earth. church of Madonne du Port. He was bishop of Clermont. ST. AGRICOLA, of Chalons, 500. Cathedral of Chalons, with many other churches in that diocese, of which he was bishop. ETERIUS, of Constantinople, 550. Part of the imperial palace at Constantinople, called Chalci. ANTHEMIUS, of Tralles, in Lydia, 550. The celebrated church of St. Sophia, at Constantinople, now the principal mosque of that city, and several other buildings there. His style was remarkable for grandeur and dignity. ISIDORUS, of Miletus, 550. He assisted in the erection of the church of St. Sophia, at Constantinople. CHRYSES, of Dara, in Persia, 550. He constructed the celebrated dykes along the Euripus near Dara, to keep the river in its channel, and to prevent the water of the sea from entering the river. He excelled in hydraulic archi tecture. ISIDORUS, of Byzantium, 600. The city of Zenobia, in Syria, was built by him and Johannes. His taste was not pure, and too affected. JOHANNES, of Miletus, 600.-See Isı DORUS. CIRIADES, of Rome, 400. A church RUMUALDUS, of France, 840. The ca and a bridge. SENNAMAR, of Arabia, 450. Sedir and Khaovarnack, two celebrated palaces in Arabia. ALOISIUS, of Padua, 490. He assisted in the erection of the celebrated rotunda at Ravenna, the cupola of which is said to have been of one stone, 38 feet in diameter and 15 feet thick. thedral of Rheims; the earliest example of what is termed Gothic archi tecture. TIETLAND, of Switzerland, 900. The ce lebrated convent of Einsiedeln, in Switzerland. TIODA, of Spain, 900. The palace of King Alphonso the Chaste, at Oviedo, now the episcopal palace. The churches of St. Salvator, St. Michael, and St. Mary. BUSCHETTO, of Dulichium, 1016. The celebrated cathedral of Pisa; the earliest example of what is termed Lombard ecclesiastical architecture. PIETRO DI USTAMBER, of Spain, 1020. The cathedral of Chartres, ALVARO GARRIA, of Estella, in Navarre, 1070. RAIMOND, of Montfort, in France, 1139. The cathedral of Lugo. DIOTISALVI, of Italy, 1150. The celebrated Battisterio of Pisa, near the Campo Santo. His works were in the Lombard style, overloaded with mi nute ornaments. BUONO, of Venice, 1150. The celebra ted tower of St. Mark, at Venice. The Vicaria, with the Castello del 'Uovo, at Naples. The church of St. Andrew, at Pistoia. SUGGER, of St. Denis, 1150. He re built the church and abbey of St. Denis, near Paris. He was distinguished by perfection of what is called the Gothic style. The PIETRO DI Cozzo, of Italy, 1170. The celebrated great hall at Padua. WILHELM, of Germany, 1170. hanging tower of marble at Pisa, upon which Bonnano and Thomaso, sculptors of Pisa, were also engaged. This tower was originally built perpendicular; but the ground consisting of sea-sand, sunk during the progress of the work in such a manner, that its centre differs with its periphery about 15 feet. ROBERT, of Lusarche, in France, 1220. The cathedral of Amiens, continued by Thomas de Cormont, and finished by his son Renauld. ETIENNE DE BONNEVEIL, of France, 1220. The church of the Trinity, at Upsal, in Sweden, after the model of Notre Dame, at Paris. JEAN D'ECHELLES, of France, 1250. The portico of Notre Dame, at Paris. PIERRE DE MONTEREAU, of France, 1250. The Holy Chapel at Vincennes. The refectory, dormitory, chapter-house, and chapel of Notre Dame, in the convent of St. Germain des Prez, near Paris. EUDE DE MONTREUIL, of France, 1250. Church of the Hotel Dieu, at Paris. The churches of St. Catherine du Val des Ecoliers, of St. Croix de la Bretonnerie, of Blancs Manteaux, of the Mathurins, of the Cordeliers, and of the Carthusians, at Paris. His style was gloomy Gothic. SAN GONSALVO, of Portugal, 1250. Stone bridge at Amaranto. SAN LORENZO, of Portugal, 1250. Stone bridge at Tui. SAN PIETRO, of Portugal, 1250. Stone rence. NICOLA DA PISA, of Pisa, 1250. Convent and church of the Dominicans at Bologna. Church of St. Michele and tower of the Augustins, at Pisa. Great church del Santo, at Padua. Church of the Frati Minori, at Venice. Abbey and church of Tagliacozzo, in the kingdom of Naples. Plans of the church of St. Giovanni, at Siena, of the church and convent di S. Trinita, at Florence, and also for those of the Dominicans at Arezzo. He intermixed the Gothic with the Lombard style. About twenty-eight years later commenced the building of the cathedral of Florence by two monks, Fra Giovanni and Fra Ristoro. Fuccio, of Italy, 1270. Church of St. Mary su l'Arno, at Florence. He finished the Vicaria and Castello dell' Uovo, at Naples; and was distinguished for his skill in fortification. MAGLIONE, of Pisa, 1270. The cathedral and the church of S. Lorenzo, at Naples. MASUCCIO, of Naples, 1270. Maria della Nuova, at Naples. Churches of S. Dominico Magg. and S. Giovanni Magg.; the archiepiscopal palace and the Palazzo Colombrano, in the same city. MARINO BOCCANERA, of Genoa, 1280. The mole of Genoa was begun by him. ARNOLFO, of Florence, 1280. The church of S. Croce, the walls of the city, together with the towers; the model and plan of the cathedral S. Maria del Fiore, to which Bruneleschi added the cupola, at Florence. PIETRO PEREZ, of Spain, 1280. The cathedral of Toledo. ROBERT DE COVEY, of France, 1280. He rebuilt the cathedral at Rheims. ERWIN VON STEINBACH, of Germany, 1280. The celebrated minster of Strasburg was superintended by him. for twenty-eight years. His style was the purest Gothic. GIOVANNI DA PISA, of Pisa, 1280. The celebrated Campo Santo, at Pisa. Castel Nuovo, at Naples. The façade of the cathedral of Siena. Many other churches and palaces at Arezzo, and in other towns of Italy. He is remarkable as the first architect in the modern style of fortification. His churches and other buildings are grand and cheerful. ANDREA DA PISA, of Pisa, 1300. Plan of the fortress della Scarperia, at Mugeilo, at the foot of the Appennines. Plan and model of the church of S. Giovanni, at Pistoia. The ducal PaJazzo Gualtieri, at Florence. He was distinguished in fortification. AUGUSTIN, brother of Angelo, of Pisa, 1300. The north façade of the cathedral of Siena, as also the church and convent of St. Francis in the same city. The church di S. Maria, likewise at Siena, was built by him and Angelo jointly. ANGELO, brother of Augustin, of Pisa, 1300.-See AUGUSTIN. GIACOMO LANFRANI, of Italy, 1330. Church of St. Francis, at Imola. Church of St. Anthony, at Venice. JEAN RAUY, of France, 1340. He finished the building of the church of Notre Dame, at Paris. WILLIAM REDE, of Chichester, England, 1350. The castle of Amberley, Sus sex. WILLIAM WYKEHAM, of Wykehəm, in England, 1350. Plan of Windsor Castle. Cathedral of Winchester. PHILIP BRUNELESCHI, of Florence, 1390. Cupola of the cathedral of Florence. Palazzo Pitti at the same place, begun, and about half finished, by him. He set the first example of the purer style in the architecture of Italian palaces. MICHELOZZO MICHELOZZI, of Fiorence, 1400. The Palazzo de Medicis, now Riccardi, the plan of which was designed by Bruneleschi, the Palazzo Caffagiulo, the Palazzo della Villa Careggi, and the Palazzo Tornabuoni, at Florence: several other palaces, churches, and convents. His style was distinguished for its purity. GIULIANO, of Majano, near Florence, 1400. The Palazzo del Poggio Reale, at Naples. The palace and church of St. Marco, at Rome, in which he employed many of the stones from the Colosseum. He was an artist of dis tinguished merit. ANDREA CICCIONE, of Naples, 1430. The convent and church of Monte Oliveto, at Naples. Several other convents and palaces. LEON BATTISTA ALBERTI, of Florence, 1450. Church of St. Francis, at Rimini; church of St. Andrew, at Mantua. A great number of other buildings in Italy. CHRISTOBOLO, of Italy, 1450. A mosque at Constantinople, with eight schools and eight hospitals on the site of the church of the Apostles, by command of Mahomet II. (To be continued.) THE DOMESTIC COMMONPLACE-BOOK; Containing authentic Receipts and miscellaneous Information in every Branch of Domestic Economy, and of general Utility. DOMESTIC PROCESSES FOR DYING of alum, in a sufficient quantity of THE art of dying consists in extracting the colouring matters from different substances, making them pass into the fibres of woollen, cotton, flax, silk, or other bodies, and fixing them there as permanently as possible, so as to resist the action of the liquids to which the article will probably be exposed in the ordinary affairs of life. -Thus, for instance, dyed linen and cotton goods must resist the effects of soap and water, to which they are necessarily subjected in washing, and woollen and silk goods must bear being scoured, which, in fact, is a more careful process of applying detergent articles in a particular manner, similar to the operation of soap and water, And although the processes of dying comprehend a series of complicated operations, which are strictly founded on chemical principles, and which require much skill, we shall, on this occasion, exhibit some simple processes of this beautiful art, that may be suc-alum, is passed through this bath. cessfully practised in an easy and economical manner by those who are unacquainted with the dyer's art. To dye Wool a permanent Yellow. Woollen yarn, or cloth, may be dyed of a permanent yellow in the following manner:-Boil the yarn or cloth with one-sixth of its weight Silk may be dyed a fine clear yellow in the following manner :First impregnate the silk by soaking it for a few minutes in soap and water; then rinsing it, and immersing it in a solution of alum and water, and then passing it through a decoction of weld till the desired shade of colour is produced. The weld is to be tied up in a coarse bag, and put into the copper, with a sufficient quantity of water; and after having boiled for about half an hour, and the fire slackened, the silk, previously impregnated with Gold or deep Yellow. Add a small quantity of pearl ash towards the end of the process; or still better, add the pearl ash to a second decoction of weld, and pass the silk through it, after having been first dyed a bright clear yellow, in the manner before stated. and afterwards dilute the solution with one-fourth part of its weight of soft water. Then put eight ounces of this solution into an earthenware pan, with a sufficient quantity of water, and add also ten ounces of cream of tartar, and six of finely powdered cochineal, and boil this mixture. In this bath the article to be dyed must be immersed till it has received a fine bright colour. By adding a little turmeric root in powder, the red colour is rendered more brilliant. The colours known by the names of poppy, cherry, rose, and flesh colour, are given to silk by dying them with carthamus; that is to say, by keeping the silk immersed To dye Cotton Yellow. Let the article be first well cleansed by boiling it for about a quarter of an hour with a small quantity of pearl-ash; then im-in an alcaline solution of the copregnate it with alum, and dye it in a bath of weld, in which the quantity of weld is at least equal to the quantity of cotton to be dyed. | When this is done, soak it in a bath of sulphate of copper and water for twenty-four hours; and, lastly, rinse it in water, and, suffer it to dry. Instead of weld, quercitron bark may be used; but the yellow dye which this bark gives, is not so bright and lively as the yellow obtained from weld. To dye Silk Crimson, Poppy Red, louring matter of carthamus flower, into which as much lemon-juice, or instead of it a solution of crystallized citric acid, has been poured as produces the desired shade of colour. The solution of carthamus is prepared in the following manner:-Take any quantity of carthamus flower, put it into a bag, and squeeze it in water, to deprive it of all the extractive colouring matter which can thus be separated by the action of water; and repeat this process till the water, thus employed for extracting the colouring matter, ceases to be tinged. This being done, infuse the carthamus, thus deprived of its Silk may be dyed red, of various shades, by means of cochineal or carthamus. It may be dyed crim-yellow colouring matter, in a weak son by first steeping it in a solution of alum, and then dying it in a cochineal bath, prepared in the following manner:- In the first place, dissolve one part of sal ammoniac in eight parts of nitric acid; and add, by very small portions at a time, one part of granulated tin, solution of carbonate of soda in water, which will extract the red colouring matter that it contains, and which is soluble in the alcali; and if to the solution lemon-juice be added, the red colouring matter again becomes precipitated, and affixes itself to the fibres of the |