Past the bouncers outside and the girls smoking long, skinny cigarettes, past the tinted glass doors and the jade stone Novikov has put in near the entrance for good luck. Inside, Novikov opens up so anyone can see everyone in almost every corner at any moment, the same theatrical seating as in his Moscow places. But the London Novikov is so much bigger. There are three floors. One floor is “Asian,” all black walls and plates. Another floor is “Italian,” with off-white tiled floors and trees and classic paintings. Downstairs is the bar-cum-club, in the style of a library in an English country house, with wooden bookshelves and rows of hardcover books. It’s a Moscow Novikov restaurant cubed: a series of quotes, of references wrapped in a tinted window void, shorn of their original memories and meanings (but so much colder and more distant than the accessible, colorful pastiche of somewhere like Las Vegas). This had always been the style and mood in the “elite,” “VIP” places in Moscow, all along the Rublevka and in the Garden Ring, where the just-made rich exist in a great void where they can buy anything, but nothing means anything because all the old orders of meaning are gone. Here objects become unconnected to any binding force. Old Masters and English boarding schools and Fabergé eggs all floating, suspended in a culture of zero gravity.
Meantime Italian, and, it may be, Spanish potters strayed over the French border and attempted to introduce the manufacture of their tin-enamelled wares; for we know of the works of Gambin and Tardessir of Faenza, established at Lyons about 1556; of Sigalon at Nîmes in 1548; of Jehan Ferro at Nantes about 1580, and other sporadic efforts. The needed impetus came, however, when the Mantuan duke, Louis de Gonzague, became duke of Nevers in 1565; and we find Italian majolists, working under princely patronage, planting their decadent art in the centre of France. The first efforts met with little success until, with the appearance of the Conrades from Savona, who were domiciled in Nevers in 1602, we get the genuine ware of Nevers. Naturally the first productions, whether of the Conrades or their predecessors, were in the style of the debased majolica of Savona, but the body and glaze of the ware is harder, the colours are not so rich, and the execution is less spirited. The first departure from Italian traditions is seen in the ware of the so-called "Persian style" of Nevers--probably adopted from contemporary work in Limoges enamels on metal--where conventional and fanciful designs of flowers and foliage, birds, animals or figures were thickly raised in white enamel on a ground of bright, intense cobalt-blue glaze. After the middle of the 17th century the Italian style of design appears to have been entirely replaced by pseudo-oriental patterns painted in blue or in polychrome, but really imitated from the "Delft" copies of Chinese and Japanese porcelain. When Rouen and Moustiers became famous for their distinctive wares Nevers copied their designs also, and on a gradually descending scale the manufacture continued to the end of the 18th century, when France was flooded with the rude _Faiences patriotiques_ from this centre. Entry: FRENCH
Up to the present we have said nothing about the ecclesiastical buildings in Germany, for the reason that the period between the Reformation and the conclusion of the Thirty Years' War was not favourable to church building. The only example worth mentioning is the church of St Michael at Munich (1583-1597), and that more for its plan than for its architecture. It has a wide nave covered with a barrel vault, and a series of chapels forming semicircular recesses on each side, the walls between acting as buttresses to the great vault. The transept is not deep enough to have any architectural value, but if at the east end there had been only an apse it would have been a better termination than the long choir. The Liebfrauenkirche at Dresden (1726-1745) has a good plan, but internally is arranged like a theatre with pit, tiers of boxes, and a gallery, all in the worst possible taste, and externally the dome is far too high and destroys the scale of the lower part of the church. An elliptical dome is never a pleasing object, and in the church of St Charles Borromeo, at Vienna, there are no other features to redeem its ugliness. The Marienkirche at Wolfenbüttel (1608-1622) has a fine Italian portal; its side elevation is spoilt by the series of gable dormers, which are of no possible use, as the church (of the _Hallenkirchen_ type) is well lighted through the aisle windows. The portal of the Schlosskapelle (1555) at Dresden is a fine work in the Italian style; and lastly the church at Bückeburg, in a late debased style, is redeemed only by the fact that it is built in fine masonry and that the joints run through all the rococo details. (R. P. S.) Entry: RENAISSANCE
Lisbon is the seat of an archbishop who since 1716 has borne _ex officio_ the honorary title of patriarch; he presides over the House of Peers and is usually appointed a cardinal. The churches of modern Lisbon are generally built in the Italian style of the 18th century; the interiors are overlaid with heavy ornament. Perhaps the finest is the Estrella church, with its white marble dome and twin towers visible for many miles above the city. The late Renaissance church of São Roque contains two beautiful chapels dating from the 18th century, one of which is inlaid with painted tiles, while the other was constructed in Rome of coloured marbles, and consecrated by the pope before being shipped to Lisbon. Its mosaics and lapis lazuli pillars are exceptionally fine. The 14th-century Gothic Igreja do Carmo was shattered by the great earthquake. Only the apse, pillared aisles and outer walls remain standing, and the interior has been converted into an archaeological museum. The church of Nossa Senhora da Conceição has a magnificent Manoeline façade. Entry: LISBON
The pure Italian style, as it is sometimes called, was introduced into France probably by Serlio, and the result of its first influence is shown in the Louvre, begun in 1546. It entered Spain about 20 years later, under the rule of Philip II., and Germany about the same time, creating about 100 years later a reaction in Spain in favour of a less cold and formal style, and scarcely taking any root in Germany. In England its first appearance does not take place till 1619, when Inigo Jones, after his second visit to Rome, designed an immense palace, measuring 1150 ft. by 900 ft., of which the only portion built was the Banqueting House in Whitehall (Plate VI., fig. 75); a fine design, in which the emphasizing of the central portion by columns in place of pilasters is an original treatment not found in Italy, but of excellent effect. Unfortunately many subsequent designs of Inigo Jones were either not carried out or have since been destroyed; but nothing approached this admirable work in Whitehall. Entry: RENAISSANCE
FARNHAM, a market town in the Guildford parliamentary division of Surrey, England, 37½ m. S.W. by W. from London by the London & South Western railway. Pop. of urban district (1901) 6124. It lies on the left bank of the river Wey, on the southern slope of a hill rising about 700 ft. above the sea-level. The church of St Andrew is a spacious transitional Norman and Early English building, with later additions, and was formerly a chapel of ease to Waverley Abbey, of which a crypt and fragmentary remains, of Early English date, stand in the park attached to a modern residence of the same name. This was the earliest Cistercian house in England, founded in 1128 by William Gifford, bishop of Winchester. The _Annales Waverlienses_, published by Gale in his _Scriptores_ and afterwards in the Record series of _Chronicles_, are believed to have suggested to Sir Walter Scott the name of his first novel. Farnham Castle, on a hill north of the town, the seat of the bishops of Winchester, was first built by Henry de Blois, bishop of Winchester, and brother of King Stephen; but it was razed by Henry III. It was rebuilt and garrisoned for Charles I. by Denham, from whom it was taken in 1642 by Sir W. Waller; and having been dismantled, it was restored by George Morley, bishop of Winchester (1662-1684). Farnham has a town hall and exchange in Italian style (1866), a grammar school of early foundation, and a school of science and art. It was formerly noted for its cloth manufacture. Hops of fine quality are grown in the vicinity. William Cobbett was born in the parish (1766), and is buried in the churchyard of St Andrew's. The neighbouring mansion of Moor Park was the residence of Sir William Temple (d. 1699), and Swift worked here as his secretary. Hester Johnson, Swift's "Stella," was the daughter of Temple's steward, whose cottage still stands. The town has grown in favour as a residential centre from the proximity of Aldershot Camp (3 m. N.E.). Entry: FARNHAM
The next great architect chronologically is Bramante d' Urbino, to whom was entrusted the commencement of the church of St Peter at Rome. His first important work was the church of Santa Maria della Consolazione at Todi (1472), which consists of a square nave with immense semicircular apses, one on each side. The nave is covered with a dome raised on a drum, and carried on pendentives, and the apses with hemispherical vaults butt against the nave walls and form externally a very fine group. Bramante was the architect of the chapel in the cloisters of San Pietro-in-Montorio, Rome (1472), a small circular building covered with a dome and surrounded with a peristyle of columns of the Doric order; and of the dome of the church of Santa Maria delle Grazie in Milan, as also of the three apses, which are decorated with pilasters and baluster shafts with circular medallions enclosing busts, all in terra cotta. Before passing to his work at St Peter's there are some other early churches we must notice. The Certosa, near Pavia, was begun in 1396, and in one sense suggests the revival of classic architecture, in that all its arches have semicircular heads. The magnificent façade of the church was commenced in 1473 from the designs of Borgognone, a Milanese architect: it is one of the few examples in Italy of large size in which the transition is noticeable, for although there are no Gothic details the design follows that of the middle ages, and instead of great pilasters of the Corinthian order, buttresses with niches containing statues divide the façade and accentuate the internal divisions of the church; the open galleries above the entrance doorway crossing the upper storey of the central portion are all derived from well-known Lombardic features. The upper part of the façade is inferior to the lower, Borgognone's design having been departed from. The enrichment of the whole front, from the lower plinth to the string course under the first gallery, with bas-reliefs, panelled pilasters, niches, medallions and other decorative accessories, all in white marble, so completely covers the whole surface that scarcely any portion is left plain, which to a certain extent detracts from its effect as a whole; but there is an endless variety of design, and the baluster or candelabrum shafts dividing the windows and the friezes and cresting above their cornices, are of great beauty. The circular rose window above, with its enclosing frontispiece of later date, shows the coming influence of the later Italian style. The cloisters adjoining are surrounded with a light arcade, with enrichments in the spandrils and frieze, all in terra cotta. Entry: RENAISSANCE
LLANDAFF, a city of Glamorganshire, Wales, on the Taff Vale railway, 149 m. from London. Pop. (1901) 5777. It is almost entirely within the parliamentary borough of Cardiff. It is nobly situated on the heights which slope towards the southern bank of the Taff. Formerly the see of Llandaff was looked upon as the oldest in the kingdom; but its origin is obscure, although the first two bishops, St Dubricius and St Teilo, certainly flourished during the latter half of the 6th century. By the 12th century, when Urban was bishop, the see had acquired great wealth (as may be seen from the _Book of Llandaff_, a collection of its records and land-grants compiled probably by Geoffrey of Monmouth), but after the reign of Henry VIII. Llandaff, largely through the alienations of its bishops and the depredations of the canons, became impoverished, and its cathedral was left for more than a century to decay. In the 18th century a new church, in debased Italian style, was planted amid the ruins. This was demolished and replaced (1844-1869) by the present restored cathedral, due chiefly to the energy of Dean Williams. The oldest remaining portion is the chancel arch, belonging to the Norman cathedral built by Bishop Urban and opened in 1120. Jasper Tudor, uncle of Henry VII., was the architect of the north-west tower, portions of which remain. The cathedral is also the parish church. The palace or castle built by Urban was destroyed, according to tradition, by Owen Glendower in 1404, and only a gateway with flanking towers and some fragments of wall remain. After this, Mathern near Chepstow became the episcopal residence until about 1690, when it fell into decay, leaving the diocese without a residence until Llandaff Court was acquired during Bishop Ollivant's tenure of the see (1849-1882). For over 120 years the bishops had been non-resident. The ancient stone cross on the green (restored in 1897) is said to mark the spot on which Archbishop Baldwin, and his chaplain Giraldus Cambrensis, preached the Crusade in 1187. Money bequeathed by Thomas Howell, a merchant, who died in Spain in 1540, maintains an intermediate school for girls, managed by the Drapers' Company, Howell's trustees. There is an Anglican theological college, removed to Llandaff from Aberdare in 1907. The city is almost joined to Cardiff, owing to the expansion of that town. Entry: LLANDAFF
Besides numerous schools, there is an admirably equipped Academy. The old infirmary building is now occupied by St Joseph's College, a commercial academy of the Marist Brotherhood, in connexion with which there is a novitiate for the training of members of the order for missionary service at home or abroad. In the middle of the market-place stands the old town hall, with red tower and cupola, known from its situation as the Mid Steeple, built by Tobias Bachup of Alloa (1708). The new town hall and post-office are near the uppermost bridge. The county buildings, in Buccleuch Street, are an imposing example of the Scots Baronial style. To Mr Andrew Carnegie and Mr and Mrs M'Kie of Moat House was due the free library. The charitable institutions include Moorhead's hospital (1753) for reduced householders; the Dumfriesshire and Galloway royal infirmary, dating from 1778, but now housed in a fine edifice in the northern Italian style; the Crichton royal institution for the insane, founded by Dr James Crichton of Friars Carse, and supplemented in 1848 by the Southern Counties asylum; the new infirmary, a handsome building; the contagious diseases hospital, the industrial home for orphan and destitute girls and a nurses' home. The Theatre Royal, reconstructed in 1876, dates from 1787. Burns composed several prologues and epilogues for some of its actors and actresses. Among other public buildings are the assembly rooms, St George's hall, the volunteer drill hall, and the Crichton Institution chapel, completed at a cost of £30,000. The corporation owns the water supply, public baths and wash-houses and the gasworks. In front of Greyfriars church stands a marble statue of Burns, unveiled in 1882, and there is also a monument to Charles, third duke of Queensberry. The Nith is crossed by three bridges and the railway viaduct. The bridge, which is used for vehicular traffic, dates from 1790-1794. Devorgilla's bridge, below it, built of stone in 1280, originally consisted of nine arches (now reduced to three), and is reserved in spite of its massive appearance for foot passengers only, as is also the suspension bridge opened in 1875. Entry: DUMFRIES
The city consists of five main portions--the Altstadt, the original town with narrow, irregular streets; the Karlstadt, dating from 1787 and so called after the electoral prince Charles Theodore; the Neustadt, laid out between 1690 and 1716; and the Friedrichstadt and the Königstadt, of recent formation. In addition, the former villages of Pempelfort, Oberbilk, Unterbilk, Flingern and Derendorf have been incorporated and form the outer suburbs of the town proper. On the south side the town has been completely metamorphosed by the removal of the Köln-Mindner and Bergisch-Maerkisch stations to a central station lying to the east. The site thus gained was converted into new boulevards, while the railway to Neuss and Aix-la-Chapelle was diverted through the suburb of Bilk and thence across the Rhine by an iron bridge. A road bridge (completed 1898, 2087 ft. long), replacing the old bridge of boats, carries the electric tram-line to Crefeld. The town, with the exception of the Altstadt, is regularly built, but within its area are numerous open grounds and public squares, which prevent the regularity of its plan degenerating into monotony: the market-place, with the colossal bronze statue of the elector John William, the parade, the Allee Strasse, the Königs Allee, and the Königs Platz may be specially mentioned. Of the thirty-seven churches, of which twenty-six are Roman Catholic, the most noticeable are:--St Andrew's, formerly the Jesuit and court church, with frescoes by J. Hübner (1806-1882), E. Deger (1809-1885), and H. Mücke (1806-1891), and the embalmed bodies of several Rhenish electors; St Lambert's, with a tower 180 ft. high and containing a monument to Duke William (d. 1592); Maximilians, with frescoes by J.A.N. Settegast (1813-1890); the Romanesque St Martin's, and the new Gothic church of St Mary. Besides the old ducal palace, laid in ruins by the French in 1794, but restored in 1846, the secular buildings comprise the government offices, the post-office in Italian style, the town hall on the market square, the law courts, the municipal music hall, the municipal theatre, the assembly hall of the Rhenish provincial diet, an Italian Renaissance edifice erected in 1879, the academy of art (1881; in pure Renaissance), the industrial art museum (1896), the historical museum, and the industrial art school. The town also possesses a library of 50,000 volumes, several high-grade schools, and is the seat of a great number of commercial and intellectual associations; but to nothing is it more indebted for its celebrity than to the Academy of Painting. This famous institution, originally founded by the elector Charles Theodore in 1767, was reorganized by King Frederick William III. in 1822, and has since attained a high degree of prosperity as a centre of artistic culture. From 1822 till 1826 it was under the direction of Cornelius, a native of the town, from 1826 to 1859 under Schadow, and from 1859 to 1864 under E. Bendemann (1811-1889). From Bendemann's resignation it continued in the hands of a body of curators till 1873, when Hermann Wislicenus (1825-1899) of Weimar was chosen director. The noble collection of paintings which formerly adorned the Düsseldorf gallery was removed to Munich in 1805, and has not since been restored; but there is no lack of artistic treasures in the town. The academy possesses 14,000 original drawings and sketches by the great masters, 24,000 engravings, and 248 water-colour copies of Italian originals; the municipal gallery contains valuable specimens of the local school; and the same is the case with the Schulte collection. The principal names are Cornelius, Lessing, the brothers Andreas and Oswald Achenbach, A. Baur (b. 1835), A. Tidemand (1814-1876), and L. Knaus (b. 1829). An annual exhibition is held under the auspices of the Art Union; and the members of the Artists' Society, or _Malkasten_, as they are called, have annual festivals and masquerades. Entry: DÜSSELDORF
HULL (officially KINGSTON-UPON-HULL), a city and county of a city, municipal, county and parliamentary borough, and seaport in the East Riding of Yorkshire, England, at the junction of the river Hull with the Humber, 22 m. from the open sea, and 181 m. N. of London. Pop. (1891) 200,472; (1901) 240,259. Its full name, not in general use, is Kingston-upon-Hull. It is served by the North Eastern, Great Central and Hull & Barnsley railways, the principal station being Paragon Street. The town stands on a level plain so low as to render embankments necessary to prevent inundation. The older portion is completely enclosed by the Hull and Humber on the E. and S. and by docks on the N. and W. Here are narrow streets typical of the medieval mercantile town, though modern improvements have destroyed some of them; and there are a few ancient houses. In Holy Trinity church Hull possesses one of the largest English parish churches, having an extreme length of 272 ft. It is cruciform and has a massive central tower. This and the transepts and choir are of Decorated work of various dates. The choir is largely constructed of brick, and thus affords an unusually early example of the use of this material in English ecclesiastical architecture. The nave is Perpendicular, a fine example of the style. William Mason the poet (1725-1797) was the son of a rector of the parish. The church of St Mary, Lowgate, was founded in the 14th century, but is almost wholly a reconstruction. Modern churches are numerous, but of no remarkable architectural merit. Among public buildings the town-hall, in Lowgate, ranks first. It was completed in 1866, but was subsequently extended and in great part rebuilt; it is in Italian renaissance style, having a richly adorned façade. The exchange, in the same street, was also completed in 1866, in a less ornate Italian style. There are also theatres, a chamber of commerce, corn exchange, market-hall, custom-house, and the dock offices, a handsome Italian building. The principal intellectual institution is the Royal Institution, a fine classical building opened by Albert, prince consort, in 1854, and containing a museum and large library. It accommodates the Literary and Philosophical Society. The grammar school was founded in 1486. One of its masters was Joseph Milner (1744-1797), author of a history of the Church; and among its students were Andrew Marvell the poet (1621-1678) and William Wilberforce the philanthropist (1759-1833), who is commemorated by a column and statue near the dock offices, and by the preservation of the house of his birth in High Street. This house belongs to the corporation and was opened in 1906 as the Wilberforce and Historical Museum. There are also to be mentioned the Hull and East Riding College, Hymer's College, comprising classical, modern and junior departments, the Trinity House marine school (1716), the Humber industrial school ship "Southampton," and technical and art schools. Charities and benevolent foundations are numerous. Trinity House is a charity for seamen of the merchant service; the building (1753) was founded by the Trinity House Gild instituted in 1369, and contains a noteworthy collection of paintings and a museum. The Charterhouse belongs to a foundation for the support of the old and feeble, established by Sir Michael de la Pole, afterwards earl of Suffolk, in 1384. The infirmary was founded in 1782. Of the three parks, Pearson Park was presented by a mayor of that name in 1860, and contains statues of Queen Victoria and the Prince Consort. A botanic garden was opened in 1880. Entry: HULL
The English chimneypieces of the early 17th century, when the purer Italian style was introduced by Inigo Jones, were extremely simple in design, sometimes consisting only of the ordinary mantelpiece, with classic architraves and shelf, the upper part of the chimney breast being panelled like the rest of the room. In the latter part of the century the classic architrave was abandoned in favour of a much bolder and more effective moulding, as in the chimneypieces at Hampton Court, and the shelf was omitted. Entry: CHIMNEYPIECE
HOBART, the capital of Tasmania, in the county of Buckingham, on the southern coast of the island. It occupies a site of great beauty, standing on a series of low hills at the foot of Mount Wellington, a lofty peak (4166 ft.) which is snow-clad for many months in the year. The town fronts Sullivan's Cove, a picturesque bay opening into the estuary of the river Derwent, and is nearly square in form, laid out with wide streets intersecting at right angles, the chief of which are served by electric tramways. It is the seat of the Anglican bishop of Tasmania, and of the Roman Catholic archbishop of Hobart. The Anglican cathedral of St David dates from 1873, though its foundations were laid as early as 1817. St Mary's Roman Catholic cathedral is a beautiful building; but perhaps the most notable ecclesiastical building in Hobart is the great Baptist tabernacle in Upper Elizabeth Street. The most prominent public buildings are the Houses of Parliament, to which an excellent library is attached; the town hall, a beautiful building of brown and white Tasmanian freestone in Italian style; the museum and national art gallery, and the general post office (1904) with its lofty clock-tower. Government House, the residence of the governor of Tasmania, a handsome castellated building, stands in its domain on the banks of the Derwent, to the north of the town. The botanical gardens adjoin. Of the parks and public gardens, the most extensive is the Queen's Domain, covering an area of about 700 acres, while the most central is Franklin Square, adorned with a statue of Sir John Franklin, the famous Arctic explorer, who was governor of Tasmania from 1837 to 1843. The university of Tasmania, established in 1890, and opened in 1893, has its headquarters at Hobart. The town is celebrated for its invigorating climate, and its annual regatta on the Derwent attracts numerous visitors. The harbour is easy of access, well sheltered and deep, with wharf accommodation for vessels of the largest tonnage. It is a regular port of call for several intercolonial lines from Sydney and Melbourne, and for lines from London to New Zealand. The exports, of an average value of £850,000 annually, consist mainly of fruit, hops, grain, timber and wool. The industries comprise brewing, saw-milling, iron-founding, flour-milling, tanning, and the manufacture of pottery and woollen goods. Hobart is the centre of a large fruit-growing district, the produce of which, for the most part, is exported to London and Sydney. The city was founded in 1804 and takes its name from Lord Hobart (see BUCKINGHAMSHIRE, EARLS OF), then secretary of state for the colonies. It was created a municipality in 1853, and a city in 1857; and in 1881 its name was changed from Hobart Town to the present form. The chief suburbs are Newton, Sandy Bay, Wellington, Risdon, Glenorchy, Bellerive and Beltana. The population of the city proper in 1901 was 24,652, or including suburbs, 34,182. Entry: HOBART