>> Dr. Lanham:
Well, good morning. 

I think all of you in the audience today have been here to previous sessions. 

We welcome you back to the next exciting talk. 

This time we are having one of our graduate students here at Eastern present on Architecture and I want to thank him for his work by presenting him with this certificate here, David Finnigan.

I also want to congratulate you on the recent publication of your book on computers.  

I will ask Dr. Wahby to present, I think his student.  

>> Dr. Wahby:
Thank you all for coming, Actually David Finnigan is one of my best students. 

He is a thorough researcher and he is an author, but also a published author. 

I don't know if, you are still undergraduate, right? 

>> Mr. Finnigan:
Yes, still undergraduate. 

Right...

>> Dr. Wahby:
Next year you will be graduating and we will look for Dr. Finnigan soon.  

You'll love his research and without much adieu, here is David. 

>> Mr. Finnigan:
Thank you.  

All right, today's topic is ancient Greek architecture, and just a brief outline of what I am going to cover because it's such a broad subject area, I decided to focus on first the history.

Then we are going to talk about a number of architectural terms for the forms and features, and then a few examples of Greek temples and palaces.

Finally I'll talk about how Greek architecture is still around us today, in neoclassicism and the Greek revival styles.  

I had a lot of success researching the material for this from three books that I found from the library here, and the first one was Classical Architecture of the Poetics of Order by Alexander Tzonis and Liane LaFairve. 

That really helped out with a lot of the temples and palaces and had a lot of pictures and a lot of the history came from the book called Classical Architecture by James Eskoral. 

Then the third book was the Architecture of Ancient Greece by William B. Densmore.  

Those were the three books that I relied on the most in preparing this presentation.  

Now to start off, let's talk about the history because obviously all this stuff was built many centuries ago, you know, thousands of years ago, and we rely on people who say that this is how it was, this is the history.  

Well, how do we know?  

As it turns out, the ancient Greek historians wrote assuming that their readers were contemporary or not too far ahead in the future and that they were familiar with the buildings and temples.  

Therefore, what the Greeks did write about their own structures is often just vague references to them, and when they talked about the measurements and dimensions it was often just approximations or maybe even guesses.  

Furthermore, the medieval copyists of these Greek manuscripts...

Since the Greeks didn't use the same units of measurements of the medieval copyists, unfortunately were familiar with their terms and units, and so they were largely garbled, so it further hurts the ancient Greek writings.  

Then you know the Romans came in later and they also wrote about what they saw, but again, it's not nearly as good.  

Things start to look up in the 1600's when Englishmen and Frenchmen started to make voyages to ancient Greece, Athens, and all the other places in Crete.

They started to take down descriptions and make sketches of all these ruins, temples, and everything that they saw.  

The French Capuchin Monks established a monastery in Athens in 1658, and they were largely responsible for sending many hundreds of drawings and descriptions out to the western world. 

For the time before then, Greek had been controlled by the Ottoman and Turks and so not just anybody could go around touring it.  

Some of the big names of the Englishmen and Frenchmen who went around to ancient Greece, were King Charles I, Lord Ayrendale, and a name that you might have heard, Lord Elgin, and his marbles, which we will talk about just a bit later.  

For the next century after the 1600's there are quite a number of books published, describing the Greek works and things really start to get interesting. 

In 1799 when the 7th Earl of Elgin, Thomas Bruce was suggested by his architect that instead of just going to Ancient Greece and taking home sketches and descriptions.

Why not take home some of the actual marbles, some of the architectural features, and the Lord Elgin thought that that was a splendid idea, and so he recruited a number of staff, an Italian painter, and architect to assist with removal of marbles.  

This is one...

Most of them were taken from the Parthenon, and the vast collection eventually came into the possession of the British Museum in 1816. 

You are probably aware of the controversy of the Elgin marbles.  

The Greeks today think that they belong, not in the British museum, but in a Greek museum, whereas the British think that you know, we found, we got them first, so they should remain with us. 

Why there is this controversy is because the Turks who controlled Greece and all these monuments at the time, made the sale to Lord Elgin, however, the current Greek government says that sale was illegal. 

That it shouldn't have happened, essentially that Lord Elgin was a vandal, and he just cut out parts of the Parthenon, and just shipped them away, off to Britain.  

In the 19th Century, which is where we are now in the history, it was mostly just looking at what was up above the ground, the ruins, and so on.

Excavations didn't start until the middle of the 1800's again by the Germans, the British, and the French. 

What's interesting about these excavations is that they uncovered more than just the temples whose ruins could be plainly seen above the ground, but they uncovered entire Greek cities, and other public structures.

Our knowledge of how the Greeks lived and their culture and lifestyle increased magnificently, from these excavations, which of course continue to this day.  

Let's take a look at some more of these elegant marbles. 

Here was have a nice a scene from the Parthenon, horse riders, here was have Lord Elgin, himself.  

Here we have a Centaur, who appears to be doing battle with a man, and again here are some more statues, which were taken from the Parthenon.  

Now we will start to talk about the development of Greek architecture. 

It really begins in the Aegean age and as you may know, the geography of Greece.

There's mainland Greece, and then there also the Island of Crete, and so there are two distinct cultures that developed in the early days, the islanders on Crete, and then the mainlanders.  

The first structures of course, were made of wood. 

They were typically round, it was the simplest sort of thing to build, and then rectangular structures came later, as they started to use stone and they had advanced building tools.  

As early as 2000 BC they were using wooden columns, and most structural members for houses and so on were wood, and the stone was not used to such a large degree. 

It was mostly used for foundations. 

You didn't have stone columns, but there were some stone features.  

Of course, houses developed first, and then palaces and temples developed later around 1600 to 1400 BC we started to see the first Greek temples. 

One example is the Temple of Knossos, which I will show pictures of shortly. 

With these Greek temples we start to see the beginning of architectural features, such as lentils, and columns and door openings and wall decorations. 

Now we see the big temples today, which have their many columns and their arcades, and colonnades, and so one, but of course the first temples were nowhere near that complex. 

They were typically just rectangular structures and the walls were close enough together that they didn't need a column in the center to support them, however man is never truly satisfied with one size of building.

He (man) always wants something larger, and eventually the Greeks started to run into a problem.  

The builders were complaining to the architects, that we couldn’t put these walls so far apart, because the wooden beams that cross them won't support the weight and furthermore, where do you find trees that tall?  

They are not so common everywhere. 

The solution, which seems obvious today, and probably came to them after not too much thought, was well; you put columns in the center of the building to support the roof.  

The first temples had columns in a single axis, and later on, as temples got even wider they started to have two axis, so what you had was similar to a large church or cathedral.  

You have the center aisle, the nave, which is the widest part, and you'd have the altar down at the end.

Then you'd have the two side aisles, which are narrower, closer to the exterior walls.  

At this time in the late 700's BC, walls were still generally mud brick, and architectural styles developed slowly to both protect these walls from weather, and to give a better impression about the impressiveness of the temple.  

However, no temple yet, at this point, around the 700's BC had any of the characteristic styles that we typically associate with Greek Architecture.  

However, it is not too much later afterwards, in the 600's BC that we start to see examples of Doric architecture, the proto Doric. 

Columns were originally made out of wood, and then it was noted by archeologists that as the wood slowly began to decay, it was only then that they started replacing the wood columns with stone. 

It wasn't an overnight changeover from wood to stone, it happened naturally, you would say, organically.  

It has been suggested that the Greek Doric column was influenced based on an imitation of the Greek columns, which had lotus leaves at the top.  

However, it's not entirely sure, and not everyone agrees with that theory.  

Around the 400's BC you started to see some of the temples, the walls, instead of being made out of mud brick, instead they were starting to use stone, which was more resistant to the weather. 

Marble, typically, but if marble couldn't be used, because it wasn't to be found in the area, they would use limestone and they would put a stucco over it, so it would resemble marble.  

Afterward, we see the Ionic order, which is characterized by the scrolls on the top of the columns. 

The scroll capital is better called the volute.  

It is also thought to have originated based on Egyptian capitals and one of the reasons for this thought is that Crete had long associations with the Egyptians, in trading and things of that nature.  

Examples of Proto ionic capitals are found in temples and I believe I have a picture here. 

This is the scroll or called volute, very early line drawing of one of the capitals and you can see the difference.

I'll put up another picture of a proper ionic column, but the main difference between this and the prototype is that this scroll is just resting on top of the column, as they typically do.

They tend to spring forth from the column, and so that's one of the things that the Greeks later refined for the full formed Ionic order.  

By the mid 600's BC the classical Ionic form seems to have been fully developed from what we can tell, based on excavations.  

All Righty, so there you have some of the history…  

The next part is definitions, so now you can talk to your friends and colleagues about your architectural knowledge.  

Now this is really great, here we have the three orders. 

The Doric order here, Ionic order here, and the Corinthian order here. 

Now I didn't mention the Corinthian order in my capital because it's the newest order and it started to come around when the Romans were gaining power and they were becoming the dominant force in Europe. 

However, you know, the Corinthian style naturally developed from the Ionic.  

Now you'll see here that this is the edge of the temple, it is divided into two main parts, and then each main part is divided into smaller parts.  

There are so many terms that I'll just cover the basic.  

Here you have the columns and the column on a Doric only has two parts, but the rest of them have three.  

First you have up here is the capital, which is the capital, and then here you have the Shaft, now the third part that is missing on the Doric column, which you have on the Ionic, and the Corinthian, is the base down here.  

You'll notice that there are these narrow channels cut into the column for aesthetic effect, called flutes.  

The columns support an entablature, and the entablature is also divided into three parts.  

Down here, which the part that directly touches the capital is called the Architrave, and it was generally as you can see from these examples, it was fairly plain.  

The middle part is called the frieze.  

When you see Greek temples, and they have those relief carving of mythological scenes and emperors and everything else, those are typically placed on the frieze, and the top part is called the cornice.  

Now as you can see here, it angles upward and the angle of the roof of the temple is called the rake.  

We'll take a look at a few more terms on the next.  

On the interiors of the buildings, where it wasn't quite so necessary for structural reasons to have a full-blown freestanding column, you'd typically see instead of plaster, and it's sort of like a wall meets a column. 

It's essentially a column that is connected to a wall, and they are typically made just for decorative purposes.  

They weren't usually structural.  

Here we have a nice example of some Caryatids, which I like to say are columns that are people.  

They are typically female figures, very nicely carved with flowing robes and quite intricate hairstyles. 

They are just used to substitute a prettier face, you might say, for columns on temples.  

Again, here we have a section of the Parthenon, and you can see as I was talking about again, here is the frieze, here are the relief carvings that run along the frieze, the architrave, the cornice, and then at the top there is the rake at the roof.  

Then here we can see the top part of the columns so again, this is the capital, this is the shaft, and then it would, it gets wider as it goes down to the bottom of the column.  

Now here we have something interesting.  

This isn't a Greek building, but it's neoclassic, I believe, but the point is, here we have these little square blocks, and they are called dentals, and it happens to come from the Latin word Dens for teeth, because they do sort of resemble teeth. 

The Romans also used dentals, but the thing that differentiates Roman dentals from Greek dentals is that the Greeks were spaced a bit farther apart, whereas the Romans preferred I guess to have their teeth closer together.   

These dentals are commonly seen on the soffit of the entablature that is on the underside, as they are seen here. 

This is very interesting.  

It was hard to find good photographic examples for this architectural feature, but what we are looking here is how this part on the top of the chimneypiece or the surround sticks out a bit, and then it folds in if you will.

Then it continues down to the floor. 

It's called an ear, or the technical term is called end cone.  

You'll typically see these around not only just fireplaces, but doorways, there at the top, and also windows, and sometimes you might see them inside of houses on picture frames for portraits above fireplaces. 

Here was have another architectural detail.

The stringcourse and also molding, so there are really two things to talk about here…  

A molding, essentially its purpose is to conceal a joint, between two materials, or two surfaces. 

For example, in a room such as this, you might have crown molding that conceals the joint between the ceiling and the wall. 

You'd have base molding, which we have here for the joint between the floor and the wall.

Likewise here, you have a molding, which happened to be a stringcourse, and it's any horizontal band of a repeated geometric pattern that runs along really any wall.  

This is called egg and dart, this inside oval shape is the egg, and this little bit in between is the dart. 

This is another organic type molding, also string course who name I don't recall at the moment.  

Moving along, we get to another structural element called the console.  

Or you might have also heard it termed the corbel, which is this nice s-shaped piece that is supporting a balcony, and then again you see one right here.  

It is connected to the wall, and then on top it supports whatever structure is above the balcony, as I said. 

These are typically found around doorways, also around windows, and anywhere that there is something above that projected out a bit from the face or the facade of the building.  

Another common term that you probably have heard a lot is the porch or portico.  

You probably have one on your house.  

While most Greek temples also had them, here we have a small temple, and you can see there's the line of columns called the colonnade going on the side and the front. 

The inside of the temple is right here. 

This part is outside the temple but it still has a line of columns in front, and therefore it is called the portico, because of its columns that it has.  

The last term is the pediment.  

Here we have the face of a neoclassic building, it's not a Greek temple.  

The important part to learn from this is this triangular feature at the top of the building, which is constituted by the cornice, which I talked about earlier.

The cornice is both up here and it's down here too, then all these carvings, sculptures, and statues are called the Pediment.  

Nowadays in architecture, such as inside of buildings, you will see pediments above doors, and windows and there are a few different styles of pediments, which the Greeks did not use, but you'll see today. 

One is the broken pediment, where the apex the very top of the triangle is just gone. 

Then there are also fancier scrolled versions where instead of this being a straight line, it sort of ends of being an S-curve. 

As far as I know, the Greeks did not use those derivatives of the pediment. 

Those are later creations.  

Now let's take a look at some temples and examples of all of the Greek architecture that I’ve been talking about so far.  

First off, we'll take a look at the temple of Harrah, 

The first thing you’ll notice about this Greek temple and you'll notice it about the other photos of temples that I show, that they are not very impressive. 

They've all fallen down. 

Unfortunately, because of where Greece is located it is prone to earthquakes, sort of like California has a number of earthquakes that occur every, you know, few hundred years.  

As you can tell, this is the Doric order.

The reason why you can tell that is the columns have no base, they just end right at the bottom there, the capital is rather simple, it's just sort of a bell shape, and then it has the flat block at the top, called the abacus.  

In the back, was probably a later edition, because you can see just barely the scrolls of the ionic column.   

As I said earlier, this is the temple of Harrah, who was the wife of Zeus in classical mythology. 

It was built around 590 BC and it originally had wood columns.

If you recall earlier when I was talking about the history of the development of Greek architecture, it is quite likely that the wood columns were replaced gradually as they decayed and become unstable with their stone counterparts.  

Unfortunately, it was destroyed by an earthquake in the fourth century AD and it was never fully rebuilt.  

Probably will never be fully rebuilt, because it's very likely that not all the stones are still there, vandals and so on.  

Here we have another great Greek temple, which no longer exists, but here we have a rendering of what it might have looked like. 

This is the famous mausoleum at Halicarnassus, begun by a name that you might recognize King Mausolus, hence the name mausoleum, before his death in 353 BC. 

It uses the Ionic order, which we can tell because it has the scrolls at the top of the capital, and it has the base at the bottom of the column.  

This was called one of the Seven Wonders of the World, and it supposedly was highly detailed, not just on the outside, but on the inside.  

Though not much of the structure survives today.  

It's mostly just the foundation and little bits of the columns that were on the bottom stories.  

As you can see it is quite tall. 

It was thought to be 135 feet tall in total, and you can just imagine the sort of engineering effort that it must have taken to lift these huge sculptures all the way to the top there, which must have weighed many tons.  

Here’s what it looks like today.  

The picture that we saw earlier was just someone's idea of what it might have looked like, and there's not much to write home about, except that you can see these huge drums.  

When you have a column and section, it wasn't just one huge piece of marble; it was all sections called drums.

Then you can see the...you can see it better here, the fluting on the sides and they are all connected with lead bars put in these holes in the center to line them up and for extra stability.  

Moving along, we have the palace at Knossos, and the photo that you see of it, it's been partially restored.  

It's hard to believe, but a lot of the ancient structures really were painted.

The reason why we believe that they were painted is because when you dig back through the walls, the archeologists are able to find very small fragments of pigment and paint.

Based on these small findings, they deduce what it might have looked like and how everything might have been painted.  

This is Cretan architecture; it was built on the island of Crete. 

It was probably built between 1700 and 1400 BC, so it was definitely one of the earliest palaces and you can tell that again that it's very early because it has Doric columns.

Again, it has no base, square abacus at the top and a relatively simple capital.  

However, it was fairly a good engineering achievement for the time, because it was watered by aqueducts, had drains, and had quite a number of rooms that were used for all sorts of purposes.

Such as bedrooms, throne room, storage of food, and all sorts of things.  

More than a thousand rooms, over six acres. 

This is definitely a building that was the main religious and governmental center in the area. 

It would have been well known by many people at the time, and Arthur Evans first excavated it in 1900. 

As I mentioned earlier, it has to this day been partially restored.  

Again, what we are looking at here is the North Portico of the Palace there.  

Moving along to the final structure that we will be looking at, from the ancient Greek time, is the famous temple of Zeus at Olympia. 

The reason why this is famous is because it was allegedly held another one of the Seven Wonders of the World, the huge statue of Zeus that was apparently a masterwork of gold and carving and all sorts of things.  

This is a much more modern structure than the palace that we saw just previously.  

It was built in the mid-400's BC. 

It was made of limestone and not marble; however it was stuccoed on the outside to resemble marble.

If you can recall earlier, the reason I said why it was probably made out of limestone and not actual marble, is because there was no marble that was located within a convenient distance.  

There would have been many carvings up here on the pediment, and on the frieze that depicted Hercules, for example the 12 labors of Hercules and other Greek mythological stories.  

Unfortunately, it was another earthquake victim.  

It seemed like just about every temple fell down to an earthquake in the 500's AD, so it lasted just about a millennia, until time took it.  

Thorough excavation of this temple commenced in 1875 and continues to this day.  

We'll take a look at what it looks like today.  

Actually, no sorry, we'll take a look at one of the power veins.  

Here was have Hercules, or what's left of him, and he appears to be wrestling with a bull.

All right, finally. 

Let's move on to the last part of my presentation today, which is Greek architecture in our own modern times, which is from the 19th century up till today. 

We start with neoclassicism. 

Neoclassicism began in the 1700's in France and in other countries in Europe. 

Essentially what it was, it was in response to the thought that the architects of the day were getting too wild and fantastic. 

For example, there was baroque architecture, which was highly ornate.  

There were all these sorts of architectures, which these architects thought were just way too over the top.

They felt that they had corrupted the nicely balanced mathematical classical orders, and so they sought to revive the classic architecture of both the ancient romans and the ancient Greeks.  

As you may know from your American history, it was essentially the official architecture of the United States in its founding years. 

Then here we have here of course, the US capital building, which has so many architectural features.  

We have a colonnade here. 

Of course, we have the whole entablature, the architrave, the frieze, the cornice, anything above the cornice is called the attic, and it’s not always an interior room, such as the attic in a house.  

Then, we have, I don't know if you can see them very well, but at the tops of these windows you have consoles or corbel, which supports again a pediment above each window here.  

Plasters, they are not structural at all, they are just to look nice, and there's quite a lot more, but that's enough for now.  

Out of neoclassicism, we also have a brother or sister style, you might call Greek revival.  

This looks like it could have come right out of Ancient Greece, it survived all the earthquakes, but it was actually built much later. 

The Greek revival style really picked up in the 1700's and 1800's, and the main engine behind Greek revival in the US was none other than Thomas Jefferson.  

He was the one largely responsible for advocating the style, and he also designed a number of buildings, such as his house, the Monticello, using the Greek revival style.  

Of course, the style was also quite popular with the plantation houses in the south.  

What we have here is the Second Bank of United States in Philadelphia, and again, hopefully you are picking up on some of these terms. 

We have the large triangle structure, which is the pediment, at the top. 

The pediment is outlined, if you will, by the cornice, and this is also the cornice, then here in the middle you have the frieze, the architrave, this whole three piece is called the entablature.  

Again, at the top of the columns, we have the abacus, the capital, the shaft, or the column, which is fluted, and because it's from the Doric order, there's no base. 

The bottom of the column just sits on whatever is below it.  

That's all I have to say on that, so thank you for your time.  

[applause]

>> Dr. Wahby:
This building that was colored. 

Can we go back to the slide where you have this temple that is colored?  

>> Mr. Finnigan:
Oh yes.  

>> Dr. Wahby:
Did you say this was intact? 

Found intact?  

Or restructured? 

Rebuilt?

>> Mr. Finnigan:
It was found relatively intact, insofar as the foundations, and everything. 

The large parts of it were rebuilt, for example, the part of the portico here, these columns very unlikely still would have been standing upright, over the centuries.  

What the archeologists had to work with, were largely the foundations, and then the parts of the stones, which were scattered all around the buildings.

The many photos that I showed, they piece them together, and they painted them based on how they probably would have looked like.  

>> Dr. Wahby:
Are there any writings that explain or describe this or that imagination or would this just be mere imagination of the 21st or 20th century?

>> Mr. Finnigan:
I think it is pretty safe to say that the wall paintings were largely imagined. 

There probably would have been some wall painting, though it is very unlikely that it would have been this depiction that we have there. 

Again, even though the ancient Greek writers mentioned these buildings, and they referred to them and talked about them, they assume that the average Joe Greek on the street could visit these and was already himself fairly familiar with them.  

>> Dr. Wahby:
Okay, then we go also to the other Mausoleum, or the big burial place.  

This one here.  

Anybody describe this in literature, so we can imagine how tall, how big, how to say, or just imagination of somebody.

>> Mr. Finnigan:
Well as one of the Seven Wonders of the World, it was of course rather well known in Greece, and abroad, so I think it is very likely that there are classical descriptions of it.

It wasn't destroyed until you know much later, so there definitely would have been time for many people to see and write about it or even tell others about it, so the oral tradition would have been passed down through history.  

>> Dr. Wahby:
Excellent, sorry to take questions first, if you have any other questions that you'd like to. 

>> Attendee:
I would just like to say that they palaces [unclear dialogue] were credited to Arthur Evanston. 

The palace at Knossos, as reconstructed by Arthur Evans, is pretty much all imagination. 

It has all been discredited. 

He tried to create a civilization he called [unclear dialogue] and he wanted to sell things that looked like it.

He had his workers make objects that they sold as real, instead they were forgeries, and so that's why you have to be very careful about Knossos, and also Holly Carnosis.

This one, this is not Greek you know, this is in Asia Minor, and it’s a Persian governor whose wife built this as his mausoleum, which is where we get the term. 

This is post- this is Hellenistic period. 

You jumped from pre-Greek from this which is Hellenistic back to pre-Greek, which is Knossos, and really that’s Aegean and this is Hellenistic.

Yu are taking a very wide...anyway you came all the way up to the 20th century, which is great, but you have to be careful about your chronology and knowing which is actually Greek, and which isn't. 

>> Mr. Finnigan:
Right, thank you. 

>> Dr. Wahby:
When you compare these to the ancient Egyptian things, what as far as I know in Egypt, is that many of these temples stand as they have stood all these years because they've never been down and rebuilt. 

It has always been there.  

We can have a good idea of what the [unclear dialogue] as he left them, not the case here. 

>> Attendee:
Knossos was already destroyed before the Greeks would have had a chance to see it. 

It was destroyed 1200 BC, so they wouldn't have been able to go visit and see it like you were saying; it wasn't there anymore.  

>> Dr. Wahby:
Another, just a question, what is the secret of fascination with the pediment thing? 

You find it in Washington, you find it in New York, you find it wherever you go, and you find this Pediment.  

Even in the head of the bed, you have it, you have it in the houses, why is this fasciation of it, not a curvature, not elliptical, but this triangle, the magic triangle.  

>> Mr. Finnigan:
Well, of course, it's sort of obvious at first, because there has to be sort of triangular figure element to the building because the rake of the roof.  

I would suspect, I didn't get too much into it from my reading, that it was treated as another area of the building where they could put carvings, and reliefs, and so on.

>> Dr. Wahby:
You don't see much in Ancient Egypt, but you find it in ancient Greece, and Romans and so forth, going from that [unclear dialogue] 

>> Attendee:
The romans took it on as a symbol of our sacred buildings and they had it for emperors and the arch comes from Persia, suggesting [unclear dialogue] comes so much into neoclassical. 

>> Dr. Wahby:
Dr. Woodley, you have been around the world in many places, have you seen effects of this Hellenistic or Greek I think in the places you went, China, whatever. 

>> Dr. Woodley:
I tend to go to rural communities, so I haven't seen a lot.  

My last trip was to Antarctica and they didn't have any buildings.  

Not really, where I have chosen to go.  

>> Dr. Wahby:
When you go to Washington for example, you find in the modern buildings this effect, have you seen that wherever you went?

>> Dr. Woodley:
Well, in the United States, yes.  

I think the other thing that where I've traveled has been Germany, France, and there are more of the Romanesque type things, and the arches, the flying buttresses, the arches, those types of things.  

>> Dr. Wahby:
Thank you, anything else? 

Do you have anything to add to this interesting?

\I >> female speaker:
I had an old house and I called it Victorian. 

Now where does that come from?  

It had some columns and stuff in it.  

\P >> Mr. Finnigan:
It comes from the reign of Queen Victoria in England, and it was...

I think you'll find it was the British had an obsession with all sorts of decorations, so that's where you got all the intricate carvings, and rosette blocks and all sorts of things like that in houses. 

\I >> female speaker:
Oh, I owned an old house and they called it Victorian Style, and had columns and some of the roof stuff on it an all, and that's what I wondered about.

\P >> Dr. Wahby:
Anything else that you want to tell us that comes on the spur of the moment?  

>> Mr. Finnigan:
No, I don't think so.

>> Dr. Wahby:
You said very well, so please give him a round of applause.  And thank you very much.