GALLERY (OF. generic, galerie, Fr. galore; probably a special use of OF. generic., galcric, mirth, from gale, festivity, from AS. gal, 011G., Ger. grit, wanton). A word with several appli cations in architecture. (1) A long open struc ture in the upper part of a building, whether projecting or not, inside or outside; (2) a long passage, a corridor or narrow ball connecting other apartments; (3) a large, well-lighted, long hall for exhibiting collections of paintings, sculp tures, and other works of art; (4) a large struc• Lure, usually of glass, used for public purposes, shops, etc. Of class (1) interesting examples are, for outside galleries, the famous outside facade galleries on French Gothic cathedrals, such as the galcrie des rois at Rheims, Amiens, and Paris, usually serving as a practical passage way; for inside galleries, the second-story gal leries in so many mediaeval churches, often termed triforium galleries, the projecting rood lofts, or singing galleries, extending across the inside façade, and the projecting galleries in many modern churches, theatres, opera-houses, etc. The arrangement of galleries in tiers one over the other, now so much used in churches, theatres, etc., is entirely modern, dating from the seventeenth century. Of class (2) early and most interesting instances are the low and richly paneled gallery-halls of the old chateaux and manor houses, especially in English mansions of the sixteenth and seventeenth centuries, where family portraits and collections of arms, armor, furniture, and bric-a-brac were kept; but even more strictly to it belong such galleries as the Bridge of Sighs, in Venice, or the gallery of the Sainte Chapelle and of the Palais de Justice in Paris, connecting two buildings together. Here
should be mentioned such long galleries as those connecting the Pitti Palace and the Palazzo Vecchio. Class (3) is related to the chateau gallery, being a hall largely for public instead of private exhibition, but differs fundamentally in having the name applied to the entire building containing the several exhibition galleries. We are familiar with the Uffizi, Borghese, Louvre, National, and other such galleries. Finally, to class (4) belong the very modern and colossal glass galleries at Naples and Milan and those of the Palais Royal and some of the German cities, which are in reality streets roofed with glass. Some galleries can hardly be classified, such as the famous Gallery of Mirrors at Ver sailles.