Development and Character of Gothic Architecture/Index

by Charles Herbert Moore

INDEX

Abacus, its adjustment to the load imposed upon it, in 13th cent., French work, 61-67 (cuts); its thickness proportioned to the spread of the capital, 202; Viollet-le-Duc's theory in relatoin to this, 203; square in plan until the middle of I3th cent., 206; becomes polygonal as the archivolt mouldings become polygonal in section, 206, 209; round rarely occurs, 207; profiles, 207; the profiles vary in the same building, 207; profile of upper member becomes curved, 208 (cut); adjusted to the character of the ribs, 221.

Of the cath. of Amiens, 75, 221 (cut), triforium of the nave, 207, west front and triforium, 208 (cut);—of Chartres, nave, 74;—ch. of St. Evremont in Creil, 207 (cut);—cath. of Paris, 221, choir and nave, 61-66 (cuts), canopies of the buttresses of the façade, 204, triforium, 205, western piers, 206, triforium of nave, 207 (cut); cath. of Reims, pinnacles of the apse, 205;—ch. of St. Leu d'Esserent, nave, 72; cath. of Senlis, 206, triforium, 221 (cut);—ch. of St. Aignan in Senlis, 207 (cut);—cath. of Soissons, piers of the choir, 66-67 (cut).

English, generally round, 224; square in the local style of Wells and Glastonbury, 231; all its members generally rounded in profile, 232 (cut);—in Canterbury cath., 131;—ch. of St. Mary, New Shoreham, 141;—Salisbury chapter-house, centre column, 168;—Wells cath., 231 (cut).

German, 240.

Norman, usually square, 224.

See also Capitals.

Aisles, apsidal. See Apsidal aisles.

Amiens, cathedral—the crowning glory of Gothic art, 74; length and height, of the nave, 168;—abacus, 75, 221 (cut), of the triforium of nave, 207, of the west front and triforium, 208 (cut);—Apse, 96, 97 (cut);—Apsidal chapels, 101;—bases of the triforium, 217;—buttresses, 83 (cut), 84;—capital of a chapel of the choir, 209 (cut), 210, 279;—Clerestory, 91;—cornice of exterior, 278 (cut);—façade, 108, in (cut), of the south' ^transept, 102;—impost, 221 (cut);—mullions of the clerestory. 223 (cut);—piers of the nave, 64;—pinnacles, 84;—rib sections, 220 (cut), rib profile compared with Lincoln, 238;—sculpture. 23 of central doorway. 261, of tle_south door of west front, 262, of the triforium string-course and exterior cornice, 277 (cut),—278 (cut);—string-course of the triforium, 277 (cut);—transept, 102;—triforium, 91; triforium string, 216 (cut);—vaulting system, 74, 75 (cut), vaulting of the apse, 96, 97 (cut);—Virgin of south door of west front. 262:

Andrea Pisano, sculptures of the campanile of Florence, 296.

Angel choir, of Lincoln Cathedral, 139, 154-156 (cuts), 287. 313.

Anglo-Norman architecture. See English pointed architecture.

Animals, imaginary, in Gothic sculpture, 265.

Apertures. See Wall openings.

Apses, comparative study of, in French Gothic buildings, 92-101; semicircular form, characteristic of French churches, 92;—of the cath. of Amiens, 96, 97 (cut); Bourges, 95; Chartres, 95, 96 (cut); Laon, 92; Noyon, 92, 93 (cut); Paris, 94 (cut); the ch. of St. Remi at Reims, 96-99 (cut); St. Denis, 92; the cath. of Senlis, 92.

German, commonly at both ends of the nave, 171.

Italian, 191; of the ch. of St. Francis ofAssisi, 182; the cath. of Florence, 1 86; the ch. of Sta. Croce of Florence, 185, 186.

See also East end.

Apsidal aisles, difficulties in vaulting, 98; of the cath. of Paris, 100 (cut); of the ch. of St. Leu d'Esserent, 101 (cut);—absent in Italian pointed buildings, 191.

Apsidal chapels, in French Gothic buildings, 100; of Lincoln cath., 134 (cut).

Arcades, in the Gothic façade, 103.

Arch, structural principle of, 6, 9; monolithic, 6; offset, 6.

Pointed, properties of, 15; obviates difficulties in vault construction, 16; first employed constructively by the monastic builders, 29, in the chs. of St. Denis and Morienval, 33.

Arches, pier. See Pier arches.

Arch mouldings, 217; the change from square to polygonal section affects the character of the capital, 209.

English, multiplicity of members in Anglo-Norman work, 236; hard and linear effect, 238.

German, 242; resemblance to Anglo-Norman forms, 242.

Italian, 245.

Architectural style, secondary differences of, 7.

Architecture, its principles primarily constructive, 6; forms a part from function not significant, 6; religious architecture has always preceded secular, 29; general conditions under which the art was practised in the Middle Ages, 282.

Aries, cloister of St. Trophime, sculpture, 251 (cut).

Art schools of the Middle Ages, 282.

Assisi, church of S. Francis, has little Gothic character, 182; interior, 182; façade, 189; frescoes, 306, 308.

Autun, cathedral, sculpture, 249; capitals of the nave, 268.

Auvergne, its architectural style, 195.

Bamberg, cathedral, its plan retains many German-Romanesque features, 171; vaulting system, 171, 172 (cut); an apse at each end, 172.

Bases, Gothic, 210-213; beauty of profile, 26; a modification of the Attic base, 210; how adapted to Gothic construction, 210; composed of at least two members, 211; their angle spur, 211; proportioned to the size of the shaft, 212; the plinth diminished in size, 212.

Of the cath. of Amiens, triforium, 217;—Paris, choir, 211 (cut), triforium of the nave, 212 (cuts), engaged shafts of westernmost piers, 213 (cut);—Senlis, nave, 210 (cut), 211;—Soissons, choir, 212, 213 (cut). :English, of more members than the French, 232 cuts); . the plinth, 233; German, 241 (cut), 242 (cut);—Italian, 244 (cut).

Basly, church, tower, 113.

Beauvais, cathedral, height of choir, 168; apsidal chapels, 101; rib sections, 221 (cut); vaults of the choir, 68, 76.

Church of St. Stephen, 51.

Beverley minster, transept façade, 160; capitals, of the triforium, 232 (cut); absence of sculpture, 292.

Bologna, church of S. Petronio, interior and vaulting system, 188.

Bourges, cathedral, source of its style, 60; has no transept, 102;—apse, 95; apsidal chapels, 101; glass, 304; niches over central portal, 254; piers and vaulting shafts, 59; vaults, 68; vaulting of the apse, 95.

Breadth, importance of, in sculpture, 281.

Breslau, Kreuzkirche, a good illustration of contemporary German taste, 175; vaulting, 175-176 (cuts); nave and aisles the same height, 177; spire, 181.

Bridlington, abbey, pier arches, 149.

Britton, on Gothic architecture, 3.

Burgos, cathedral, modelled after the French Gothic, 196; heavy walls of the clerestory, 196; buttresses, 197 (cut); façade and spires, 199; cornice of the choir, 297; absence of figure sculpture on the façade, 297.

Burgundy, its architectural style, 195.

Buttresses, effect of the introduction of the pointed arch, 17; general character in Gothic buildings, 19; triforium vaults served for, in the earlier buildings, 48; comparative study of, in 13th cent. French architecture, 77-84 (cuts); ill adjustment of the abutment in the early work, 80; first attempt to make them an ornamental feature, 82; development of the pinnacle, 83; internal construction of, 112.

Of the cath. of Amiens, 83 (cut), 84; — Abbaye-aux- Dames at Caen, 13, 14 (cut), 17, 153;—Abbaye-aux-Hommes at Caen, 104, 105 (cut);—cath. of Chartres, 82, 83;—ch. of St. Martin at Laon, 77 (cut);—cath. of Noyon, 50, 81 (cut);—cath. of Paris, 53, 112;—ch. of St. Germain des Prés at Paris, 80, 82;—cath. of Reims, apse, 83 (cut), 84;—ch. of St. Remi at Reims, 79, 82;—ch. of St. Leu d'Esserent, 78-80 (cuts);—cath. of Senlis, 48, 106;—cath. of Soissons, choir, 82.

Flying, become an external feature, 17; rudimentary form, 12; the earliest instance in England, 133.

English, earliest instance of the flying buttress, 133; never structurally complete and well adjusted, 157;—of Chichester cath., 133—Durham cath., 14, 17;—Lincoln cath., choir, 136 (cut), nave, 146 (cut), presbytery, 156 (cut); Salisbury cath., 150;—Wells cath., 150.

German; none in the cath. of Bamburg, 172;—the Breslau Kreuzkirche, 176;—Cologne cath., 176;—cath. of Limburg, 174;—cath. of Magdeburg, 173.

Italian; of the ch. of S. Petronio in Bologna, 188; cath. of Florence, 187, 188;—ch. of Sta. Croce of Florence, 186;—ch. of Sta. Maria Novella of Florence, 183 (cut), 184.

Roman, 10.

Romanesque, n (cut), 12 (cut).

Spanish; absence in Spanish pointed buildings in the early I3th cent., 196; of the cath. of Burgos, 197 (cut).

Byland, abbey church, Early English in form, but Romanesque in principle, 14; pier arches, 149.

Byzantine art, its influence traced in the sculptures of St. Trophime at Aries, 251 (cut).

Byzantine illuminations, exhibit much grace and expression, 248 (cut); influence on Early French sculpture, 249.

Caen, Abbaye-aux-Dames, its structure compared with Wells cath., 152;—capitals, 269 (cut); clerestory, 140 (cut);—vaulting system and buttresses, 13, 14 (cut), 17, 152 (cut);—vaults, 51.

Caen, Abbaye-aux-Hommes, source of its style, 9;—façade, 104, 105 (cut);—piers, 40, 42 (cut);—vaults and buttresses, 12, 13 (cut), 39.

Canterbury, cathedral, its choir the source of the Early English style, 130; the work of William of Sens and of English William, 131; its influence traced in Lincoln cath., 134, 137, 139;—abaci, 131; capitals of vaulting shafts, 139 (cut);—clerestory, 130;—glass, 309;—piers of the choir, 130, at transept crossing, 138 (cut);—tower, 165;—triforium, 130; —vaults and vaulting shafts of the choir, 129-131 (cut);—vaulting shafts at transept crossing, 138 (cut).

Capitals, 200-210; beauty resulting from functional form, 25; sense of function and beauty in their profiles, 26.

Gothic, 200-210; distinguished from Roman, 200; function, 201; development into a more spreading form, 201; proportioned to the diameter of the shaft, 201; the thickness of the abacus proportioned to the spread of the capital, 202; Viollet-le-Duc's theory in regard to this, 203; the abacus, bell, and astragal of one piece, 206; profiles, 206 (cuts); influence of the Corinthian order upon, 208; crockets, 208-210; modifications during the 131th cent, the result of changes in the arch mouldings, 208; adjusted to the character of the ribs, 55, 221; influence of nature traced in the development of the leafage, 270; exemplified in the triforium of the nave of Paris, 273; naturalism carried almost too far in the chapel of the catechists, 274 (cut).

Of the cath. of Amiens, chapel of the choir, 209 (cut), 210. 279; Autun, nave, 268; Abbaye-aux-Dames at Caen, 269 (cut); Laon, triforium, 203, 206 (cut), 276; Noyon, choir, 268 (cut), 269; Paris, vaulting shafts of choir and nave, 55-57 (cuts), westernmost pier of nave, 65-66 (cut), piers, 202, triforium of the choir, 202, 204 (cut), 270, triforium of the nave, 202, 205 (cut), 271, 272 (cut), chapel of the catechists, 274 (cut);—Reims, 74;—ch. of St. Denis, choir, 37;—ch. of St. Leu d'Esserent, nave, 72;—Senlis, choir, 201, 203 (cut);—triforium of the nave, 270 (cut);—ch. of St. Aignan in Senlis, 207 (cut);—ch. of Vézelay (porch), 268.

Moulded, 231, 292.

English, 224-232, 289-292; the abacus round, 224; admirable character of many of the earliest English capitals, 224; evidences of French influence, 226; crockets become heavy and meaningless, 228; redundance of ornament in the later forms, 228; the local style of Glastonbury and Wells, 230; the moulded form without foliate sculpture, 231, 292; profiles of abacus, 232; astragal, 232; foliate sculpture of, 289; artificiality increases after the middle of I3th cent., 290.

"Of Beverley minster, triforium, 232 (cut);—Canterbury, 139 (cut);—Lincoln, 139 (cut), triforium of choir and eastern transept, 224-228 (cuts), north choir screen, 228-230 (cut), choir and transept, 289, triforium of the nave, 290 (cut);—Wells, west façade, 228, transept and eastern end of nave, 230, 231 (cut).

German, 239-242; persistence of Romanesque forms, 240; abaci poor, 240; eccentricity of later forms, 241; over-naturalism and lack of functional character, 293; of Cologne, choir, 293.

Italian, 243-244;—of the cath. of Florence, not true capitals, 187, 1 88 (cut), 244;—ch. of Sta. Agnese in Rome, gallery, 200, 202 (cut);—palace of Diocletian at Spalato, 200—(cut); ducal palace in Venice, 297.

Roman and Romanesque, not always functional members, 200.

Spanish, 297.

See also Abacus; Profiles; Sculpture.

Carte des Monuments Historiques de France, 60, 121.

Carter, on Gothic architecture, 3.

Cathedrals, the spirit which gave rise to them, 27; organisation of the workmen, 282; cath. building in France and England, 311.

Caumont, his misconception of Gothic architecture, 5.

Cérisy-la-Forfit, church, triforium, 87.

Chamant, church, spire, 113, 114 (cut).

Changes in mediaeval work, traces of the former condition frankly left, 90.

Chapels, apsidal. See Apsidal chapels.

Chapels, transept. See Transept chapels.

Chapter-house, of English cathedrals, 168.

Charles VIII, of France, influence of, on architecture, 2.

Chartres, cathedral, apse, 95, 96 (cut);—apsidal chapels, 101;—buttresses, 82, 83; glass, 303 (cut);—nave, its length, 168;—porches, 102;—sculpture, 25, of west front, 252, 253 (cut), of the tympanum of the central doorway, 265, of the porches (leaf ornaments), 279;—spire, 115 (cut);—transept, 102;—vaulting system, 72-74 (cut), of the apse, 95, 96 (cut).

Chester, cathedral, the choir not true Gothic, 153.

Chevet. See Apse.

Chichester, cathedral, vaulting system and piers, 131-133 (cuts); buttresses, 133; mixed character of its style, 133.

Christian art and pagan art, difference of motive, 264.

Church buildings, the centre of social and communal interest, 2. See also Cathedrals.

Cimabue, 305.

Cleremont-Ferrand, church of Notre-Dame du Port, 195; sculpture, 249, 250 (cut).

Clerestory, in early Gothic buildings, 69; result of the enlargement of the openings, 91; in two planes characteristic of the Early English style, 130; characteristic Norman type, 139;—of the cath. of Amiens, 91;—the Abbaye-aux-Dames at Caen, 140 (cut);—Noyon, 50, 87;—Paris, 85 (cut), 88, 90;—ch. of St. Leu d'Esserent, 87 (cut), 88;—Soissons, choir, 88.

The English type contrasted with the French, 149; of Canterbury cath. 130;—Chichester, 133 (cut);—Durham, 130;—Lichfield, 157;—Lincoln, choir, 139, 140 (cut), nave, 145, presbytery, 155 (cut);—ch. of St. Mary, New Shoreham, 141;—Salisbury, nave, 149. Of the cath. of Freiburg, 174; Limburg, 173, 174 (cut); Speyer, 171 (cut).

Of the cath. of Florence, 187;—ch. of Sta. Croce of Florence, 185; ch. of Sta. Maria Novella of Florence, 184 (cut).

In Spanish pointed buildings, of the early 13th cent., 195, 196; of, the cath. of Burgos, 196;—Leon, 198;—Toledo, 198.

Cluny, abbey, influence on art, 249; character of the leafage sculpture, executed by its workmen, 268.

Cockerell, on the sculpture of Wells, 247; on the angel choir of Lincoln, 287.

Coifs, J. F. , on Gothic architecture, 5, 9.

Cologne, cathedral, its structural system not German, but an importation from France, 176; Fergusson on its defects, 176; base profiles, 242 (cut);—capitals, 240, 241 (cut), of the choir, 293;—east end, 179;— façade, 179;—sculpture, 293;—spire, 181; vaulting system, 176.

Colour employed in Gothic sculpture, 282.

Columns. See Piers; Vaulting shafts.

Columns, engaged, in Roman buildings, 11.

Communes, French, influence on national life, 311.

"Congres Arche'ologique de France," Report on the Abbey Church of Morienval, 33.

Convention in Gothic sculpture, 23.

Corbel table, not employed in true Gothic, 217; common in England, 235. Corbels, figure sculpture in, 254.

Corinthianesque leafage adopted and developed by the early Gothic, 208, 269.

Cornice, never supported by a corbel table in true Gothic, 217; of the cath. of Amiens (exterior), 278 (cut).

Italian, 245.

See also String-courses.

Corringham, church, 169.

Creil, church of St. Evremont, abacus, 207 (cut); string-course, 214.

Crockets of Corinthianesque capitals, 208; become simply ornamental features, 209; finally an unmeaning excrescence, 210; specially beautiful in the triforium of Paris, 272 (cuts); its excessive projection characteristic of English work, 292.

Decorative and pictorial art, 306; Viollet-le-Duc on the antagonism between, 307.

De L'Orme, stimulated the Renaissance movement in France, 2.

Dijon, church of Notre- Dame, source of its style, 60; piers and vaulting shafts, 60.

Domes, absence of Gothic principles in, 188; in Spanish pointed buildings, 194, 196; on pendentives, characteristic of Auvergne, 195.

Doming of vaults, 17, 125.

Drip mouldings, Gothic, 215.

Durham, cathedral, the Galilee, its structural principles Norman, not transitional, 128; compared with the cath. of Pisa, 314;—clerestory, 130;—pier arches of the chapel of the nine altars, 149;—vaults and buttresses, 14, 17.

Early English architecture. See English pointed architecture.

East end (of churches), English, 158-160;—of Ely cath., 158 (cut);—Lincoln, 160 (cut);—Salisbury, an instance of want of unity and logic of design, 160.

Of German chs., usually apsidal, 179.

Italian, always heavily walled, 191;—of the ch. of St. Francis of Assisi, 182; ch. of Sta. Croce at Florence, 185; ch. ofSta. Maria Novella in Florence, 182.

See also Apse.

Ely, cathedral, its Norman nave contemporary with Canterbury and Lincoln. 143; choir, not true Gothic, 153; east end, 158 (cut);—bases in the choir, 233 (cut);—piers of the transept, 63;—pier arches of the presbytery, 149;—sculpture of the Prior's gateway, 284.

Engaged columns, in Roman buildings, 11.

England, the conditions for the growth of art less favourable than in France, 311; absence of the commune, 311; the caths. originated in monastic establishments, 312.

English architecture, in the time of Jones and Wren, 3; Rickman on, 3; in its earlier periods strictly an Anglo-Norman architecture, 134, 153, 169, 313; influence of, on German architecture, 242; of foreign rather than of native origin, and ecclesiastical rather than popular, 312; French influence on, 312; the English element at last predominant in the perpendicular style, 313.

English glass, 309.

English perpendicular architecture, 313.

English pointed architecture, 124-169, 224-239; early use of the pointed arch in Malmesbury Abbey, 124 (cut); in the Cistercian abbeys of the north, 127; its Gothic elements begin at Canterbury, 130; its character further illustrated by Chichester cath., 131; Lincoln cath., 133; the ch. of St. Mary, New Shoreham, 140; the abbey ch. of Byland and Whitby, 141; Ripon cath., 142; want of structural continuity in, 132, 143; the triforium usually open to the aisle roof, 139; instances of the vaulting shafts being used as a decorative feature only, 141, 144; employs the pointed arch, but other Gothic features have no functional use, 142; compared with contemporary French work, 143;—its character in the first part of 13th cent., 143-154; illustrated by the nave of Lincoln, 143, of Salisbury, 147, of Wells, 150, and of other buildings, 153; employment of superfluous ribs, 143; use of hood mouldings, 146; clerestory still walled in, 149; characteristics of the exterior, 1 53; still essentially a Norman product, 153; its character in the later 13th cent., 154-157. illustrated by the presbytery of Lincoln, 154, and the nave of Lichfield, 156; decorative motives frequently govern the employment of structural members, 155; the piers and buttresses never structurally complete and functional, 157; character of the wall openings, 157; east ends generally square, 158; façades, 160-165; have little approach to Gothic character, 165; towers, 165-166; general provision for a tower at crossing of nave and transept, 165; spires rare in the early period, 166; general plan and proportions of chs., 167; enormous length, 167; vaulted polygonal chapter-houses, 168; absence of vaulting in the smaller village chs., 169; substantially only a decorative modification of Norman Romanesque, 169; profiles of mouldings, 224-239; capitals, 224-232; bases, 232-235; string-courses, 235; corbel table, 235; arch mouldings, 236; rib profiles, 238; probable reaction on the art of the Continent, 238; compared with French Gothic as to mouldings of various kinds, 239; lightness and multiplicity of parts regarded as an end in itself, 239.

See also Sculpture, English.

English profiles, 224-239.

English sculpture, 284-292.

English writers on Gothic architecture, 3.

Expression in art, usually superior in the earlier masters of a school, 256; the chief motive of Gothic sculpture, 264.

Exterior, of French Gothic churches, 117-121; the general proportions criticised, 119; examples, the abbey ch. of St. Leu d'Esserent, 119 (cut), the cath. of Reims, 121 (cut).

Of English churches, 153.

Façades, Gothic, constructive principles least manifest in, 103; analysis of, 103; a modification of Romanesque forms, 108; the chief field for the display of sculpture, 259;—of the cath. of Amiens, 108, in (cut); the Abbaye-aux-Hommes at Caen, 104, 105 (cut);—cath. of Paris, 108 (cut); Reims, no; ch. of St. Denis, 106.; cath. of Senlis, 106, 107 (cut);—ch. of Vaux-sous-Laon, 104 (cut).

Of English chs., 162-165; few early ones remain, 162; have but little Gothic character, 165;—of Lincoln cath., 162 (cut), 284; compared with Pisa, 162;—Peterborough, 165;—Ripon, 165; Salisbury, 164;—Wells, 164, 285.

German, 178-179, 293.

Italian, have little regard to the form of the building, 189; of the cath. of Pisa, 162.

Of the cath. of Burgos, 199.

Of transepts. See Transept façades.

Fan vaulting, the first step toward, 144.

Fergusson, on Cologne Cathedral, 176.

Flaxman, on the sculpture of Wells, 247.

Florence, Basilica of San Miniato, roof, 41.

Cathedral, plan and vaulting system, 186; want of true capitals or bases to the piers, 187, 188 (cut); vaulting arches all spring from the same level, 187; hood mouldings a survival of Roman style, 187; Arnolfo's original design, 188; the east end has no Gothic character, 188, 191; transept ends, 186, 191; tower, 192; capitals, 188 (cut), 244; base profiles, 245 (cut); arch mouldings, 245; ribs, 245; cornice, 245; sculptures of the campanile, 294, 296, of the door jambs, 296, of the baptistery gates, 296.

Church of Sta. Croce, interior, 185; roofs of the aisles, 185; vault of the apse, 1 86; buttresses, 186; façade, 189; east end, 191; windows, 193, 194 (cut); capitals, 243; base profiles, 245 (cut); arch mouldings, 245; frescoes, 308.

Church of Sta. Maria del Carmine, frescoes, 308. :Church of Sta. Maria Novella, vaulting system, 182-185 (cuts); transept ends, 191; tower, 192 (cut); capitals, 243 (cut); base profiles, 244 (cut); paintings, 308.

Church of Or San Michele, windows, 193.

Spanish chapel, frescoes, 308.

Flying butresses. See Buttresses, flying.

Fontevrault, 195.

Form and expression in art, 257.

Fountains Abbey, nave, 127; vaulting of the aisles, 127, 128 (cut).

France, artificial state of society at close of 13th cent., 2; conditions under which architecture was practised, 282, 310; the Communes, 311; Abbot Haymon on the popular enthusiasm, 312.

Freiburg, cathedral, imperfect Gothic character, 174; spire, 181.

French architecture, 32-123; great activity of, in the I2th cent., 121; of the Renaissance, 2.

French Gothic architecture. See Gothic architecture.

French sculpture, 247-283.

French writers on Gothic architecture, 5.

Frescoes. See Painting.

 

Gable of a Gothic nave, not the true roof, 103.

German pointed architecture, 170-181; a later development than in France and England, 170; its imperfect progress illustrated by the caths. of Bamberg, 171, Magdeburg, 172, Limburg, 173, Freiburg, 174, and Strasburg, 175, the Breslau Kreuzkirche, 175, and the cath. of Cologne, 176; French features ingrafted on German Romanesque without changing its structural character, 177, 313; chs. with all three aisles the same height, 177; character of the fa9ades, 179; east ends, 179; transept ends, 180; towers and spires, 181; capitals, 239; bases, 241; arch mouldings, 242; influence of English architecture on, 242; the French Gothic slow in affecting German Romanesque, 313.

German profiles, 239-242.

German Renaissance architecture, 3.

German Romanesque architecture, general character of the vaults, 16; derived from Lombardy, 170; its structural character not essentially changed by French influence, 177, nor quickly modified, 313.

German sculpture, 292-293.

Germany, unfavourable conditions for the development of Gothic art, 313.

Ghiberti, the gates of the baptistery of Florence, 296.

Ghirlandajo, his paintings in the church of Sta. Maria Novella, 308.

Giotto, 296, 305, 308.

Giovanni Pisano, his work shows little reference to ancient models, 296.

Glass, stained. See Stained glass.

Glastonbury Abbey, abaci, 232 (cut); string-course profiles, 235 (cut).

Gloucester, cathedral, tower, 165; abacus, 224.

Gothic architecture, incorrect ideas concerning, i; the term applied in a spirit of contempt, 1; Italian distaste for, 1; an outgrowth and expression of Northern genius, 2; decline of, 2, in France, 2, in England and Germany, 3; revival of, in the 18th cent., 3; its essential principles not understood, 3; English writers on, 3; Coifs on, 5; French writers on, 5; Viollet-le-Duc on, 7; differs fundamentally from Romanesque, 7; definition of, 7, A 3O; a system of balanced thrusts, 8; earliest steps toward, in Lombardy, 8; Romanesque elements retained in, 9; the steps of the transition from Romanesque, 9, 97; summary of general form and constructive features, 18; plan, 18; vaults and ribs, 18; piers, 19; buttresses, 19; walls, 19; full development only brought out by three-aisled buildings, 19, 28; the builders not governed by mathematical formulas of proportion, 20; painting and sculpture employed in, 21, 298; its truest form- French, 26; decline after the early pan of the 1 2th cent., 27; earlier advances made by the monastic builders, 28; fuller development at the hands of lay builders, 29; an architecture of churches only, 29; close connection with the thought and feeling of the time, 30; develops first in the interior, later in the exterior, of the building, 48, 97; structural changes precede ornamental, 48, 201; its distinctive characteristics not arbitrary inventions, but based on principles, 310; the system complete, progressive, and original in France alone, 310, 315; the condition of France and character of the French favourable to its development, 310; the conditions less favourable in England, 311; the conditions in Germany also unfavourable, 313; no original development in Italy or Spain, 314.

French, 32-123, 200-223; limits within which it is confined, 32; scantiness of ritten records, 32; its earliest monuments the chs. of St. Denis and Morienval, 33; its principles illustrated in the vaulting systems of the caths. of Senlis, 38, 43, Noyon, 49, and Paris, 52, the ch. of Mantes, 57, the caths. of Laon, 58, Bourges, 59, and Sens, 59, the ch. of St. Leu d'Esserent, 69, and the caths. of Chartres, 72, Reims, 74, Amiens, 74, and Beauvais, 76; also in the various members of the structure, the piers, 61, buttresses, 77, pinnacles, 83, wall openings, 85, apses, 92, apsidal aisles and chapels, 98, transepts, 102, fa9ades, 103, spires, 113, and general external aspect, 119; general prevalence of the church-building impulse, 121; spontaneity of the movement, 122; union of structural and artistic principles in, 122; successive steps of its development, 123; its principles further studied in capitals, 201, bases, 210. string-courses, 214, the sections of vault ribs,2i7, and mullions and tracery, 222; probable reaction of Norman and Anglo-Norman art upon, 238; the French Gothic the only complete, progressive, and original form of Gothic architecture, 310. In England. See English pointed architecture.

In Germany. See German pointed architecture.

In Italy. See Italian pointed architecture.

In Spain. See Spanish pointed architecture.

Gothic art, rudeness not characteristic of, 20; a product of the fusion of Northern and Southern blood, 20.

Gothic painting, 21, 298-300.

Gothic profiles, 26, 200-223.

Gothic sculpture, an integral part of Gothic buildings, 21; vitality of, 22; compared with Greek sculpture, 22; its elements to be traced back to antiquity, 22, 23; conventional character, 23; traditional principles of ornamentation retained, 23; organic life of, as compared with the so-called revived classic art, 24; imitative realisation not carried too far, 24; figure sculpture, 24; examples of its subjection to the requirements of architecture, 25; structural fitness of and the resulting beauty, 25.

See also Sculpture, French Gothic.

Greek art, influence on French sculpture through Byzantine illuminations, 249.

Greek sculpture. See Sculpture, Greek.

Grotesque, its place in Gothic sculpture, 265; its truth to nature, 266; its restraint in early work, 266; in English sculpture, 292.

Haymon, Abbot, on the popular enthusiasm for church building in France, 312.

Hexham, abbey church, bases from the triforium of the choir, 233 (cut).

Hildesheim, church of St. Godard, capitals, 240.

Hood moulding, inappropriate in the interior of a building, 126; in Lincoln cath. (nave), 146; in Malmesbury abbey, 125; in Salisbury cath., 150;—German, 242;—in the cath. of Florence, a survival of Roman top mouldings, 187.

Hugh, Bishop of Lincoln, 134.

Illuminated manuscripts, Byzantine, 248 (cut).

French, of I2th and 13th cents., furnish illustrations of the condition of the art of painting, 298; conventional and archaic, 299; backgrounds flat, no perspective, 299; the life of St. Denis in the national library of Paris, 299 (cut).

Impost, influence of, on the form of the abacus, 221. See also Abacus.

Interpenetration of ribs, 17; of mouldings, in the presbytery of Lincoln cathedral, 154.

Italian architecture, founded on Greek and Roman types, 1, 314; the Romanesque of Italy not an organic style,314.

Italian painting. See Painting, Italian.

Italian pointed architecture, 181-194; introduced by Dominicans and Franciscans in the 13th cent, from Germany, 182; illustrated by the ch. of St. Francis of Assisi, 182, Sta. Maria Novella in Florence, 182, Sta. Croce in Florence, 185, the cath. of Florence, 186, S. Petronio in Bologna, 188, and others, 189; transept across the east end common, 182; vaulting compartments of nave usually square, 183, 186; vaulting arches all spring from the same level, 183; buttress generally a pilaster strip, 184, or carried on walls over the aisles, 188; interior elevation of two stories only, 186; arch sections usually square, 187; façades, 189-191; east ends, 191, transept ends, 191, towers, 191; windows, 193; general lack of real Gothic principles, 193; decline of pointed architecture after the 14th cent., 194; profiles very various in design, 242; capitals, 243; bases, 244; arch mouldings, 245; ribs, 245; use of classic features, 245; cornice, 245.

Italian profiles, 242-246.

Italian sculpture, 293-296. See Sculpture, Italian.

Italian wall painting, 305-309. See Painting, Italian.

Jones, Inigo, his taste for the pseudo-classic orders, 3.

Jumiéges, church, piers, 42.

Kirkstall Abbey, vaulting of the aisles, 127; pier arches, 149.

Konigslutter, abbey church, capitals, 240.

Lanfranc, 9.

Laon, cathedral, apse, 92;—capitals of the triforium, 203, 206 (cut), 276;—clerestory opening, 69;—piers, and vaulting shafts, 58, of the nave, 66 (cut);—rib sections, 220;—spires destroyed, 117;—transept, 102.

Church of St. Martin, 51; buttresses, 77 (cut).

Leafage in Gothic sculpture, 266.

Leon, cathedral, modelled after the French Gothic, 196; clerestory, 198.

Church of S. Isidore, 195.

Lérida, cathedral, 195; its chevet and vaulting ribs, 196.

Lichfield, cathedral, vaulting of the nave, 156; clerestory, 157; sculpture of west front, 288.

Liernes, 18; in Lincoln Cathedral, 144 (cut); in Lichfield cath., 156.

Limburg on the Lahn, cathedral, its likeness to the cath.of Noyon, 173; interior largely Gothic in character, 173; vaulting system, 173, 174 (cut); Romanesque character of the aisles and the exterior, 174; buttresses, 174; façade, 179; east end, 180.

Lincoln, cathedral, the choir and east transept, 133-140; character and source of its style, 134; Parker's theory that the choir is purely English work untenable, 134; original apsidal eastern termination, 134 (cut); influenced by Canterbury, 134, 137, 139; the choir shows a near approach to Gothic, 140; the nave, 143-147; the presbytery or angel choir, 154-156 (cuts), not an appropriate termination for the design, 139; peculiar relation of shafts and ribs in the vaults of the presbytery, 154; the presbytery substantially a Norman building, 313; height of choir, 168; Norman influence shown in the arch mouldings, 237;—abaci of west transept, 232 (cut), of choir screen, 232 (cut);—aisles, 146;—apsidal chapels, 135 (cut);—arch mouldings, 237 (cut); bases of nave and presbytery, 233 (cut),—of triforium of nave, 233 (cut);—buttresses of the choir, 136 (cut), of the nave, 146 (cut), of the presbytery, 156 (cut);—capitals of vaulting shafts, 139 (cut), of triforium of choir and transept, 224-228 (cuts), 289, of north choir screen, 228, 230 (cut), of the triforium of the nave, 290 (cut);—chapter-house. 168;—clerestory of choir, 1397 140 (cut), of the nave, 145, of the presbytery, 155 (cut);—east end, 160 (cut);—façade, 162 (cut), 284;—glass, 309;—piers of choir, 136-138 (cuts), 140, of the nave, 145 (cut), of the presbytery, 155;—pier arches of the nave, 149;—plinth from choir aisle, 234 (cut);—rib profile compared with Amiens, 238 (cut);—sculpture of the west front, 284 (cut), of the presbytery or angel choir, 287, of the south door of presbytery, 287, of buttress statues. 288. of choir buttresses, 292;—string-course profiles, 235 (cut);—towers of west front, 162, central tower, 166 (cut);—transepts, 135, not true Gothic, 153;—transept façades, 160;—triforium of choir, 139, of the nave, 145, of the presbytery, 156;—vaulting shafts of the choir, 136, at transept crossing, 138 (cut), of the nave, 144;—vaulting system of the choir, 135-140 (cuts), vaults of the nave, 143. of the aisles, 146, of the presbytery, 154.

Church of St. Mary le Wigford, 169.

Lippi, Filippo, frescoes in the cathedral of Prato, 308.

Lombard architecture, the existing buildings not wrought by the Lombards, 8; a source of Norman inspiration 9; the origin of German Roman esque, 170.

London, Temple Church, plinth from the choir, 234 (cut).

Westminster Abbey. See Westminster abbey.

Louis XVIII of France, architecture under, 2.

Lucca.church of S. Martino, triforium, 189.

Magdeburg, cathedral, its likeness to French Gothic apparent rather than real, 172; vaulting system, 172; capitals, 240 (cut).

Malmesbury Abbey, compared with the church of St. Denis and other French buildings, 125; its construction not a link in a chain of progress, 126; vaults of the aisles, 124 (cut); of the nave, 126; abacus, 224; arch mouldings, 236 (cut).

Mans, Le, church of Notre-Dame du Pré roof, 41; sculpture of the tympanum of the central doorway, 265.

Mantes, church, piers and vaulting shafts, 57; clerestory opening, 69.

Mantua, church of S. Andrea, tower, 192.

Marburg, church of St. Elizabeth, nave and aisles the same height, 177 (cut); windows in two stories, 178; east end, 179; fa9ade, 179; spire, 181. Masonry courses, in vaulting, 39, 53; perfection of, in the 12th cent., 48; of buttresses, 112.

Massaccio, frescoes in the church of the Carmini, 308.

Mediaæval legends and literature a source of inspiration to the cathedral builders, 30.

Milan, cathedral, almost purely German, 193.

Church of S. Ambrogio, 8.

Monastic orders, their energy in building, 28; their schools for training in arts and sciences, 28; introduce improvements in construction, 28; limits to the development of architecture in their hands. 29; introduced the pointed style into Italy, 182. {{nop } Mondjelia, basilica, monolithic arches, 6.

Morienval, abbey church, the Gothic principle first imperfectly exhibited here, 33; vaulting of the apsidal aisle, 33, 34 (cut), 35 (cut); tower roofs, 113 (cut); string on the buttresses, 215 (cut); rib section, 218 (cut), 219 (cut).

Mouldings, profiles of, in Romanesque and Gothic buildings, 26, 200-246.

Arch. See Arch mouldings.

Base. See Bases.

Hood. See Hood mouldings.

Of mullions. See Mullions.

Rib. See Ribs.

String. See String-courses.

Mullions, Gothic, 222 (cut).

Nature, influence of, on Gothic foliate capitals, 270; tendency to over-naturalism, 274; direct imitation of marks the decline of Gothic sculpture, 278; why it is not allowable, 281.

Naves of English and French cathedrals compared as to length and height, 168.

Netley Abbey, pier arches, 149.

Nevers, cathedral, sculpture, 280.

Church of St. Stephen, 195.

NewShoreham, church of St. Mary, vaulting system and interior, 141; arch mouldings, 237.

Niccola Pisano, 293; pulpit of the baptistery of Pisa, 294; the classic element predominates in his work, 295.

Niches for sculpture not employed in early Gothic, 254.

Nogens-les-Vierges, church, string-courses, 214 (cut).

Norman architecture persisted in England, after Gothic had developed in France, 128; its influence on the early English architecture, 134; great length of the churches, 167; character of the English influence on, 312; the French influence upon, 312.

Norman conquest, influence of, on English architecture, 311.

Norwich, cathedral, piers, 42; nave, its length, 168.

Noyer, Geoffrey de, architect of Lincoln Cathedral, 134.

Noyon, its commune, 49.

Cathedral, resemblance to Senlis, 49; incongruity between vaults and piers, 54; compared with the cath. of Limburg on the Lahn, 173;—apse, 92, 93 (cut);—apsidal chapels, 101;—arcades, 50;—buttresses, 50, of the nave, 81 (cut);—capitals of the choir, 268 (cut), 269; clerestory, 87;—nave, 50;—painting in the transept, 298;—piers, of the choir, 49, 63;—of the nave, 50; string-course, 278 (cut);—transept, 102;—triforium, 87;—vaults of choir and transept, 38, of the choir, 49, of the nave, 50, longitudinal arch, in the choir, 68, vaulting of the apse, 93 (cut); windows, 85.

Offset arch, 6. Ornamental design, ancient principles of, 23. See also Decorative art.

Orvieto, cathedral, want of Gothic character, 186; fa9ade, 189; sculptured reliefs, 294; Giovanni Pisano, 296.

Ouestreham, church, vaults, 51.

Pagan and Christian art compared as to motive, 264.

Painting in Gothic buildings, 298-300; its limitations, 21; less general than in other buildings, 298; in the absence of uninjured examples, its character must be determined from illuminated manuscripts, 298; conventional and decorative, 299; made no progress in connection with Gothic architecture, 300; its place supplied by stained glass, 300; painting in other countries essentially the same in character during I2th and 13th cents., 305.

Italian, 305-309; the early work (Cimabue and Giotto), superior to the French in technical points, alone, 306; the wall painting of the ch. of St. Francis of Assisi, 306, 308; the monumental purpose of art constantly before the mind of the painter, 306, 308; decoration his main object, but pictorial design always united with it, 306; Viollet-le-Duc on the supposed antagonism between pictorial and decorative art, 307; the two really in part dependent the one on the other, 307; the progress in Italian art an advance in truth of rendering, not in design, 308; extent to which pictorial treatment can be carried in monumental design, 308; mediaeval painting has been judged too much as an independent art, instead of in connection with architecture, 309.

Paris cathedral, the old work still intact to a great degree, 52; length of the nave, 168;—abacus and the members supported by it in choir and nave, 61-66 (cuts), 206, abaci of the canopies of the buttresses of the façade compared with those of the triforium, 204, abaci of the triforium of the nave, 207 (cut);—apse, 94 (cut);—apsidal aisles, 100 (cut), 101;—bases in the choir, 211 (cut), of the triforium of the nave, 212 (cuts), of engaged shafts of westernmost piers, 213 (cut);—buttresses, 53, 112; capitals of vaulting shafts in choir and nave, 55-57 (cuts), of the piers, 202, of the westernmost pier of the nave, 65-66 (cut), of the triforium of the choir, 202, 204 (cut), 270; of the triforium of the nave, 202, 205 (cut), 271, 272 (cut), 273, of the chapel of the catechists, 274 (cut);—clerestory, 69, 85 (cut), 88, 90;—cornice or drip moulding, 215 (cut);—façade, 108 (cut);—glass, 304;—impost, 221;—niches, 254;—piers, 53, sixth pier of the nave, 62 (cut), 67 (cut); seventh or westernmost pier, 63 (cuts);—portal of south transept, 261;—rib sections, 219;—sculpture, 25, of the south door of west front, 255, of west façade, 259-261 (cut), of portal of south transept, 261, of portal of north transept, 262 (cut), of a hood moulding, grotesque figure, 266 (cut), of the archivolts of the façade, 266 (cut), 276 (cut), of the Porte Rouge, 280 (cut);—statues of the buttresses, 254;—tracery in clerestory, 85 (cut), 89;—transept, 102;—triforium string, 216 (cut);—vaulting shafts and piers, 53; intended for quadripartite vaults, 54-57 (cuts);—vaults, 52, repairs and changes in the 13th cent., 86, vaults of the choir, 38, of the apse, 94 (cut), of the apsidal aisles, 100 (cut); Virgin of north transept portal, 262 (cut).

Church of St. Denis. See St. Denis.

Church of St. Germain des Pre's, 51; buttresses, 17, 80, 82; longitudinal arch of vault in the choir, 68.

Church of St. Julien-le-Pauvre, capitals, 270.

Church of St. Martin des Champs, 32; rib sections, 218 (cut).

Sainte Chapelle, 19; painting in the wall arcades, 298; glass, 304.

Parker, on the style of the choir of Lincoln Cathedral, 134, 140.

Pavia, church of S. Michele, 8, 9; piers, and vaults, 40 (cut), 41 (cut).

Perpendicular style, English, 313.

Perspective, in decorative design, 307.

Peterborough, cathedral, its Norman nave contemporary with Canterbury and Lincoln, 143; façade, 165; sculpture of west front, 288.

Piers, volume reduced in Gothic architecture, 18; general character in Gothic architecture, 19; alternate arrangement, 40-42; developments in the I3th cent., 61; use of round columns, 61; reinforced by engaged shafts, 64; by detached shafts, 66.

Of the cath. of Amiens, nave, 64;—Bourges, 59;—the Abbaye-aux-Dames, at Caen, 153 (cut);—the Abbaye-aux-Hommes at Caen, 40, 42 (cut);—the cath. of Chartres,. nave, 73;—the ch. of Notre-Dame at Dijon, 60;—Jumiéges, 42;—the cath. of Laon, 58, nave, 66 (cut);—the ch. of Mantes, 57;—the cath. of Noyon, choir, 49, 63, nave, 50;—Paris, 53, intended for quadripartite vaults, 54 (cuts), sixth pier from transept in nave, 62 (cut), 67 (cut), seventh or westernmost, 63 (cuts);—the ch. of St. Denis, 76 (cut), choir, 37;—St. Leu d'Esserent, nave, 72;—the cath. of Senlis, 43-47 (cuts);—Sens, 60; Soissons, choir, 66-67 (cuts).

English, never structurally complete and functional, 157;—of Canterbury cath., choir, 130, at transept crossing, 138 (cut);—Chichester, 132 (cut);—Ely, transept, 63;—Lincoln, choir, 136-138 (cuts), 140, nave, 145 (cut), presbytery, 155;—Malmesbury Abbey, 125;—the ch. of St. Mary, New Shoreham, 141;—Norwich cath. ,42;—Salisbury, nave, 150, chapter-house, 168;—Wells, 150.

Of the cath. of Bamberg, 172 (cut);—the Breslau Kreuzkirche, 175;—the cath. of Magdeburg, 172—Speyer, 171 (cut).

Of the ch. of S. Petronio in Bologna, !88;—the cath. of Florence, 187-188 (cuts); the ch. of Sta. Croce, 185; the ch. of Sta. Maria Novella, 185 (cut);—the ch. of San Michele in Pavia, 40 (cut), 41 (cut);—the ch. of the Krari in Venice, 189.

In Spanish pointed buildings of the early 13th cent., 195.

See also Vaults.

Pier arches, generally equilateral in France and frequently in England. 149; the Anglo-Norman type lancet, 149. See also Piers.

Pilaster strip, in Romanesque buildings, in (cut).

Pinnacle on buttresses, evolution of, 83;—of the cath. of Amiens, 81;—of the cath. of Reims, 84;—of the ch. of Sta. Maria della Spina. purely decorative features, 191.

Pisa, the sculptors of, 294-296.

Cathedral, 28; façade compared with Lincoln, 162; sculptures of the pulpit, 294; no organic character in its construction, 314.

Church of Sta. Maria della Spina, façade, 189; its gables have no relation to the roof behind, 191; interior, 191; capitals, 244; statues, 294. Plan, general, of a Gothic church, 18; of English chs., 167.

Plinths. See Bases.

English, 233.

Pointed architecture, not necessarily a distinct style, 7.

English, German, Italian, Spanish. See English, German, Italian, and Spanish pointed architecture.

French. See Gothic architecture, French.

Poissy, Collegiate church, 32; rib section, 218 (cut).

Poitiers, cathedral, its aisles but little lower than the nave, 178 (cut).

Portals, transept, 102; sculpture of, 254, 262; divided by central pillars, 262;—of the cath. of Chartres, 102;—Paris, south transept, 261;—Senlis, 106.

English, generally small, 164; of Lincoln cath., 162;—Wells cath., 164, 285.

Prato, cathedral, façade, 189; tower, 191.

Presbytery, of English churches, 167. Private dwellings unpretentious under the Gothic style, 2.

Profiles, Gothic, in France, 200-223.

English, 224-239; German, 239-242; Italian, 242-246; Spanish, 246.

Pugin, on Gothic architecture, 3.

Quintino, on Lombard architecture, 8.

Raphael, 308.

Reims, cathedral, source of its style, 60; date of construction, 121; external aspect and proportions,—121 (cut); abaci of the pinnacles of the apse, 205;—buttresses of the apse, 83 (cut), 84;—-façade, no; glass, 304; mullions, 222 (cut);—pinnacles, 84,—of the buttresses, 254;—tracery of apsidal chapels, 89 (cut);—transept, 102; vaulting system of, 74;—windows of the apsidal chapels, 88, 89 (cut).

Church of St. Remi, likeness to the cath. of Paris, 96;—apse, 96-99 (cuts);—buttresses, 17, 79, 82;—triforium, 96;—wall openings, 96.

Renaissance, in France, 2; in England and Germany, 3; the architecture, not of the people, 3; a time of the severance of arts formerly associated, 309.

Renan, on Gothic buildings, 118.

Ribs, development of, 14, 17; different kinds of, 18; constructive ribs only present in early 13th cent. French work, 72; superfluous ribs general in English buildings, 143. See also Liernes, Tiercerons.

Diagonal, their profile, 219;—longitudinal, merged with the archivolt of the window, 91; usually wanting in early English work, 131; of Salisbury cath., 147 (cut);—ridge, usual in English vaults, 135;—transverse, wanting in the vaults of Lichfield cath., 156.

Of the cath. of Amiens, 220 (cut);—Beauvais, 221 (cut); Laon, 220;—the ch. of Morienval, 218 (cut), 219 (cut);—the cath. of Paris, 219;—the ch. of Poissy, 218 (cut);—St. Denis, 218 (cut), 219 (cut);—the cath. of Senlis, 219 (cut),—apsidal chapels, 220;—the ch. of Villeneuve sur Verberie, 221 (cut).

In Spanish pointed buildings of the early 13th cent., 195.

See also Vaults.

Rib profiles, Gothic, 55, 217-221; the original square form softened by roll mouldings, 218; relation of transverse and diagonal, 219; the perfected forms, 220 (cut); adjustment of abacus to, 221.

English, 238;—Italian, 245.

Rickman, his Attempt to Discriminate the Styles of Architecture in England, 3.

Ringstead Church, spire, 167.

Ripon, cathedral, Bishop Roger's choir, its Gothic appearance superficial only, 142; façade, 165.

Rivaulx Abbey, pier arches, 149.

Roman sculpture, influence on the French schools of Southern Gaul, 248; influence on Italian work, 295.

Roman vaults and buttresses, 10.

Roman walls, character of, 10.

Romanesque architecture, varieties of style, 7; characteristics of, 15. See also German Romanesque, Italian, and Norman architecture.

Romanesque apse, 92.

Romanesque buttresses, 11 (cut), 12 (cut).

Romanesque capitals, 200.

Romanesque mouldings, 26.

Romanesque sculpture. See Sculpture, Romanesque.

Romanesque vaults, difficulties of construction over oblong compartments, 16 (cut); in apsidal aisles, 98.

Romanesque walls, 11.

Rome, Basilica of Constantine, 10 (cut).

Church of Sta. Agnese, capital of the gallery, 200, 220 (cut).

Flavian amphitheatre, constructive principle of, 10 (cut).

Roof of the church of Sta. Croce of Forence, 185.

Rose windows. See Windows, Wheel.

Rosel, church, tower, 113.

St. Albans, cathedral, length of the nave, 168.

St. Denis, abbey church, origin of Gothic commonly traced to this building, 33) 36;—apse, 92; façade, 106;—glass of the apsidal chapels, 302;—piers and capitals of the choir, 37;—rib sections, 218 (cut), 219 (cut);—sculpture of west portal and north transept, 251, 252 (cut), of tympanum of west portals, 255;—triforium, 44, 91;—vaulting system, 76, vaults of apsidal and choir aisles, 36, 37 (cut).

St. Gabriel, priory of, vaults, 51.

St. Germer, abbey church, triforium, 87.

St. Germer, chapel, 19.

St. Leu d'Esserent, abbey church, 51; date of construction, 119; external aspect, 119 (cut); compared with the cath. of Reims, 121;—apsidal aisles and chapels, 101 (cut);—buttresses, 17, 78-80 (cuts);—clerestory, 69-70 (cut), 87 (cut), 88;—mullions, 222 (cut);—piers and vaulting shafts, 72.

St. Loup, church, tower, 115.

St.Vaast de Longmont, church, spire, 113.

Salamanca, cathedral, 195.

Salisbury cathedral, date of erection, and comparison with French buildings, 147; no structural continuity in the interior, 148; Gothic principles very imperfectly embodied, 150; absence of sculpture, 292; substantially a Norman building, 313;—buttresses, 150;—capitals, 231;—chapter-house, 168;—clerestory, 149; east end, 160;—facade, 164;—piers, 150;—pier arches, 149;—triforium of the nave, 149;—turrets of west front, 164;—vaulting of the nave, 147 (cut), 148.

Santiago, cathedral, 195; statues of the portals, 297.

Scott, Sir Gilbert, on Gothic architecture, 5; on the stilting of the longitudinal arches in clerestory vaults, 69.

Sculpture, French Gothic, developed in the Ile-de-France a century before the Italian revival, 247, 263; the earliest schools in Southern Gaul influenced by Roman and Byzantine work, 247; their classic feeling, 249; their want of original invention, 249; these southern schools supplied stimulus and guidance to those of the Ile-de-France, 249; favourable conditions in the Ile-de-France, 250; character and examples from the 12th cent., 250-258; statues neither employed as caryatids nor placed in niches, 254; yet a part of the architectural composition, 255; the sculpture of this period at its best in the lintel of the cath. of Senlis, 255-257; sculpture of the early 13th cent., 258; unrivalled in all but sentiment, 258; comparison with Greek art, 259, 263; the second half of the 13th cent., 261; expression of thought and emotion the chief motive of Gothic sculpture, 263; physical beauty aimed at also but subordinated to moral ends, 264; the place of the monstrous and grotesque, 265; Romanesque imagery early rejected, 265; animal forms introduced, 265; their truth to nature and ornamental quality, 266; leafage, 266; Romanesque leafage designs discarded for capitals except the Corinthianesque, 269; the influence of nature traced, 269; the best Gothic capitals of the last quarter of the 12th cent., 271; quick sympathy with nature, 273; the special plant forms employed, 273; skill in execution, 273; the best qualities shown in the triforium of the nave of Paris, 273; naturalism carried almost too far in the chapel of the catechists, 274 (cut); running leaf patterns, 276; orderly sequence without formality, 277; over-naturalism dominant after the middle of I3th cent., 278; why direct imitation of nature is not appropriate in sculpture, 281; importance of breadth, 281; use of colour, 282; its classic element compared with the same in Italian work, 295.

Of the cath. of Amiens, 23, south door of west front, 262;—the cloister of St. Trophime at Aries, 251 (cut);—the cath. of Autun. 249;—Chartres, west front, 252. 253 (cut), leaf ornament on porches. 279;—the ch. of Notre-Dame du Port of Clermont-Ferrand, 249. 250 (cut);—the cath. of Paris, south door of west front, 255, west façade. 259-261 (cut), portal of south transept, 261, of north transept, 262 (cut), grotesque figure of a hood moulding. 266 (cut), archivolts of the façade. 266 (cut), 276 (cut), of the Porte Rouge, 280 (cut);—the ch. of St. Denis, west portals and north transept, 251, 252 (cut), tympanums of the west portals, 255;—cath. of Senlis, 25, lintel, 256 (cut);—the ch. of Vézelay, 249. See also Gothic sculpture.

English, 284-292; rare in the 12th cent., 284; early examples of figure sculpture, 284; 13th cent, figure sculpture of Wells, 284; its want of relation to the structure of the building, 285; more naturalistic but less true to nature than the French, 286; want of delicacy and refinement, 287; the angel choir of Lincoln, and other figure sculptures, 287; foliate sculpture, 288; its artificial conventionality, 289; foliate sculpture of Bishop Hugh's choir and transept in Lincoln, 289; much expression of natural beauty in spite of artificial peculiarities, 290 (cut); sculpture of the nave inferior, 290 (cut); Anglo-Norman and French characteristics combined in the foliate sculpture of Wells, 292; the imaginary and grotesque less common than in France, 292; sculpture almost wanting in many important buildings, 292.

German, 292-293; general absence of figure sculpture, 292; late Gothic influence, 293; foliate sculpture illustrated by Cologne, 293.

Greek, its likeness to nature, 22; compared with French Gothic, 22, 25, 259, 263, 278; its influence on Gothic, 23, 24; its influence on Italian work, 295.

Italian, 293-297; its revival subsequent to the development of the Gothic school in France, 247, 263; the production of individual sculptors, not of a school or guild, 294; want of connection with architecture, 294; mingling of Gothic and Roman elements, 294; the classic elements in the sculptures of Pisa compared with those in French Gothic sculpture, 295; the other Pisan sculptors, 296; the isolated statues and busts of the Renaissance, 296; foliate sculpture imitated from the Gothic, 296.

Romanesque, its ornamental forms derived from Roman and Byzantine work, 267; its types of ornament for capitals, 268.

Spanish, copied from French models, 297.

See also Capitals; Gothic sculpture.

Senlis, cathedral, the interior Gothic, the exterior Romanesque, 48;—abaci, 206, of the triforium, 221 (cut);—aisle vaults, 47;—apse, 92;—apsidal chapels, 101;—bases of the nave, 210 (cut), 211;—buttresses, 48;—capitals of the choir, Gothic in form, Romanesque in ornament, 201, 203 (cut), of the triforium of the nave, 270 (cut); façade, 106, 107 (cut);—impost, 221 (cut);—piers and shafts, adaptation to the vaulting, 43-47 (cuts);—rib sections, 219 (cut), in apsidal chapels, 220;—sculpture, 25, of the lintel, 256 (cut);—spire, 115, 116 (cut);—string-course of the choir, 214 (cut) 215;—triforium arches, 44;—early vaults east of the transept, 38;—those of the aisle, 47;—windows, 85.

Church of St. Aignan, abacus, 207 (cut).

Church of St. Frambourg, clereslory opening, 69.

Sens, cathedral, piers and vaulting shafts, 59, 130; source of its style, 60; transept, 102.

Shaft, volume reduced in Gothic architecture, 18.

Sharpe, his Seven Periods of Church-Architecture, 4.

Siena, cathedral, want of Gothic character, 186; façade 189, 190 (cut); east end, 191.

Soissons, cathedral, bases in the choir, 212, 213 (cut);—buttresses of the choir, 82;—clerestory of the choir, 88; piers of the choir, 66-67 (cut):—transept, 102.

Southwell minster, abacus, 224;—arch mouldings, 236 (cut); capitals, 231;—sculpture in north transept, 289 (cut), of the chapter-house, 290.

Spain, its condition in the Middle Ages unfavourable to the development of the fine arts, 314.

Spalato, palace of Diocletian, capital, 200 (cut).

Spanish pointed architecture, 194-199; still Romanesque in structure at beginning of 13th cent., 194; characteristics, 194; smaller buildings with barrel vaults, 195; similarity to certain French styles, 195; brought in by the Cistercian monks, 195; never Gothic in principle, 196; in the second quarter of 13th cent, the complete Gothic of France taken as a model, 196-199; Street's theory that the churches were built by Frenchmen, 196; influence of climate on style, 198; profiles mainly Gothic, 246; not an original style, 314.

Spanish profiles, 246.

Speyer, cathedral, a Romanesque building, 170; its vaults, 170; nave, 171 (cut).

Spires, in French churches, 113-117; difficulties in adapting its octagonal plan to the square substructure, 114; strengthened by squinches, 117;—few large ones now remain, 117; of the ch. of Chamant, 113, 114 (cut);—the cath. of Chartres, 115 (cut);—the ch. of St. Vaast de Longmont, 113;—the cath. of Senlis, 115, 116 (cut).

English, rare in early pointed architecture, 166; peculiarity of English construction, 167.

German, 181; early ones ill adjusted to the spire, 181.

Of the cath. of Burgos, 199. Squinches, 117.

Stained glass, employment of, in Gothic architecture, 2 1; effect on the character of window openings, 91.

French Gothic, 300-304; earliest examples, 301; its developed style peculiar to Gothic, 301; limitations due to the nature of the materials employed, 301; distinguished from wall painting, 301; the mediæval designer adhered strictly to the conventions proper to his art, 302; modern attempts to give the art a wider range, 302; the glass of St. Denis and Chartres, 303 (cut); other examples, 304; nothing peculiar in other countries, 309.

English, 309.

Statues, neither used as supports nor set in niches in early Gothic, 254.

Stilting of the longitudinal arches of a vault, 16; its real significance, 68; of the longitudinal ribs in the cath. of Amiens, 75 (cut), of Chartres, 73 (cut), of Noyon, 49; the expedient unknown in Italy, 183.

Strasburg, cathedral, its imperfect Gothic character, 175; facade, 179; spire, 181; sculpture, 293.

Street, on the Spanish pointed architecture of the 1 3th cent., 196; on the portals of the cath. of Santiago, 297.

String-courses, Gothic, 214-217; change from the flat to the sloping form, 215; becomes a drip moulding, 215;—interior mouldings, 216; reason for the sloping form, 216;—of the cath. of Amiens, triforium, 216 (cut), 277 (cut);—the ch. of St. Evremont at Creil, 214 (cut);—of Morienval, buttresses, 215 (cut); of Nogens-les-Vierges, 214 (cut); the cath. of Noyon, 278 (cut); Paris, drip moulding, 215 (cut), triforium of the nave, 216 (cut);—Senlis, choir, 215.

English, 235 (cuts);—Italian. 246.

Style, architectural, 7.

Sully, Maurice de, his sculpture on the west front of the cath. of Paris, 255. Symbolism of animal forms in Gothic sculpture, 266.

Tarragona, cathedral, its dome, 196.

Technical skill generally accompanied by decline in expressional power, 256.

Tiercerons, 18;—in Lichfield cath., 156;—in Lincoln cath., vaults of the nave, 144 (cut), of the presbytery, 154.

Tintern Abbey, pier arches, 149.

Titian, the decorative elements of his work as distinguished from the pictorial, 307.

Toledo, cathedral, modelled after the French Gothic, 196; clerestory of apsidal aisle, 198.

Towers, of the Gothic facade, 103;—of the Abbaye-aux-Hommes at Caen, 104, 105 (cut);—the ch. of Morienval, 113 (cut); of St. Loup, 115.

Of English churches, 165-166; general provision for a central tower at crossing of nave and transept, 165; of Lincoln cath., 162, 166 (cut).

Of German churches, 181.

Italian, seldom incorporated with the church edifice, 191; a building of several stories, 192.

See also Spires.

Tracery, development of, 88; necessity of, in large windows, 91; in the cath. of Paris, clerestory, 85 (cut), 89; Reims, apsidal chapels, 89 (cut).

Italian, 193.

See also Mullions, Windows.

Transepts, of French churches, 102; too common in English chs. , 167; of Lincoln cath., 135.

Transept chapels, 102.

Transept ends, Italian, usually square, 191.

Transept facades, 102; of English churches, 160.

German, 180.

Triforium, always enclosed by masonry in French buildings, 91;—of the cath. of Amiens, 91;—the Abbaye-aux-Dames at Caen, 152 (cut);—the ch. of Cerisy-la-Foret, 87;—the cath. of Noyon, 50, 87;—the ch. of St. Remi at Reims, 96;—of St. Denis, 44, 91;—of St. Germer, 87;—the cath. of Senlis, 44.

Usually open to the roof of the aisle in English chs., 139;—of Canterbury choir, 130; Chichester, 133 (cut);—Lincoln, choir, 139; Malmesbury Abbey, 125;—the ch. of St. Mary, New Shoreham, 141; Salisbury, nave, 149;—Wells, 150 (cut).

Of the cath. of Limburg, 173, 174 (cut).

Of the ch. of S. Martino in Lucca, 189.

In Spanish pointed buildings of the early 13th cent., 195.

Triforium string. See String-courses.

Tudela, cathedral, 195.

Vaults, difficulties of construction over oblong compartments, 16 (cut); effect of the introduction of the pointed arch upon, 16, 17 (cut); always both stilted and domed in Gothic, 17; general character of, in Gothic buildings, 18; twisted surfaces of, 39; obliquity and irregularity of surface, 52; of the first half of 13th cent., 67; improved by replacing the round longitudinal arch by a pointed one, 68; the thrusts concentrated on the piers by stilting the longitudinal ribs, 69; apsidal aisles, 98; first step toward fan vaulting, 144; polygonal chapter-houses, 168; generally absent in the smaller village churches in England, 169.

Barrel characteristic of the style of Auvergne, 195; in the smaller Spanish buildings of the early 13th cent., 195;—demi-barrel, 12;—domed, 52;—quadripartite, contemporaneous with sexpartite, 51; general use in the I3th cent., 68; in square compartments, characteristic of the Burgundian style, 195;—sexpartite, 38; various modes of support, 40-60; unusual in the 13th cent., 68; peculiarity in the cath. of Limburg, 173, 174 (cut).

Of the cath. of Amiens, apse, 96, 97 (cut);—Beauvais, 68, choir, 76;—Bourges, 59, 68, apse, 95;—the Abbaye-aux-Dames at Caen, 13, 14 (cut), 17, 51;—the Abbaye-aux-Hommes, at Caen, 12, 13 (cut), 39;—the cath. of Chartres, nave, 73 (cut), apse, 95, 96 (cut);—Laon, 58; the ch. of Mantes, 57;—of Morienval, apsidal aisle,33-35 (cuts);—the cath. of Noyon, choir and transept, 38, choir, 49, nave, 50, apse, 93 (cut);—the ch. of Ouestreham, 51;—the cath. of Paris, choir, 38, apse, 94 (cut), changes and repairs in the I3th cent., 86, apsidal aisles, 100 (cut);—the ch. of St. Denis, apsidal and choir aisles, 36-37 (cut), nave and choir, 76;—the priory of St. Gabriel, 51; the cath. of Senlis, east of the transept, 38.

Of Canterbury cath., choir, 129-131 (cut);—Chichester, 131;—Durham, 14, 17;—Fountains Abbey, 127, 128 (cut); Kirkstall Abbey, aisles, 127;—Lichfield cath., nave, 156; Lincoln, choir, 135-140 (cuts), nave, 143, aisles, 146, presbytery, 154;—Malmesbury Abbey, aisles, 124 (cut); nave, 126;—the ch. of St. Mary, New Shoreham, 141;—Peterborough cath., aisles, 143;—Salisbury, nave, 147 (cut);—Wells, 150.

Of early German buildings, 171;—of the cath. of Bamberg, 170, 171 (cut);—the Breslau Kreuzkirche, 175;—Cologne cath., 176;—Freiburg, 174; Magdeburg, 172;—Speyer, 171.

Of the ch. of St. Francis of Assisi, 182;—the cath. of Florence, 187; the ch. of Sta. Croce, apse, 186; the ch. of Sta. Maria Novella, 183 (cut); the basilica of San Miniato, 41;—the ch. of Sta. Anastasia in Verona, 189.

Roman, 10.

In Spanish pointed buildings of the early I3th cent., 194.

Vaulting shafts, employed as a decorative feature only, 141, 144; coupled, in Spanish pointed buildings, 195, in Burgundy, 195;—of the cath. of Amiens, 75;—Bourges, 59;—the Abbaye-aux-Dames, at Caen, 153 (cut);—the cath. of Chartres, nave, 74;—the ch. of Notre-Dame at Dijon, 60;—the cath. of Laon, 58;—the ch. of Mantes, 58;—the cath. of Noyon, 49 (cut);—Paris, 53, 55-57 (cuts);—Reims, 74;—the ch. of St. Denis, 76;—of St. Leu d'Esserent, nave, 72;—the cath. of Senlis,—43; Sens, 60, 130.

Of Byland Abbey, 141;—Canterbury, cath., choir, 129-130 (cut), at transept crossing, 138 (cut);—Chichester, 131, 132 (cut);—Lichfield, nave, 157;—Lincoln, choir, 136, at transept crossing, 138 (cut), nave, 144, presbytery, 154;—Malmesbury Abbey, 125, 126 (cut);—the ch. of St. Mary, New Shoreham, 141;—Ripon, choir, 142;—Salisbury, nave, 148;—Wells, 150;—Whitby Abbey, 141.

Of the cath. of Limburg, 173, 174 (cut);—Speyer, 171 (cut).

Of the ch. of St. Francis of Assissi, 182.

In Spanish pointed buildings of the early I3th cent., 195.

Vaux-sous-Laon, church, façade, 104 (cut).

Venice, church of the Frari, piers, 189; east end, 191.

Ducal palace, capitals, 297.

Vercelli, church of S. Andrea, vaulting system Gothic, 181.

Verona, church of Sta. Anastasia, vaulting system, 189.

Tower of the Scaligeri, 192, 193 (cut).

Verula, abbey church, 195; its chevet and vaulting ribs, 196.

Vézelay, abbey church, sculpture, 249; capitals of the porch, 268.

Villeneuve-sur-Verberie, ch., rib section, 221 (cut).

Viollet-le-Duc, on Gothic architecture, 7; on the Greek elements in Gothic sculpture, 24; on the piers and vaults of the cath. of Paris, 54; on the construction of buttresses, 112; on the relation between abacus and capital, 203; on the sculpture of Chartres, 253; on the antagonism between decorative and pictorial art, 37.

Vitet, on the cathedral of Noyon, 38.

Vitruvius, mathematical formulas of, 21.

Walls, gradual reduction in Gothic architecture, 18; general character in Gothic buildings, 19, 85-92.

Roman, 10.

Romanesque, 11.

Wall openings, in Gothic buildings, 19, 85-92; grouped, 87; in English pointed architecture, 157, 164; English, compared with French, 149. See also Clerestory; Pier-arches; Windows.

Wall painting, 298-300; compared with stained glass in the character of its design, 301; Italian, 305-309.

Walpole, Horace, his interest in Gothic, 3.

Wells, cathedral, vaulting and structural relations, 150 (cut); compared with the Abbaye-aux- Dames at Caen, 151; external aspect, 153; the sculpture contemporary with great Italian sculpture, 247; nave and transept substantially Norman structures, 313 ;—abaci, 232 (cut); capitals of the west facade, 228, of the transept and eastern end of nave, 230, 231 (cut);—facade, 164;—plinths of north porch, 234 (cut);—portals, 285; sculpture of the west front, 284-287 (cut), compared with French work, 286, foliate sculpture, 292;—string-course profiles, 235.

Westminster Abbey, pier arches, 149; the most Gothic structure in England, 154; capitals, 231; absence of sculpture, 292.

Whewell, his Notes on German Churches, 4.

Whitby Abbey, Early English in form, but Romanesque in principle, 141; pier arches, 149; bases from clerestory of choir, 233 (cut).

Willis, his Architecture of the Middle Ages and Essay on Vaulting, 4; on the stilting of the longitudinal arch in clerestory vaults, 68.

Winchester, cathedral, length of the nave, 167.

Windows, dormer, in spires, 114.

Wheel, further developed in France than in England, 160.

Of the cath. of Reims, apsidal chapels, 88, 89 (cut);—the ch. of St. Remi at Reims, 96.

In English pointed architecture, 157.

Italian, 193;—of the ch. of St. Francis of Assisi, 182;—the cath. of Florence, 187; the ch. of Sta. Croce. 185.

See also Clerestory; Stained Glass; Tracery; Wall openings.

Worcester, cathedral, the smaller transept not true Gothic, 153; tower, 165.

Wren, Sir Christopher, his taste for the pseudo-classic orders, 3.

York, cathedral, the transept not true Gothic, 154; transept facade, 160; tower, 165; chapter-house, 168.

THE END

 

Printed by R. & R. Clark, Edinburgh.