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.
