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.
