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.
- 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.
