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.
