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 }
