SIISninKWlEllliSflSMUHniSJ ROMANESOUE ARCHITECTURE IN FRANCE DITED, AND WITH AN INTRODUCTION BY .;■', .fULIUS BAUM LONDON. WlbLlAM HEINEMANN. r THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES GIFT OF R. B. Ktjrzon k ROMANESQUE ARCHITECTURE IN FRANCE ROMANESQUE ARCHITECTURE IN FRANCE EDITED, AND WITH AN INTRODUCTION BY DR JULIUS BAUM NEW YORK E. P. DUTTON & Co. 1912 Jic^J 3 '' '' 2)3: 'j,f ROMANESQUE ARCHITECTURE IN FRANCE A total misconception of the art of the Middle Ag-es must result from a failure to appreciate the fact that no problem in this art was considered more important than the creation of an interior. Our latter-day preoccupations — that element, to which modern interest seems to be limited — the imitation of Nature, was perfectly insignificant to the mediaeval artist. To him it seemed self-evident that painting- and sculpture were absolutely subor- dinate to architecture, that these could only be used as applied or decorative, never as independent arts. The artistic aims of the Middle Ages, never complex and divergent as our own are, were directed in perfect singleness of mind upon one idea: that of the treatment of interiors, and as a necessary corollary, of their architectonic barriers. A centrally planned building had been the highest ideal of architecture in all ages when a truly architectonic sense had obtained. It realises all ideals: "Absolute unity and symmetry, perfect proportion and gradation, harmonious elaboration within and without, and the best disposition of light possible." Roman architecture had already achieved an almost unsurpassable standard of excellence in such buildings as the Pantheon, the Rotunda in the Baths of Diocletian, and the Temple of Jupiter at Spalato. An aspiration towards the beauty of antique interiors was all that surviv- ed throughout the Christian Middle Ages. Its realisation was only accomplished at the Renais- sance, in Bramante's and Michelangelo's designs for S. Peter's. The history of Medi£eval Architecture is that of the struggle between a mighty artistic idea and the convention born of the practical requirements of public worship. The church — and this was practically the only building in question at a period when lay architecture was comparatively negligible as an artistic quantity — had ceased to be the dwelling of the divinity in the antique concrete sense. It had become rather the temple of the Unseen, and its real inhabitants were the priests and the con- gregation. The natural consequence of this two- fold function in Western Christendom was the basilica. We need not here enquire into its evolution. It will be sufficient to say that it consisted of a rectangular hall with three or five aisles, the central nave rising above the side aisles, lighted by windows in its upper walls, and termi- nating in a semi-circular apse. Sometimes a narrow transept intervened between nave and apse. The church was invariably approached through a portico or narthex. The apse belonged to the clergy, and the nave to the laity, save in so far as it was curtailed by a screen for the separation of the officiating priests. A very powerful effect was unquestionably produced in the basilica by the concentration of the beholder's mind on the darkened apse, not only by means of the general plan, but by the further accentuation of ths-t plan in the perspective of columns and windows. But this effect was not comparable for harmony with that of the circular church. Recognising this, the architects of the Middle Ages, when untrammelled, made recurrent attempts to transform the basilica into the centrally planned church, and produced hundreds of compromises, which were very rarely perfect achievements. An ideal result was only attained, when the builder was able to follow his artistic impulse, regardless of the exigencies of public worship; thus San Lorenzo in Milan, which grew out of an antique building, was one of the most magnificent creations in the world, and until the erection of S. Peter's, probably the most beautiful. It is important to know that the men of the Middle Ages were perfectly conscious of the splendour of this building. "Numquid est in toto mundo aula tam mirabilis?" wrote Benzo of Alba in the eleventh century (to Henry IV; Pertz XIll, 680) , and there is no lack of similar V 1081284 testimony. Early Christian art had always achieved grandeur in baptisteries and sepulchral churches, such as San Giovanni in Fonte, Santa Costaiiza and San Stefano Rotondo in Rome, and the memorial churches in Jerusalem, which were so closely akin to the last-named. In all these examples, we have a domed building- with an ambulatory, of a richer type than the simple cylindrical Pantheon. At a later period, this plan was reproduced in certain isolated instances, and even in the North there are a few examples, such as S. Michael at Fulda. France possessed a very imposing- rotunda of this type in S. Benigne at Dijon, and a kindred building in the Church of Charroux in Poitou, of 1050 (PI. 6, 7), the outer ambulatory of which is destroyed ; a tower rises over the central part of the rotunda. France produced little else of impor- tance in this genre; all her efforts were directed to the development of the aisled and vaulted church. In Neuvy-Saint-Sepulchre (Indre), begun in 1045 (PI. 5), we still find the domed design with the circular ambulatory, while Saint-Michel d'Entraigues (Charente) begun in 1137 (PI. 1 and 2), and Montmorillon (Vienne), are octagonal on plan, and have ribbed vaults. Montmajour in the South, built in 1016, a cube with four apses, and in the West the churches at Quimperle (PI. 8) and Lanleff, may be mentioned as circular buildings of the simplest kind. II The type of Saint-Michel d'Entraigues is merely a simplification of a centrally planned building, which had already reached its highest development in the early Christian art of the East. The original form was found in an antique building, the temple of Minerva Medica in Rome. The chief characteristic of the type was the piercing of the massive encircling walls with great niches, which in their turn, open in arcades to an outer ambulatory, as in the most famous buildings of this group, the Churches of Scr- gius and Bacchus, of Santa Sophia at Constantinople, of San Vitale at Ravenna, and Charlemagne's palace-chapel at Aix-la-Chapelle. San Lorenzo at Milan also belongs to the same family. This motive, which re-established the affinity with the type men- tioned above, is absent in Saint-Michel d'Entraigues; this church however, retains a feature equally important to the effect both of exterior and interior: the projecting apses. A third type of the central plan must also ho mentioned: the Greek cross, consisting of four equal arms with a central cupola. The simplest example of this type is to be seen in the sepulchral Church of Galla Placidia at Ravenna. Akin to this wcie the Baptistei-y of Venasque (Vaucluse) [PI. 3], and the Baptistery of Valence (Drome), only the ground plan of which has survived. A richer form of this plan is produced when a rectangular or square space is divided by four supports into nine fields, the central field dominating the structure and the four corner fields entirely subordinated. This arrangement is adopted in the Hagia Theotokos at Constantinople, San Satiro in Milan, the Martorana in Palermo, San Fosca in Torcello, and Germigny-des-Pres (Loiret) [PI. 4]. It is brought to its greatest perfection when the four useless corner fields are suppressed, as in San Perig-ueux, Saint-Front, Ground-plan. The Greek eross as a development of the domed aidic church. Marco at Venice (1043—1085), and Saint-Front at Perigueux. In each of these cases, the supports are not compact masses, but groups of four pillars connected by arches, their intervening spaces being crowned by small cupolas. The opposite pillars are connected by barrel vaults, which serve as a belt for the pendentives of the five cupolas. The Venetian arrangement is clearly derived from early Christian and Byzantine models. Saint Front, on the other hand, is only to be explained as a result of the utmost tension of an artistic will bent on the highest achievement possible. We shall consider in the following pages how this church grew out of its surroundings. Ill But before we address ourselves to this task, we must take a rapid survey of the general de- velopment of Romanesque Art in France. VI The fame of France as the land of the rise and development of Gothic art long- stood in the way of a just appreciation of her early mediaeval monuments. It is true that French Romanesque never became the exemplar for all Europe as did French Gothic. But this was by no means because of the insig-nificance of the art; it was due to the fact that down to the twelfth century, each European people was capable of independent creative work. In the early Christian period, Italy produced beautiful buildings on the central plan, and the flat-roofed type of basilica; later, severe Tuscan facades of the Pisan and Florentine types, and finally, the noble vaulted basilicas of Lombardy, with their tendency to a centrally planned choir, and their harmoniously proportioned facades. Ger- many created the ideal form of the Latin cross, in which nave and transepts were of equal width; its predominant feature, on plan, was the square crossing, which was repeated in the choir rising above a crypt, and now removed further eastwards, in the transepts, and also in the subdivisions of the nave; the side-aisles were half the width of the nave. Germany was also the country which developed the double-choired basilica, a type of somewhat dubious beauty, which may be explained rather by its adaptability to practical requirements than by any desire to approximate the basilica to the centrally planned building. Finally, the most intense aspirations towards a development of vaulting originated in Germany. The Rhine was to Germany what Lombardy was to Italy. The first cross-vaulted cupolas were achieved at Spires and Mayence, and Cologne brought forth that magnificent, many-towered triple-bayed choir, in which German architecture most nearly approaches the ideal of all structural art. In France , the evolution of early mediaeval architecture was almost richer and more magnificent than in Italy and Germany. The various races which formed the population were still sharply divided. The strongest contrast reigned between the preponderatingly Germanic North, the region of the Langue d'oVl, and the Romanesque South, the land of the Langue d'oc. IV The art of the North had a most promising beginning. A double-choired basilica made its appearance at Centula (Saint-Riquier) earlier than any such church in Germany. This noble abbey was built from 793 — 798. The kindred ruin of Alet seems to be even earlier. This type was, however, speedily abandoned in Northern France. But another form evolved in Northern France persisted for centuries as one of the most purely Gallic types: it is that in which the side-aisles were continued round tiie sanctuary, forming an ambulatory opening into tlie choir by an arcade, on the one side, and on liic other, into radiating semi-circular chapels. This motive, which was perhaps evolved by the combination of two types of centrally planned buildings, first appeared in the 9"' century, in Saint -Martin at Tours. It was soon adopted over a very wide area, being repeated in the famous pilgrimage churches of Saint-Remi at Reims (1005 — 1049), Saint-Hilaire at Poitiers (consecrated in 1049) [PI. Ill], Saint-Sernin at Toulouse, as well , Ground-plan of Saint-Seinin, Toulouse. Mve-aislcd cruciform church with triforium and barrel-vaulted nave of the Auvergnate type. Choir with ambulatory and chapels, on the model of Saint- Martin at Tours. as in many Auvergnate churches. But whereas in the South, this ground-plan was soon perfected by the vaulting so essential to the system, the North still clung to the flat roof, and this even in the single-aisled church as well as in the three- aisled basilica. Among flat-roofed single-aisled churches, which occur most frequently on the boundaries of the region in which the barrel-vaulted ch'jrch predominated (in other words, to the north of the western Loire on the one side, and in Provence on the other), the most notable are: Saint-Generoux, Cravant, Savennieres [PI. 9], Beaulieu-les-Loches (1008 — 1012) and Saint-Pierre at Vienne. Among basilicas, Saint- Martin at Tours ranks first. The vaulted naves of Saint-Rtjmi at Reims and of Saint- Benoit-sur-Loire were originally flat-roofed. The vaulting of side-aisles was adopted at an early date, and therewith the substitution of piers for pillars. Triforia occur occasionally in Champagne, Vll even at an early date, when as yet there was no intention to vault, as in Saint-Remi at Reims [PI. 212], Vignory [Plate 151], and Montier-en-Der. Burgfundy and Normandy, the two regions most deeply impregnated with German ideas, were the only provinces which for a time resisted the adoption of the choir- ambulatory with radiating chapels. Burgundy created a type in the rebuilding of the Abbey of Cluny in 981, which differed from the Ground-plan of Saint-Georg-es at Saint-Martin-de-Bosclierville. Cruciform basilica with choirs in the aisles, and a flat-roofed nave. Second Cluniac Type. German Latin cross only in that, suppressing the crypt, it added to the main choir several subsidiary choirs terminating for the most part in apses, enriched the transepts also with apses on the east, and the west front with a deep portico between the two flanking towers. Its likeness to the German type caused this arrangement to be readily accepted in Germany, where its was first introduced at the Cluniac settlement at Hirsau. Outside Burgundy, it is frequently found in the Cluniac abbeys of Normandy, as, for instance, at Bernay, where the plan of the church corresponds exactly with that of Hirsau. Cluny itself was the first to deviate from its own ideal; when, in 1089 it was rebuilt for the third time, the choir-plan of Saint-Martin at Tours was adopted, and this re-appears in several of the daughter-churches of Cluny , such as Paray-le-Monial [PI. 169]. La Charite-sur-Loire [PI. 171] and Saint-Benoit-sur-Loire [PI. 157], where- as the ancient Cluniac type was perpetuated with some slight modifications by the Cistercian order, which was an offshoot of Cluny. The second Cluniac type was, it is true, occasionally applied even to a cathedral in its native region, but it soon predominated to the exclusion of all others in Normandy. The Latin cross, with its flat-roofed adjoining choirs was to be found, for instance, not only in La- Sainte-Trinite [PI. 203] and Saint-Nicolas, but also in the original plan of Saint-Etienne [PI. 202]. Nevertheless, from the very beginning the vault was the objective of the Normans, in contrast to the Burgundians. Thus in Normandy, as in Lombardy, the Iriforium is an unfailing feature, designed to re-inforce the walls against the pressure of the vaults which were not as yet executed. Examples: Jumieges (1040—1067) [PI. 205], and Saint-Etienne at Caen (c. 1063-1077) [PI. 202]. w: V '^hereas neither Northern France nor Ger- many could free themselves from the bondage of the basilican form, and applied all their powers to develop , to enrich , and finally to give it a monumental character by means of vaulting, the happier South contrived to keep entire liberty in relation to the formal arrangement of its churches. Nowhere has the classical spirit survived so uninterruptedly as in the Mediterranean regions between the Rhone and the Garonne, from Provence to Aquitaine. Here stand some of the finest ancient Roman buildings, unharmed by the storms of the 4"' and 5"" centuries ; artists had the stimulus of existing masterpieces, urging them to create others. It would seem that in the South, the Roman method of vaulting by means of barrel vaults and cupolas was never, or at any rate, only very temporarily abandoned. It was applied in a perfectly independent manner; the oblong nave was recognised as the one essential to a building for public worship; but neither the multiplication of aisles, nor the additional height and the auto- illumination of the nave in the tri-aisled plan were held to be necessary features. As early as the year 1000, single-aisled, barrel-vaulted churches Ground-plan of Notre-Dame, Saiimnr. Sin^le-aisicd, harrel-vauUcd church with transept and tower over crossing. of the type brought into favour again by Vignola in the Gesii Church over five hundred years later, and three-aisled barrel-vaulted churches were alike familiar types. In these grandiose monumental buildings, the use of wood is so entirely excluded, that even the roofs were formed of stone slabs. I he barrel-vaults are groined, the walls are extra- ordinarily massive, the windows — which are pierced in the vertical walls and not in the barrel — are VIII small, but the proportions (jf tlie interior, at least in Provence, are truly noble. The following are fine examples of such Proven(;al churches: Notre- Dame-des- Domes at Avignon, the Cathedral at Orange, and the Churches of Maguelonnc and Digne [PI. 10]. The largest building of this type is the Cathedral of Toulouse, which was finished in the Gothic style. In Aquitaine, the single aisle is often enriched by the addition of a transept with a tower over the crossing, as at Courcome [PI. 21], Montmoreau [PI. 20] ant Notre Dame at Saumur. Sometimes there are no windows in the walls, and the church is illuminated only by the cupola. In the same region, but extending northward into Poitou and towards the Middle Loire, we find the three-aisled barrel-vaulted basilicas, often with half barrel- vaulted side-aisles. We will mention only the most important of these very numerous Poitiers Notre-Dame-la-Grande, Transverse Section. Three-aisled banel-vaulted basilica. Choir and ambulatory witir radiating chapels. examples: Saint Martin d'Ainay at Lyons [PI. 28], the Cathedrals of Valence and Vaison in Provence, Saint Nazaire at Carcassonne, and the Cistercian Abbeys of Elne and Fontfroide [PI. 33], in Southern Languedoc; Bussiere-Badil [PI. 56] in Perigord [PI. 56]; in Poitou, thefamous Notre-Dame-la-Grande [PI. 37] and Sainte Radegonde at Poitiers; and almost all the more important country churches of this district. As in the single-aisled churches, so also in the basilicas, there are notable differences between those in the Mediterranean provinces and those of the western territory. The former are spacious; the nave in particular is kept as wide as possible, and the dividing arches between nave and aisles are large and lofty, allowing an adequate illumination of the whole church. The Celtic West preferred dark, narrow interiors. In the South, the three aisles usually terminate in apses, sometimes with an intervening transept. On the Atlantic coast, a preference was shown for the elaborated cruciform type, with small apses in the transepts; in Poitiers and certain other places in the neighbourhood, we further find the choir ambulatory with chapels, probably derived from Saint Martin at Tours, as in NotrcDame-la- Lyons. Saint-Martin d'Ainay, Transverse Section. Three-aisled, barrel-vaulted basilica. Grande at Poitiers, and Saint Pierre at Chauvigny. In Auvergne, the system of the barrel-vaulted three-aisled church underwent an important modi- fication. Galleries were built over the side-aisles; the character of the interior was thus again approxi- mated more nearly to that of the antique basilica. The choir had an ambulatory with radiating chapels, on the plan of Saint-Martin at Tours. The transept, with its five severies, rose majestically in the width of the nave and a tower with a cupola crowned the crossing. The east ends of such churches, which generally stand on open rising ground, thus produce a magnificent effect of mass. In the nave, the vault- ing of which springs directly from the triforium without any entablature, there are always piers Lyons. Saint-Martin d'Ainay, Ground-plan. Three-aisled barrel-vaulted basilica. and in the ambulatory, pillars. Notre-Dame-du- Port at Clermont-Ferrand [PI. 65], is perhaps the purest example of this type; the churches of Saint Paul at Issoire [PI. 68] , Saint Saturnin [PI. 69), and Chauriat [PI. 70] are kindred buildings. Saint Sernin at Toulouse is the best proportioned building IX of the kind in the South outside Auvergne, though it lacks the characteristic loftiness of the transepts; in conclusion, we may cite the Abbey Church of Conques [PI. 76], an imitation of Saint Sernin. Clermont-Ferrand. Transverse Section of Notre-Dame-du-Port. Tliree-aisled barrel-vaulted church with gallery. Choir with ambulatory and chapels. VI The barrel-vaulted church, especially the single- aisled type, with its excellent proportions and the vjo-orous unity of its interior effect, no doubt realised to a very high degree the Southern ideals of grandeur and solidity; but these were first fully satisfied by domed architecture. In the majestic nature of the cupola we may recognise the desire for autocracy, for monarchical domination. It de- mands the central plan. But the exigencies of public worship made it impossible to combine these Cahors. Cathedral, Groinid-plan. Sinjrlf-ai.sled doiiied church. two features. It became necessary therefore to effect a compromise again, between the oblong building, and the centrally planned structure. It must be admitted that the Aquitainians solved the problem of the fusion of these two elements in a very happy manner. They covered the single- aisled building — for this was almost exclusively the type with which they had to deal — with a series of cupolas in.stead of a continuous barrel- vault. By this means they not only secured a more spacious interior, but emphasised the structural divisions. The simplest type of such treatment is represented by Saint Etienne at Perigueux [PI. 79], Cahors [PI. 80], Gensac [PI. 82], Sainte Radegonde at Poitiers, the Cathedral of Saintes, and Saint- Leger at Cognac [PI. 81]. A centralising tendency is already manifest in the single-aisled churches with transepts, the finest of which are the Cathedral at Angouleme, and the churches of Solignac [PI. 85] and Souillac [PI. 86]. The highest perfection of this type is only achieved, however, when the crossing is made the centre of the whole plan, which thus receives the form of the Greek cross. Saint-Front at Perigueux was evolved at the end of the 11"' century, the most beautiful domed church of the West, all the more perfect for the absolute simplicity of its proportions, the final expression of an organic development, and yet almost inexplicable, unless we admit some inter- change of influences between Perigueux and the distant San Marco. The centralising tendencies of the Dordogne are in contrast to the not altogether successful Angouleme. Cathedral, Groimd-plan. Sinifle-aislcil, cruciform domed church. attempts to adapt the cupola to the many-aisled basilica which were made in the borderlands of Aquitdine. The two most important buildings of this kind are Notre Dame at Puy [PI. 107] a cruci- form basilica, and Saint-Hilaire at Poitiers [PI. Ill], originally a very wide, three-aisled basilica with an ambulatory and a flat roof, now transformed into a church with seven aisles, the nave crowned with cupolas. VII In its barrel-vaulted basilicas and in its domed churches the South produced interiors of a grandeur and harmony of proportion scarcely cc|ualled elsewhere in Europe throughout the eleventh and twelfth centuries. The North has nothing comparable to the finest of these creations; but in the vaulted basilica it created a type better adapted for public X worship, and within its limits, more susceptible of artistic development, a type which in the sec|uel, also became predominant in the Mediterranean district. In Provence, indeed, the basilica appears at a comparatively early date. One of the earliest buildings of the kind is the barrel-vaulted Saint- Guilhem-du-Desert; others of the twelfth century problem was an independent achievement, as the highly interesting abbey church of Saint Philibert at Tournus, one of the earliest buildings of the group, sufficiently shows; for here we find every variety of vaulting side by side, just as if the builder had wished to try them all; the nave has a transverse barrel-vault, the choir, which is akin to that of Vignory, has a longitudinal barrel-vault. rf p Cluny. Abbey-Church, Ground-plan. Five-aisled cruclfmrn basllira wilh barrel-vaulted nave, choirs in the side-aisle.s, and ambulatory with radiating chapels. Original form of the third Cluniac type. are: Saint Trophime at Aries, Saint-Paul-Trois Chateaux, La Garde-Adhemar, all three with re- markably massive piers supporting the wide arches between nave and aisles, and half-barrel vaults over the side-aisles; finally, the Church of Saint- Nevers. Saint-Etienne, Ground-plan. Three-aisled cruciform basilica with galleries and barrel-vaulted nave, of the Auverg-nate type. Gilles , begun in 1116, and vaulted after 1261. These churches were, however, isolated phenomena. The true home of the barrel-vaulted basilica was Burgundy. Here, unquestionably, the idea of Aquitainian and Auvergnate barrel-vaulting was appropriated, as may be seen in Saint-Etienne at Nevers, which has also the Auvergnate triforium; but, for the rest, the brilliant solution of the the side aisles are cross-vaulted, the crossing is crowned by a dome. In the lengthy choir of Saint Benoit-sur-Loire, the east part, built over the crypt in 1062, is entirely barrel-vaulted; the nave to the west was probably not barrel-vaulted until after a fire in 1095. Saint Genou is an imitation of this church. The third restoration of the abbey-church of Cluny (from 1088), comprised barrel-vaulting in the nave. Its example was followed by a large number of neighbouring churches, such as Paray-le -Monial, La Charite-sur-Loire , and Saint-Lazare at Autun, the purest example of the group, completed in 1147. Like the second type of Cluny, this third restoration was closely akin to the primitive type of the early Christian basilica. The triforium, so indispensable to the Lombard and Norman variations; was renounced, as was the symmetrical German system and the rhythmic variation of the supports; with regard to the details, it is worthy of remark, that side by side with forms of severe classical feeling, the pointed arch also makes its appearance, an unusual phenomenon in purely Romanesque buildings. More positive characteristics of the Burgundian style are: the vaulting; barrel-vaults in the nave, cross-vaults in the side aisles; the blind triforium between the arches and windows of the nave, and in general, an ambulatory with radiating chapels. XI VIII The longitudinal continuous barrel-vault is of all forms of vaulting- that which is most sug- gestive of the antique origin of the basilica. The powerful enclosing effect, inherent in the reposeful demi-cylinder, makes it the ideal covering for a many-aisled, oblong interior. On the other hand, it has technical defects ; it exercises a severe uniform lateral pressure, and permits only of narrow apertures in the walls. These embarrassing results are obviated by the use of cross-vaulting. From the moment, accordingly, that a desire for stronger illumination and a comprehension of the statical security of the vaulted basilica were combined with delight in the monumental construction of the roof, cross-vaulting became inevitable. This was recognised simultaneously on the Rhine, in Lombardy, in Normandy and in Burgundy. In all these regions, architects successfully harmonised the effect produced by the structural relation and rhythm of the supported and supporting members, (now much more apparent than in flat-roofed or bairel-vaulted buildings), with the restful effect of the interior. In Burgundy, however, the cross-vaulted basilica occurs only occasionally. The earliest example is the Cathedral at Langres, dating from the middle of the 12"' century. The imposing abbey-church Caen. Transverse Section of Saint-Etienne. Thrcc-aisletl crucifcjrm h.isilic.1 with Jfalleries and oross-vaults. of Vezelay [PI. 183], is of the same period; and the churches of Anzy-le-Duc and Saint-Lazarc at C^vallon [PI. 144], two-storeyed structures without triforia, are derived from Vczclay. The nave of Saint-Aignan is of the same character. On the other hand, Sainl-Laumcr at Blois and the nave of the Cathedral of Le Mans, dedicated in 1158 [PI. 185] to quote examples from among the few remaining cross-vaulted basilicas of western central France, have the three-storeyed arrangement. But whereas the cross-vaulted basilica remained an isolated phenomenon in Burgundy and central France, Normandy was deliberating working out Caen. Ground-plan of La-Sainte-Trinite. Tliree-aisled cruciform basilica galleries and cross-vaults. The plan of the choir inspired by the second Cluniac type. a system of vaulting by means of the symmetrical method and the triforium plan. The first Norman cross-vaults occur in Saint Nicholas-des-Champs at Caen (1083) and Saint Georges at Saint-Martin- de-Boscherville [PI. 200]. La-Sainte-Trinite and Saint Etienne at Caen [PI. 204 and 202], Ouistre- ham [PI. 201] and Bernieres [PI. 198] date from the 12"' century. The groined cross-vault had manifested its superiority to the barrel-vault, in that it permitted the architect to carry the attack of the side-thrust further down; but the full value of the cross- vault was first apparent when salient ribs were introduced, arranged in each bay in groups of four boundary arches and two diagonal arches, which assumed the weight of the vault and conducted it to the points of support at each angle. This importance of the ribs was early recognised in the four territories mentioned above, together with the necessity inherent in the plan, of re-inforcing the parts of the wall, where the increase of thrust bore most heavily. Here the point was reached, when interest in the play of forces, in the precise functions of the various elements, began to equal pleasure in the beautiful proportions of an interior. Architects vied with each other in efforts to evolve new structural forms. Hundreds of individual solutions of the one problem — the most practical method of construction for the cross-vaulted basilica were offered. Nevertheless, whether we enter a Lombard, a Rhenish or a Norman church of this period, the first impression we receive is that of spaciousness. The feeling for solidity and harmonious proportion was still predominant. Then central Northern France, a virgin land, began to take part in the general competition. And now the interior as a whole ceased to be XII the end and aim of all constructive activity. Hitherto the vaulting had been a termination, part of a great organism. Now it became a constructive problem, an end in itself. From the recognition of the prime necessity of strengthening the angles of the vault, the logical conclusion was drawn that only the piers essential to the structure need be erected. With the help of the pointed arch, ribbed vaults became elastic and flexible. The solid enclosing wall disappeared, at the best to make way for thin screens of coloured glass. Soon the excellent proportions that had stood the test of a thousand years were lost. An extravagant vcrticalism set in. This development may be followed step by step in the short space of thirty years in tiic buildings around Paris, until its culmination at Saint-Denis, completed in 1144. It was in vain that Germany attempted to stem the tide. She herself never showed so strong a feeling for the perfection of the interior as at the time of the creation of the choir of the Church of the Apostles at Cologne, and the cathedrals of Limburg and Magdeburg. In vain that Southern France resisted all the seductions of the Parisian school. The inexorable logic of the new principles of vaulting gained the day. It required the whole power of Italy to conquer this style, which she termed "Gothic" in allusion to the hostility to art characteristic of the barbarian invaders, and to replace purely structural preoccupations by har- mony of proportion in interiors and on flat surfaces. IX The interior, as the highest, and indeed the essential object of architectonic endeavour, must be the more strongly insisted upon in our survey of Romanesque art, inasmuch as the very best reproductions of it in the flat can give but a faint idea of its effect. Nevertheless, we must not, in contemplating the interior, forget its casing, and this, not only because of its importance in relation to the space it encloses, but even more, because of the artistic value which the exterior, whether as a general architectural mass, or in individual planes such as the fafade, possesses in relation to its surroundings. It is of course, natural that the various dis- positions of the interiors in the masterpieces of French art already mentioned should also be expressed in the exteriors. We may therefore surmise that the single-aisled churches of Provence and Aquitaine, with their occasional transepts, are simple and monumental in their effect on the outside as well as within; this applies also to the single-aisled domed churches of the South, in which the cupolas, as a rule, are not visible from without. A stronger insistence on structural arrangement was initiated, when the cupola over the crossing was brought up above the roof, as at Le Puy [Pi. 107], or in the beautiful low octagonal domed towers of Provence. The contrasts become stronger in Acjuitaine, where the low broad mass of the main building shows in sharp antithesis to the lofty tower of the crossing. These towers have a great variety of forms. Those of Notre-Dame-la- Grande at Poitiers [PI. 40], Trois-Palis [PI. 41 J and Saint-Maurice at Vienne [PI. 22], are magnificent examples. The stately Auvergnate towers over the extremely high transepts are still more imposing; and with these, the exterior of the east end is enriched by the ambulatory with radiating chapels, and occasionally by a lavish use of coloured in- crustations. Examples: Notre Dame-du-Port at Clermont Ferrand , and for the incrustations, the church of Chauriat [PI. 70]. The richest type of a domed church is Saint-Front at Perigueux [PI. 106], which recalls San Marco at Venice. But though there is a great likeness in the general arrangement, the treatment of individual forms is entirely dissi- milar. The ingenuous delight of the Venetians in decorative effects is absent in the inhabitants of Perigord. It may be said that a monumental idea hardly ever again found such pure architectonic expression, undisturbed by any secondary consi- derations, as in Saint-Front. In the South, the towers of the facade are of secondary importance. Either they are absent altogether, and are replaced by beil-gables, as at Ydes [PI. 71], or they stand away from the building, like the Italian campanili, as at Puissalicon [PI. 134]; they are very seldom incorporated with the fa9ade, and when this is the case, they are generally fortified. At first the fa9ade as a whole was treated with the utmost simplicity in Provence, that region which from the beginning had shown a grandiose conception of interiors; the careful dressing of the freestone alone indicates monumental feeling. It was not until the 12"' century, much at the same time as in Tuscany, that the antique delight in rich ordonnance and decoration awoke, and found expression in exquisite achievements inspired by the pomp of Roman triumphal arches, such as the splendid porch of Saint-Trophime at Aries [PI. 125], and the even more imposing triple porch of Saint- XIII Gilles [PI. 119]. Greatly as the figures and orna- ment in these works contribute to the general effect, however, the architectonic rhythm remains the essential quality. And here we see that the Southerner's feeling for interiors in the twelfth century stood as little in the way of delight in the rhythmical arrangement of flat surfaces as during the Renaissance. He was quite content to let the wall appear as an independent organism, so long as it preserved its function as an enclosing element. The Aquitainian facades, though less lucid in their differentiation of the organic elements and the purely decorative features, are remarkable, nevertheless, for their fine proportions, which bear witness to inexhaustible inventive powers. Their originality is manifested in the independence of their form in relation to the section of the nave. The pediment very rarely corresponds to the shape of the roof. Horizontal terminations are not uncommon: Echillais [PI. 43] ; even semi- circular ones appear occasionally: Echebrune [PI. 42]. The angles are sometimes enriched by elegant little turrets, as at Notre-Danie-la-Grande at Poitiers, and Saint-Jouin-de-Marnes [PI. 36]. in the general ordonnance we not infrequently find here again the influence of the antique triumphal arch, the proportions of the centre to the sides following the classic pattern. Examples: Chalais [PI. 53], and Ruffec [PI. 52]. Sometimes the most beautiful harmony is established between the vertical main fagade and the horizontal division by means of blind arcades, as at Echillais. Sometimes the horizontal form predominates, as at Notre-Dame- la-Grande at Poitiers. In general however, we shall find that in Poitou the three arches of the lower storey are repeated in the upper storey, whereas in Saintonge an arcade is preferred above. Angular forms are conspicuously absent; half -columns predominate; arches and cornices sometimes resolve themselves into a curious soft decoration, the blind arcades are not infrequently entirely filled with figures, as in the last mentioned church and the Cathedral of Angouleme [PI. 96]. As we shall see presently, especially in the region of the Garonne, the modelling of the ghostly figures is sometimes truly grotesque: Moissac [PI. 87]. X Whereas in Southern France the choir was of supreme importance in the ordonnance of the mass, in the North the fa(,:ade also contributed very powerfully to the general effect. In this connection we must above all call attention to the Burgundian-Cluniac system of the narthex (generally two-storeyed) , with flanking towers, as exemplified first in Saint Philibert at Tournus (before 1050) [PI. 152] , in the first part of the 12"' century at Vezelay and La Charite-sur-Loire, and later at Cluny, as also clearly enough in the lower storeys of Paray-le-Monial and Saint-Benoit- sur-Loire [PI. 159]; the last, which was completed without a tower, is in particular, a very beautiful building. With the introduction of the ambulatory, the central tower over the crossing also makes its appearance, counterbalancing the two slender towers of the fagade by a richer and more massive treatment of details. The three-towered plan wes thenintroducedby Cluniac influencesinto Normandy, whose facades had been towerless up to this time, and adopted in the great Churches of Jumieges [PI. 205], Cerisy, Saint Etienne and La-Sainte- Trinite at Caen, whereas in Burgundy itself a reaction soon took place; the churches of the Cistercians have no towers. In the matter of de- tail, a strong classical tendency reigned in Bur- gundy, under the influence of Provence, at least in ornament, if not in figures. The blind arcade was especially popular, for the rest, and was used in the interior of churches as a decoration for the nave and transepts. Normandy possesses a very individual style of ornament made up of notching and of textile forms, recalling the early German manner and offering a strong contrast to the soft, luxuriant, mainly vegetable decoration of Celtic Aquitaine. Examples: Falaise [PI. 190], and Mouen [PI. 194]. J XI ust as the churches in their aulic and several- aisled, no less than in their basilican form were closely akin to antique monuments, so the in- fluence of the antique is clearly discernible in the plans of the monasteries, and of the bishop's re- sidences that were built on the pattern of these. The central point of this plan consisted of an atrium, thenceforth known as a cloister. This had already in Carolingian times exchanged the position it occupied in the early days of Christianity, in front of the West facade of the church, for a more retired and more peaceful site adjoining one or the other of the side aisles. The few supports of the tetrastyle or of the Corinthian atrium were replaced l)y an arcade, making a somewhat sharp division between the walk or gallery and the space it enclosed, a square garden with a well. XIV These cloisters have survived in large numbers, both in monasteries and cathedrals. Among- those reproduced in this volume, the cloister of Le Puy [Pi. 110] is that which gives the best idea of the plan as a whole. The excellent treatment of de- tails is well exemplified in the cloisters of Saint- Trophime at Aries [PI. 128], Elne [Pi. 35], Moissac [PI. 94], Saint-Bertrand de Comminges [PI. 115], and Saint-Lizier [PI. 118]. The church adjoined the cloister on the north or south, and against the other three arms lay other buildings, the existence of which was necessitated by the genera! organisation of the monastery in relation to the cathedral clergy. Without any slavish adherence to an accepted model, the ground-plan remained, on the whole, similar to that adopted in the plan of the monastery of Saint Gall, of 830. Opposite the church was the refectory, on the east side of the cloister the chapter-house (cf. Saint-Martin at Tulle) [PI. 113]; over this was the dormitory; on the west side were chiefly store-rooms and between these other rooms, more freely divided into con- versation rooms, libraries etc. Beyond these clustered buildings, called collectivelly the Close, lay as a rule, the Abbot's residence, or the Bish- op's palace; cf. Auxerre [PI. 186]. In addition, the monastery, which in contrast to the cathedral, was originally built in an isolated spot, was sur- rounded by a large number of auxiliary buildings, hospitals, hostels and the like, as is well shown in the view of the Cistercian Abbey of Fontfroide [PI. 33]. The whole was surrounded by a forti- fied wall. While the cloisters, especially in the South, were lavishly decorated with clustered columns, ornamented capitals and figured pillars, monasteries and cathedral closes usually present blank walls to the outside world. Very few such buildings still in existence are exceptions to the rule, as is the magnificent episcopal palace at Auxerre [PI. 186], which challenges comparison with the most splendid German castles of the period, the Wartburg and the Kaiserpfalz at Wimpfen, or the elegant Choir School (Manecanterie) of Lyons Cathedral [PI. 187]. Generally speaking, the castles of the princes and nobility are not to be compared to contemporary German and Italian buildings. The defensive character of the structure is emphasised even more than in the German "Berchfrit", in the gigantic, for the most part quadrangular French donjons, magnificent examples of which are still to be found at Beaugency (Loire), Chauvigny (Vienne), Etampes (Seine-et-Loire), Loches (Indre-et-Loire) St.-Emilion (Gironde); while the donjon was gradually evolving into a more comfortable dwelling, no advance in this direction was made in the arrangement of the hall. Well-lighted rooms were arranged in the donjon itself, as at Montelimar (Drome), and Chambois (Orne), but we very seldom find independent saloon-like interiors, like that of the hall of Burlats (Tarn) with its Tuscanesque double windows |P1. 116), and the kindred building at Saint-Antonin (Tarn-et-Garonne), now used as the town-hall [PI. 117]. 7he only extant independent example (jf a civic building at a time when towns were just entering upon their period of development, is the town- hall of La Reole (Gironde). It has the typical form of later centuries, an open gallery below, and a large council-chamber above. The chimneys, always an important feature in French architecture, are perhaps the most remarkable among the many interesting details of this period. Magnificent richly terminated chimneys adorn the chapter-house at Le Puy, and the lazar house at Perigueux. But the most curious work of this kind is the kitchen of Fontevrault Abbey (Maine et Loire) [PI. 197], a centrally planned building with apses. Each apse contains a fire-place; the whole is crowned by a conical roof, which also serves as a chimney. Among other buildings we may mention the bridges; the Romanesque period produced several very important examples after the Roman model, among them the bridge of twenty-seven arches at Tours (Indre-et-Loire) 1031 — 1037, and the beautiful bridge of Avignon (Vaueluse) 1177 — 1185. Foun- tains, generally of the stately type we know from the Maulbronn fountain, a basin surrounding a column, have survived only in a few ruins. Provins (Seine-et-Marne) and Obazine (Correze) owned typical examples. Limoges (Haute-Garonne) pos- sessed a magnificent monument in its Fontaine du Chevalet, with a statue of Constantine, equestrian statues of whom are also to be found on the fafades of several western churches. Reims (Marne) had a similar fountain with a stag before the Archbishop's Palace. Finally, we may include those slender towers, the Lanterns of the Dead, among the most grandiose memorials ; their very simplicity makes them doubly effective. Fine examples are to be found in the Churches of Cellefrouin (Charente), and Fenioux (Charente Inferieure) [PI. 60]. XV XII Having- now made a short survey of the evolution of Romanesque Architecture, a brief enquiry into the unquestionably close connection between architecture and statuary becomes necessary. Setting aside the primary, extra-artistic functions assigned to sculpture by religion, those of narration, instruction, admonition, or at best, of representation, its true artistic task is obviously to decorate. But when sculpture gives itself up entirely to the ser- vice of architecture, it renounces its highest right, namely, the development of an independent monu- mental style. The statuesque presentment of the human body, the noblest effort of sculpture, is set aside. The religion of the period demanded, not the human figure, pure and simple, after the antique fashion, but at most, man as a means for the representation of a person or the materialisation of an event. Now if isolated statues served to represent persons, reliefs were essential for the illustration of events. And sculpture was further forced to employ relief in order to carry out its artistic mission, the decoration of flat surfaces. It is significant that with the dawn of the Gothic style, at the moment when architecture lost the characteristics of a space -enclosing art, (i. e. flat surfaces) sculpture, too, lost its purely decorative character; it became more independent, freer, and at the same time more life-like. Before this, sculpture, as long as it was confined to the plane, seemed totally indifferent to reality. This, it must be ad- mitted, was a defect. There is no artistic obligation to make use of the human body in decoration; plant or abstract ornament would suffice, as a considerable number of churches in Poitou and Normandy prove. But if the human figure is pressed into the service of decoration, the decorator must not shirk the study of nature, if he would avoid the danger of a wooden and lifeless mannerism. This becomes evident to any earnest student of Romanesque art in its plastic manifestations; the best works of this period are distinguished from those of the Renaissance by the circumstance, tiiat though they too were influenced by the antique, they were seldom inspired by Nature; and the very works which most clearly reveal the tendencies of the age are those which show niost unmistak- ably the inclination to treat the human figure merely as a decor«.tive element. These negative evidences of the pre-eminently decorative charactei of Romanesque sculpture are to be taken in con- junction with more positive qualities: its suitability for flat surfaces, its generally clearly defined ordonnance, and its admirable adaptability to an architectonic scheme as a whole. But though Romanesque sculpture may lack the warm and living quality of an art more closely in touch with Nature, its creations are by no means devoid of great artistic charm. This consists, apart from the clarity of the composition, the balance of the proportions and the delicate rhythm, pre- cisely in that decorative convention, that deliberate renunciation of Nature, which bears witness to a feeling for beauty, alien, it is true, to modern conceptions. I may instance, in support of my contention, the fine Saint Michael from Nevers, now in the Louvre [PI. 156]. The Romanesque sculpture of France is un- questionably greatly superior to that of neigh- bouring countries. In Italy we note a growing immobility down to the middle of the twelfth century; the first Italian sculptor who gave new life to the art was Benedetto Antelami, whose stimulus came to him from Provence. Germany, it is true, possessed an excellent school of sculpture in the North during the 12"' century; but all too soon, it succumbed to French influences; while what has been said above about Italy is equally true of Southern Germany. Thus we see French Sculpture extending its influence on every side at the culminating period of the Middle Ages; the sculptors of the 12"' century, who as precursors were of greater importance than the contemporary architects, were already entering upon the road on which the French art of the 13"' century was to make its triumphal progress throughout Europe. Uniform as was the effect of French sculpture abroad, its internal development was remarkably rich and varied. In the domain of sculpture we are able to distinguish several schools, by no means identical with contemporary schools of architecture. Broadly speaking, six important groups may be discerned : a broad strip of country, extending from Provence across Auvergne and the basin of the Loire to Poitou, shows a more conservative tendency; two territories on its outskirts, Languedoc and Burgundy, incline to a moderate progressivism. The conservative tendency makes itself felt in a closer dependence upon antitjuc models, fairly numerous in central Gaul, the part of the country which had suffered least from the ravages of war. It is not only the late Roman style of the compo- XVI sition which differentiates works like the frieze of the apse at Selles-sur-Cher [PI. 146] and the tympanum of La Charite-sur-Loire [PI. 178] from the creations of other groups; the types of the heads, the treatment of the draperies, the quiet free- dom of the action, proclaim these works of the Loire district the immediate outcome of late classical art. Compared with these, the works of Auvergne, as preserved in the capitals of the choir in Notre- Dame-du-Port at Clermont-Ferrand , at Issoire, Orcival, Chauriat, and in the great tympanum with the Last Judgment at Conques [PI. 78], reveal more of the influence of the early Christian sarcophagi; the same may be said of the sculptures of that part of Languedoc adjoining Provence; very characteristic work is to be seen in the Porch of Saint-Pierre at Maguelonne (1178 and later) [PI. 11] and in the carved pillars of the cloisters at Saint-Bertrand de Comminges. Classical in- fluences are intermingled with those of Languedoc sculpture in the richly decorated fa9ades of Saintonge and Poitou. The result is well shown in the ex- quisite reliefs of the Cathedral of Saint Pierre at Angouleme, which have happily escaped restoration, in the reliefs illustrating Scripture episodes from the Fall to the Birth of Christ on the fa9ade of Notre-Dame-la-Grande at Poitiers, works which well repay minute inspection, but are distributed over the fa9ade with too little regard for decorative effect; in the sculptures of the porch at Aulnay, Saintes, and many other places, and in the reliefs in the pendentives of the cloisters of Saint Aubin at Angers. In all these works the statuesque character is entirely subordinated to the decorative design; but here the effect depends less upon the modelling of the details of the figures than upon their co-ordination with animal and vege- table motives to produce that strangely rich unity, the character of which we have tried to suggest above, in our description of Romanesque exteriors. A much more pronounced sculpturesque quality distinguishes the monuments of Provence, notably Saint-Trophime at Aries [PI. 124 — 129], Saint- Gilles [PI. 119 — 123], and the numerous churches derived from these, such as Saint-Bernard at Romans. In these churches, dating from the second half of the twelfth century, where we find works no less remarkable for excellent composition than for the fine modelling of individual figures, we note not only the influence of antique buildings, but also that of the first monumental works of the newly awakened North. It was in Burgundy and Languedoc, however, that Romanesque sculpture found its most inde- pendent development. The earliest works of the South, in Saint-Scrnin at Toulouse, are still archaic- ally stiff and clumsy. The period of efflores- cence began with the capitals in the cloisters (1100—1115), and the west porch (1115—1135), of the Abbey of Moissac. The tympanum here represents the Apocalyptic Vision [PI. 87]; the two piers bear the statuesqucly treated reliefs of Saint Peter [PI. 92] and Isaiah, and the side pan- els of the portico are decorated with sym- bolical groups of Avarice and Prodigality [PI. 90], and scenes in the Life of the Virgin [PI. 91], re- markable throughout for the expressive action of the actors, combined with a strangely decorative movement of figures and draperies. There are replicas of this porch at Beaulieu [PI. 88] and at Souillac, the latter a very graceful version [PI. 93]. Other works to be classed in this category are the well-proportioned tympana of Cahors [PI. 80] and Carennac [PI. 89], the splendid figures of Apostles from the cloisters of Saint-E.tienne at Toulouse [PI. 75], and finally an Annunciation [PI. 75], now in the Museum of Toulouse, which is perhaps the most perfect example of the whole series. The delight of the Burgundians in decoration may be inferred from Saint Bernard's unavailing protest against the increasing use of ornament (c. 1130). The Cistercian Churches renounced the use of figures in decoration thenceforth (cf. the porch of Montreal [PI. 147]) ; but in the Cluniac churches and in the cathedrals, the pleasure in decoration of which we see an earnest in Saint Philibert at Tournus and the capitals of Saint- Martin d'Ainay at Lyons, blossomed all the more luxuriantly. The two principal works are the tympana of Vezelay (c. 1132), representing the Feast of Pentecost, and of Autun, with its Last Judgment [PI. 179]. The exaggerated slenderness of the figures and the rhythm of the movement give these reliefs a character even more singular than the kindred works of Languedoc. Among the later productions of this school we must mention the porch of Charlieu [PI. 149]. To this art, which, with all its animation, preserved the decorative character proper to the ornamentation of flat surfaces, the North, even before it had perfected a new architectural style, opposed a work of truly monumental character in the Porte Royale of Chartres Cathedral. It inaugurated the dissolution of the close relation between architecture and sculpture. Romanesque Art was no more. XVII BIBLIOGRAPHY The only exhaustive study of the development of mediaeval French Architecture is Dehio and von Bezold's work, Die kirchliche Baukunst des Abendlandes. Stuttgart, 1892—1901. Enlart furnish- es some valuable additions to this in A. Michel's Histoire de I' Art. vols. I, II, Paris, 1905. A very complete bibliography is given in Enlart's Manuel d'Archeologie francaise, vol. I, Architecture religi- euse, Paris, 1902; vol.11. Architecture monastique. civile, militaire, et navale, Paris, 1903. Other in- dispensable works are J. Quicherat's Melanges d'Archeologie, 2 vols. Paris, 1886, and A. Saint- Paul's Histoire monumentale de la France, Paris, 1888. The following are important monographs upon the more prominent schools: V. Ruprich- Robert, L' Architecture normande aux XI'' et XII'' siecles, Paris, 1884. A. Kingsley-Porter, Mediceval Architecture. I, New -York, 1909; and for the architecture of the South, Revoil's L Architecture romane du Midi de la France, Paris, 1866 — 1874. An excellent survey of French Romanesque Sculpture is given by A. Michel in his Histoire de I'Art, vols. I, II, Paris, 1905. W. Voege's brilliant book, Die AnfUnge des monumentalen Stiles, Strassburg, 1894, is discounted by an initial blunder ; he supposes the sculptures of Chartres to have been inspired by those of Saint-Trophime at Afles, whereas the reverse seems to have been the case. XVllI Saint-Michel d' Entraigiies (Charente) Church, West end 5 Si C .§=1 St c? 4 I — "2 5 Is ^ Charroiix (Vienne) Octagonal Tower of the Abbey C/iarroiix (Vienne) Abbey, Octagonal Tower, lower part Qitunpcrlc (Finistirc) Sainte-Croix, Nave, Vtczv frotii /lie entrance Sa ven n teres (Ma ine- et- Loire) Cliurdi. Apse 10 Diirnc (Rasses-Alpes) Notre- D(iiuc-(hi-lk>iirg, Nave, View from llic entrance 11 Magiielonne (Hcraiilt) Saint-Pierre, West Portal 12 Aiilfi ay (Ch a ren tc- Infcrieii n ) Saint-Picrn; South I'ront of the Transept 13 Aulnay (Charente Iiifcrieurc) Saint-Pierre, Window of tlie Apse 14 2 5 '^ '■O 15 Aula ay ( Cli a rente- Infcrieiire) Saint- Pierre, Transept, South, Detail of the Porcli 16 A II I nay (Cha rcn te- In ft ricun ■) Saint-I'icrn; West Front, Detail of the South f'orrli 17 Cunault (Maine-et- Loire) Church, Apse 18 Rioiix (Ch (I ren Ic- Inferleure) Church, Apse 19 Rctaud (Charente-lnfcrieure) Church, Apse 20 Montmorcan ( ('.liarcntc) Churdt, North I'ront 21 as 22 Saint-Maurice {Vienne) Church, Apse 23 2c£ '^'^ 24 Bcoyeux (Charciitc Infcriciircj Church. Apse, South end 25 •- T 26 Jazcnctiil (Victine) Chiirdi, Detail of the Apse 27 Angers (Maine-et-Loire) Saint-Aubin, Cloister 28 l.yon (Rlii'iiic) Saint-Martin d'Ainav. K est I 'runt 29 « 1^ 1:^ ^^ ; 104 K 5: ,2 Co G 105 i'-.S o 106 ILI^ U4 107 ■-J :S9 r- ^ 108 /,(' Pay (llaiitr-Loire) Cathedral of Notrc-Danic, XX'csl i'roiit 109 Lc Pay (Haiitc-Loirc) Chapel Saint-Midhi d'. Aiguille, Pordi no i.c3 a: Ill 'fi _ 112 Poitiers (Victim' I Saint-Ililairc, Navr, View from tlir Clianrcl r 113 .1' =1. ^ 114 Saint-Bert iand-de-(Atininini:^cs (I laute-Cmrouuc) Cloister 115 -/; !^ o U "■O \ 116 Burials (Tnni) Tower of the Castle 117 Saint-Antoniii (Tarn-ct-Garoiinc) Toivu-hall 118 ^ 119 -3^ o 120 ^ Sainf-Gilles (Garil) Church, Wed Front, Detail of the North aid 121 Saint-Gilles (Gord) Church, West Front. Detail of the South end 122 Saiiil-Ullles (Uanlj Church, West I'rotit, South cud 123 Saint-Oillcs (Gani) Church, Detail of the West Front 124 Aries (Boiiclics-du-lili(')tic) Saint-Tropliinif, \S\-st I'oilnl. n'l^lil side 125 ca tc 126 Aries ([ioiiihcs-dii-Rlionc) Saint-Trophimc, IHllur from the (Uoisler 127 Aries (Bouchcs-dti-Rhdne ) Saint-Trophime, Cloister 128 t: « 129 ?G F~, r) 130 I.csctirc (Tani) Cliiiirh. West />i>ii(il 31 Leon eel (Drome) Cluireh. West side of Side-aisle 132 Romans (I)rdiuc) Saint-Bcnuird. Dcldil af llir Smilli I'ortu! 133 134 m-m 'f^-^ Pit issa Ham (Ih ti hi It I Tower in the Cemetery 135 136 ,i^~^"^' ' Saiiit-Cjiiilhciii-d II -Desert (Hcrault) Onianu'iit Vciicc (Alprs-Alaiitiincs) A Fragment of Seulptitre 137 'o 'o .^ S o 138 B^i^c-lc-Chdtcl (Mil) Saiiit-Afulir, liclfrv 139 ^ 140 Caen (Calvados) Saintc-Triiiitc. Capital Saint- Die (Vosgcs) Saiiitc-Trinitc, Capital 141 2 Cj ^ 142 Sainf-A1artin-lc-Bcaii ( liulrc-rt-l.oirc) Church, West I'oiial 143 Avallon (Yonnc) Saint-Lazare. South Portal 144 Aviillon (Ydiinc) Saint-I.azarc. Dchiil <>/ llir Soiilli !\>rliil 145 Biilegarde (Loiivt) CInircli, West Front, Detail of the Central Portal 146 C5 S; d .^ 147 'o 5^ G 148 149 150 r f __ 1 i "^iM ^^^^H /Fl!^ ^3 Riviere (/iidre-et-Loire) Church, (Aipitdls (iinl Bases 151 Vignoiy (Hautc-Marnc) Church, Nave, \ Iciv from the entrance 152 --0 S Q, ^ 153 § .S :^^ ■J-: 154 Nevrrs (Nicvrc) Stiiiit-litiriinc. Apse 155 i^ ■u~: ^j 156 Ncvcrs (Nii'vrc) St. Micliticl. ill the /.oiivrc f\irls, (iriiiinally at Ncvcrs 157 £ "^ ■5 ^ 'o 158 Saint-Bvnoit-siir- Loire ( l.oirct) Chiinh. Mew from North West 159 160 Sa in t-Bcii oit-sur- 1, oirr ( l.oiirt) Chiiirh. fiifrrior o/ llic Portico 161 Saint-BcnoU-siir-Loire (Loirct) Church. \"iciv from the Aisle 162 5- r O 02 Co 163 3, 1^ o 2 o 42 <3 O •~0 03 164 Sdilli-Cn'lUiU (/lullVj ('.liinrli. /'Illiirs on the riij^ht hand side of llic Aislr 165 Fontgombault (Indre) Churclt. Chancel 166 Fontgonihtiiill (liidrc) Cliinri!. West forltil 167 168 ■5 U, II i 169 = "^ i. i- 170 La Charitc-sur-Loirr (Nicvrcj Saintc-Croix. Belfry and I'oiial: Soiilh luisl end 171 La Charite-sur- Loire (Nicvre) Sainte-Croix, North East view 172 La Charitc-sur-Loirc (Nicvre) Sainte-Croix, Tower, East end 173 La Charite-sur-Loire (Nievrc) Saintc-Cmix, Toiver, detail 174 ■5 Q 175 li. o 176 Q ^' ^ -5 o 177 178 o o s o e ■-J =1, SO 3 Co 179 o o Q O 5 2 ^ "o O 180 2- 'O Uj ^ /o •5; o 181 p V-'- R f ..^v « o 1 7^^ 1 : '5 U r £; 1 I -?! ' C; o 182 V('zelay (Yoiiiic) Saintc-Aladclcinc, (Aipitals and Bases 183 184 -^ ^ 185 ■ij "^ ^ o 186 Atixerrc (Yonnc) ^ La Pivfriiiiir, /oniicrly llir Bishop's Palace 187 188 Mane^lise (Seine- /n/erieure) Cluirch. South Aisle 189 •5 ^' 5 ^ Co 190 5u 03 -£ ■>. U 5 'S o a ^ 191 oa - 3 'i. 192 (jiithcaiix (Calvados) Dflail (if the South end of tlic Church 193 o a^ S O u ^ -2 -? - O 194 AloiH'i! (Calvados) Church, Detail of the South end Beaumais (Calvados) Frieze in the Church 195 i? 'O rj o 196 Bayciix ((uilvados) Saiiit-Loiip, South l:ast end 197 •5 (S k. ^^ 198 Bcrnirirs f(uilvados) Interior of the ('.liiirch 199 Lessay (Mandie) South Aisle of the Church 200 Saint- Ma rtin-ilc-Boschcrvillc (Sciiic-litfcricnrc) Saint-Gcorgcs, X'icw from South East 201 Ouistreham (Calvados) Church, Exterior, West Front 202 Caen (Calvados) Saiiit-fiticnne, View from the West 203 204 Caen (Calvados) The Interior of Saintc-lrinite 205 Jumieges (Seine-Inferieure) Interior of the Church 206 Bern ay (Eiirc) Church, Capitals ■N- -■■■ ^T^^^H , T*- >dH ^^^■jyj^^^^^ *^H p^ -v^^^H t "^ f ^ ' <*i i" Beaumais (Calvados) Church, Capitol Angers (Mainc-et-Loire) Church of the Abbey of Roneeray, Capital 207 rli iM 11 ;i Avesnieres (Mayenne) Church, Capitals and Bases 208 Saiiit-('illd(is-dc-Rhiiis ( Morbiliaii) ('Ininii. liases 209 £ O V ^10 Baycitx (Calvados) Cathedral. Bas-niicf in the Aisle Paris (imtest/ae fmiii the .\hbey of Sainte-Cieiievieve (the Louvre) ^ =5, ^ 212 Rriiiis (Ahinifj Saint-Rcmi, Aisle, View from the Chaiici'l 213 Notn Moricnval (Oisc) -Dame, Vicii' from South West 214 Miiriciivol (Oisc) Notrc-Daiiir, North Aisle 215 216 Moricnval (Oiscj Notrc-Damc, Capitals 217 Pa laiscau ( Scin c-ct-Oise) Church. Capitals 218 3 u o O u o e c3 219 -i: Cj ::>'o 220 •prrT " "i 5 ^ o 5 221 222 Mantes (Sclnc-ct-Oisc) CImnii, I'ilastcrs of the Centre Door 223 (A)iiloiiibs (Eurc-ct- Loire) Columns front the Abbey of Coulombs, (the Louvre) 224 Tric-Chdicniix ( < )iM') Church. Detail from the West I'ortal 225 o 226 Gasslcourt (Scinc-ct-Oisc) Church, West Portal 227 LIST OF ILLUSTRATIONS Agen (Lot-et-Garonnc) Sain t-Caprais , Apse. 12"' century . . . 103 East flu! with racliatiiijr rlic»ir-cl»apcl.s and trnnscpt-anses, on the inod(-'I of tlie Catht'dral of AnSfoiilOnic. A dome over tlic (.'rossing' was designed , but not carried nvit. Gothic nave. Airvault (Deux-Sevres) Saint-Pierre, Nartliex 59 12"' century. Barrel-vaulted three-aisled ehureh. Aix (Bouches-du-Rhone) Cathedral of Saint - Sauveur, Capitals and Bases 31 — „ — Pillars and Twin - Columns of the Cloisters. 12"i century 32 Angers (Maine-et-Loire) Saint-Aubin, Cloisters 27 Church of the Abbey of Ronceray, Capital . 206 Angouleme (Charente) Cathedral of Saint-Pierre, West Front 96 — „ — Part of the West Front 97 — „ — Apse 98 — „ — Interior, View from the entrance . 99 — „ — Frieze of a Window 100 Griffin from the Cathedral (Museum) . . . 100 Cathedral of Saint- Pierre, a Tympanum of the Fa<;ade 101 The new building begun early in the 12"' century. Single aisled domed church, with transept. One of the richest facades of the West, hadly spoilt hy restoration. Aries (Bouches-du-Rhone) Saint-Trophime, West Porch, right side . 124 — „ - West Front 125 — „ — Pillar of the Cloisters 126 — „ — ■ Cloisters 127 — „ — Cloisters 128 — „ — Cloisters 129 The church and the cloisters before 1150. Facade after the middle of the 12"' century. Barrel-vaulted hasilica. The fai,ade resembling the central portion of that of Saint-Gilles, and showing the motive of tlie antique triumphal arch. Notwithstanding the strongly-marked classicism of the statues they reveal the influence of the figures in the Porch of Chartres. Audrieu (Calvados) Saint-Jean, Norman South Porch of the Church 193 — „ — Apse of the North Transept . . . 197 Transept 12"' century, the rest of the church 14"' century. Thrce-ai.sled flat-roofed basilica with flat-roofed transept with apses. The lofty tower over the crossing Romanesque in the lower part. South porch decorated with Norman ornament. Aulnay (Ciiarentc-Iiifi'-ricurc) Saint-Pierre, South Front of the Transept . 12 — „ — Window of the Apse 13 — „ — South Transept, Detail of the F'orch 14 — „ — South Transept, Detail of the Porch 15 West Front, Detail of the South Porch 1 6 Barrel - vaulted church with llirec aisles, and tran.sept. West and south [jorchcs richly decorated. Autun (Saonc-et-Loirc) Cathedral of Saint-Lazarc, West Front, Tympanum over the Central Door . 179 „ — Capital 180 „ - Capitals 181 The church completed in 1147. The portico commenced in 1178. Barrel-vaulted basilica with choir ambulatory and chapels, founded on the third Cluniac type. 'I he tym))anuni of the west porch containing The Last Judgment is one of the masterpieces of Burgundian sculpture. Auxerre (Yonne) La Prefecture, formerly the bishop's Palace 186 Avallon (Yonne) Saint-Lazare, South Side Door 143 „ — Detail of the South Side Door . . 144 Second half of the 12"' century. The fa<;ade is one of the most beautiful examples of Burgnndian ornament. Avesnieres (Mayenne) Church, Capitals and Bases 207 Bage-le-Chatel (Aiii) Saint-Andre, Belfry 138 Bayeux (Calvados) Cathedral, Bas-relief 210 Illustration reproduces relief from the original building. The Church begun in 1087. The towers from 1105 until about 1140. The re-building begun after 1159. Saint-Lou p, from North-east 196 Beaulieu (Correze) Church, South Porch 88 Inspired by the Porch of Moissac. The Tympanum similar to that of Moissac. Beaumais (Calvados) Frieze and Corbels on the Church .... 194 Church, Capital 206 Begadan (Gironde) Church, Apse, 12"' century 25 Bellegarde (Loiret) Church, West Front, Detail of the Central Porch 145 Bernay (Eure) Church, Capitals 206 One of the earliest Cluniac churches in Normandy, founded in 1013—1019, completed in 1050. (Compare the Intro- duction, Chapter IV, for the ground-plan.) >^ 228 P..Se Bernieres (Calvados) Interior of the Church 198 A three-aisled basilica with a transept and liex-partite vaults. Bordeaux (Gironde) Sainte-Croix, West Front 95 Bourges (Cher) Cathedral of Saint-Etienne, Detail of a Frieze 100 Burlats (Tarn) Hall of the Castle 116 One of the few mediaeval castie-halls in France. (Compare the Introduction, Chapter XI.) Bussiere-Badil (Dordogne) Church, Nave, View from the Choir ... 56 Barrel-vaulted three-aisled church. Caen (Calvados) Sainte-Trinite, View from South West . . 203 — „ — Interior 204 — „ — Capital 140 1062-1072; rebuilt in 1140. Three-aisled basilica of the second Cluniac type; (Compare the Introduction. Chapter IV). Originally planned for a flat-roofed church, then provided with hex-partite cross- vaults. Saint-Etienne, View from the West . . 202 Upper part of the fa<;ade 12"' century. Vaulting- of the nave, 1135. Three aisled-basilica, originally of the second Cluniac type, provided later with choir-ambulatory and chapels. Origi- nally designed for a flat roof, but completed with hex- parttte cross-vaults. Cahors (Lot) Cathedral, Porch 80 Consecrated in 1119, the porch later. Domed single-aisled church , the tympanum of the Porch represents Christ's Ascension and scenes from the life 'if S. .Stephen. Mature Languedoc sculpture. Carennac (Lot) Church, Tympanum of the Porch .... 89 End of the \2^^ century. The Tympanum represents Christ with the Apostles. Closely-ri-latcd in style to the Cahors porch. Cauroy (Marne) The Church fro 71 the South West .... 220 La Celle-Bruere (Cher) East end iif the Church 51 Barrel vaulted three-aisled diurch. Choir with auxiliary choirs and apses in the transepts. Cellefrouin (Charente) Lantern of the Dead 60 Chalais (Charente) Church, West Front 53 A fine facade, the lower portion like that at Echillais. La Charite-sur-Loire (Nievre) Sainte-Croix, Tower and Porch; from South East 170 — „ - North East view 171 — „ — Tower, East End 172 — „ — Tower, Detail 173 — „ — Detail of the South Front .... 174 — „ — Detail of the South Front ... 175 La Chante-sur-Loire (Nievre) Sainte-Croix, South end of Choir, Detail . 176 — „ -- Apse 177 — „ — Tympanum of a Door 178 About 1055-1107. Barrel-vaulted basilica of the tliird Cluniac type. (Com- pare Introductions, Chapters IV and VII.) The introduction of pointed arches in the choir proves that this form occurs outside the Gothic period. The Tympanum belongs rather to the Central French than to the Burgundian school of sculpture. Charlieu (Loire) Doorway of Narthex 149 Church, Capitals 181 The door is a masterpiece of Brionnais sculpture, showing but a slight connexion with ihat of Vezelay and Autun. Charroux (Vienne) Abbey, Octagonal Tower 6 — „ — Octagonal Tower, lower part ... 7 About 1050. Centrally planned building joined to a nave. The outer ambulatory is destroyed; a tower over the inner dome. Chauriat (Puy-de-D6me) Church, South Transept 70 Auvergnate type of church. (Compare the Introduction, Chapter V.) Coloured incrustation similar to that at Le Puy. Chauvigny (Vienne) Saint-Pierre, Apse Barrel-vaulted three-aisled church, and radiatinij Chapels. Choir with ambulatory Cintheaux (Calvados) Church, Detail of the South Side .... Three-aisled columned basilica, with a flat-roofed nave, rectangular choir and Gothic tower over the crossing. Porch and encircling blind arcades are examples of the purest Norman style of decoration. Civray (Vienne) Saint-Nicolas, West Porch from the Tribune Conques (Aveyron) Sainte-Foy, Apse . — „ — Nave, View — „ — West Porch Church designed in narrower proportions, on the pattern of Saint - Scrnin in Toulouse, Tlic principal Porch with The Last Judgment carved on it, is one of the master- pieces of the Auvcrgnatc school. Coulombs (Eiiro-et-Loire) Pillars from the Abbey of Coulombs .... Now in the Louvre, Paris. 50 192 55 Barrel - vaulted church with three aisles. Transept with small apses. Fai^ade one of the most magnificent in Poitou. Clermont-Ferrand (Puy-dc-Domc) No tre-Dame-du-Port, South Side — „ — Apse — „ — South Door of West Front . — „ — Nave, View from the Choir Barrel -vaulted church with three aisles, a domed towe over the elevated crossing, choir-ambulatory, and chapels Reconstructed on an earlier building, that must liave shown all the characteristics of the Auvergnate school. South side-door dates only from the end of the 12"' century. Cognac (Charente) Sai n t-Legf e r , West Front, Detail of the Porch 81 Single-aisled domed chun-h. 64 65 66 67 76 77 78 223 229 Courcome (Cliarcnte) P..'.:. Fontfroide (Aude) 1 ■:,■■■ Church, Nortli Side 21 Abbey, View from the East 33 Barrel -v;iultcfl single- aisk-d fliiirrji, wllli tratisL-|>l, anil An adaptation of the Southern barrcl-vaullcd church with towt-T DVLT the crossing. three aisles. Cravant (Indre-et-Loire) Fontgombault (Indre) Pillars from the Church VM C b u rch Choir 165 166 „ - We.st Porch A single- aisled chiirelt. The nrnanient of Uie siuifts is very archaic. Church consecrated in 1141. The nave destroyed. Choir with ambulatory and radiating Creuilly (Calvados) .hapels. Church, Capitals 218 Gassicourt (Seine-et-Oise) Church, West Porch Church about 1150. Choir 13"' century. 226 Cruas (Ardeche) Gensac (Charentc) Church, Capitals 63 Church, View from South West — „ — Nave, from the Choir 82 83 Cunault (Maine-et-Loire) Twelfth century. C h u r ch , Apse 17 A small single .lisled dr.ined church. Germigny-des-Pres (Loiret) Barrel - vaulted church with three aisles. Exterior of the choir has a fine blind arcade. Church, Nave, View from the entrance . . 4 Digne (Basses-Alpes) Built in 806. Notre-Dame -du-Bourg, Nave, View from Greek cross with a clerestory in tower over the crossing. the entrance 10 Gournay (Seine-Inferieure) Barrel-vaulted single-aisled church. Church, Capitals 209 Echebrune (Charente-Inferieure) Grisy (Calvados) Church, West Front 42 AWaysideCross 137 A two-storeyed fa(;ade with a lofty blind arcade and massive semi-circular pediment. Issoire (Puy-de-D6me) Echillais (Charente-Inferieure) Saint-Paul, Apse Of the pure Auvergnate type. (Compare the Introduction. 68 Church, West Front 43 Chapter V.) Barrel - vaulted church with three aisles. The facade in remarkable for the excellent proportions: the ornament is Jazeneuil (Vienne) still marked by a certain Celtic rudeness in some details. Church, Detail of the Apse 26 Ecoyeux (Charente-Inferieure) Jumieges (Seine-Inferieure) Church, Apse from the South 24 Church, Interior 205 liasilua of the second Cluniac type with triforium. Ecurat (Charente-Inferieure) Leoncel (Drome) Church, West Front, Porch 47 Church, Left Aisle 131 Example of a Proveni;al barrel-vaulted basilica with half- Elne (Pyrenees-Orientales) barrels in the side-aisles. Pillars of the Cloister 34 Lescure (Tarn) North Cloister 35 Church, West Porch 130 An adaptation of the style of building- of tlie St>uthern barrel-vaulted church with three aisles. Lessay (Manche) Falaise (Calvados) Church, South Aisle from West About 1130. Consecrated 1178. 199 Saint-Gervais , Detail of the Tower . . . 190 Three aisled cioss-vaulted basilica of the second Cluniac — „ — Windows from the South-West. Base type with tower over the crossing. (Compare the Inlro- of the Tower 191 ductio:;, Chapter IV.) Licheres (Charentc) Nave about 1050, Tower probably about 1100. Transept altered later. Choir 16"' century. Church, West Porch 147 Three aisled basilica with transept. A beautiful tower rising- over the crossing. The blind arcades and the Lyons (Rhone) windows of the tower are good examples of Norman decoration. Saint-Martin-dAinay, West Front . . . Original building 954. Rebuilt 1106-1113. 28 Fenioux (Charente-Inferieure) Barrel vaulted church with three aisles and eireular apse. Lantern of the Dead 60 The tower over the crossing probably inspired by Germigny- des-Pres. The fa<;ade and the interior much restored. Figeac (Lot) Cathedral, Exterior of the old Choir School 187 Saint-Sauveur, Side aisle, South .... 58 Maguelonne (Herault) Originally designed as a barrel-vaulted church with three Saint-Pierre, West Porch 11 aisles, and later completed internally as a Gothic churdi. Barrel-vaulted single aisled church. The sculpture in the Porch sliowing the influence of the antique. In the Tym- Fontevrault (Maine-et-Loire) Kitchen called „La Tour d'Evrault" .... panum Christ in the mandorla with the symbols of the 197 Evangelists, on either side of the doer St. Paul and St. Peter kneeling. The frieze, with leaf-ornament bearing Circular construction with small apses within which the the date 1178, is. however, earlier than the other parts fire-places are built. of the porcll. 230 Page Page Maillezais (Vendee) Neuvy-Saint-Sepulchre (Indre) Church, Detail of the West Front .... 45 Church, Interior 5 Founded in 1045. Upper storey about 1120. Maneglise (Seine-Inferieure) Crowning- portion by Viollet-le-Duc. Church, South Aisle 188 Central plan. The earlier individual details belong to About 1150. the group of Saint-Benoit-sur-Loire. Three aisled columnar basilica. Nave with wooden barrel Nevers (Nievre) vault and blind arcade. Side aisles flat-roofed. Saint-Etienne, Apse, View from the East . — ^^ — Nave 153 Le Mans (Sarthe) Cathedral, Nave, from the Entrance . . 185 154 155 — "„ — North Side 1097 to 1125; after a fire, .ebuilt until 1158. St. Michael, in the Louvre, Paris, orig-inally at Cross-vaulted three aisled basilica with alternating piers and columns and triforium. Gothic choir. Nevers 156 Three aisled cruciform basilica with triforium, barrel- vaulted nave, cross. vaulted side aisles and choir ambulatory Mantes (Seine-et-Oise) with radiating chapels, its principal features following the Church, Pilasters of the Central Door . 222 Auvergnate type. About 1170. The decoration is the last manifestation of classical Ouistreham (Calvados) influence. Church, Exterior, West Front About 1160. The Choir 13th century. 201 Melle (Deux-Sevres) Nave with hex -partite vaulting. The fai;ade is one of Saint-Hilaire, North Side Aisle .... 54 the most dignified in Normandy. Barrel-vaulted church with three aisles. The narrowness of the side ai.sles characteristic of the Western provinces. Oulchy-le-Chateau (Aisne) Moissac (Tarn-et-Garonne) Church Camtals 218 ^_^ I i t-I i V^i I , X-* C4L/lLt*IO • * . . ■ • • • • • Saint-Pierre, Porch (1115-1135) .... 87 — ^— Camtals 219 ,, ^_'C&Ly 1 L L4i.' •.....•..■ — „ — Porch, left side 90 The Church was founded in 1076. The nave and the tower are of this period. Rebuilt in 1169. Three-aisled — „ — Porch, rig-ht side 91 basilica with transept and rectangular choir. — „ — S. Peter, on the left side of the Door 92 — „ ~ Cloisters 94 Palaiseau (Seine-et-Oise) Church, Capitals. 12"' century The column.s of the Cloisters have reliefs of the Apostles, and some of the capitals representations of martyrs. In 217 the tympanum of the Porch, Christ with the Evangelists and the twenty-four Elders of the Apocalypse. On either side of the door, S. Peter and Isaiah. In the side- Paray-le-Monial (Saone-et-Loire) panels Avarice and Extravagance on the one side, and Church, Nave, from the entrance .... 167 on the other The Annunciation, The Visitation, The Adoration of the Magi and The Flight into Egypt. — „ — West Front 168 A masterpiece of Languedoc sculpture, of the early 12"' century. — „ — Transept and Apse, from the North 169 About 1150, the portico somewhat earlier. Montmoreau (Charente) Church, North Side A church of the third Cluniac type. (Compare the Intro- 20 duction, Chapters IV and VII.) The most important of the barrel - vaulted single aisled churches of Aquitaine, with a transept, and a tower over Paris (Seine) the crossing. Grotesque from the Abbey of Sainte-Genevieve (the Louvre) 210 Montreal (Yonne) 12"' century. Church, West Porch 147 Founded 1145. Parthenay-le-Vieux (Deux-Sevres) Cistercian Church. Characteristically simple in its de- Church, West Front, North Side 44 coration. 12"' century. Morienval (Gise) Barrel -vaulted church with three aisles. Facade on the mode! of Notre-Dame-la-Grande at Poitiers. Notre-Dame, from South West 213 — „ — North Aisle — „ — Nave, from the Choir 214 215 Perigueux (Dordogne) — „ — Capitals 216 Saint-Etienne-de-la-Cite, View from South East ll'l' and 12"' century. 79 About 1080. The choir 1122. Transept chapel 1240. 'T^l - 1 1 n I r 1 1 ' 1 ' .T^i 1 ' ft A domed single-aisled church, consisting of two square Three aisled flat -roofed basilica. The choir one of the hays; the exterior has a simple grandeur of effect. earliest designs of the transitional period. Cathedral of Saint- Front, Nave, View Mouen (Calvados) from the West 104 Church, Detail of tjic South Side .... 194 — „ View from the East 105 „ — View from North West 195 „ View of the East End 106 12t*> century. After 1122. Single aisled church, with flat-roofed nave and rectangular (ireek cross, with nave and transept both tri- aisled. choir with cross-rib vaulting. A tower on the north side. Domes over the crossing and each arm. "There is no The porch and the blind arcades arc decoiated with architectonic interior in the whole world, that can approach typical Norman ornament. this one in abstract beauty." Dehio and v. Be/old 1. 337.) 231 Poitiers (Vienne) r..«t Riviere (Indre-et-Loire) l^if^C Notre - Dame - la - Grande , View from Church, Capitals and i3ases 150 Soutli West ■M 12"' century. — „ ~ Part of the West Front 38 — „ - Part of the West Front 39 Romans (Drome) „ Tower 40 Saint-Bernard, Detail of the South Porch . The sculpture is of the school of the Master of the north 132 After 1100. r* 1 iiii 1 'iiii '1 f^ 1 ' 111 cloister of Saint-Trophirne in Aries. The four figures barrcl-vaiilliMl thurrh with three aisles, L hoir aiiihulatorv with thapcls. The fa<:adr after WA'X A typical Celt ie represent S. Peter, S. Paul, S. John the Evangelist, and S. James. building, which altliough well proportioned, is still very much overlase and dome over the crosHin];, partn (In of , ;k cross, with irlier building retained. Vence (Alpcs-Marilimes) A I'rag-mcnt of Sculpture. 11 "'century . 136 Vezelay (Yoiiiic) Sainte-Madclcine, Capitals and Bases . . 182 — „ — Porch and Interior 183 — „ — South Aisle, looking East .... 184 The church was rebuilt after a fire in 1120. The choir dates from 1198 — 1201, the tympanum of the porch from 1132. Three aisled cross - vaulted basilica. Gothic choir. The tympanum of the ])oreh contains The Feast of Pentecost, one of the masterpieces of Bur^undian sculpture. Viennes (Calvados) Church, South Porch 193 11"' century. Vignory (Haute-Marne) Church, Nave, View from the Entrance . . 151 llth century. The choir about 1052. Flat- roofed basilica with triforium. The dioir is barrel- vaulted. Vouvant (Vendee) Church, North Transept, Porch 48 — „ — from the North East 49 12th century. Barrel-vaulted basilica with three aisles partly cross-vaulted ; a transept and a beautiful tower over the crossinjf. The choir terminates with three apses. The finely proportioned fa(,ade.s of the transepts are noteworthy. Ydes (Cantal) Church, West Front. 12"' century .... 71 University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hllgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. 3 1158 00796 1294 It ■■>>'••■ -WW W \) 000^ Aft 535 2 i i!i