Page:Archaeological Journal, Volume 9.djvu/92

64 foremost rank, though her adoption of the pointed arch itself might be later than in other countries. In the south of France, in Rhenish Germany, and Italy, the tendency of the Romanesque was towards a modification of classical architecture, from whence it sprang, and to which, in those countries, it bears a very strong affinity. The Romanesque, as exhibited south of the Loire, could scarcely have grown into Gothic without some extraneous influence, notwithstanding the earlier introduction of the pointed arch. And perhaps on the other hand it may be said that northern architecture borrowed from the southern the only feature necessary to complete its own system. The clustering of pillars, the ornamenting of architraves by different mouldings, the combinations introduced by the diagonal vaulting-rib, the modification of the square section of the arch, are elements which were constantly working in the northern Romanesque, while the southern was quiescent, or aimed chiefly at the classical refinement of proportion, or delicacy of execution; even the introduction of the pointed arch failed to give the impulse. The interior of Autun cathedral, where it is used, is wholly classical, evidently from the influence of Roman remains in that city. M. De Caumont remarks (in the "Bulletin Monumental") the rudeness of execution in Norman buildings as compared with southern ones of the same style. Is it not that the architects were aiming at something beyond, instead of giving up their attention to the refinement of a style so soon to be superseded? In Auvergne and the neighbouring provinces, the workmanship is careful and elaborate; the style has an independent and stationary character, capable of a high degree of perfection and refinement without the risk of change, and on this account perhaps the modern imitations have attained a success which we must not expect to see in those of more fleeting and transitional styles. In Anjou the Romanesque broke into a style of peculiar beauty and boldness, characterised, however, by certain principles of composition rather than by its minute details. The features are, the absence of aisles, great width of area, square vaulting compartments, and very domical vaults. The cathedral of Angers is a very fine example. I fear I shall be accused of having indulged in general remarks when I ought to have confined myself to the description of particular examples;