Page:Charles Moore--Development and Character of Gothic Architecture.djvu/347

Rh

of a Gothic nave, not the true roof, 103.

German pointed architecture, 170-181; a later development than in France and England, 170; its imperfect progress illustrated by the caths. of Bamberg, 171, Magdeburg, 172, Limburg, 173, Freiburg, 174, and Strasburg, 175, the Breslau Kreuzkirche, 175, and the cath. of Cologne, 176; French features ingrafted on German Romanesque without changing its structural character, 177, 313; chs. with all three aisles the same height, 177; character of the fa9ades, 179; east ends, 179; transept ends, 180; towers and spires, 181; capitals, 239; bases, 241; arch mouldings, 242; influence of English architecture on, 242; the French Gothic slow in affecting German Romanesque, 313.

German profiles, 239-242.

German Renaissance architecture, 3.

German Romanesque architecture, general character of the vaults, 16; derived from Lombardy, 170; its structural character not essentially changed by French influence, 177, nor quickly modified, 313.

German sculpture, 292-293.

Germany, unfavourable conditions for the development of Gothic art, 313.

Ghiberti, the gates of the baptistery of Florence, 296.

Ghirlandajo, his paintings in the church of Sta. Maria Novella, 308.

Giotto, 296, 305, 308.

Giovanni Pisano, his work shows little reference to ancient models, 296.

Glass, stained. See Stained glass.

Glastonbury Abbey, abaci, 232 (cut); string-course profiles, 235 (cut).

Gloucester, cathedral, tower, 165; abacus, 224.

Gothic architecture, incorrect ideas concerning, i; the term applied in a spirit of contempt, 1; Italian distaste for, 1; an outgrowth and expression of Northern genius, 2; decline of, 2, in France, 2, in England and Germany, 3; revival of, in the 18th cent., 3; its essential principles not understood, 3; English writers on, 3; Coifs on, 5; French writers on, 5; Viollet-le-Duc on, 7; differs fundamentally from Romanesque, 7; definition of, 7, A 3O; a system of balanced thrusts, 8; earliest steps toward, in Lombardy, 8; Romanesque elements retained in, 9; the steps of the transition from Romanesque, 9, 97; summary of general form and constructive features, 18; plan, 18; vaults and ribs, 18; piers, 19; buttresses, 19; walls, 19; full development only brought out by three-aisled buildings, 19, 28; the builders not governed by mathematical formulas of proportion, 20; painting and sculpture employed in, 21, 298; its truest form- French, 26; decline after the early pan of the 1 2th cent., 27; earlier advances made by the monastic builders, 28; fuller development at the hands of lay builders, 29; an architecture of churches only, 29; close connection with the thought and feeling of the time, 30; develops first in the interior, later in the exterior, of the building, 48, 97; structural changes precede ornamental, 48, 201; its distinctive characteristics not arbitrary inventions, but based on principles, 310; the system complete, progressive, and original in France alone, 310, 315; the condition of France and character of the French favourable to its development, 310; the conditions less favourable in England, 311; the conditions in Germany also unfavourable, 313; no original development in Italy or Spain, 314.
 * French, 32-123, 200-223; limits within which it is confined, 32; scantiness of ritten records, 32; its earliest monuments the chs. of St. Denis and Morienval, 33; its principles illustrated in the vaulting systems of the caths. of Senlis, 38, 43, Noyon, 49, and Paris, 52, the ch. of Mantes, 57, the caths. of Laon, 58, Bourges, 59, and Sens, 59, the ch. of St. Leu d'Esserent, 69, and the caths. of Chartres, 72, Reims, 74, Amiens, 74, and Beauvais, 76; also in the various members of the structure, the piers, 61, buttresses, 77, pinnacles, 83, wall openings, 85, apses, 92, apsidal aisles and chapels, 98, transepts, 102, fa9ades, 103, spires, 113, and general external aspect, 119; general prevalence of the church-building impulse, 121; spontaneity of the movement, 122; union of structural and artistic principles in, 122; successive steps of its development, 123; its principles further studied in capitals, 201, bases, 210. string-courses, 214, the sections of vault ribs,2i7, and mullions and tracery, 222; probable reaction of Norman and Anglo-Norman art upon, 238; the French Gothic the only complete, progressive, and original form of Gothic architecture, 310.